Creative Arts and Architecture Photography
James Wayling
Portmanteau Project: My Perpective and research/influences
Portmanteau Project
James Smith: Art Photographer
Collaborative Photography and Art
Darkroom Practitioner and Analogue Photographer – Architecture and Still-life
Content:
1. Artist Statement
2. Architecture of Park Campus and Brief
3. Research and Practices within the Project
4. Practices and Self-Evaluation: Ilford and Lomography Film Practices
5. Review – Comparison and Differences of Ilford and Lomography
6. Exhibition Review: Christopher
7. Exhibition Review: James Smith
8. Notion towards the photography and Presentation of Photography Portfolio
9. Darkroom Practitioner: Influences and Artistic Research – General Research
10. Contact Sheet – Lomography Lady Grey ISO 400
11. Photographers: Influences and Artistic Research – General Research
12. Darkroom Prints – Portfolio Use
13. Final Images for the Portfolio
14. Outcome of the Portfolio
15. Personal Reflection towards the Portmanteau Project
Artist Statement:
James Wayling: University of Northampton
Architecture Photographer – Analogue Photographer and Darkroom Practitioner
The exploration within the architecture of the University of Northampton: Park Campus, capturing the characteristic and nature of each individual building textures and details with the canon a1 (35mm camera).
The expression of feelings to capture the individual character of the buildings to represent not just the notion of change, but also the disappearance of the buildings in the future which is being demolish, removing the history and pass of the University nourishing history of grown from the 1970s and onwards.
As a student who live at Park Campus within the First Year of studying at the University, the character of the place help grows my own character, gaining confident and personality towards myself not just as a photographer but as a person, becoming more social-able, friendlier and approachable also shinnying within my own photography work, looking for different perspectives and creativity through the influences of photography.
Presenting the notion of change from then and now, feeling similar to the notion of how I feel towards the change within my hometown of Milton Keynes. Which concededly changes every time I leave to study, I come back to a different town each time, changing not just the shops and areas but also the location which I grew in becoming alienated to what it has become and how society is affect overall.
Architecture of Park Campus:
Creation of the Architecture Photography and Understanding Darkroom
Exploring each building character and nature, finding a surreal human character per each building, object and pathways within the exploration of Architecture photography at Park Campus
Brief:
Exploring the surreal and abstract of arts within architecture photography, creating a notion of surreal human-like characters with each object that is encountered through the capture of the camera of each shapes and tones given from the buildings of University of Northampton Park Campus before it vanishes through history.
Expressing the feeling of how the photographer feels of change and what is going to go as a representation of the University of Northampton.
The use of architecture photography, will demonstrate the skills of the analogue and darkroom practitioner representing the final months and years of the 2018 university student, feeling forgotten and vanishing from existence as similar to Park Campus being removed/forgotten this year and people moving to the new campus to learn in a new format and location of Northampton.
Through the tones and textures of the imagery, it will create a notion of emotion and feeling towards change from my perspective, will can be described a mixture of good and bad feelings but odd to have it happen pretty fast throughout the studying years at the University of Northampton.
Research and Practices within the Project:
Research:
Firstly, looking into the surreal and abstract artists/photographers of architecture photography. Documenting the different methods and ways the photographer
Secondly, further researching architecture photographers, present and display photographic work within galleries and exhibition, looking into two people who explored it as an art form: Christopher Thomas’ exhibition work and James (Jim) Smith’s Exhibition practice.
Thirdly, the next research and practice will be the self-evaluation and works of Darkroom practitioners in printing and processing of specific types of film, learning through experience and knowledge of what self-have learnt and improve in creating the perfect negatives but also the influences and inspiration which drives self to create analogue photography as a passion.
Finally, the last part within the research is to evaluate and compare my practices and experiments within architecture to artists and photographers relating to self-style and theme, looking into the techniques, methods and type of film used than an art meaning (which is very hard to explain and evaluate with a technical and mathematical mind set from self).
Practices:
Throughout the practices of exploring throughout film/analogue photography, creativity and experimentally captured the beauty of architecture photography with a 35mm camera. Understanding mostly the tones, textures, detail of each different film types, looking into creating passionately how to create a perfect analogue photograph and print (When in the darkroom and digitally printing) then continuing within other styles of photography, such as portraiture and documentary.
Through darkroom practices and creating/processing film and through practice and experience, this will be evaluated and researched, with passion and creativity. The knowledge and influences within the self-practices is quite hidden unless documented or shown, which needs to be displayed more publicly and confidently; something that could be shown with this project. I will be exploring the artistic and creativity side of my photography rather than the commercial, documentary and portraiture side of my work within photography.
Practices and Self-Evaluation
Sheffield Graffiti and Architecture (Small Practice):
February 2017 – Ilford HP5 400
Link to Series of Sheffield Graffiti and Architecture:
Throughout the series of the architecture at Sheffield, the purpose and notion towards the photography series was to experiment and explore the different types of film within the 35mm camera which could be explored within medium and large format film cameras.
