Completion of my Research Project Proposal + Work in Progress Portfolio
Submitted on 8th & 9th December 2018.
Research some different approaches to project proposals online. These may be proposals for creative projects, or for something completely different.
Try to look for and assess a range of different kinds of documents, and identify aspects you feel are effective. Also note down any things you think are weak.
Share what you find with your peers, posting a link to one proposal you find, commenting briefly on whether you think it’s an example of good practice or not.
Find an example of effective theory in practice. This could be an extract of text; a paragraph, sentence, or even just a phrase by a practitioner, theorist or commentator. Or it might be delivered in a different form, such as a talk or within a documentary. The content or subject is not of great importance, instead lookout for and consider why it is an effective piece of communication.
Copy and paste the text, or a link, to the forum, explaining briefly why you think it is effective. Make sure to include the reference.
“It is more important to click with people than to click the shutter.”
– Alfred Eisenstaedt
Communication is key, and that it’s so true to be able to understand through one’s verbal and/or otherwise in today’s complex society. Another words, is it so important to know what you want, think, hope, dream, react to get a point across to another person ? Do we want to know the people’s wants and desires to complete a business package? Or do we invent and produce and then wait for the moment when they would want it for themselves ?
“Click” has a couple of meanings as quoted by Alfred Eisenstaedt. Do we then eventually do away with cameras since it’s better to communicate than taking photos of an event ?
I may do both, having to document the moment as well as communicating for a “true” narrative of the scene. What’s the truth ?
Select a photograph. Any photograph
Post it to the forum below.
Try and describe two different – perhaps opposing – readings of it.
I’ve chosen these shots from Mr.Simon Roberts
In his new book, Merrie Albion, shows a National Trust member staff holding up a canvas of the architecture, explaining what they are seeing in the background. So as a viewer, we are looking at these people looking at this painting who are looking at the backdrop. A passing of the landscapes through ages. It’s then a culture imagination as Mr.Simon puts it.
Create a web page or microsite to showcase your work on your project so far. This web page or site could become the means by which you submit your Work in Progress Portfolio. You may wish to use your blog (critical research journal) to host this gallery but you are encouraged to explore other, more specialist, online platforms for this exercise. Most of these will have free or time-limited trial options, which you should make use of rather than paying for any services or functions.
You may wish to explore more than one possibility, and there will be an opportunity to get feedback and share ideas with your peers in the webinar this week.
Once you have created an online gallery, post a link to it on this forum, and/or, use this forum to discuss the activity with your peers. Consider technical aspects in detail such as how well images are displayed and the navigability of the site/page(s).
After having much advice and critique on what I have done for my website, I have decided to revamp it, and will be uploading it very soon. My website has been erased entirely , and I hope to start on a new version very soon.
To view my earlier version, below is what’s left of it.
Post an image to the forum that you think is an example of a good use of a photographic faux pas or ‘mistake’. That is; despite (or perhaps in spite) of its apparent failure, you think it is actually creative or interesting. This could be your own image, or anyone else’s. Write a sentence or two explaining how it breaks rules in photography, and why you think it might be an effective image as a result.
A recent photo from a wedding shoot went great except for the second cam appearing at the bottom left. It could have been avoided. This shot was taken at the spur of a moment when the bride was looking straight at me. I like the way the gown was made to “fly”, but cropping out that “lens” will mean some work to be done in PS. If this photo is to be cropped at the left, then I’ll lose the moment of the flow of the gown…..
There aren’t the usual presentations, forums or set readings this week, allowing you to focus on preparing your Oral Presentations. We have, however, prepared some guidelines for you on the following page.
Please see the Oral Presentation Assignment brief for a reminder of the task.
So, this is it. My finalized version of my Oral Presentation. A total revamp from the earlier, and has a little more content than the previous. Hope you like this.
You should, by now, have made a start on your project. It is anticipated that any progress may not be extensive at this stage.
This webinar is an opportunity to get some feedback from your Tutor and your peers on any work that you have undertaken so far. Please bear in mind that everyone’s input is valuable at this early stage, as it may be that you have seen something or know something that your peers have not or are less aware of. It is also important to keep an open mind about feedback/suggestions and try to follow up on them.
