Tasks pdf 72 by Roseanna Gyles

CONSTRUCTED PHOTOGRAPHY

Rebecca Roseanna Gyles Photographic Journalism Constructed Photography Module: Work Journal

Contents Week 1………………………………………..4 Week 2………………………………………..5 Week 3……………………………………….10 Week 4……………………………………….16 Week 5……………………………………….20 Week 6……………………………………….22 Week 7……………………………………….24 Week 8……………………………………….26 Week 9……………………………………….29 Week 10……………………………………...31 Week 11……………………………………...45 Assignment research…………………...........51 Key notes……………………………………54 Avedon review...................................................57 3

Week One The studio session this week consisted of going through procedures for using the Bowens 500 Flash, flash head stand assembly, attaching and assembling light boxes, connecting to mains power and using the sync cable and wireless transmitter to set multiple flash heads of simultaneously. This was basically just a refresher session to make sure everyone was still up to scratch with these procedures since they had also been taught in the first year. Key points The first piece of kit to assemble is the light stand; the bars connecting the three legs to the main pole, which assure the three legs are equally placed, should run parallel to the floor for optimum stability. The main pole of the stand can then be fitted with the Bowens 500 Flash via the attachment at the top, which connects to the adjustable arm of the flash. Once the light is secure the pole can be extended to the required height and secured by tightening the relevant screw handle. Assembly complete the light can now be used in a great variety of ways, these include; independently (if taking a light meter reading for example), synced with the shutter of the camera (via cable or wireless transmitter) and multiple Bowens lights can also be synced together by using the main light as a cell which controls the other lights wirelessly if you switch them to cell mode.

Week Two During this weeks session the PhaseOne DF camera with IQ140 Digital back was used to capture the portrait photographs featured below (Fig, 2). Each photograph was taken using manual focus and the Diopter (eyesight correction piece) was adjusted by each individual to ensure focus was being viewed correctly for each given persons own eyesight, ensuring optimum focus could implemented. The camera shutter was synced with the flash heads via a wireless transmitter. The lighting plan below (Fig, 1) shows the basic variables of the shot, including values for light intensity (Bowens Flash), camera settings and estimates in metres for the distance between model and lights. The same basic plan and camera settings were used for each of the photographs shown in Figure 2.

Fig, 1: Lighting plan.

Fig, 2: Final photographs captured using above information.

This week we also revisited the aperture and shutter speed sequences, the table below (fig, 3) shows the general values for these along with ISO and diagrams giving an idea of the different depths of field different aperture values will produce and the same for ISO and shutter speed. Some cameras also allow the user to increase or decrease shutter speed and aperture in increments between each stop.

The general rule to remember the shutter speed sequence is that each value is double or half the former or next one respectively. For example, to increase the shuuter speed by one stop from 1 second the required value would be 1/2. There are however exceptions to the rule, an increase of one stop from 1/60 for example is 1/125, for this reason it is better just to memorize the sequences, as I have done.

IQ140 Camera System

IQ Digital Back Overview IQ180 Description

IQ160

IQ140

World leading image quality

The IQ160 digital back is

with 80 megapixel full-frame

the optimal solution for the

resolution. Switch to Sensor+

demanding photographer,

and get 20 megapixel full-

offering 60.5 megapixel

frame images as well as

full-frame captures and a new

a faster workflow and ISO

touch screen with a fast and

sensitivity up to 3200. Enjoy

intuitive zoom, pan and browse

also the new, intuitive touch

function.

The IQ140 digital back delivers the perfect combination of world leading image quality and a fast workflow. The new touch screen provides complete intuitive control on set.

screen. Sensors 32.9 mm

40.4 mm

40.4 mm 53.7 mm

43.9 mm

53.9 mm

1.0

1.3

53.7 x 40.4 mm

53.9 x 40.4 mm

43.9 x 32.9 mm

Active pixels full resolution

10328 x 7760

8984 x 6732

7320 x 5484

Active pixels Sensor+

5162 x 3878

4490 x 3364

3658 x 2740

Lens Factor CCD size effective

Pixel size (micron) Resolution (megapixels) Light sensitivity (ISO) Exposure time

