IN/VISIBLE DS REUNION OF TWO WORL
IN/VISIBLE REUNION OF TWO WORLDS
CONTENTS 9
THE HUMAN EYE
11
VISUALLY IMPAIRED
13
PHOTOGRAPHY
15
PARTICIPATORY PHOTOGRAPHY
16
IN/VISIBLE
20
DARKROOM
30
ROZELLE BALANGUE
34
ALFREDO DE GUZMAN
CONTENTS 38
ALNIEWIN LOAYON
42
ROBYANN MANLULU
44
IRENE MATIAS
46
EBENCHITO PABIA
50
MICHAEL RAYMUNDO
54
PIA RESURRECION
60
ALEX SORIANO
66
SENSORY PHOTOGRAPHY
My task is the reunion of the visible and to pervert the established amongst those who see
- E VGE N BAVC AR
the invisible worlds, photography allows me method of perception and those who don’t. B L IND PH OTO GRAPH E R
8 IN/VISIBLE
THE HUMAN EYE The hum a n eye i s o n e o f t h e f ive b as ic h u ma n s e n s es a n d i s c ons i de re d the m o s t u s e f u l a n d m o s t imp o r t a n t by m o st pe opl e. Thi s i s b e ca u s e t h e eye is t h e ma in re ce iver o f infor mation from the exter nal environment and to gether with the bra i n, they pr ov id e t h e h u m a n b e in g w it h t h e facu lty o f vision or the ability to perceive ever ything in his surroundings.
IN/VISIBLE 9
10 IN/VISIBLE
VISUALLY IMPAIRED Vi s i on
is
an
e s s e n t ia l
p ar t
of
an
in d iv idu a l’s
eve r yday l i fe – i n le a r n in g, co m mu n icat in g, in t e ract i n g a n d ex pre s s i ng one ’s s e lf. Ye t , a cco rd in g t o a re ce n t stu dy c onduc te d by the Wo rld H e a lt h O rg a n izat io n ( W H O ) , th ere a re now 2 8 5 m i l l io n v is u a lly im p aire d p e o p le, 2 4 6 m illio n of whom have l ow v is io n wh ile 3 9 millio n a re a lre a dy blin d.
The s e i ndiv i dua l s fa ce ch alle n ge s af fe ct in g n o t o n ly th eir ba s i c ex i s te nc e bu t als o t h e ir cap acit y a n d d e sire to e ng a ge i n othe r v is u al- re lat e d a ct iv it ie s a s me a n s o f c om muni c a ti on an d cre a t ive ex p re s s io n . Fo r t u n at e l y, w ith the advancement of technolo g y now adays, exper ts have been c onti nuous l y m a nu fa ct u rin g p ro d u ct s t h a t h e lp d eve lo p a n d enhance the communication skills of those visually impaired.
IN/VISIBLE 11
12 IN/VISIBLE
PHOTOGRAPHY One
a re a
tha t
h as
been
b e n e f it t in g
f ro m
th is
technological progress is photography. It is both a science and a n a r t of c a ptur i n g a n d p ro d u cin g s t ill im a ge s. Th e e s sen tia l e l e m e nts of of
ph o t o g rap h y a re t h e cam e ra , a su bject
choi c e a nd mo re imp o r t a n t ly, t h e ima ge - m a ker o r
photo g ra phe r wh o ch o o s e s t h e s u b je ct t o b e p h o t o g raph ed.
P hoto g ra phy fi e l ds
of
is
s c i en ce
a dve r ti s i ng, but
also
a
p ro ce s s and
used
t e ch n o lo g y,
b ro a d cas t in g as
a
me a n s
not
and of
o n ly
in
bu s in e s s f ilm
a r t is t ic
th e and
in du str y, ex p ressio n .
