The Gallery Context

Traditionally the photograph has been considered in terms of a print, and the high point of recognition for a photographer being an exhibition of their prints in a Fine Art Gallery. Galleries may present very different types of space in terms of lighting conditions, amounts and shape of space and general ‘feel’. But a tendency has been to galleries presenting white ‘neutral’ space. However the apparent ‘neutrality’ of this space needs to be questioned in terms of the implicit meanings this imposes on the image and the presumed ’empty mind’ of the viewer.

I would argue that a more interesting approach would be to acknowledge the importance of both context and the viewer’s life experience in giving meaning to the image, as valuable and integral parts of the art itself. This could mean displaying the same image in different conditions and explicitly promoting discussion of the ways that different life perspectives and everyday experiences of different viewers affect the meanings attributed. This could in turn lead photographers to discover ever more interesting perspectives and innovative approaches to their own work.

For the moment I do not have the equipment or skills to produce for gallery exhibition.

 5.1 The Origins of the White Cube

Photobooks: design and publishing

Print-on-demand and self-publishing

The expansion on print-on-demand services now makes self-publishing fairly straightforward. These enable direct sales through companies like Amazon at price mark-ups decided by the photographer. There are a number of services on offer that I looked at:

Review of options: https://www.cnet.com/news/best-and-worst-photo-book-making-websites-for-you/

But the one I chose – it is UK-based and offers the most flexibility together with full integration with Adobe CC Lightroom and InDesign is

This was very competitive on pricing with frequent price reduction deals once you are signed up. Shipping from Netherlands keeps postal costs reasonably low (will Brexit add taxes????) – though it is still more cost-effective to wait and order multiple publications. Blurb has teamed up with Adobe to enable easy compilation of books using plug-ins for Lightroom and InDesign. Blurb has its own software, but this offers less flexibility to edit images as they have to be sized, cropped and processed before they are laid out. The greatest flexibility for editing of the images is given in Lightroom. InDesign allows for much more sophisticated layouts of tiff images that can then be edited in Photoshop.

However the choice of book format and size, and paper stock is still limited compared to professional book publishing services.

Professional bookbinders

Bookbinding is a very specialist craft. Professional bookbinders can offer a range of quality services: mixing paper stocks, customised endpapers, gatefold pages and matching slipcases and boxes. A professional bookbinder can offer advice on materials and other design aspects, such as how easy it will be to physically open your book with your particular choice of paper, and how far your image needs to be printed from the gutter to be viewed properly, for example.

For an overview of different types of binding see

http://design.zemniimages.info/4-materials-and-process/binding/  (to be fully developed)

Book design issues

Some points to consider when designing or evaluating

  • Rationale: What is the purpose of the book? What is the main concept? Who is it for? Why do you want to present your work in a book? Is the book format really the most suitable medium in which to present your work? A badly printed or poorly designed book of your photographs will not be as well received as a simpler portfolio of good quality prints.
  • Selection and Editing: Edit your work strictly before even considering the layout.  Do all the images sit comfortably next to each other. Do any seem out of place? Can this be resolved, or should they be omitted?
  • Sequencing: Sequencing is paramount: consider how certain images relate to each other (graphically as well as in terms of the ‘connotations’ of an image, or the juxtaposition of images within the sequence).
  • Text: Will you use text? What will you say? Will the text complement and reinforce the images, or challenge the viewer through contrast or contradiction?
  • Typeface What typeface and style will you use? Pay as much attention to the words and their layout as you do to your photographs. Your choice of typeface communicates a lot about how you want your photographs to be read.

Book Module in Lightroom

Webinar from Blurb

Using InDesign series of videos

Adobe InDesign gives much more control over layout and also links to Blurb, or can be exported to pdf for other Print on Demand services.