Full res. 5.2 x 5.2

Sensor+ 10.4 x 10.4

Full res. 6x6

Sensor+ 12 x 12

Full res. 6x6

Sensor+ 12 x 12

60.5

35 - 800

140 - 3200

50 - 800

200 - 3200

50 - 800

200 - 3200

1/10.000 sec. – 2 minutes

0.7

0.9

1.0

1.4

1.2

1.8

1 GB Advanced high speed RAM

Image buffer Display

Touch the Future

16bit-OptiColor +, 12.5 f-stops and Lens+ technology

Image quality Capture time (frames per sec.*)

1/10.000 sec. – 1 minute

3.2” touch screen with 1.15 megapixels 290 ppi(dpi) 16 million colors, 170º viewing angle

*) Maximum expected performance. The actual performance will be dependent on the camera model and on the camera and digital back capture modes. Content is subject to change without notice

The Phase One IQ140 camera system is the first step into the intuitive future. The 4-button navigation is now complemented by touch screen navigation, providing complete intuitive control of the Phase One IQ140 digital back.

New technology means more options, but the Phase One solution is always focused on performance, quality and stability. Digital photography has never provided more options. The Phase One IQ140 will

easily reproduce scenes with extreme tonal range and details in one shot from a full 12.5 f-stop dynamic range.

Enjoy the seamless compatibility between Phase One digital focal plane lenses or Schneider Kreuznach leaf shutter lenses and the Phase One 645 DF camera body, which in conjunction with the Phase One IQ140 will provide the optimal solution for the demanding photographer.

Your local Phase.One partner Fig, 4: Phase One camera information

The above and overleaf (fig, 4-5) are images taken from a Phase One informational PDF. They offer a wealth of technical information on the Phase One 645f camera and the IQ140 digital back, along with a resolution comparison with their IQ160 and IQ180 models (60 and 80 megapixel respectively). www.phaseone.com

what the world’s best photography is made of

https://www.phaseone.com/~/media/.../IQ140-datasheet-12202013.ashx 8

Fig 5: Phase One camera information

The Phase One camera used throughout much of this module produces a better quality image when manual focus is used over the built in auto-focus. This is because the auto-focus on the Phase One works by selecting a larger area than most modern DSLR cameras and then focusing on the element closest to the lens. This means that when the eyes are selected as the auto-focus point, the nose will in most cases end up being sharper than the eyes. With a high aperture value (wide DOF, small aperture size) this might not be too much of a problem but with a low aperture where the plane of focus is very shallow the eyes will become blurred. It is generally important in portraiture (unless for an intentionally desired effect) to have optimum sharpness on the eyes, because they are said to be windows to the soul. Certainly they are windows to a personâ&#x20AC;&#x2122;s emotions and they are also the first point of the face we will normally read when viewing a portrait.

WEEK THREE

For this weeks studio session we were asked to turn up looking scary. I chose to take a more innocent, cartoonlike idea of scary for my original photograph. I then made two different versions of this, one with fake blood coming out of the nose and one with zombie like skin and a distorted mouth. The results can be seen in the photographs on the following three pages. When using Capture One software for tethered shooting the first step is to create a session and name it. This will then act as a folder to house the photographs that are going to appear straight on the computer (in Capture One), after each exposure is made. This is great for organisation as it ensures all relevant material is grouped together and easy to share or copy. Tethered shooting also has the large benefit of being able to quickly spot and correct problem areas of shots; the features in the top bar can be used to highlight where the optimum focus area is and any areas that are under or overexposed. Problems can sometimes be corrected using the actual software itself, especially with regard to exposure or colour temperature for example. For optimum quality however settings should be altered on the camera first to ensure the best possible starting image from which to work from. Once this has been created processing can then take place either in Capture One itself or by importing the files to another processing programme such as Adobe Camera RAW.

The above image shows a magnified version of the thumb on the left side of the photograph to the right. It demonstrates the level of detail that can be achieved with the Phase One IQ140 medium format digital camera system and shows how technology like this could be used to anonymously collect identifying information from people, in this example finger prints.