Graffiti and Architecture. Sheffield. February 2017. James Wayling
The exploration and discovering the limits of what the film can deliver was a very interesting challenge, looking into the camera performance and how far the film can be push to get the perfect grain, details and tones, showing the boundaries which self would like to explore when pushing the use of analogue photography within the specialisation of photography, such as portraiture, studio, music and documentary-based work, looking for quality than quantity when going into a photographic business career.
Also exploring with the film/analogue side of photography through the series, this was an advancement to improve my photography within not just analogue but in digital, contemplating attention to detail and quality required within the work if I wanted to go and explore this format within stock photography, to understand what is needed and required; professional and clear imagery to be sold for profit and exploration through stock photography industry.
With the work of architecture photography, overall this area of photography is mostly at the exploration and testing stage, so that I can to understand and explore the usage and understanding of different lens, materials (Film and Photographic Paper) and equipment (either with my analogue or digital, depending the time and planning towards the type of photographs, I’m looking for really) to progress as an skilful and creative individual if looking into other areas of photography, having more opportunities to show the different experiences and knowledge towards my work. Plus showing what I do during my spare time or free time than working seriously in a specific style of photography
Architecture of Milton Keynes (Lomography Film Practice):
August 2017 – Lomography Lady Grey Film 400
Link to Architecture of Milton Keynes:
After the progression of practicing and learning the use of Ilford film, the exploration of Lomography film was a new challenge and beginning in practising and understanding the darkroom practices of negative processing and printing quality (Plus starting early, was a meaningful notion because unlike digital, it takes time and dedication to understand the materials and how the photographer wants a specific detail or tones from the performance of the negative into the print stages). With the Architecture of Milton Keynes, this was the early development and stages of pushing self-knowledge and skills of analogue to the test, finding and researching the type of chemicals needed and ratios to process the film at very high-quality standards when presenting it as a profession or skill towards the clients who want this type of images for stock purposes.
To understand the Lomography Lady Grey Film, the amount of research and understanding the processing of the film progress time with developer film was quite interesting and unique, since it needed a specific type of chemical to process fully and be seen clearly and positively as a complete negative to be used either as an analogue print or scanned image into a digital image. But getting carried away with the areas of what can be done with the negative, discovering the requirements and knowledge of the ratios and chemical, demonstrated the commitment and dedication needed to understand the film/analogue industry either as a darkroom practitioner for commercial, business or art reasoning within photography as a spectrum.
The research of the processing ratio and chemical, display that the Lomography film needed these type of chemical and times to fully develop the negatives completely. But it did not display Ilford, which was tested on the scrap end of the negative (didn’t want to risk the whole negative if it was a fail – wasting time and dedication) if it worked as a success or failure with that type of chemical but did work successfully only as the Stop and Fixer when it is Ilford but not developer. Ilford developer, made it too weak and overexposed when used as a test example for developing the scrap example from the end piece of the negative (Should have scanned/photograph it to show proof but seen too much of a little deal to be presented as an issue or problem). Looking into the only chemical type of Kodak TMax Developer which was a stronger and reliable source than Ilford developer within the darkroom.
After the chemical mathematic ratios and times of process, the testing of the reliability or usage was key due to the fact of finding the Lomography Lady Grey 400, traits, characteristic and nature of the film can deliver towards my work if furthered or used for self-analogue photography within portraiture, documentary and artistic purposes if looking for a more richer tone and contrast within negative which could be show through the printing stages (either in the darkroom or digitally printed).
The Surreal Wall. James Wayling. 2017
Furthermore, practicing with Lomography film was a task, due to the fact of no models or people to photograph in Milton Keynes (Interaction with Milton Keynes people are quite odd in the central areas but countryside/villages are more relaxed with street/documentary photographers but not a lot of narrative to find, plus private buildings which some companies/security do not like to see a photographer present) but instead of the issues, the exploration was searched with architectural photography from the practice and influence of my Sheffield architecture. But instead of taking my time with the film, it was hasty pushed (just like the Ilford film at Sheffield) to find out its limits, to understand and explore type of tones, textures, details and grain it can deliver to my own work, if successful it would be used and furthered as a source for further work within areas of photography in which I specialise in when using the 35mm or larger formats.
From the series of imagery from the Lomography film of the Architecture within Milton Keynes, the exploration of understanding the film was quite like using Ilford film when loading and photographing the shots with the camera but the only different of the two films were within the development and printing/scanning stages of the film. The Lomography film, demonstrated a more richer depth of detail and tones throughout the detail of the film on the print/scan, reducing the grain towards the image, feeling more realistic and human-like within the image starting to look and feel like the type of details, textures and tones which I was looking for when professionally taking photographs for still-notion work, such as portraiture, studio and documentary-based work with an analogue camera as 35mm or bigger format.