For more discussion see my Book Design blog (to be completed by May 2017):

http://design.zemniimages.info/principles-and-process/typography/

http://design.zemniimages.info/principles-and-process/images/

Digital C-type

Digital C-Types (also known as ‘lambda’ or ‘lightjet’) use a digital-analogue hybrid process. This is the method used by high street labs nowadays, regardless of whether you supply them with a roll of film or a memory card. Traditional silver halide photographic papers are used in a machine that exposes the paper to light from LEDs or lasers that are directed by a computer, as opposed to the light transmitted through a negative in the darkroom enlarger. Once exposed inside the machine, the paper is passed through the same chemistry as that used in the traditional colour darkroom.

Since digital C-types are all but indistinguishable from C-type prints made from a negative in the darkroom, galleries and collectors will happily accept these kinds of prints. Although C-types are not absolutely permanent (we have all seen faded family photographs) and aren’t as resilient as black and white photographs to UV light, they have at least been ‘tried and tested’ in real life, rather than just in laboratory simulations.

Video Comparison of inkjet and C-type printing processes

Sources

Digital C-types are only produced by professional labs and institutions. The costs associated with setting up and running the equipment are very high and this is not a realistic option for most individuals. But many companies offer C-Types for less than the price of inkjets.

Different labs providing C-type printing use different machines and different brands of papers that will produce subtly different results and varying levels of quality. Some companies often offer postal services, such as sending test strips for you to assess, so you can instruct their technicians to make any adjustments to the exposure or colour balance before making the final print. They will then store the adjusted file for any future editions.

Lower-end C-types can also be ordered online at a greatly reduced cost with fast turnaround times.

Inkjet printing

Inkjet printers use an array of different colours and tones of ink that are applied onto specially coated paper. Inkjet prints can be produced on inexpensive domestic printers to make prints up to A4 size, A3+ printers can be bought from eg Canon and Epson for slightly more. Costly ‘large format’ printers that can produce prints up to 1.6 metres wide and potentially many metres long (as long as the roll of paper that the printer can accommodate).

Inkjet prints have had a negative reputation compared to traditional C-type prints for two main reasons. Firstly, cheap inkjet prints are more prone to fading by exposure to daylight – but some manufacturers now claim that their products can last at least as long (around 40 years). Secondly, technically they are not ‘photographic’ [ie light-writing] prints but prints of photographic images. This means many serious collectors may not buy inkjet prints.

As well as making slightly larger sized prints, inkjet prints can offer greater black and white contrast and more vivid colour saturation. They also allow for printing on a wider range of paper types.

Many established photographers make and sell archival quality inkjet prints (calling them giclee, Iris or archival pigment prints) printed on fine art papers.

See:

Mari Mahr website has monochrome archival pigment prints alongside more traditional black and white photographic prints.

Guy Tillim (documentary photogtapher from South Africa. Does not have his own website – see eg https://www.lensculture.com/articles/guy-tillim-documentary-in-a-new-context#slideshow but this does not give details of printing process.

John Riddy website

Neeta Madahar  Sustenance series (2006).

Types of printer

Most cheap inkjet printers can make useful ‘work prints’, soft proofs, and important learning log material (if you’re keeping a physical log). Investing in a high-end inkjet printer is only worthwhile if you intend to make quite a lot of prints regularly and put significant time into learning how to get the best performance from it. Ink cartridges are expensive, particularly quality professional inks, and if the photographic printer is not used frequently (i.e. weekly), the print heads can become clogged, leaving unsightly ‘banding’ on the image. Regular cleaning can prevent this, although it does waste ink. Some printers can be modified to accept what is known as a ‘continuous ink feed’ instead of cartridges, which will reduce ink costs considerably.

Preparation of the Print

See also colour management

Papers

Papers vary in surface (i.e. gloss, semigloss/ lustre, matt), rag content, colour and texture. Different paper stocks vary in how they respond to the printer’s ink, and will absorb ink in different quantities. Different printer profiles need to be set in the printing software for different types of paper to avoid unwanted colour casts and get the right level of contrast.