When looking at the work of peers and others, it might help to borrow Paul Martin Lester’s ‘Six perspectives’ for visual analysis (Links to an external site.). Although not the only method of evaluating images, Lester’s grounding in Photojournalism can be quite helpful to those with less experience critiquing the work of others.
Prepare some contact sheets, or low resolution images (ideally as a single pdf), to be shared during the webinar. Be prepared to take on board the responses and suggestions of your peers, and reciprocate with your own interpretations and suggestions.
Dealing with citizen journalism, combat photography and smartphone images. Identify one or two questions or challenges that citizen journalism and its related aesthetics raise, and critically articulate your own conclusions.
Is smartphone journalism the way forward?
A growing number of photojournalists are using smartphone apps to tell their stories. Should we see that as a bad thing?
Filtering apps such as Instagram and Hipstamatic have penetrated the world of photojournalism. The Guardian picture desk receives a lot of filtered photographs from news agencies on the wires.
It’s the sort of image that usually illustrates lighter stories. To mix up their coverage Getty had its photographers shoot the US elections on their iPhones as well as conventional DSLRs.
Tougher subjects have been covered, too. Back in 2010 the New York Times’ Damon Winter won an award for his Hipstamatic take on the daily lives of US soldiers in Afghanistan. It caused a stir over concerns that the app’s nostalgia-heavy styling romanticised war. Winter later issued a statement in defence of his camera choice.
Images from Hipstamatic and Instagram are obviously filtered, but in the history of photography there has never been such a thing as a pure image. The journey a photograph takes, from its moment of capture to its display online or in print, is riddled with varying degrees of manipulation and intervention. It starts with how the image is framed in the camera, passes via Photoshop (or the darkroom) and finishes as a cropped version next to some text (including advertising). All these stages influence how the picture is presented.
Photographers using these apps relish the creative freedom it gives. They are relieved of all the technical considerations of operating a DSLR, and can concentrate on composition, making the experience similar to shooting with a Holga. In addition, the iPhone is inconspicuous. For Winter, the fact that the other soldiers were also taking photos on their phones meant that his went virtually unnoticed.
The photograph should be an honest account of an event, but at the same time our choices should reflect the world around us. It is an interesting time: technology is developing rapidly and photographers (professional or not) want to explore new possibilities and push conventional boundaries.
So, even if we are simply seeing a fever for all things retro spilling over into photojournalism, with picture agencies using it as a way to make more money, we’re also seeing an industry-wide change in attitude. Professionals are mirroring an increasingly photo-savvy public. Is that a bad thing? Should the Guardian reconsider the kind of photography they use?
Altered is a good term that doesn’t imply negative intent. – Jarrod Roberson
Image manipulation on non digital imagery is exactly what it says it is – it’s photographic retouching on a non digital image, in other words a conventional photograph. If you were referring to a photograph that was modified/retouched in the 1960’s before Adobe Photoshop was invented, you would not claim it had been photoshopped would you? – spiceyokooko
In digital editing, photographs are usually taken with a digital camera and input directly into a computer. Transparencies, negatives or printed photographs may also be digitized using a scanner, or images may be obtained from stock photography databases. With the advent of computers, graphics tablets, and digital cameras, the term image editing encompasses everything that can be done to a photo, whether in a darkroom or on a computer. Photo manipulation is often much more explicit than subtle alterations to color balance or contrast and may involve overlaying a head onto a different body or changing a sign’s text, for examples. Image editing software can be used to apply effects and warp an image until the desired result is achieved. The resulting image may have little or no resemblance to the photo (or photos in the case of compositing) from which it originated. Today, photo manipulation is widely accepted as an art form.
There are several subtypes of digital image-retouching:
Manipulation for photo restoration or enhancement. This can involve the adjustment of colors, contrast, white balance (i.e. gradational retouching) and sharpness, and the removal of noise, elements or visible flaws on skin or materials.