The improvements of the Lomography film delivered from the tests and experiment stages, demonstrate a stronger detail and tones which can be a life saver when creating less-grainy photograph or prints towards the work of stock photography or art piece (quite debatable within analogue photography the grain being an advantage or disadvantage, depending on the style and theme the photographer is looking for). Although, the disadvantage of this type of film is that it requires a different source of chemical (plus a fresh batch of chemical ratio – being accurate slightly to be clear and usable), displaying committing and dedicated notion to use when making a purpose towards the film.
Overall, the outcome of the imagery was to understand and explore other types of film than Ilford, plus learning the methods and ways of looking slightly into the darkroom practitioner side of photography as it is slowly coming back as an art form within photography. Furthering and looking into other paths of photography in which can be an advantage or a career if going into the analogue/traditional side of photography, being technical than artistic in photography.
Review – Comparison and Differences of Ilford and Lomography
Comparing both film of ISO 400:
Self-Research and Documenting between the Film Types
Aug – Sept 2017: Judgement of self-practice and experience
Ilford:
Stronger blacks and grey/silver (If pushed to its limits)
Very Grainy and Contrast is heavy
Good Attention to detail but slightly weaker by the grain and textures (Noticeable and sometimes easy to see by specific photographers and artists within analogue photography)
Lomography:
Grains are less noticeable, reducing the contrast but focusing on the attention of details.
Stronger greys and silvers for digital/scanning photography, occasionally in printing but takes longer in darkroom to find the perfect exposure, tones and details.
Tones and textures are sharper, but grain is less which can be odd or not the style/theme to look for if going more artistic with the grain.
Chemical ratios can be unpredictable, so a lot of experimental and testing if certain chemicals can’t be used or have (Risking the loss of the imagery in the film).
Exhibition Review:
Christopher Thomas: LOST IN L.A
Hamilton’s Gallery
20th September – 28th October 2017
Career Development – Exhibition Review: Architecture and Travel photography
The interesting and unique work of photographer Christopher Thomas demonstrates the changing technology of analogue-based photography including the printing and scanning to digital formats. This demonstrates how analogue needs to be understood in the 21st century, questioning the art form and the use of film or Polaroid as film-based material.
Even though the prints within the exhibition were digitally created, the perspective of the analogue photographer is need to create a strong analogue portfolio to demonstrate the skill of the darkroom practitioner or analogue photographer (using digital scanning and printing as a backup, to learn from the disadvantage of printing in an analogue practice) when showing it to exhibition and gallery curators if specialising in the fine art aspect of the photography industry.
With regards the framing and mounting of the prints in the exhibition, the individual prints within their frames look smart and clear, but as a series of photographs, the research and planning to find the perfect sizes and framing demonstrates a lot of dedication and planning, sourcing non-reflective glass (to prevent loss of detail from lighting glares or reflections off frame glass). Also, the print flattening required attention due to the use of different photographic paper, as either digital or analogue prints can be an advantage or disadvantage for the photographer or exhibition. However, with the photographic paper used within this exhibition, the paper is a type of warm-tone black and white paper, increasing the contrast details and darkening the grey and blacks within the image. Even though it is digitally scanned image from an original Polaroid negative, seeing the work from this analogue perspective shows an understanding of what type of photographic paper to be used that is suitable to use for an exhibition or portfolio e.g. Fibre-Based or Resin-coated paper. This shows the dedication and devotion needed to create a unique print for portfolio use or an exhibition piece.
Hamilton’s Galleries – Christopher Thomas Oct 2017 Image 3
Although the imagery is created digitally, it is good to understand and learn about the concept of what is required as an analogue photographer or darkroom practitioner, to produce not just artistic prints but also professional and high quality work for an exhibition. Looking at the photography exhibition from a digital photographer’s perspective, it demonstrates an understanding of scanning practices and the high-quality detail of the negative or print to be scanned and transferred into a digital image. The exhibited work also demonstrates ability in the digital retouching of the scanned negative, resulting in a few required tweaks and adjustments needed to make it suitable for presenting as a digital print i.e. the use of Photoshop or other image-editing media to remove and clean the dust and scratches, correct the lighting, contrast and detail to a professional standard for the exhibition). This shows the time and dedication needed for the retouching and editing the imagery as a final solution for printing, a passionate skill and interest within this specific genre of photography.
Finally, the artistic side of the work after the technical editing has been completed, demonstrates the change of photography as an analogue object into one that is digital, and displays the photographer’s commitment and skill with the photographic material: shooting with a polaroid-based material and lifting them onto a paper (paper-like material to use as a negative for printing or scanning) demonstrates patience in creating photography as an art-form, pushing the boundaries of creativity in producing an image using different sources of materials. The other aspect of the art within Christopher Thomas’s photography is the patience and timing each image required to be captured, the dedication and requirements needed to fully create professional pieces of photography as a darkroom practitioner and as an analogue-based photographer using digital image-making skills and knowledge.
