Clue: what is the photographer trying to communicate?
Aim: 1.To build an understanding of point of view and to encourage you to look at a familiar setting in new ways—with the eyes of artists and photographers 2. To introduce unit 2 of the AS in Digital and Lens based media TURNING THE ORDINARY INTO EXTRAORDINARY Activity: Documenting THE CHANGING/ALTERING LANDSCAPE’- reinvent, reinterpret, re-define using a camera as a tool
TREASURE HUNT! – this was the holiday homework – complete it using ONE location of your choice. You still need to complete it and present 16 final images CHALLENGE: try to FIND:Impress us Hidden words and letters / naturally occurring typography: signs, road markings A Reflection within or through a transparent or translucent material Geometric shapes: A Circle, Triangle, Square or Rectangle A Tree Branch filling the frame Natural and constructed combined together An environment/landscape that includes your name or identity Evidence of Decay chiaroscuro Converging perspectivesA display of colour and contrast A confusing macro image of something familiar people and buildings combined in an unusual way A french cafeMovement and change A photo within a landscapeSummer light Explore all viewpoints and senses, Experiment and Take Risks! Try different Points of View: A bird’s-eye viewpoint / worm’s-eye viewpoint / canted angle / point of view shot / extreme close up / macro / panoramic / rule of thirds / symmetry / asymmetry / natural or unnatural framing…. Are there other points of view that you can use? You may need to use imagination and a smart phone to research some terms Try to present a sense of place so we share what you experience
Honkey Kong (Donkey Kong) by Christian Åslund Christian Åslund found a wonderful way to still be playing in the streets. Or on it really. In his series Honkey Kong he transformed the streets of Hong Kong into a two-dimensional platform. In this amazing series he pays tribute to classic 2D platform games. The series is part of an advertising campaign for the shoe brand Jim Rickey. Our relationship with Technology and the landscape.... Modern artists often experiment in combining both this can result in images that have a child like curiosity and play
TASK 1:INTERROGATE THE IMAGES : it is all about ‘ways of seeing; challenging perception’
Cognitive understanding For each photograph consider: What can you see? What is the artist trying to say? How does it make you feel? Why? How was it constructed? Social & collaborative Work in pairs to make a list of what made these images successful – put it into your books – use the key photographic language we have generated on the board Challenge Work in pairs: include your partner in the shot Use minimal post-production editing Use the school site and try to create images that use the site, perspective, framing and camera angle to produce photographs that present the site in a fresh, innovative and intriguing way Timescale: you have until the end of this lesson to capture images – Tuesday we will print contacts, edit the images and present outcomes in books Health & Safety: be careful about where you stand – do not be foolish or place yourself in danger
“The unique characteristic of a pinhole camera is its ability to image with an effectively infinite depth of field. Everything from a fraction of an inch from the camera, all the way to infinity, appears at the same level of focus in the image. This means that one can record intimate textural detail across all distance scales, enabling one to explore near to far perspectives, in which nearby objects appear much larger (but in focus) relative to more distant objects (also in focus). ” Pinhole Photography by Scott Speck There is a pin hole function in your school cameras TASK 2 :TAKING NOTICE : it is all about ‘ways of seeing; challenging perception, Changing Viewpoint’
Anamorphic effects: create the surreal from the real. Amplified sense of scale, proportion and energy, using dramatic perspectives and exploring complex scenes! Scott Specks Pin Hole photography uses an infinite depth of field (near to far perspectives) that appear in the same level of focus. This records an intimate textural detail across all distance scales. Forground AND background objects/subjects are in focus.