Giclee, archival pigment or Iris prints

Giclée is the name given to inkjets by professional printers and artists, although this term is unregulated. The term ‘Giclée’, a neologism coined by French printmaker Jack Duganne, is derived from the French verb ‘gicler’, which literally translates as ‘to squirt’ or ‘to spray’ and describes the way that the printer nozzle applies the inks – or pigment inks – to the paper. Duganne chose the term as he was looking for a word which would not have the negative connotations then associated with the terms ‘inkjet’ which had happened due to fading occurring in early prints.

While the term ‘Giclée’ originally referred to fine art prints created on IRIS printers (large format colour inkjet printers which became prevalent in the 1980’s) the term ‘Giclée’ has since been used in a wider sense to describe any prints made using an inkjet process. These prints are also often known as ‘pigment prints’ because of the inks (which contains miniature particles of colour, or pigment, suspended in a neutral carrier liquid) that are laid down by a digital printer. We use both ‘Giclée print’ and ‘Pigment print’ to describe an archival grade inkjet print produced directly to fine art paper.

Anyone claiming to produce giclée prints should be using the best quality archival inks and equally high quality paper, with professional colour calibration of the print to the monitor.

For more video tutorials on Inkjet printing and up-to-date reviews of different printers see: See You Tube videos

Artists’ statements

Exercise 5.7 Prepare your artist’s statement

An artist’s statement is sometimes referred to as a ‘statement of intent’. It can be seen as a marketing device, or simply as a means of describing practitioners’ interests. They:

  • vary in terms of their length and the details they cover.
  • may relate to a specific body of work or it may talk about practice more generally. probably contains information about any training (art college or other qualifications or experience relevant to their practice) and prizes, grants or awards that the artist has won, which are relevant to their practice. But is not the same thing as an artist’s CV, which lists any training, qualifications, awards, exhibitions and publications in much the same way as a conventional résumé.
  • huge variety in the style and format of artists’ statements; some will sound convoluted and esoteric and others will be more down to earth.

The Artist Statement (UCA)

A good artist statement will support your professional practice, for example:

  • Giving brief information to support an exhibition or catalogue
  • Submitting a proposal
  • Applying for a grant

It should be:

  • Concise
  • Effective in communicating the details you wish to emphasize
  • Written in the first person
  • Written primarily in the present tense

It should be adaptable in order to take into account:

  • Your audience
  • Your purpose or motivation for writing it

It might contain information on:

What your motivation is for the work you do:

  • What issues are you exploring and why?
  • What concepts, themes or convictions underpin your work?
  • How do your life experiences influence your work
  • How does your personality influence your work?
  • How have your ideas developed?

The techniques and materials you use:

  •  How and why did you choose them?
  • What scale do you work in?
  • Do you have a particular process of working?
  • Do you intend to explore other techniques or materials?

Your background:

  • Are you a student or a practicing artist?
  • Details of your educational history if you feel it appropriate
  • Have you contributed to any prestigious shows or events?

How you contextualise your work:

  • Where do you feel you fit into the Contemporary Art World?
  • Does your work challenge the work of others?
  • Have you appropriated or referred to the work of others?
  • Your goals and aspirations and to what extent you have realised them
  • Personal reflections on your work

Examples from coursebook

On the front page of Alec Soth’s website he writes:

“My name is Alec Soth (rhymes with ‘both’). I live in Minnesota. I like to
take pictures and make books. I also have a business called Little Brown
Mushroom.” (http://alecsoth.com/photography)

This is clearly very understated, perhaps even flippant, and it takes a reputation that precedes oneself to be able to write something as laconic as this! Often, an artist’s statement is written by another person (or is designed to sound as if it is by being written in the third person), which adds gravitas.