Kelvin Temperature Scale “Colour temperature is measured in degrees Kelvin (K). The Scottish mathematician and physicist William Kelvin proposed the absolute, or Kelvin, scale in 1848. This scale uses −273.15°C as its zero point or ‘absolute zero’. The colour temperature is simply the colour a standard black body (a piece of metal which is perfectly black and reflects no light) glows at a certain heat. Surprisingly, the cool colours are red and orange, around 2,000-3,000K, while the warm colours are the blues at the 20,000K end of the spectrum. Neutral white light is 6,504K” (Canon, n.d.). The diagram to the right shows several light sources placed on a kelvin temperature scale, it has been made for Digital Camera World and as such features sources of light most relevent to photography. I have made my own version of the scale showing a larger volume of light sources, this can be seen in the diagram overleaf, along with several notes. Values of light sources on the scale I made are averages based on typical values I have encountered through research. The image on the left shows a screen capture from an interesting article about converting colour temperature in degrees kelvin to RGB values (0-255), using a special algorithm. Tanner Helland developed the algorithm and uses it to produce enhanced colours in image processing and photographic manipulation. Although useful in these areas Tanner points out that it is not to be used “for astronomy or medical imaging” because “its not accurate enough for serious scientific application (Tanner, n.d.). The algorithm has been implemented in a piece of software called ‘Photo Demon’s Colour Temperature Tool’ (shown in screen capture), this can also be downloaded from the article page.

References Canon (n.d.) White Balance (WB). Available from:<http://cpn.canon-europe.com/content/education/infobank/white_balance/white_balance. do?page=2> [Accessed on 22nd October 2015]. Caltech (n.d.) Teachers Guide to the Infrared. Available from:< http://coolcosmos.ipac.caltech. edu/image_galleries/ir_zoo/lessons/background. html> [Accessed on 23rd October 2015]. Digital Camera World (2012) Explained Colour Temperature Scale. [Online image]. Available from:< http://media.digitalcameraworld.com/ wp-content/uploads/sites/123/2012/05/Free_colour_temperature_scale_photography_cheat_sheet. jpeg> [Accessed on 22nd October 2015]. Helland (n.d.) How to Convert Temperature (K) to RGB: Algorithm and Sample Code. Available from: <http://www.tannerhelland.com/4435/convert-temperature-rgb-algorithm-code/> [Accessed on 1st November 2015]. Helland (n.d.). Photo Demonâ&#x20AC;&#x2122;s Colour Temperature Tool [Online image]. Available from: <http:// www.tannerhelland.com/4435/convert-temperature-rgb-algorithm-code/> [Accessed on 1st November 2015].

WEEK FOUR The brief for this task was to recreate, as closely as possible, a portrait by renowned photographer Richard Avedon. Richard Avedon created the original photograph made into the iconic poster of John Lennon shown below (fig, 1) as the poster print (colour lithographic) and the original solarised photographic image (fig, 2), shown in contact sheet. I chose this image because there are two exhibits of it and I thought it would be interesting to recreate both.

Avedon Photograph Evaluation I think most aspects of this shot went well, however there are a few problems I have noticed which I would address if I was to do the excersize again. Firstly I would tie my hair back further because I have noticed the hair of John Lennon in the original photograph is a few inches shorter than mine appears. I would also take greater care to ensure I managed to get some light to bounce off the glasses because they appear a lot brighter in the original image. I am quite happy with the way my recreation of the pop-art version of the photograph went. Although it took quite a long time and used lots of different filters and layers it was actually enjoyable. Itâ&#x20AC;&#x2122;s ironic though because the end result actually looks really simple and the original print is simple so I assumed when I first started doing it that it would be really quick. I think if I did it again it would be a lot quicker and probably better because it wouldnâ&#x20AC;&#x2122;t be as much of a learning curve.

These photographs were taken on a Nikon D800e A versatile hitech DSL with a FX-format CMOS sensor. This camera is important because, as Nikon states the D800e can â&#x20AC;&#x153;render levels of texture, nuance and detail to your photography that, until now, have been the exclusive domain of the complicated medium-format systemâ&#x20AC;? Binging the crisp detail of a bulky PhaseOne camera for example but with the benefit of being much more compact and as easily carried around as a regular DSLR, An image of the Nikon FX-format CMOS sensor with 36.3 effective megapixels is shown in the thumbnail to the right

Reference Nikon (n.d.) D800e sensor [online image]. Available from:< http://imaging.nikon. com/lineup/dslr/d800/features01.htm#a1>[Accessed on 17th January 2016].