TASK 2 :TAKING NOTICE : it is all about ‘ways of seeing; challenging perception, Changing Viewpoint’ Cognitive understanding For each photograph consider: What can you see, what can you notice? What is the artist trying to say? Why? How was it constructed? Social & collaborative Work in pairs to make a list of what made these images successful – put it into your books – use the key photographic language we have generated on the board Challenge Work alone Use post-production editing to intensify contrast and edit using only crop, contrast, hue and saturation or curves Use the school site and try to create images that use the site, perspective, framing and camera angle to produce photographs that present the site in a fresh, innovative and intriguing way Timescale: you have until the end of this lesson to capture images – Homework – collect images from around where you live – looking up (low angle) or down (high angle) – aim for 50-70 images and challenge your self to capture dramatic compositions Health & Safety: be careful about where you stand – do not be foolish or place yourself in danger
TASK 3: GETTING CREATIVE: with LIGHT AND SHADOW: creating ABSTRACT patterns and forms [Stairs, Railing, Shadows and Four Men] André Kertész (American (born Hungary), Budapest 1894– 1985 New York) Date: 1951 Look for contrast: light v dark, rough v smooth, circle v square
TASK 3: GETTING CREATIVE: with LIGHT AND SHADOW Cognitive understanding This is a set of work that you have to do at home as well: shadow and contrast is limited in school For each photograph consider: What settings were used on the camera? Where is the photographer located / how can we tell? Social & collaborative Share skills: what skills can you share with the person next to you? Challenge Timescale: Homework – Health & Safety: be careful about where you stand – do not be foolish or place yourself in danger
Anja Bührer Think about : Contrast texture and surfaces- reflections Orientation, pattern, repetition, lines/diagonals, balance. Consider: How others will read your image: what is the message you are sharing – is it narrative, technical, social, political, aesthetic, fine art, journalistic…how do you want your images ‘read’? Ellie Vanhoutte : adding that extra dimension to a sometimes-mundane urban utilitarian landscape Observe like you never did before Walk down the street, stop randomly and look around. Pick an object, study it from different perspectives and then shoot
TASK 4 : understanding the ‘why’ : conceptual analysis Cognitive understanding Being a photographer is about OBSERVING, noticing things and having the confidence and skills to capture them for other to share. Analysing images will help you to understand the ‘why’ as well as the ‘how’. Presenting an essay will demonstrate your literacy level and support needs. Challenge 1. Use the Stephen Mole images you have selected: 2. Choose one starter image and cut and paste it 3. Find out all you can about the artist / context / style / technique / photographic elements / images For each photograph consider What you see, what you notice? What is the artist trying to say? How? Why? How was it constructed? What is the message? 4. present your findings as a mini-essay that has a good structure and is clear with good spelling, punctuation and grammar. Use contrasting images if you need to. Aim for depth and succinctness 5. Plan practical images inspired by what you have analysed – you should complete these by the end of the Wells field trip. Keep plans in your sketchbook. Social & collaborative Use the resilience cards wisely – this is solo work but you can ask one techie question and one knowledge question of me Extension: for a higher grade compare more than one image for comparison and contrast. Timescale: / Homework – complete all of task 1-4 to hand in on Friday 20 th September – to HY by 3.30 (in CM04) – they will be assessed to influence your first tracking, your target grade and your next steps
The vortograph (also the vorticism movement), invented in the early 1900s by Alvin Coburn, was an early form of abstract (or “non-objective”) photography. Traditionally it uses Rotating layers, mirror imaging, symmetry/asymmetry, pattern, lines, geometries to depict industry and manufactured These contemporary shots adopt similar techniques but develop the style still furthe r http://dornob.com/kaleidoscopic-cities-10- vortograph-inspired-urban-images/#ixzz2VoiJ2FtChttp://dornob.com/kaleidoscopic-cities-10- vortograph-inspired-urban-images/#ixzz2VoiJ2FtC Task 4 Extension Activity 2 – can you take and edit images so that they are as complex and detailed, as intriguing, experimental and innovative as these images – give it a go
Task 5: presenting multiple viewpoints Hockney captured huge expanses with overlapped images. You could contrast this and try looking at the ‘whole’ and breaking it down into tiny macro details – how little can you capture before recognition is lost? The wedding by Fernand Leger Harbor in Normandy: by Georges Braque
Task 5: presenting multiple viewpoints: presentation and innovation the way human vision works is amazing: we join Fractured, fragmented, patchwork, composite image together with the power of our memories and our mind – we can recreate this using layers on Photoshop – but we can also do it manually through cut, glue and paste. Cognitive understanding Task 5 is about creating a longer experience of a landscape Being a photographer can be about presenting a split second experience: but is this reality? Hockney’s ‘joiners’ were a result of his experimental approach. The cubists took a similar approach: attempting to capture a subject over a space of time: from different angles and viewpoints – then combining the results into one final outcome. Challenge 2. Choose one starter image that is Cubist / Hockney / Lewis Baker and cut and paste it 3. Find out/analyse all you can about the artist / context / style / technique / photographic elements / images evidence What you see, what you notice? What is the artist trying to say? How? Why? How was it constructed? What is the message? 4.. Aim for depth and succinctness 5. Create an original final image that is composed of multiple viewpoints / angles or layers showing the influences of the artists studied Social & collaborative Mark each others work mid-way and suggest improvements Extension and higher level challenge Create more variety of depth of field by including macro images and close ups as well as mod- shots, large depth of field.