IN/VISIBLE 13
THE HUMAN EYE
14 IN/VISIBLE
THE HUMAN EYE PARTICIPATORY PHOTOGRAPHY In
the
early
1 9 9 0 ’s,
“photovoi c e, ”
a
D r.
cre at ive
C a ro lin e
Wa n g
a p p ro a ch
to
d evelo ped
p ar t ici pa to r y
a c ti on re s e a rch wh ich u t ilize s p h o t o g rap h y as a p ro c ess in e duc a ti ng or
c er t ain
depr ive d
p h y s ica lly - ch a lle n ge d
g ro u p s
of
p e o p le
Pa r ti c i pa tor y
p h o t o g rap h y
pe opl e
to
c re a t e
woul d
s how
s i tua ti on.
It
the is
s e l f- deve l opm e nt , s oc i a l
a c ti on 1 .
and
a llow s
Th is
these
is
ex p re s s io n co n s id e re d
so ciety.
p ar ticu la r
ima ge s
of
co mb in a t io n
cre at ive
the
cap t u re
p o in t s - o f - v iew a
in
a n d/
t h e ir
of
th a t cu r ren t
p h o t o g ra ph y, and
a
g ra ssro o ts
n ew
w ay
of
doc um e nta r y pho t o g rap h y wh e re t h e p h o t o g ra p h e r o r th e facilitator gets involved more deeply into its chosen subjects.
1 “Par ticipator y Photography.” Flashpoint Labs. Wordpress - Flashpoint Labs. Web. 22 Oct 2012. <http://www.flashpointlabs.org/par ticipator y-photography/>
IN/VISIBLE 15
IN/VISIBLE Thi s thes is p r oj e c t a i m s to p rove t h at p h o t o g rap h y can p l ay a s ignifi c a nt r ol e i n the l ive s o f t h e v is u ally im p aire d , p ar ticularly i n the i r abi l i ty to co mmu n icat e a n d ex p re s s t hei r individu a l c re a tiv i ty. Thi s w ill h e lp bu ild aw are n e s s among the si ghte d c om muni ty an d mo re s p e cif ica lly, t h e o rg aniz ation s / s chool s / i ns ti tut io n s fo r t h e blin d t h a t h ave ye t to dis cover the us e ful ne s s o f p ar t icip a t o r y p h o t o g rap h y i n t heir ef for ts to re habi l i ta te v is u al im p aire d in d iv id u a ls.
16 IN/VISIBLE
IN/VISIBLE 17
DARKROOM P H OTO G R A P H Y W O R K S H O P W I T H T H E V I S UA L LY I M PA I R E D
DARKROOM The Latin te r m c a m e ra obs cu ra , wh ich m e a n s “ d ark chamber” , w a s the founda ti o n o f p ho to g raphy.
Its
i m pr ove m e n t
t h e d eve lo p me n t o f
went
on
two
d if fe re n t
r o ads but with the s a m e obj e ct ive – t o p ro je ct ima ge s. The firs t deve l opm e nt w a s the inve n t io n o f p o r t able b ox d evices t he
17th
inte nde d an d
1 8 th
for
draw in g
c e ntur y.
It
p u rp o s e s
then
b e cam e
d u rin g as
the
p ho to g raphic c a m e ra i n the be g in n in g o f t h e 1 9 t h ce n t u r y.
20 IN/VISIBLE
The othe r us e w a s t h e cre a t io n o f t h e ca m e ra o b s cu ra ro o m , c om bi ni ng
the
p rin cip le
of
e d u ca t in g
and
e nte r ta i ni ng pe o p le. I t w a s u s u ally s e t in are as s u r rou n ded by a va s t of pi c t u re s q u e e le me n t s. A lt h o u g h t h e u sa ge o f thi s i s m a i nl y for p ro je ct in g rat h e r t h a n s t o rin g im a ges, its di s c ove r y w a s the s t ep p in g - s t o n e t o t h e g re at inve n t i o n s o f the i m pr ove m e nt o f t h e u s a ge o f p h o t o g ra p h y in o u r lives.