Jorma Puranen’s introduction to Imaginary Homecoming is somewhat more convoluted,
although it provides a thoughtful definition of landscape:

“A landscape is speechless. Day by day, its only idiom is the sensory
experience afforded by the biological reality, the weather conditions, and
the actions that take place in the environment. However, we can also
assume that a landscape has another dimension: the potential but invisible
field of possibilities nourished by everyday perceptions, lived experiences,
different histories, narratives and fantasies. In fact, any understanding of
landscape entails a succession of distinct moments and different points
of view. The layeredness of landscape, in other words, forms part of our
own projection. Every landscape is also a mental landscape.” (Jorma Puranen,1999, Foreword to Imaginary Homecoming, Oulu: Pohjoinen)

This statement about the work of Ola Kolehmainen is a good example of how a method of
presentation is linked to the concept of the work:

Photobooks: Inspiration

Types of Photobook

Surveys and catalogues

  • catalogues for exhibitions
  • ‘Survey’ publications draw together a collection of individual images or a group of practitioners working in a similar area. Some surveys seem more didactic or
    directed at the art market, such as 50 Photographers You Should Know (2008), Vitamin Ph: New Perspectives in Photography (2009), reGeneration: 50 Photographers of Tomorrow (2005) and reGeneration 2: Tomorrow’s Photographers Today (2010).

Monographs and artists’ books

Monographs are mass-produced (relatively speaking), but often they are the primary context for the photographic work. A monograph published to coincide with an exhibition of an artist’s work may  draw together several different bodies of work, but it will be devoted to one practitioner alone.

An artist’s book may be produced in editions, but is generally more individual in terms of its design, the materials used and the printing technique or finish. Some may be printed, stencilled, stitched and embossed by the maker themselves. Others will be a collaboration with a professional bookbinder and a graphic designer.

Early photobooks

Many of these were topographic images for travel and tourism.

  • Francis Frith photographs from travels to Middle and Far East
  • John Thomson photographs from travels to Middle and Far East
  • Maxime Du Camp (1822–94)
  • Auguste Salzmann (1824–72)
  • Josiah Dwight Whitney (1819–96) published The Yosemite Book in 1868.

Some developed more innovative design

  • Soviet and Fascist propaganda books with novel design features, such as fold-out pages that extend the dimensions of an image

Inspiration

I have a large collection, but not had time to look through or properly review apart from getting some layout ideas.

Colour

  • Martin Parr: documentary photographer. Some of his works have been mass produced and re-printed (e.g. The Last Resort, 1986 and 1998); others have been limited editions or even more exclusive artist’s books such as Cherry Blossom Time in Tokyo, 2001. See: www.martinparr.com/books/. Layout in Last Resort has one, or very occasionally two, large images per spread, with white margin around and no border. This focuses attention on the content of the socially complex saturated colour images. There is a short introductory text at the beginning.
  • Paul Seawright : Invisible Cities a very large hardback book of colour images. Some images are full bleed crossing the whole spread, sometimes with some space to one side or top/bottom. Other spreads have only one half page image generally placed full bleed to one corner with the rest of the spread as white space. There is a text introduction to African cities at the beginning.
  • Urbex ‘Beauty in Decay’ this has beautiful limited palette images . The book is divided into chapters with some introductory text. But the book is mostly large images with  whitespace. Some images and spreads are on black background. A few text passages are on beige background. Some have black or white boders and vignettes to increase contrast.

Black and white

  • Daido Moriyama  Tales of Tono – small portrait format book of very high contrast black and white images. Full bleed in landscape across a double spread on black background. This makes the abstract flashes of white shapes in the often barely readable images standout. Text is reserved for a narrative section at the end. I like the moodiness of this book and all the images demand close attention in themselves, as well as producing an overall edgy impression as a apparently random narrative.
  • Algirdas Seskus ‘Love Lyrics’ Lithuanian 149 contrasty documentary Black and White images in landscape format. No text except the number of each photo and date. One or two large images per spread. No border with generous white margin.
  • Arunas Baltenas  Vilnius  2007 images from 1987. Small misty sepia images one per spread with no border and lots of white space. Delicate handwritten titles and date. One page introduction in English and Lithuanian at the beginning. No other text. I find the delicate nostalgia of this book really beautiful.
  • Henri Cartier Bresson in India  Thames and Hudson. 1987 with forward by Bengali film director Satyajit Ray. One large black and white photo per page with short caption. Black border on white paper. Occasionally one large and one small. The images themselves are quite low contrast. The black border makes the eye focus inwards.