WEEK SIX Food

For this weeks task we built on skills and knowledge regarding photographing items on a white background in order to edit them so that the whole of the background, including shadow areas below the object, is perfectly white (255).

To achieve this a combination of different angles and strengths of flash were required. It is more difficult to photograph a group of objects as apposed to a singular object in this way because there are more areas in which shadows can form. Its worth spending time trying to get rid of as much shadow area as possible so that editing them out doesnâ&#x20AC;&#x2122;t become a very long process and is also less destructive to the pixels.

This session along with the processing and editing of the chosen photograph to the left was a form of practice led research for assignment five.

WEEK SEVEN

Movie Character Task For this weekâ&#x20AC;&#x2122;s task we were asked to come in dressed as a recognisable movie character. I chose Wednesday (below) from The Addams Family films, played by the actress Christina Ricci. I then decided to make my chosen shot into a movie poster so I designed this in Photoshop. I was intentionally looking at an upwards angle whilst my photograph was being taken because I had planned to add a photograph of a bat to the image afterwards and I wanted it to seem as though I was looking up at this. I adjusted the levels in Camera Raw and with the use of an adjustment layer once the image was processed and in Photoshop. I always choose to make adjustments in Photoshop using adjustment layers rather than making the adjustments to the image itself because this way of editing is less destructive to the image and has the added benefit of just being on a layer so you can easily switch back and forth to see if things look better or worse or use a layer mask to rub away parts of the adjustment layer whilst leaving the effect over other areas.

WEEK EIGHT

Decades Task

For this task we were given a brief which instructed us to go off into the general public and ask individuals which decade of their lives they were in and if they wouldnâ&#x20AC;&#x2122;t mind holding up that many fingers and having their photograph taken doing so.

I managed to get five decades (2-6), I got a couple of other people too but unfortunately their decades were already covered. Iâ&#x20AC;&#x2122;ve included them in any case to show I did ask more people than just those five, some were also not willing to participate. The girl in the first image was in a hurry when I asked her but she agreed to pose anyway, however she must of misheard what I said because she is obviously over ten but she only held up one finger. I had to add the second finger later but because I only had her index finger to work with her hand ended up looking a little unnatural.

I spent quite a bit of time explaining to each individual what I was doing because it seemed a bit too blunt to just ask people their ages, this however may have been part of my downfall in having time to find people for the remaining decades.

WEEK NINE

Week nine was my groups allotted magazine shoot time so we had the studio booked from 09:00 so we could all get ready and have all of the official shoot time (11:00-14:00) purely for composing our photographs. We ran into a bump in the road when our model failed to show due to illness but Dan handily had a spare one on standby so luckily everything still went to plan. I was in charge of bringing several props and at times operating the Capture One software on the MacBook the camera was tethered to. I checked for optimal focus, that there were no areas where the shadows or highlights were clipping and that all relevant elements were included in peopleâ&#x20AC;&#x2122;s shots.

Cover shoot presentation For my groupâ&#x20AC;&#x2122;s (group 2) presentation (made in week three) we chose to show images of inspirational photographs we had found along with the original plans we had made listing what we would need and who would do what. We had a clear idea about how we wanted the shoot to go already in mind so we chose to present our idea without notes so we could spend more time adressing the class rather than reading from a screen. Some of the original images and photographs of the plans we used to illustrate the presentation can be seen on this page and the previous page respectively.