Overall, the exhibition of Christopher Thomas influences and develops the creativity of my own darkroom prints as a portfolio (or even exhibition), pushing the creativity and boundaries of how to physically create art with the skills, knowledge and experience to be used as a strength towards my creative portfolio of work within a specific area of photography i.e. architecture, portraiture, music commissions and studio based photography with both digital or analogue based work, showing not just the professionalism but the artistic and creative side of my photography as well.
Exhibition Review
James Smith: Memorability as an Image
17th March – 6th May 2017
Number Nine, Guildhall Road, Northampton, NN1 1DP
The work in ‘James Smith – Memorability as an Image’, explores and captures creative and artistic notions within still-life and architecture photography. Although briefly influenced from the practice of architecture and still-life (mostly architecture), the exhibition reveals the presentation, methods and techniques used within the artist’s approach to art photography, finding the meaning of emotion in the photograph.
Leaflet of the Exhibition: Memorability as an Image
The presentation layout in Memorability as an Image explores creates meaning of the object or architecture within the imagery. The two rooms within the gallery display these two types of photography, namely still-life and architecture, they explore and capture a surrealist of each object’s characteristic and throughout presents an abstract feeling, making it difficult to explain as it can be represented and presented in different ways within art photography. However, with the architecture photography, revealing an exploration of reflective architecture found in Milton Keynes, this work displays an artistic and abstract notion within the beauty of architecture of Milton Keynes’s City Centre district, which is a somewhat rare and mysterious location to see. This is a very artistic and abstract perspective from an art photographer who sees Milton Keynes differently to what tourist and locals might see. Although the architecture and still-life photographs were interesting as an artistic format, the layout of how the images were presented displays and characterises the imagery in a unique way. Exploring the type of framing and mounting needed to make the imagery not just artistic and creative, but also professional in a gallery or exhibition, shows a unique method in how the artist or photographer are represented by the quality of the exhibition or gallery, exploring the different ways of representation through the layout and design, to discover and express the artistic and creative side in analogue practice..
The methods of photography throughout the exhibition demonstrates a creative range of techniques in exploring still-life and architectural photography. Beginning with the still-life work within one room, it is quite unique and odd when representing different types of materials that looks the texture, tone and colour of the object within the photograph, abstractly revealing an inhuman characteristic of the subject and material within the imagery. Exploring different meanings of what is surreally represented with a human-like trait, whereas it could be the expression or feeling the photographer is representing, depending also on the perspective of the audience’s perception towards the subject. Although the evaluation of the still-life work was reviewed, the architectural side of the photographer’s work felt more creative and unique due to the different approaches and styles of medium used within both analogue and digital camera work, exploring the creative notion of how to represent a place through the beauty of the design from the building and reflective surrealism through the reflective glass on unique parts of Milton Keynes City Centre. A small influence of this exhibition is a step toward exploring the art form of architecture photography within my own photography and present this as a stock portfolio or even an architecture portfolio, exploring the beginning of the architecture industry through a digital or analogue format.
The techniques of both formats demonstrate a unique exploration and dedication of the art of photography within architecture and still-life, pushing the creativity of representation and meaning towards a subject, to represent and characterise the photographer’s identity into the subject, in a surreal or abstract notion within the work. This supports the notion of what the creator wants to express within the imagery as a different way to express a feeling of self as an identity or a subject matter within modern-day society.
Overall for the gallery, the commercial aspect demonstrated a strong mixture of professional artistic photographs mounted and presented to a high standard, whereas the art format of the galley demonstrated an artistic and creative exploration through the materials, style and formats of the printing, where the architecture or still-life could be explored in a search for representation, notion and meaning of the work.
Notion towards the Photography and Presentation of Photography Portfolio
Representation of the Architecture and Still-life Photography:
Notion towards the Work – What it means and represents:
The exploration within the work of architecture photography within self-work is very hard to show the meaning and notion of why, feeling, influences and inspiration towards it, due to the fact it being more of a technical and practical practice of my photography skills with analogue and darkroom practice, to improve and learn from to be furthered into my digital photography practices of the particular area, which I want to specialise in as a career.
The notion towards the work within the architecture is very experimental and technical, remember the type of film used, Aperture, shutter speed and processing times to show self-strengths and improvements which improves the skills within my portraiture, looking into the quality and sharpness of the object and subject, music and documentary, the timing and planning needed for the right photograph (similar to Henri Cartier-Bresson ‘Decisive Moment’ in street or humane photography).
Although mostly it shows the technical side of self-photography skill mostly, it also a secretive agenda of self-expressing the emotion and feelings of that day or week. Similar to the self-identity work during the second year but more in a discreet notion and representation of what my character and nature is like through the lighting, textures and patterns created or designed through the layout of the building or unique architecture which seems relatable and surreally matches my characteristic within the imagery, which is very difficult to explain though words or writing, demonstrating the reasoning of expressing the feelings and emotion through the camera, I use within my analogue.