At the Brighton Photography Biennial I saw a lot of interesting innovative designs, but did not have time to note all the details.

  • David Galjaard Concresco. A book about Albania. Has a brown opening cover with short explanatory text. Then  double page spreads with small white text insert pages. For this and other work see his website: http://www.davidgaljaard.nl
  • Dara McGrath ‘Deconstructing the Maze’  This has two coloured photographs on one side and page of text on the other. The strength here is in the photos. For this and other work see his website http://www.daramcgrath.com/index.html
  • Xavier Ribas  ‘Concrete Geographies’.  Photos of concrete blocks in Barcelona. See his website: http://www.xavierribas.com. This has inside views and links to vimeos of other books like Sanctuary – no text, one photo per spread. Sometimes a cross-over image. But the onscreen resolution is not good enough to really see the images.
  • Alessandro Rota A Neocolonialist’s diary.  Small paisley pattern cover. Coloured photos of sheets in Lusaka. Dark night streets. Lights. See his website . And vimeo of the book. https://vimeo.com/28099164
  • Irene Siragusa ‘Six weeks in Dublin’.   Lots of photos of spattered blood. Small juxtaposed rectangular images. website

Unknown author/title glimpsed over other peoples’ shoulders:

  • Book with glued images folded.
  • Aids (author???).  Small and simple brown cover. Photos of slits one on a page opposite a blank page.

 Sources and overviews

  • The Photobook: A History, Volumes I,  ll and III Gerry Badger and Martin Parr
  • The Chinese Photobook: Martin Parr and Wassink Lundgren from the Photographer’s Gallery exhibition
  • Japanese Photobooks of the 1960s and ’70s Ryuichi Kaneko and Ivan Vartanian
  • Channels on YouTube and Vimeo with videos of certain books;
  • Tate video about William Klein which shows his assistant with one of Klein’s early maquettes:
  •  José Navarro discussing OCA students’ photobooks

OCA Student links

Joe Wright

Assignment 5: Perspectives on Kyrgyztstan

What are Artist’s Statements?

An artist’s statement is sometimes referred to as a ‘statement of intent’. It can be seen as a marketing device, or simply as a means of describing practitioners’ interests. They:

  • vary in terms of their length and the details they cover.
  • may relate to a specific body of work or it may talk about practice more generally. probably contains information about any training (art college or other qualifications or experience relevant to their practice) and prizes, grants or awards that the artist has won, which are relevant to their practice. But is not the same thing as an artist’s CV, which lists any training, qualifications, awards, exhibitions and publications in much the same way as a conventional résumé.
  • huge variety in the style and format of artists’ statements; some will sound convoluted and esoteric and others will be more down to earth.

The Artist Statement (UCA)

A good artist statement will support your professional practice, for example:

  • Giving brief information to support an exhibition or catalogue
  • Submitting a proposal
  • Applying for a grant

It should be:

  • Concise
  • Effective in communicating the details you wish to emphasize
  • Written in the first person
  • Written primarily in the present tense

It should be adaptable in order to take into account:

  • Your audience
  • Your purpose or motivation for writing it

It might contain information on:

What your motivation is for the work you do:

  • What issues are you exploring and why?
  • What concepts, themes or convictions underpin your work?
  • How do your life experiences influence your work
  • How does your personality influence your work?
  • How have your ideas developed?

The techniques and materials you use:

  •  How and why did you choose them?
  • What scale do you work in?
  • Do you have a particular process of working?
  • Do you intend to explore other techniques or materials?

Your background:

  • Are you a student or a practicing artist?
  • Details of your educational history if you feel it appropriate
  • Have you contributed to any prestigious shows or events?