Used as an art form or for commercial use to create more sleek and interesting images for advertisements. Creative retouching could be manipulation for fashion, beauty or advertising photography such as pack-shots (which could also be considered inherently technical retouching in regards to package dimensions and wrap-around factors). One of the most prominent disciplines in creative retouching is image compositing whereby the digital artist uses multiple photos to create a single image. Today, 3D computer graphics are used more and more to add extra elements or even locations and backgrounds. This kind of image composition is widely used when conventional photography would be technically too difficult or impossible to shoot on location or in studio.
As a result of the popularity of Adobe Photoshop as image editing software, use of the neologism “photoshopped” grew ubiquitously. The term commonly refers to any and all digital editing of photographs regardless of what software is used. Trademark owners Adobe Systems Incorporated, while flattered over the software’s popularity, objected to what they referred to as misuse of their trademarked software, and considered it an infringement on their trademark to use terms such as “photoshopped” or “photoshopping” as a noun or verb, in possessive form or as a slang term. However, Adobe’s attempts to prevent “genericization” or “genericide” of the company’s trademark was to no avail. Separately, the Free Software Foundation advises against using “photoshop” as a verb because Adobe Photoshop is proprietary software. The terms “photoshop”, “photoshopped” and “photoshopping” are ubiquitous and widely used colloquially and academically when referencing image editing software as it relates to digital manipulation and alteration of photographs.
In popular culture, the term photoshopping is sometimes associated with montages in the form of visual jokes, such as those published on Fark and in Mad magazine. Images may be propagated memetically via e-mail as humor or passed as actual news in a form of hoax. An example is “Helicopter Shark”, which was widely circulated as a so-called “National Geographic Photo of the Year” and was later revealed to be a hoax.
” Beauty & The Moose ” – Fong P,C.
” My White Stallion ” – Fong P.C.
Read the following short articles that deal with citizen journalism, combat photography and smartphone images.
Write a short response to these articles in the forum below (max 250 words). Identify one or two questions or challenges that citizen journalism and its related aesthetics raise, and critically articulate your own conclusions.
After having read the articles by Mr.Damon Winter and Mr.Stephen Bull, there is no right or wrong in their use of a phone app to capture any kind of photos, may it be photojournalism, or any kind of photo documentation. When phones were made available with the advert of thousands of “apps”, including Instagram, nebi, pixlr, snapseed, Hipstamatic, which gives the photographer the “edge”, having their photos looking different from the original. Different in a sense like style, colors and tones, nostalgic and/or vintage, experimental and the unreal.
I find arguments of these sorts real, that if you do not have any camera at hand, a phone cam is the next best option. Comparing to a DSLR, one might add to say that it’s small, handy, light weight, and pretty awesome in terms of today’s technology. Manufacturers have made everything possible now, and it may be what the manufacturer wants you to have, and it may also mean that you may be wanting such a “name” associated with a phone cam. Take Leica and Hasselblad for instance. These names are associated with the rich, the professionals, the ones who comes out tops all the time with their super clarity and details never heard of. From 50 megapixels right up to 150 megapixels, these mega cams are really driving the pro of the pros to the highest levels possible. But here we are, as normal class citizens, would be head-over-heels if these were made available at the fraction of the cost in a phone.
When photojournalism comes to mind, all that speed and accuracy comes only to one thing – the moment. On whether you’re going to use a DSLR, Mirrorless, or even a phone, it all boils down to how you tell a story through the photographers’ eyes.
With all that being said, my conclusion is that if any of the cams, phone or DSLR, is capable of reproducing the quality that we are looking for, then it is all that takes one to complete the task. Whether it’s just to showcase a shot in print, 4r, to be blown up to a billboard, it all depends on the client’s needs and wants. I am pretty sure that a phone cam is incapable of a crisp sharp shot to be enlarged to billboard proportions, but then again, Apple might argue that you don’t actually step right up to a foot’s distance to view it in reality.
Technology advances so rapidly each and every minute, that we may now afford to carry a Leica, Hasselblad or even PhaseOne in a very slim and lightweight gadget we never dreamed of. That’s a phone, and we are living the future today !!