IN/VISIBLE 21
22 IN/VISIBLE
H e n ce,
“Dar k r oom ”
p ho to g raphy p ho to g rapher,
was
wor k s hop. Carmela
ch o s e n It
w as
B a lit aa n
as
the
name
co n d u ct e d a lo n g s id e
of by a
I N /V I S I B L E’s a
stu den t
p h o t o g ra ph er
e nt hus ias t a nd c onc ept a r tis t , C h ris t ian Q u in o t wh o s h are d th eir k nowledge on the ba s i c s of c a p t u rin g p h o t o s, t o t e n as p irin g low v isio n p ho to g rapher s fr om the Re s ou rce s fo r t h e B lin d , I n c. a n d M y Ref u ge.
IN/VISIBLE 23
VISIONARIES KNOW THEM BETTER
ROZELLE BALANGUE
IN/VISIBLE 31
Nikon D60 - 38mm - 1/20sec - f/4.5
STACK
32 IN/VISIBLE
BLACK & ORANGE
Nikon D60 - 18mm - 1/30sec - f/3.5
ACHIEVEMENT IN/VISIBLE 33
ALFREDO DE GUZMAN
“
The workshop w as really encoura ging and opened my eyes for the possibility o f e nj oying a g a i n my hobby on p h o t o g ra p h y like wh e n I w as s t ill h avin g my f ul l sight. Now hav i ng l ow v i s i on is n o t a h in d ran ce t o p u rs u e o n e s g rea test ambition in photo g ra phy wi t h t h e h e lp o f
m o d e r n t e ch n o lo g y a n d
i nve n tion s in thi s fi e l d. E ve n bl in d p e o p le, I ’ ve h e ard , can n ow s h oo t a n d p r o duce good photos. A l though I k n ow w e ca n’ t p ro d u ce go o d o r qu a lity p ho tos like th e ful l y s i ghte d a t f irs t , w it h t h e e n t h u s ias m, p e rs evera n ce and dedicatio ns a s i n othe r fi e l d s w e ca n a ch ieve wh at w e a im fo r t h e best.
Fo r me, the wor k s hop g ave us, Vis u ally I m p aire d , an o t h e r h o p e in life
“
t o go on nor m a l l y a s othe r s. I t o p e n e d an o t h e r o p p o r t u n it y fo r u s.
A nd th ere are good pe opl e wh o h e lp u s a n d s e e t h e s e p o s s ibilities.
IN/VISIBLE 35
Nokia (device model 202)
MIRROR
Nikon D3000 - 58mm - 1/160sec - f/5
TAMBAY
36 IN/VISIBLE
Nokia (device model 202)
ELLIPTICAL
Nokia (device model 202)
CROSSING IN/VISIBLE 37
ALNIEWIN LOAYON
IN/VISIBLE 39
Canon EOS Kiss F - 55mm - 1/120sec - f/5.6
LINYA
40 IN/VISIBLE
Canon EOS Kiss F - 55mm - 1/60sec - f/5.6
DETALYE
Canon EOS Kiss F - 48mm - 1/20sec - f/5.6
LINIS
IN/VISIBLE 41
ROBYANN MANLULU
Canon EOS Kiss F - 18mm - 1/30sec - f/5.6
TRI-COLORED
IN/VISIBLE 43
IRENE MATIAS
“ I
w as
so
thr i l l e d
to
be
on e
of
the
ch o s e n
p a r t icip a n t s
in
th e
rec en tly conc l ude d “P hoto g ra p h y Wo rk s h o p fo r t h e L ow Vis io n ” a t RB I t hat w as patie ntl y fa c i l i ta te d/ me n t o re d by M s. M e lai B a lit aa n f ro m U. P. D i l i man for 4 c ons e c utive S a t u rd ay s. A ll o f my fa m ily m e m b ers a n d c l o se frien ds we re s kepti c a l a n d cy n ical ab o u t t h e id e a . M o s t likely, it w o uld tur n o ut to be a s e r i e s o f va g u e im a ge s an d v is u al h allu cin a tio n s. But I h ave pr ove n the m wr ong. I n eve r t h o u g h t t h a t u s p a r t ially sig h ted i nd ividuals ca n s ti l l c a pture v iv id im a ge s w it h ju s t ice. N o t o n ly I h ave real ized that I c a n s ti l l c re a te a s t o r y t h ro u g h s t ill p ict u re s bu t t h e m o st
“
i mp or tan t thi ng i s the s e e d of in s p irat io n t h at M s. M e la i p la n t e d in o u r
hear ts that we can still enjoy now what we used to when we were still sighted.