Overall with analogue photography, it feels more personal and notion than comparing it with a digital photography work. Being more dedicated and patience which feels, like an actual art form within photography of what experienced current and past photographer learnt from, learning from the mistakes and improving on their technical skills as an art form within the photography practices.
Photographic Practices and Photographic Paper:
Understanding Photographic Paper from Darkroom Practices to use for Portfolio and Exhibition Use
Type of Photographic Paper:
Ilford MGRC Multigrade RC Warmtone (Resin Coated):
Quite like Resin Coated photographic paper of Multigrade RC IV but needs longer exposure time and higher aperture (sometimes) to get the strong greys and black, also understanding the grades of paper. Grade of the prints can affect the exposure time and grade of the outcome, needing to be perfect and not-under exposed for portfolio use.
Dust and scratches removed, a lot of testing as well.
To the processing and drying of Resin Coated based imagery, unlike fibre-based paper which needed longer washing and drying (which needs to be longer).
Might need reprints done (Digital as backups)
Mounting Board – Self-adhesive Foamboard / Black / 5mm Thick:
Black foamboard: Strong, matches the layout of the prints created and designed.
Professional and prevents the damages towards the imagery.
Go Damaged corners on the prints when handled or held by clients, looking at my exhibition practice or darkroom/analogue based photography (Creative) portfolio.
Darkroom Practitioner: Influences and Artistic Research
Darkroom Techniques: Eddie Ephraums
Review of Creative Elements: Landscape Photography – Darkroom Techniques:
Writing done the exposure times, timing and practical test runs within creating a photographic print within the darkroom.
How different materials, tones and timings can affect the image, creativity changing the notion of a photograph.
Darkroom techniques of dodging and burning an area of an image to create a balance and clean print for outcome.
Different types of grain with different negatives, affecting the printing outcome and clearance of the photographic paper.
Drawing up planning – For exposure times when dodging and burning imagery, to get a professional and clear image.
Understanding of exposure and distance of light from Enlarger: Further the light is from the enlarger to print, more exposure time or brightness aperture. Whereas closer the light is from the enlarger to paper is the less exposure or brightness on aperture is needed.
Even though landscape-based photography, printing within other medias of photography with analogue requires similar timings, techniques and printing outcome with photographic paper.
Dodging and burning heavily explored, for different lighting and correction to make the prints more successful, extending the use for printing for outcome for my project.
Exploring of Filters as well depending on the type of negative – Being too over or under exposed.
Suitable materials for photographic paper – For bigger formats of printing in the darkroom than going simple by using digital.
Magnum Contact Sheet: Kristen Lubben
Review of Magnum Contact Sheet:
Development stages of choosing and creating a negative using contact sheet, which could be shown as a development stage.
Jazz Photographer 1969: Guy Le Querrec. Consider the works of jazz photographers within the late 1960s. Little notes and research about the photographer to understanding the generation of analogue and digital photography in music industry.
When creating contact sheet, could add annotation of chosen or selective images when finding the final images. Like the presentation of many street, fashion and analogue photographers do within their sketchbooks, post-production or how they do it towards the viewer. Very similar to tethering shooting, digital editing and sorting and Lightroom when creating a photograph.
Other than music photography, it shows and display the art of patience through processing and developing film during the 20th Century to current, showing the different processing materials and usage analogue photography can give through expression and meaning towards the photograph.
Also, with the contact sheets, you can see the imperfection and mistakes other images displaying the use of retaking or improving photographer’s skill and knowledge to make the negative more efficiently and correctly when shooting similar images, they are looking for.
Contact Sheet of the selection process – Original Contact before edited and written on
Contact Sheet – Lomography Lady Grey ISO 400
Contact Sheet – Finding the Final Prints for Portfolio and small Exhibition Use:
Instead of scanning the negatives and selectively choosing the one which were interesting and strong for the portfolio.
The reasoning for the selection being through the practice of darkroom printing of a contact sheet was not to explore the artistic root of photography, but learning and experience the selection process through the methods and techniques of a traditional/analogue photographer perspective, also learning through experience, knowledge and slightly influences to practice own photography skills within the darkroom and analogue side of my photography; professionally and creativity within the career perspective of using analogue within the 21st century.
