Category: Part 1

Assignment 1 – Tutor Feedback

I received the first feedback from my tutor which was overall quite positive, but with a number of suggestions that I need to bear in mind when continuing to follow the course. The main learning points I have taken from the feedback are: • Need to use research as a way of developing my creative …

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Exercise 1.9: Visual research & analysis–social contrasts

The purpose of this task is to find socially contrasting images of the same place, either different images by the same photographer or by different photographers. It is not possible to show any of these images on an open blog such as this due to copyright restrictions. I have therefore inserted hyperlinks to take you …

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Assignment 6 preparation

One thing that I have learned from Assignment 1 is the amount of preparation and though that needs to go into a successful assignment. Therefore I have started to research possible back up locations for Assignment 6 in case my original plan (for a collage of views) doesn’t work. I have looked at three possible …

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Exercise 1.8: Zone System in practice

The purpose of this exercise was to produce three photographs taken in contrasting light conditions showing a high dynamic range and appropriate exposure choice. In the photo on the left below I used the spot metering function on the camera to expose for the darker leaves on the tree, this has given an overexposed image. …

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Exercise 1.7: Assignment preparation

The idea for the first assignment came to me while I was on holiday in Corfu. I had already done a lot of the background reading on beauty and the sublime beforehand. While in Corfu we were staying near what the guidebooks describe as one of the most beautiful views on the island.  What started …

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Exercise 1.6: The Contemporary Abyss

What is the “sublime”? Lucie-Smith (2003 p208) defines it as “connected with ideas of a limitlessness, extraordinariness, grandeur and sometimes terror”; Chilvers (2009 p609) considers it to be “associated with ideas of awe and vastness”. It is at this point (circa 18th century) that Morley (2010) starts his essay and continues to describe the sublime, …

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Exercise 1.5: Visualising Assignment Six: Transitions

I stated in an earlier post how I was intrigued by comments made by David Hockney about photography in general and landscape in particular. In an article for The Guardian, he discusses with Martin Gayford what turns a picture into a masterpiece. The landscape painting they talk about is Monet’s Sunset on the Seine in …

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Exercise 1.4: What is a photographer?

Photography and  Photography and Artistic–Photography De Zayas starts with a firm statement “Photography is not art. It is not even an art. Art is the expression of the conception of an idea. Photography is the plastic verification of a fact. The difference between Art and Photography is the essential difference which exists between the idea …

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Exercise 1.3: Establishing conventions

For this exercise I tried to choose a wide range of landscape paintings, from those depicting daytime scenes to nocturnal ones, most were oils but at least one was watercolour. I also tried to select from across traditions from romantic landscapes to impressionism. These are my comments on the 12 paintings:     Llyn-y-Cau, Cader …

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Exercise 1.2 Photography in the museum or in the gallery

Photography’s Discursive Spaces: Landscape/View by Rosalind Krauss At the start, Krauss considers two versions of the same image (Tufa Domes, Pyramid Lake), one being an original photograph taken in 1868 by Timothy O’Sullivan; the second being a photolithograph copy of the first. She writes in a very complimentary fashion about the photograph “a model of …

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