Nikon Coolpix L26 - 20mm - 1/100sec - f/6
BANTAY IN/VISIBLE 45
EBENCHITO PABIA
“
Fo r me, ph oto g ra phy i s a n a r t o f
t ak in g p ict u re s a n d ca ptu rin g
eve r y
is
c an
precious brin g
us
m om e nt to
the
in pa s t
life.
It
an d
like
a
re me m b e r
t ime t h in g s
m a ch in e like
th a t
even ts,
hap py or s ad. P i c ture s a l s o rem in d u s o f wh o w e a re an d wh a t w ere w e d o i ng in th e pa s t ye a r s of ou r live s. I t is als o an ar t o f ex p ressin g o ur selves and s howi ng to eve r yo n e t h e u n iq u e n e s s o f e a ch in d ividu a l.
When I heard about the a c tiv it y ab o u t L e ar n in g P h o t o g rap h y fo r low vi si on by Ms. M e l a i , I a m exc i te d t o le a r n an d ex p e ct t o le a r n n ew th in g s ab o u t ph oto g ra phy. I w a s not d is ap p o in t e d b e cau s e I le a r n e d lo ts o f t hi ngs like p r ope r s e tti ngs o f t h e D SL R , alt h o u g h s o me t ime s I h ave trouble using it, but its fun when you took a picture and you know that you’ve go t one good s hot. A nothe r l e s s o n t h at w e le a r n is t h e p ro p e r ligh tin g, ad justmen t on zoom s, a nd how t h e V b ack g ro u n d als o a f fe ct yo u r ph o to s. Fo r us low vis i on, i t i s e a s y to l o o k a n d s e t u p a s u b je ct bu t it a b it d i f f icu lt o n t aking a s hot on a s ubj e c t b e cau s e yo u n e e d t o co n ce n t ra t e a n d fo cu s so t hat you c a n c re a te a pi c ture p e rfe ct s h o t . L ike fo r ex am p le when I ’ m t ak i n g a pict ure of our do g, i t ’s s o d if f icu lt b e cau s e t h e d o g is a lw ays moving around a nd i t i s i nti m i d at e d wh e n it s e e s a ca m e ra in f ro nt o f it.
I really w ant to tha nk M s. M e l a i, b e cau s e it is t h e f irs t t im e t h a t peo ple w i t h low vis ion l i ke us have give n t h e o p p o r t u n it y t o le a r n p h o t o g ra ph y and it will be a g re a t he l p i n o u r o rg an izat io n e s p e cia lly wh e n w e’re go i ng to docum e nt our m onth ly a ct iv it ie s t h e o f f ice r in ch arge o f ta ki ng picture h a s a n i de a whe n o r wh e re t o t a ke a go o d s h o t . E ve n th o u g h
“
w e have dif fi c ul ti e s s e e i ng th in g s, it is n o t a h in d ra n ce fo r u s to a pp reciate the wor l d a r ound us a n d a p p re ciat e ar t t h ro u g h p h o t o g ra ph y.
IN/VISIBLE 47
Nikon D3000 - 18mm - 1/20sec - f/3.5
GUIDE
Nikon D3000 - 18mm - 1/40sec - f/3.5
REST & PLAY
48 IN/VISIBLE
Nikon D3000 - 18mm - 1/160sec - f/5.6
ZOOM
KALARO
IN/VISIBLE 49
MICHAEL RAYMUNDO
“
I w ou ld like to a c k nowl e dge M s. M e lai B alit aa n w it h t h e h elp o f Mr. Cloud for the i r de te r m in a t io n a n d h ard w o rk o f p ho to g raph y
in
the
w ay
we
m ay
u n d e rs t an d
it .
t e ach i n g u s
Th ey
a re
rea lly
he l pfu l an d e a ge r to give the i r k n ow le d ge w it h re g a rd s in p h o t o g ra ph y.