The advantage of creating a physical prints of a contact sheet, is that it can be more resourceful in information and details than scanning, due to the fact of scanning technology still taking it time (even with only one negative) which can be time consuming, demonstrating that alternative can be more quicker and edited for scanning quickly and efficiently (even the contact sheet can be scanned as well as backup and reprinted if needed). Also, with the contact sheet other advantage can be that with a white marker pen (coloured marker type of pen – as long it is not dark or doesn’t blend into the black and white details) can be used to narrow the selection either with detail, texture or tones. Depending on the type of photography it is, with portraiture; it’s the detail of the perfect (decisive moment) of the person showing their natural representation of who they are within the photography, architecture; notion of character and individualism within the object, building or pattern/shape of the subject, creating a surreal character as if it was a human as well than an object, lastly music; getting the correct lighting and detail of the musician or singer within that shot (also hoping it is not too blurry or out of focus – Manually shooting film is quite a challenge but worth it if it is done correctly and professionally). Showing a different variety of knowledge, skill and experience needed to create professional and creative prints digitally or analogue, depending on cost, materials and time.
Photographers: Influences and Artistic Research
Understanding Printing and Photographic Paper and presenting – General Research:
Christopher Thomas – 20th September – 28th Oct 2017
Creative photographer within both architecture and travel photography, explores the different notion of what the notion of art photography.
When exploring with film/analogue based photography, could experiment and explore the creation of creative and artistic photography within the areas which is the strengths. Understanding the format of different cameras, instead of fully relying on 35mm (maybe going more creative in how the subjects can be represented or expressed).
From the technology within the photography, understand the scanning and retouching methods fully so that if the analogue/traditional prints age or faded, can reprint as a digital print (having a plan B or Backup of the print); understanding Photoshop, InDesign and Capture One to get the best DPI, textures and tone, plus the understanding of the correct photographic paper – different types of paper can affect the saturation, lighting or contrasts. (Never go glossy – worst one for Black and White prints, can make the silver-grey too shiny or reflective).
Framing of the Photographs/Prints:
· Non-light reflective glass frames to prevent glare from the lightings, flash from phones and cameras (if allowed or used within the exhibition/gallery).
· White Borders (Use of Borders) with the framing and printing. Preventing the print from fading into the frame.
· Borders – Adds a professional and smart finish towards the photograph, looking more art based and unique, without the border it could just look like a candid/holiday photograph which families, tourist and travellers would take with a camera.
· Black Frame – Matches the theme and layout of the black and white print within the gallery, other colours could be distracting and somewhat misplacing towards the meaning and notion of the subject within the photograph.
· Colour of the Frame – Matches the style of analogue photography in black and white, representing the notion of singularity and meaning towards the style of street and landscape photography. Focusing on the tones, layout, textures and lighting to express the feeling the photographer is giving when exploring the city of Los Angles and places in America.
Photographs of the Christopher Thomas – Lost in L.A.:
- Lighting:
Sunny and Daytime Photography: Low ISO Number between 100 to 200, for blight lights
Sunrise/Sunset Photography: Very unpredictable lighting and shadows, which can be both an advantage or disadvantage when shooting at these times, but advantage of the outcome can be remarkable and artistic through the bokeh, shadows and lighting within the art of street, architecture and still life photography with natural lighting.
Night-time photography: Full detailed shots of architecture and lights from buildings or flash if photographer used the flash for quick shots. Use of tripod, to prevent camera shake if the shutter is under a 1/15, preventing camera shake or blur in the camera.
- Times:
Some taken during the sunrise/sunset to get breaks of unusual lighting within the photographs, patterns as scenery.
Daytime photography: Lighting can vary depending on weather – Sunny Moring/Evening: ISO Film between 100 – 300.
Cloudy Weather: ISO Film 400
Night-time/Dark Outdoors: ISO Film between 1200 – 3600, depending on the darkness and length of exposure you need to take night-time shots.
Use of tripod may be needed if doing night photography to prevent camera shake or movement in the camera, looking more of a Candid shot than actual architecture and travel photography.
- Type of Camera:
In the ranged of Medium or high format camera, to create bigger prints over the size of A3 photographic paper, experimental and testing printing might of be done before the outcome of the prints.
Lens could have been something suitable to travel and street photography, being suitable for close and a bit of far distance photography, could be a wide-angle lens or a standard lens suitable for veracity.
Polaroid type of camera, is very time consuming and requires a lot of patience to take a specific shot – Planning on time, day, location and meaning.
- Type of Photography:
Travel and Landscape photography with architecture photography in the mix as well. Taking photographs of buildings, locations and area, which people explore, go to or travel to relax or interact with people.
- Materials of Printing:
Polaroid based material – but the feel and looks of the prints within the gallery
Photographic Paper – Fibre Based photographic paper (currently researching and considering for final outcome for this project).
Cost of photographic paper – Test printing for right exposure, composition and in focus. (Chemicals are correct and suitable for printing as well). Needing to get basic photographic paper for printing test strips and contact sheets only. The final prints will be done on fibre based photographic paper.
James Smith:
Very abstract and surreal with words within photography, also quite creative and unique when taking imagery, throughout his photography career.
Exploring with different formats of film cameras, which could be explored and used as a expression and notion within own photography, finding the unique meaning, notion and feeling towards the individual, photographer or subject within the photograph.