WEEK TEN For this task we were asked to select an item and place it in an array of places and situations. I chose a clock because one of the photographs required their to be a clock showing 11:00 in a public place, I set my clock to 11:00 so I could easily get this shot. Nearing up to 11:00 I was at Millennium Square (Leeds) from which I could see two other large clocks so I took photographs of my clock with each of these as the background so that there would be two clocks in a public place showing 11:00, in my final photograph. I chose to use the photograph of the tower clock with the Christmas market also in the background because I thought the colours and contrast made for a more eye-catching image overall. The day was made quite difficult by the fact that there was very heavy rain and strong wind; raindrops can be seen on some of my photographs from the lens. The rain was so severe at times that there was not enough time between wiping the lens to taking the photograph for the rain drops not to reform. A lens hood would have probably saved a lot of hassle with this but unfortunately this was not available. Due to the torrential weather some of my shots also had to be quite rushed because my camera was getting soaked and I didnâ&#x20AC;&#x2122;t want any moisture to make it inside and get to any electrical parts. I managed to get all but two of the required shots. These were; an animal that is kept as a pet and an airborne aircraft. I had planned to get them as I was coming back to university for the afternoon lecture. I always walk through the park, there are usually visible aeroplanes flying over about every ten minutes and also a selection of people walking dogs. My plan seemed fairly solid and I left enough time but after walking around the park getting drenched for about twenty minutes and seeing no planes and no dogs I had to give up a go to lecture. The sky was just a block of grey and I guess the rain was keeping the usual dog walkers inside. For the shot which required a set of traffic lights to be showing both amber and yellow lit up I had my camera set to high-speed continuous shooting mode, by fluke I managed to capture an image showing all three colours lit up. I thought this proved more interesting so Iâ&#x20AC;&#x2122;ve included this in the final set and the other with just the amber and red lit up on the right. I have also included some of the other shots I ended up finding twice, I captured them so that I would have a selection to pick from for the final set. For the image showing a clock showing 11:00 in a public place I took two photographs and then merged them so that both the clocks were in focus, I assume this is okay since its not adding anything just making what is already there clear. The originals have been included on my USB.

An outdoor staircase

Someone wearing red shoes

A real traffic light with red, amber and green illuminated.

A vehicle registration plate spelling â&#x20AC;&#x2DC;upsâ&#x20AC;&#x2122;

A bus stop with over four people waiting at it

A statue of a human 37

A clock in a public space showing 11:00 38

A street performer 39

A disabled symbol painted on a road surface

A water feature

A selection of hat mannequins 42

Clothes hanging in a fashion store changing room 43

A shop assistant in a shop environment look44ing at the camera

WEEK ELEVEN

Washing line task Identity, consumption, waste, finance, leisure.

For this task we were asked to photograph five things relating to ourselves and associated with each of the five categories above, hanging from a miniature washing line with miniature pegs. We were asked to work in pairs so that one person could hold the washing line whilst the other one photographed and vice versa.

This task was the only time carrying around a rucksack of rubbish was actually quite beneficial for me, without that I donâ&#x20AC;&#x2122;t know what Iâ&#x20AC;&#x2122;d of done, drawn twenty-five little pictures of relevant things and hung those up maybe.

There were still however a few obstacles to overcome, I broke a peg quite quickly through normal usage and another exploded for no apparent reason whilst it was just lying down doing nothing. We tried to fix them but as they were so tiny and tight, we couldnâ&#x20AC;&#x2122;t get the wire to pull back to fit the little piece of wood in. Luckily some classmates who had been given the same task were able to lend us a peg in between their shots and we managed to place one of the broken pegs on the line to act as the peg with no item.

I have written captions underneath each photograph explaining what each item is.

On relection I should have used a smaller F-stop value (larger aperture, smaller DOF) and angled the camera so that the items appeared to drift out of focus more clearly in all of the photographs.

My final set of photographs are shown on the pages to follow.

Identity

46 Items (from left): Headphones, an etnies lanyard, a receipt from the student union bar, one of my gloves and a Pikachu key ring.

Consumption Items (from left): a small Kendal mint cake, a Kirin Ichiban bottle top, a box of ibuprofen and an empty packet of saucy BBQ flavoured Transformers crisps.

Waste

48 Items (from left): an empty sleeve of pain killers, a sweet wrapper, an old wristband, an empty cigarette filter tube and a chocolate wrapper.

Finance Items (from left): my Waitrose card, my coach card, my debit card, an ATM withdrawal receipt of mine and the fake insert from the credit card slot of my purse which demonstrates where cards go, with

Leisure

50 Items (from left): a folded page from a magazine showing a man holding a basketball, a ticket to see a band called Fandangle, a ticket to a circus themed music event called Subdue: Twisted Circus, a leaflet called Tripping Safely and a train ticket from Leeds to Manchester.