How you contextualise your work:

  • Where do you feel you fit into the Contemporary Art World?
  • Does your work challenge the work of others?
  • Have you appropriated or referred to the work of others?
  • Your goals and aspirations and to what extent you have realised them
  • Personal reflections on your work

Artists statements from other photographers

Many photographers do not have artists’ statements on websites. They have a fairly straight biography, then either let the images speak for themselves, or put short text for each series of images and/or include interviews and articles where they talk about their aims and methods in some depth.

Michael Tsegaye: – has a very short and succinct artist’s statement. Then informative overviews of his different portfolios. See post: Michael Tsegaye rough notes

Nii Obodai – a biography and ‘meaning’ statement. All in the third person – I think this makes things less direct and more flowery. See post: Nii Obodai rough notes

Mathua Mateka – quite a long artists’ statement with a lot of personal information that may or may not be relevant to understanding his photography. See post: Mathua Mateka rough notes.

Emeka Okerere – another long one in third person. See post: Emeka Okerere rough notes.

Paul Shambroom : very short, in 3rd person and mostly about his achievements rather than what he is trying to do. More of a biography.

Alec Soth – example of understatement (in the knowledge that he is already famous!) Nothing about his approach or underlying aims.

Jorma Puranen’s introduction to Imaginary Homecoming  cited in the coursebook is no longer at the link given. The definition of landscape:

“A landscape is speechless. Day by day, its only idiom is the sensory
experience afforded by the biological reality, the weather conditions, and the actions that take place in the environment. However, we can also assume that a landscape has another dimension: the potential but invisible field of possibilities nourished by everyday perceptions, lived experiences, different histories, narratives and fantasies. In fact, any understanding of landscape entails a succession of distinct moments and different points of view. The layeredness of landscape, in other words, forms part of our own projection. Every landscape is also a mental landscape.” (Jorma Puranen,1999, Foreword to Imaginary Homecoming, Oulu: Pohjoinen)

 

5.6 My Own Artist’s Statement

Time-based audio-visual presentations

Like books, slideshows have a very ‘linear’ narrative, even more so than the photobook. The creator is in control of the order in which viewers see images and therefore has greater control over the meanings generated.

Victorian ‘magic lantern’ shows –  idea of projecting a photographic image onto a surface for a temporary duration rather than creating a hard copy to be exhibited

1960s, 70s and 80s  slideshow screenings at amateur international competitive events. Specialist equipment was developed, whereby two slide projectors would be automated (in terms of duration and opacity of each slide) whilst also playing a stereo soundtrack, all controlled by a domestic cassette tape.

Automated displays of photographs as for example web galleries are now very common. Slideshow galleries on WordPress and SmugMug, the Slideshow module in Lightroom and iPhoto, as well as Windows consumer software, make it easy to compile this type of automated slideshow quickly and easily. But these are limited – the main control being over the images themselves: which images are show in which order, manipulation of each image to vary the effect of eg colour, viewpoint and crop, sequencing to vary these effects in a meaningful way, and the content and style of any titles and text to reinforce or challenge the meaning in the image. Some software like lightroom Slideshow module allows narration, sound and/or music and mixing of photos with video.

More considered audio-visual presentations can be both works of art in themselves, and/or more effective as a means of promoting still images. Here the creator takes more control of the relative timing of viewing of each image – some take longer and some less time. There are also different types of transition. Effects can be superimposed to change the image – zooming and panning, changing colour and focus as each image is viewed, multiple images shown at the same time.

Software used include:

  • Adobe Photoshop
  • Adobe Premiere
  • Adobe Animate
  • Adobe After Effects

This means that substantial numbers of images can be combined – some similar and some contrasting to enhance a narrative.

The boundary between video and still photography is becoming increasingly blurred. As high definition video is becoming a standard feature of both consumer and professional DSLRs, and shooting video is becoming more intuitive to digital photographers, it is likely that clients will start to expect photographers to offer video as well as still images.

YouTube and Vimeo are two places where video content and slideshows saved in a video format (.mov or .mp4) can be self-published.