I , M ich ael, i s s o tha nk ful th at t h is w o rk s h o p h a d co n d u ct e d fo r a p er s on with low vi s i on l i ke m e. I t is an o p p o r t u n it y t o le ar n n ew t h ing s a n d ap p ly it as th e s i tua ti on ne e ds o r eve n wh e n I ju s t like t o ge t p h o t o g ra ph s. I l e ar ned about the pa r ti c i pa t o r y p h o t o g ra p h y, t h e p a r t s o f t h e D SL R camera- its us e, a nd, s om e t e ch n iq u e s in p h o t o g ra p h ic co mp ositio n .
Wi t h th is wo r k s hop, i t hook s my in t e re s t in p h o t o g ra p h y wh ich u n like b efore, I j us t c a pture d photos a s I w an t . Wh e n I e n t e re d in t h is w o rk sh o p, I star ted to like photog raphy. I had a g reat experience together with my friends and with our god te a che r s. I l e a r n e d t o h an d le t h e ca m e ra w e ll with o u t
“
shakin g it. I ex pe r i e nc e d Indoo r a n d o u t d o o r s h o o t in g wh ich is re a lly f u n .
I ’l l never forge t wha t I l e a r ne d a n d wh at I ’d ex p e rie n ce d in t h is w o rksh o p.
IN/VISIBLE 51
Nikon D3000 - 30mm - 1/120sec - f/5.6
FRAME WITHIN A FRAME
Nikon D3000 - 18mm - 1/200sec - f/3.5
LEARN
52 IN/VISIBLE
Nikon D3000 - 270mm - 1/320sec - f/3.5
FOR LEASE
Nikon D3000 - 18mm - 1/20sec - f/3.5
REMEMBER
IN/VISIBLE 53
PIA RESURRECION
“
When
I
w as a
chi l d,
eve r y
t ime
my
p are n t s
s a id
“ s ay
cheese” ,
I w ondered why they us e t h e w o rd ch e e s e eve r y t im e t h ey to o k p ho tos.
At the ba c k of
my m in d , I w a s t h in k in g if
w o u ld appear i n the pi c tures ?
t h e ch eese
Wh y d o w e n e e d t o s ay “ cheese” ?
Be fore, I w a s the s ubj e c t i n t h e p h o t o s an d I a m e n joy in g b e i n g th e sub ject in the pi c ture ta k i ng. I love an d e n joy in g a ls o t o lo o k at t h e ph o to co l l ections of our fa m i l y a nd my f rie n d s. I t re min d s m e o f t h e m e m o ries f r o m the dif fe re nt eve nts we h ad . I a m in t e re s t e d in p h o t o co llectio n .
Eve r y time they took photos u s in g t h e o ld ve rs io n o f f ilm ca m era s, I am dreaming to do the s a m e.
I w a n t t o t a ke p h o t o s.
B u t t h ey do n’ t
b el i eve that I m ay abl e to ta ke p h o t o s b e cau s e o f my low v is io n . So m e are dou btful i f I m ay abl e to s e e a n d fo cu s t h e s u b je ct .
I w as a lso
af ra id and di s c oura ge d fr om t h at w o rd s p lu s t h e fact t h at t h e need to m aximize th e us e of eve r y fi l m co u n t in t h e cam e ra w a s ve r y imp or ta n t.
IN/VISIBLE 55
I
t hou ght,
havi ng
adva nta ge for m e. t ak i n g ph oto s.
my
pe rs o n al
d ig it a l
ca m e ra
is
the
at
an
I thought my lit t le ex p e rie n ce s are s u f f icien t in Re a l i z i ng t h a t I d o n’ t h ave e n o u g h k n ow le d ge a n d
t rai nin g on how to ta ke photos. H ow t o h ave go o d a n d b e au t if u l p h o to s.
I felt sad an d di s a dva nta ge b e ca u s e o f my lim it e d v is io n , t his w ill hi nder my dre a m to be c om e a go o d p h o t o g rap h e r.