Assignment Two For this assignment I researched the life and work of Bill Cunningham. I watched a documentary about him called ‘Bill Cunningham New York’ which chronicled his rise to fame through interviews both with him, his close friends and with his clients and models. What is unique about Cunningham is that he was one of the first people to use the streets, in this case New York, as his own sort of personal catwalk. Literally running around trying to catch the perfect shots of people whose clothing stood out to him. Editor-in-chief of American Vogue Anna Wintour remarks in the documentary that when you were photographed by bill, “you knew you’d really made it” (Wintour, n.d.). Because the assignment specified no words I decided to take a more artistic approach, intentionally having some images blurred to connote the idea of movement, something synonymous with all bags, luggage and objects used to carry other objects in. and create a box collage, I think this sort of layout would suit an arts publication like Aesthetica Magazine. Avedon, R (n.d.) On Their Feet [online image]. Available from: <http://fashiongrunge.com/wp-content/up>[Accessed on 23rd November 2015]. loads/2011/03/22stre6001_2.jpg

Press, R (n.d.) New York [online image]. Available from: <http://ecx.images-amazon.com/images/I/91eUyTwyLDL._SL1500_.jpg> [Accessed on 20th January 2016].

Avedon, R (n.d.) On Their Feet [online image]. Available from: <http:// www.tenover6.com/blog/wp-content/ uploads/2012/11/ontheirfeet.jpg> [Accessed on 23rd November 2015].

Assignment Six (a) For this assignment I found a photograph of Audrey Hepburn (left) I wanted to emulate, when it snowed I rushed out with my model to try and seize the opportunity but in my hurry I failed to notice I hadnâ&#x20AC;&#x2122;t quite got the snowy background as much as in the original image. I realised once I got home but it was already too late, the image is shown to the right. If Iâ&#x20AC;&#x2122;d had more time or I wasnâ&#x20AC;&#x2122;t worried about my model freezing I might have realised sooner but I did learn from my mistake to be much more attentive to detail. I will also remember from this that if I am going to try to replicate a photograph again I need to make sure I have said photograph with me whilst shooting.

Assignment Five I shot the original image for this poster using a Canon 5D camera with 24-105mm lens (at 105mm) and a Metz Mecablitz 45 CL-4 digital portable flash. The flash had two bulbs which could be moved apart so that the larger of the too illuminated the background whilst the smaller one focused on the subject. Since I wanted to achieve a perfectly white (255) background this is what I did to ensure editing afterwards was to a minimal.

The initial idea took inspiration from the title Franken-burger which was a term given to a burger in 2013 that was made entirely in a lab. The burger was made from beef but this was not sourced through growing and killing any cows but instead by growing meat from stem cells. The idea was influenced mostly by the Frankenstein aspect of the name, which gave way to the decision to build the food into a bizarre monster like creature. The image on the left is the plan I drew up before organizing the shoot and assembling the sculpture.

Final Assignment Research and Planning For my final assignment I chose to assume the role of a producer and construct a brief for a shoot along with profiles of everybody involved in order that it could be given to a client. I started by researching individuals, which fit the profiles I had to include. Once I had decided on my idea of the shoot I drew a sketch then researched the work of other photographers who had compiled similar images for inspiration. I found an alternative poster for ‘The Wolf of Wall Street’ film (right), I like how there a lot of things going on in the scene, I wanted this to be a characteristic of my shot too.

I wrote up a plan of exactly what would be happening in the frame but I thought for the profiles it would be better to just include a sketch. I will explain it here though for clarity.

The idea is to have Rachael the (Beyoncé lookalike) appearing to have just burst out of the giant birthday cake on the stage. She would be smiling blissfully and unaware that an assassin is shining a laser pointer from a gun at her forehead, the assassin is standing with his back to the camera to the left of the frame. A falcon is also shown flying above Rachael, carrying a champagne bottle. All of the other people (dancers, Beyoncé and extras) are shown looking at Rachael horrified, as they have noticed there is a gun pointed at her head and a falcon above her with the bottle of champagne.

Plastic champagne bottles and fake guns are easily obtainable so there was no need to include a props department in my profiles as these are the only two real props required.

The Wolf of Wall Street (2013) [online image]. Available from: <http://static.squarespace.com/static/53323bb4e4b0cebc6a28ffa2/5357d323e4b06f1aef0a63f3/5357d4fae4b06f1aef0ad30e/1398265082841/WOWS1122FL.jpg?format=original>[Accessed on 12th January 2016].