James Smith, is quite a knowledgeable and experience photographer which helped build the curiosity of film; exploring different types of film, from Ilford, Fujifilm and Lomography film – understanding the developing times, chemical ratios and timings to produce not just negatives for artistic reason but also professionally practicing the skills and experience of becoming a technical darkroom practitioner and analogue photographer.
Printing Black and White Printing (Digitally) online:
Looking into the printing (backup if photographic paper print from darkroom do not work or come out successfully). Best type of photographic printing, type of paper and quality from portfolio usage or exhibition/galleries, depending on the client and gallery exhibitor needs or requirement.
Also thinking the expectation are very high and odds are impossible, due to the challenges of experience, knowledge and skill needed within the area of photography, taking a lot of patience and dedication throughout the practice of printing and creating photography prints; digitally or analogue based.
Edward Burtynsky – Essential Elements:
Landscape and Architecture Photographer
Edward Burtynsky: Essential Elements by William A. Ewing Hardcover (2016)
Creative and surreal landscape and architecture photography, displaying different environmental issue towards the world – such as chemical waste, rubbish destroying the environment and man-made objects.
Creating different surreal notion of life and natures throughout Edward Burtynsky’s work, which could be explored and expressed within the representation of change within the University of Northampton, removing Park Campus and moving to Waterside.
Also exploring the creation of an artistic, surreal narrative throughout the subject within the work of architecture, understanding the key characteristic and nature of object or building with a human-like trait.
Steve Godfrey – Fine Art Photography
Technician within the University of Northampton
Shooting 5X4 Film and Medium Format Photography: A lot if practice and understanding with film. Long exposure to practice and get the perfect balance, no artificial lighting.
Fine Art Photography:
De-composition
Exploring and experimental photography with analogue and Polaroid, let the elements and weather damage and create the patterns and layout of the print. Creating a surreal and abstract types of chemigrams image, but with nature than being man-made.
Exploring the different materials and types, enjoys the ecstatic of what the natural materials give towards the Polaroid photography.
Technical Skills and knowledgeable within traditional photography and darkroom practices.
Explored and experimenting with the background and history of music and gothic theme, explored a unique and creative design.
Still: Photograph the loneliness of railway yards and train location, also exploring with instant film to capture the details and textures of the scene.
Interacting with the environment than working against it.
Phototerragrams:
Made the word up: Organic and working with the element, burying or letting the nature work with photographic paper, influences by his creative polarise work and using earth to create abstract and surreal photography.
Experiment and explore the techniques to further understand how the photographic paper and negative work with natural elements.
High Format Camera, photographing with Polaroid based photographic paper. Dig down into the soil, press down negative is down and positive is up. Leave it underground for the time and day, also the weather can affect the patterns and materials.
Looking into the soil types, showing how it is made up.
Can get a mixture of soil, textures, tones and composition and damages make it unique.
Use of brushes to remove the types
Collaboration with the land: Taking an active role and position of the landscapes or location, use of micro-organism pick away from the negative emulsion.
Understanding the colours and patterns: Can explore or further within the colour darkroom than Black and White to get a positive notion.
Prefers to shoot in black and white than colour film, plus different types of patterns and tones.
Different materials and elements, affecting the negative. Starting to get collage techniques to create a surreal and abstract type of natural photograms.
Explored with snow and cold weather, can see the reflective patterns of the image
Zelda Cheatle
Talk – 5th Feb 2018
Leading photograph expert
Started within photography in the early/mid 1980s.
Running in the printing and run shows/exhibition within the photographers’ gallery.
Filming, poetry and photographs
Interested in the Studio and artists references and influence, looking at the photographs than the paintings.
Got into the gallery – 25 years, working in different spaces and styles to explore, can be created within the different layout and themes.
Staying in touch, contacts and styles to bounce and inspire the exhibition.
Framing: Find and explore different glasses materials, framing materials and cost.
Match the style of frame to the style of photography – B&W with black frame or something as a border.
Giant Photographs – The photographer (Mark Aitken), photographing people who have problems. Political demeanours towards each image and character of the person. Going outside and exploring culture and meaning.
Need very dedicated and help a clear direction to the area of photography style, you investigated. Looking into work and not being up, patience’s and timing, research and open calls. Seller and buyers of photography. Making some guidelines towards the gallery and exhibitions.
Interesting and remarkable Photography Expert: Love the motivating talk between her with my digital and analogue photography (Showing my negatives, did get told off for not holding with delicately and on the edges, to prevent damages/scratches or fingerprints marks). Explained how to improve and promote both my analogue work by showing not just the outcome but the behind the scenes (Test Stripes, contact sheet and printing physically from the darkroom).