Th a t ’s wh a t
I t hought eve r y ti m e I ha d blu r re d p h o t o s f ro m my d ig it al ca m era . Ever y time I he a rd the i r c om p lain t h at t h e p h o t o t h a t I t o o k w a s n o t c l ear an d blur r y. Wha t I de e d
is t o t a ke t w ice eve r y t im e I a m ta kin g
p ho tos. Ju s t to have choi c e s on t h e re s u lt s o f t h e p h o t o s t h at I captu red.
I am alw ay s s e a rchi ng on th e in t e r n e t an d lo o k in g o n t h e p o ssible d i g i tal camera wi th a udi o gui d e.
I am a lw ay s t r y in g fo r t h e p o ssibil-
i t y of discove r y new c a m e ra fo r t h e low v is io n in t h is mo d e r n era .
I
never expect tha t the re ’s s ome o n e wh o w ill t h o u g h t t o re n d e r an d desi g n an infor m a tive wor k s hop o n p h o t o g rap h y fo r t h e low v is io n . I a m so privile ged to be one of the s t u d e n t s in t h is p h o t o g rap h y w o r ksh o p und er ou r mentor M s. C a r m e l a B alit aa n o f U n ive rs it y o f t h e P h ilip pin es.
The in for mat i on a nd te chni que s s h e s h a re d b e cam e ve r y h e lp f u l fo r m e as person with l ow v i s i on. In t h is 3 d ay s w o rk s h o p, I ’ ve le ar n e d a lo t o f t hi ngs to con s i de r i n ta k i ng p h o t o s like t h e s h u t t e r, I SO an d aper tu re and the oth er m ore. S he thou g h u s o n t h e p ro p e r w ay s in t ak in g ph o to usi ng the DS LR c a m e ra . I re a l ly e n joy t ak in g p h o t o s in d o o r an d o u tdo o r.
56 IN/VISIBLE
I ’d love most the photo “the a n g lin g o f ro o f a n d t h e s ky ” I n t h is ph o to, I se e lot of pe r s pe c tive i n thi s p h o t o.
B e fo re, I n eve r ex p e ct t h a t th is
p ho to will ap pe a r ni c e. I thoug h t t h at t h is is u n p le as an t t o t h e v iew er. But wh en I tri e d to l ook a t i t, my a t t e n t io n go t fo cu s in t o t h is w o n derf u l ang le of th e photo. Whe n I’ m t a k in g t h is p h o t o, a t f irs t I h ave d ou bt if I w i ll ch oos e tha t a s my s ubj e c t b e cau s e I t h o u g h t t h e re ’s n o im po r ta n t sense from thi s s ubj e c t. But I re a lize d it ’s w ro n g. Th a t t ime, wh e n I w a s adjusting the DSLR camera I saw the beauty of this subject. I w as convinced al ready to cons i de r thi s. “Ye s, it ’s t ru e. Th e re ’s b e au t y in t h is p h o to. ”
N ow,
I
p r o duce
bel i eve
tha t
de s pit e
bea uti ful photos.
of
my
low
v is io n ,
I
can
still
M y lim it e d v is io n is n o t t h e h in d ra n ce
fo r me to b e c om e a good ph o t o g ra p h e r.
Th e re ’s s o me t h in g in my
p ho tos that i n the fi r s t ti m e yo u lo o k a t it , m ay b e yo u can’ t f in d t he beau ty o f i t but i f you t r y t o lo o k d e ep e r a n d ex p lo re m o re in
“
al l perspect ive, tha t’s the t ime yo u w ill fe e l t h e h e a r t o f
th ese
p ho tos becaus e my pa s s i on a lw ay s s h ow s in eve r y t h in g I love to do.