Examples

  • Urbex: Beauty in Decay
  • Chris Leslie: slideshows of ‘Disappearing Glasgow’ with photos, background music and interviews. I find these very evocative as a social documentary portrait. These are in a linked series on vimeo – start with  https://vimeo.com/29799259
  • Xavier Ribas  ‘Concrete Geographies’.  Photos of concrete blocks in Barcelona. See his website: http://www.xavierribas.com. This has inside views and links to vimeos of other books like Sanctuary – no text, one photo per spread. Sometimes a cross-over image. But the onscreen resolution is not good enough to really see the images.
  • Alessandro Rota A Neocolonialist’s diary.  Small paisley pattern cover. Coloured photos of sheets in Lusaka. Dark night streets. Lights. See his website . And vimeo of the book. https://vimeo.com/28099164
  • Foto8 Magazine has many powerful photo-only documentary stories with music.

More video-based:

  • Magnum in Motion and the subscription-based Mediastorm have powerful documentaries that mix video (often slow-motion and photo-like) and animated or still photos with narrative voice over.
  • 1 in 8 Million (New York Times) has a video gallery with video/photo mixes linked to videos with personal stories of varied New Yorkers.
  • Duckrabbit does training as well as producing documentaries blending moving as well as still images.

Less effective I thought were:

For links to my own work so far see: Create a slideshow. But this needs more work – when I have less work and risk of RSI.

Audio-visual pieces – some points to consider

(adapted from Course Guide)

Some of the design tips for photobooks, most notably rhythm and sequencing, are equally relevant here.

  • Rationale: What is the purpose of the slideshow? What is the main concept? Who is it for? Why do you want to present your work in a slideshow? Is a slideshow the most appropriate treatment of the work? If there’s a lot of content within the frame, will the viewer have enough time to ‘read’ the image at the given pixel dimensions?
  • Selection and Editing: Edit your work strictly.  Do all the images sit comfortably next to each other. Do any seem out of place? Can this be resolved, or should they be omitted? How long will your slideshow be? If it’s intended solely for on-line use, then it will probably need to be shorter than a piece that will be shown on a loop in a gallery.
  • Sequencing: Sequencing is paramount: consider how certain images relate to each other (graphically as well as in terms of the ‘connotations’ of an image, or the juxtaposition of images within the sequence).
  • Text: Will you use text? What will you say? Will the text complement and reinforce the images, or challenge the viewer through contrast or contradiction?What typeface and style will you use?
  • Sound: Consider the relationship between the sound and your images? Have you got relevant audio and/or textual material to accompany the images? If not, what could you look for?  Adobe Audition and Sony’s Acid Music are quite easy to use giving music loops to combine and layer to compose your own simple music tracks. Websites such as http://freemusicarchive.org  offer copyright-free audio tracks for non-commercial use.

Landscape Photography websites

Creative Commons Images

Tate 

http://www.tate.org.uk 

‘Website content that is Tate copyright may be reproduced for the non-commercial purposes of research, private study, criticism and review, or for limited circulation within an educational establishment (such as a school, college or university).’

Techniques

You Tube
Cambridge in Colour

http://www.cambridgeincolour.com

Lenscraft

Tutorials and information on technique by Robin Whalley

http://www.lenscraft.co.uk/

 Examples and competitions

Earthshots

http://www.earthshots.org

‘Earth Shots is a photo of the day contest celebrating the beauty and diversity of our planet. Each day we chose one fantastic photograph to feature on our homepage. Anyone can submit their photographs to Earth Shots for a chance to win the coveted photo of the day title.

Earth Shots’ photo of the day is enjoyed by thousands of people around the world on a daily basis. Winning photo of the day is therefore a great springboard for getting your name out in front a global audience. Every winner can also include a short biography and a link to their website under their photograph, allowing them to further promote their work.’

Started by Will Burrard Lucas  http://www.burrard-lucas.com/about

Photocompetitions

http://www.photocompetitions.com

Started by Will Burrard Lucas  http://www.burrard-lucas.com/about