“I was born in the Lincolnshire fens and have a special relationship with this landscape.” “...based upon fractured images of fenland landscapes and Derbyshire treescapes, [these photos] are meditations upon scientific observations of reiterating patterns in nature which often manifest forms of symmetry of form out of what at first sight appears as complete chaos” David Lewis-BakerDavid Lewis-Baker Influenced by Hockney Taken on: March 6, 2009 one of a series Task 5 - Try to create a special, unique, personal and purposeful relationship with your landscape. “English Landscape Symetries”
Sometimes it's all about isolating an object that you would not normally pay attention to. Task 6: simplicity, symbolism and semiotics Keeping it simple: using objects to represent a larger object, location or concept. You do not need the whole to tell the full story – your audience will make connections. Another fine monochrome by Giovanni Orlando of a very basic, everyday kind of subject, yet the photograph is beautifully presented with a superb choice of depth-of-field, admirable simplicity, great tones and wood texture, and to top it all up a great black and white conversion which emphasizes and magnifies every little detail.
Task 6: simplicity, symbolism and semiotics Keeping it simple: using objects to represent a larger object, location or concept. You do not need the whole to tell the full story – your audience will make connections Cognitive understanding Effective and creating photographers tell a story, engaging the audience with a place, an experience, an event. Using symbolism can mean that you only need to capture a smaller detail to represent the larger, full image Challenge 1.Look at the images by Giovanni Orlando – discuss what they could represent. Think moods, events, activities, experiences 2.Put one image in your books and annotate your thoughts 3.Plan and capture a range of images taken on location that represent a sense of place or an event. Combine different framing techniques, macro and wide angle or full frame, experiment with angles, balance and focal points. Present a final set that truly represent the location Complete this at Wells Complete this is a location of your choice 4.Consider presentation well – this will complete the work for unit 2. Social & collaborative Discuss your plans with different people Add reflective comments on their responses and your own decisions Extension and higher level challenge Capture the different personalities of each location Show the influences of tasks 1-5 and annotate both your plans beforehand and then reflect on how well you have incorporated them
Worms eye view of trees Think about: The space subjects do and don't ocupy. Positive space: Silhouette of the branches leaves trunks. Negative space: the shapes of the sky The negative space can form interesting patterns Texture, focal point/rule of thirds and the golden section. Capture Light trails (adjust shutter speed), colour, depth of field Shoot details to create interest Angela Jewell of Gordon, Berwickshire,
Tips for turning the ordinary into extraordinary Go back to the basics: line, shape, form, texture, pattern, and color. Shoot details to create interest Look for contrast Keep it simple Photo by Giovanni OrlandoGiovanni Orlando Observe like you never did before No more than an old filthy toilet seat could from inside look like an abandoned building. The light, perspective, and black and white treatment really do wonders to this plain old view that many might not even think to photograph, let alone treat specially and bring out all these fine details and stunning effects to light with a very thoughtful and beautiful end result.
http://maxdart.net/en/ Go back to the basics line, shape, form, texture, pattern, and colour. Experiment with Contrasting colours and geometries Cropping and framing a subject: what’s inside and outside the frame?
Can you document YOUR experience of the environment. HOW do you experience it? HOW can you capture this? How could you frame things in an innovative way? Try not to let traditional understanding dictate. How does the context and setting tell a story? Artists experiment with juxtaposition of Urban and natural / logical and unexpected
Painting c.1928 by George H. Downing SPROWSTON MILL Our universal, traditional, conditioned understanding of the landscape. Everything on a horizontal plane. Captured at eye-level in a panoramic (or ‘landscape’ aspect ratio) These examples are idyllic, utopian but do they show the realities of the landscape around us? Or depict the artists limitations?
Summary: By challenging and using traditional codes and conventions to do with landscape, you have: gathered and documented experience presented and arranged images in alternative ways this encourages you and your audience to reflect and connect with your work.
We all struggle for inspiration and creativity, and we – as human beings – tend to take so many things around us for granted. We might see, but not observe. We might glimpse, but not appreciate. And we go on and on trying to find some source of inspiration for ideas to make some new pictures, when the truth of the matter is it’s all around us. The sky is the limit!!!!
SUbjECT What are you trying to say about the subject in this photograph? TECHNIqUE What techniques can you use to direct attention to the subject? How do you want to compose the photograph? Lighting: What direction is the light coming from? Point of view: Where can you position yourself when taking the photograph? Framing: How can you hold the camera? (Vertical, horizontal, parallel to horizon, or tilted?) Timing: When should you take the photograph? Motion: Should anything be moving in the photograph? Should it look blurry or frozen in space? Focus: What should be seen clearly in the photograph? Materials: What camera, film, and equipment do you need for this photograph? Tips: Create more than one photograph. Approach the subject from different points of view and vary how you hold the camera and frame photographs. Capture different moments in time, especially when photographing people or motion.