Key notes Model release forms are required where a person is identifiable in a photograph that will be published. It is good practice for a photographer to try and get model release forms for clearly identifiable people in all of their photographs because photographs can often be relevant years after they were taken but if they are published without release forms the photographer and publisher can get in a lot of trouble.

An example of a model release form is featured below, it specifies it is an adult model release form since children cannot legally give their own consent, so a different form is needed for minors which needs to be signed by guardians.

‘For the avoidance of doubt’ is a term often used in contracts, followed usually by a clear obligation that is being made by signing the contract. In photographic licenses this term is often followed by the exact conditions of usage and the duration of this usage. Photographic licenses are useful when leasing work because they clarify the deal which has been made and are an official document so should anything go wrong, work is used for longer than the agreed period for example, they can be used in court to sue the company at fault.

Colourama paper background rolls have been used in the studio to create white and black backgrounds. Colourama is the most popular supplier of studio background rolls, offering a great array of coloured, patterned and textured backdrops.

When editing and retouching photographs its better to work in 16 bit because with the greater bit depth comes smoother gradients and as such as such a much greater array of tones. The benefit of smoother gradients and more possible tones is that colours wont start to become as blocky with editing because there are more possible tones to even these areas out, so its like less destructive editing. Photographs can then be converted to 8 bit for printing or saving as JPEGS for sharing.

The reason that there is 256 (0-255) possible colour values is because this is the maximum value that 8bits (1byte) can hold. With 16bits (2bytes) these values don’t double as you may expect: 8bits = 256 (max) =28, 16 bits = 65,536 = 216. The exponential is doubled instead.

Proffessional Photographer (2009) Model release form [online]. Available from:<http://www.professionalphotographer.co.uk/assets/uploads/ resources/2009/6/3a4187ec-e435-4043aa46-7ae75e0bdec3.pdf>[Accessed on 20th December 2015].

CMYK uses a what’s called a subtractive method of making colours whilst RGB uses an additive; meaning colours are added together over lights to produce other colours. In this way the two are essentially opposites.

The general rule of what colour space to work in is; if the end image is for use digitally (online) RGB and if the end use is in print CNYK. RGB meaning red, green and blue relates to the three primary colours, which make up images on screens. CMYK or cyan, magenta, yellow and black are the primary colours used in printing. Home printers however are quantized to convert RGB profiles to CMYK.

Copyright law is set up to protect people’s creative content from unauthorized usage. Copyright exists for the duration of the creator’s life plus seventy years.

Photography in public places is legal, although some public places do have bylaws, which prevent commercial photography, although it is usually possible to obtain a permit.

It is perfectly legal to photograph or otherwise record the police and it is against the law for police officers to ask photographers to delete photographs, or confiscate equipment, assuming there is no other wrongdoing.

Beyond the lens outlines the difference between authorship and ownership in terms of photography is; the author is always the photographer but the photograph may be owned by somebody other than the owner, if the work has been sold or was commissioned by a client. In this case the author may have restricted use of photographs they have taken (AOP, 2014, p. 28).

AOP (2014) Beyond the Lens. 4th ed. The Association of Photographers Limited, London.

(print copy submitted for october deadline)

‘Richard Avedon: Darkness and Light’ Review Darkness and Light is a 1996 documentary film based on the life and work of Richard Avedon. Avedon was one of the most revolutionary and influential fashion photographers working in post-war America. The film outlines his success and analyses his practice through a combination of interviews, footage and examples of his work.

The documentary makes use of a great array of sources; people who were close to Avedon and had worked with him along with Avedon himself make up most of the audio track. When making a documentary based on an individual this is an important feature that can engage the audience and appear a good deal more sincere than say a single narrator audio track. The Avedon Documentary utilizes this feature well evoking a great amount of emotion throughout the film. One great example of this is the way photographs are layered with the audio of Avedon explaining how the particular shoots went and how he got the final image. The famous photograph of Marilyn Monroe he took for example is examined along with the contact sheets of shots taken before he arrived at this image; the sheets help to tell the story of how the shoot progressed.

Throughout the film key themes emerge which relate both to Avedon’s work but also to himself and his practice. The three main themes are isolation, control and harnessing and capturing human qualities.