IN/VISIBLE 57
Nikon D3000 - 18mm - 1/320sec - f/3.5
THE ANGLING OF ROOF AND SKY
Nikon D3000 - 18mm - 1/200sec - f/3.5
FIRE EXIT 58 IN/VISIBLE
Nikon D3000 - 50mm - 1/100sec - f/3.5
BRAILLE
Nikon D3000 - 18mm - 1/270sec - f/3.5
PALAMUTI IN/VISIBLE 59
ALEX SORIANO
IN/VISIBLE 61
Nikon D3000 - 60mm - 1/50sec - f/3.5
TRIP TO JERUSALEM
Nikon D3000 - 80mm - 1/120sec - f/3.5
OPENED 62 IN/VISIBLE
Nikon D3000 - 30mm - 1/60sec - f/3.5
VARIATIONS
Nikon D3000 - 150mm - 1/3200sec - f/7
MR. SUN IN/VISIBLE 63
SENSORY PHOTOGRAPHY T H E I N S P I R AT I O N
SENSORY PHOTOGRAPHY A
UK-bas ed
p r o jects a
i nte r na ti ona l
cal l e d
much-deta i l e d
“Beyond
ch a rit y Sight”
de s c r i pti on
as
a ls o and to
k n ow n “ Sig h t
h ow
as
P h o t o Vo ic e
Unseen”
p h o t o g ra p h y
wh ich h e lp s
had g ave and
mo tivates the v i s ua l l y i m pa i re d . Se n s o r y P h o t o g ra p h y is o n e o f th e newest ter ms a s s oc i a te d wi t h p h o t o g rap h y wh e re it h ig h lig h ts th e reas ons why a pe r s on who do e s n o t h ave t h e ca p ab ilit y t o s e e w o u ld eve n desire to ta ke photo g rap h s. P h o t o Vo ice an d t h e B lin d With Camera proje c t m e nti one d five ma jo r p u rp o s e s o f Se n s o r y P h o t o g ra ph y:
1. Th ey ( vis ually imp aire d ) w a n t t o ge t invo lve d in t h e v isu a l wo rld ; 2. Th ey can t ake p ict ure s usin g n o n - v isu a l se n se s a n d co g n it ive sk ills ; 3.
Pho to g rap hs/ar t can b e m a d e a cce ssible t o t h e v isu a lly im p a ire d
i n a da ptive w ays ; 4. Th ey communicat e t he ir “ m e n t a l im a ge s” wh ich w o u ld n o t b e se e n by the sight e d ; and 5.
66 IN/VISIBLE
I t a i ms t o challe nge p e rc ep t io n s a n d in sp ire so cia l ch a n ge.
Beyond
S ight
S i g hts
Un s e e n
L o ndon,
B lin d
a nd
to
Wi th
the
C a m e ra
Indi a
i mp aired
globa l l y
also
Camera S chool of lear n
2007
by
in
M ex ico
w e re
Be i j in g
both
M umbai,
c an
in
wor k s hops
Mex i c o
i mp ress ion
The
s ta r te d
are
s ig h t e d
ex te n d e d
UK
in
2009
in
m a k in g
an
co n t inu ally
an d
u n s ig h t e d
s t ar t e d it s
e s tablis h in g
the
e s t ablis h e d
an d
P r o je ct ,
an d
by
co m mu n ity.
Par t h o
B h ow m ick
as s is t a n ce
to
e - s ch o o l
ca lle d
an
wh ile
the
in
v isu a lly
B lin d
With
P hoto g ra p h y. I t is wh e re t h e v is u a lly impa ired
photo g ra phy,
u p lo ad
photos
t ake n
by
them
and
f re e ly expres s the m s e l ve s. Th e w eb s it e o f fe rs e n o u g h in fo r m a tio n to t hei r
suppor t
the i r
movem e nt.
d e t ailed
One
de s c r i pti on
posit io n
on
i m po r t a n t
t h in g
of
p ho to g raphy
to
the
me t h odolo g y
a nd
fi na l l y
Pho toVoiceâ&#x20AC;&#x2122;s d e t ailed
t ip s
e f fe ct ive n e s s
f ro m
t rain e rs,
the
w eb s it e
f ro m
of is
a
in t ro d u cin g
v is u ally
imp aire d
to
a
co m plete
a
d is cu s s io n
on
d at a
a n a lysis.
webs i te
pr oc e dure
fo r
the
b rie f
a ls o in
o f fe rs
t e a ch in g
a Se n s o r y
2 8 - p a ge,
f u ll
P h o t o g ra ph y.
IN/VISIBLE 67
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