Darkroom Prints – Portfolio Use:
Layout and Presentation of the Portfolio:
· Clean and smart A3 black portfolio case
· 10 High Quality Prints – On black adhesive mount board (strong to prevent corner damaged) – Darkroom Printed 12x16 with big White Frames or Digitally A3 Size
· Contact Sheet of the Prints – Written on (Original) and Non-Written (Digital Printed)
· Darkroom Printed with Warmtone Pearl (Resin Coated Photographic Paper) if Prints are not successful – Printed Digital Lustre or Permajet (Not too glossy but also not too Matte for printing the Black and White Prints)
This type of portfolio is supposed to be physical than digital, as it is showing my skills and potential of being a darkroom practitioner/analogue photographer with retouching skills (Understanding the scanning and editing skills to transfer film-based photography to digital)
Final Images for the Portfolio:
10 Images for the Portfolio – Artist/Creative Work
The 11 Images chosen to demonstrate both artistic and creativity with the camera, darkroom and retouching/editing (if scanned for digital printing).
Displaying technical skills, professionalism and commitment through the craftsmanship of using analogue photography as an art notion or portfolio.
4 Images are not a part of the Portmanteau Project – But displaying my strengths and skills with both Ilford and Lomography Film being pushed to its limits, demonstrating a creative passion of practice making perfect.
Image Size of Printing:
· 12x16 (If Successfully printed in the Darkroom)
Or
· A3 Size (Digitally) – On Permajet to feel or relate to a darkroom print -Glossy/lustre feel (Plan B)
Image One – Sheffield
The non- Portmanteau Project Imagery:
Demonstrates creativity and knowledge with the 35mm Camera can deliver within the analogue practice.
Demonstrating the strength of leading lines and depth of field, when using the specific lens on a camera, creating a notion of a narrative/meaning towards the image.
Few strong contrast and tones throughout the architecture and street-based photography, exploring surrealistic characteristic of a city or location, like Sheffield and Milton Keynes – Changes and differences
Different understanding of film with the Sheffield imagery, been pushing and experimenting the limited Ilford HP5 ISO 400 Film can be pushed to the maximum limit, seeing the potential and strengths of grain, detail and textures of greys and blacks (even whites can be given towards a scanned/printed image portfolio use.
With the Milton Keynes architecture, the experimental of Lomography: Lady Grey ISO 400 was tested and pushed to it limits as well, also developing skills and knowledge of processing a mixture of different films, learning the different chemicals needed; ratios, temperature and times to develop the film, professionally and similar to what a darkroom practitioner is required to make/process with experience (More practice means more experience, learning from the mistakes and improving on the success).
Image Two – The Drainway
Image 3 – The Surreal Wall
Image 4 – Sheffield
The other 7 Images are a part of the Portmanteau Project – Which show the change of Lomography film fully being pushed to its limit, similar to the Sheffield photograph with the Ilford, slowly mastering the Lomography – Lady Grey Film.
Image 5
Image 6
Image 7
Image 8
Image 9
Contact Sheet
Printed A4
Two types of Prints
Matte – For Drawing on and written on
Lustre – For Portfolio
Image 10
Image 11
Outcome of the Portfolio:
Archive Box: A3 Size and with cover paper to protect the prints and work
11 Photographic Prints (Permajet), Size A3 on Self-adhesive Foamboard / Black / 5mm Thick
2 A4 Contact Sheet: One Matte for Writing on and other Permajet for display, also on Self-adhesive foamboard
Personal Reflection towards the Portmanteau Project:
Overall from the Portmanteau Project, was to explore and demonstrate the artistic and professionalism within the work of darkroom practice and analogue skills, demonstrate a lot of passionate dedication and patience towards the project.
The influences within the work, were interesting and creative artistic photographers who express through the format of a camera as a notion of feeling, also exploring to different presentation and layout to display the portfolio but prepared for exhibition mounting and practices if needs be.
Mostly throughout the development and practices, it demonstrated the commitment and dedication needed to learn to become a darkroom practitioner. Learning through mistakes, to improve the needs of what the client/viewer wants to see, increasing the professionalism and skill to demonstrate the mastery of darkroom practices, always learning through experience and patience, then rushing and getting it perfect straight away. Showing that a few flaws are needed to help improve the skill, heavily practicing the needs of both analogue and digital purposes throughout the creation of the final print. Even through analogue photography is slowly coming back, the understanding of both formats is needed to finalise the different outcomes, looking into the backup or alternative if the first plan or outcome goes wrong/incorrect (looking into other solution and methods to improve the photography skills).
Overall, with the prints and photographic portfolio it demonstrates the individual passion and dedication needed to become a professional darkroom practitioner and analogue photographer (If the outcome is digital B&W Prints, it will show a practice of retouching and transforming the analogue imagery into digital), wanting to display a notion of artistic and creative set of imagery, than displaying just a music and portrait portfolio in the mix. Showing what I do in my free time when practicing photography as a passion or interests, letting the imagery express the feeling and emotion of the individual (self) within photography – letting the images do the talking and explaining than using words to create a narrative or notion throughout the series of photographs within the portfolio.
