Integrating Learning from Workflow Coursework into Assignment One -Feedback From Lyndsey Jameson – Time is a Necessity for Creativity

I would love to say that yesterday’s photography for assignment one -Square Mile – was enjoyable, but it wasn’t.  Neither my physical or mental health are good at the moment, so it was hard work. It was made easier by a friend coming with me and being nearby.

I have been able to integrate technical skills, light and shadow, movement and story telling into my photography and I’m pleased with that.

I will review my photography during the week. My ideas for the assignment have changed over the past week and especially over the past couple of days. I really enjoy this process of allowing the spark of an initial idea to form over time. My process once I have an idea is to think intensely about it, then deliberately focus on something different. Do some research then take my focus to something else. I also meditate and when other ideas come to me I focus back on my breath and let the thoughts go. Having this gap allows the subconscious to process the ideas and all of a sudden when I’m watching TV or reading an idea will come to me about of the blue. Then I really focus on exploring that, and after a while I put my focus elsewhere.

I have gone from three ideas, down to one and with further thought I now have, what I believe is a strong plan for the series and how I want to present it.

My assignment will be a brief history of York presented as a photo book. I have valued the photo books that I have more than digital presentation. One one page I will have the photo and on the page next to it I will have the written history associated with that image. The first photo will link to the first century and then consecutively up to 2015.

I received feedback from Lyndsey Jameson in relation to my review of two of her paintings, which I will respond to once I’ve processed it fully. There are two things that will help me to develop my photography and my studies that particularly stand out. I like my initial process of critique, picking two images and then writing my initial thoughts. However I missed an overarching theme of Lyndsey’s art because I hadn’t looked through other paintings of hers. I missed some important symbology (being to focused on interpreting detail didn’t help either because I then introduced my symbology). My tutor Jayne Taylor has also discussed the necessity to look for symbolism in photography, as i had missed a critical metaphor when reviewing Walker-Evans. Lyndsey also talked through her process of moving from an idea to execution. The thing I gained most from this was the importance of discussing and developing ideas with friends and colleagues. When I see the results of OCA students such as Sarah Jane Field, it’s apparent how they involve others in the development and production of their work (and their assessment marks reflect this). I need to make more use of the OCA Student website for this.

References

http://www.lyndseyjameson.com/

https://uvcsjf.wordpress.com/

Assignment One – Square Mile – Further Development of Ideas

Tomorrow I will plan a walk so that I can go around all of the places below for Sqaure Mile. I will also take a letter on the walk so that I can collaborate with the public. My aim is still to use the Johari window theme with collaboration, and York facts. Complete both projects and then when I develop the photos I can see which works better as a series.

 

Guy Fawkes Born Stonegate (street near minster) 1570 – Baptised at St Micheal le Belfrey (York was the centre of the Catholic revolt) Plot to kill King james the first and restore a catholic monarch to the throne

Dick Turpin – Grave – St George Cemetery, Lead Mill Lane (off of Piccadilly)

York – the most haunted city in Europe (https://www.theguardian.com/uk/2002/aug/10/arts.artsnews (16/08/2017))

Mad Alice – Lunds Court Snickleway – Mad Alice killed her husband after suffering years of violence at his hands. After murdering him she was hanged at York Castle in 1825 – between Swinegate and old peter gate.

365 Pubs – The Yorkshire Terrier by York brewery – 10 Stonegate, The Golden Fleece – Pavement (better place of transition – and wont replicate Stonegate from Guy Fawkes), Kings Arms, Kings Staith – (transition Yes, but so photographed it’s a cliché)

Unrepealed Law – In the city of York it is legal to murder a Scotsman within the ancient city walls, but only if he is carrying a bow and arrow (http://www.telegraph.co.uk/news/uknews/1568475/Ten-stupidest-laws-are-named.html (accessed on 16/08/2017))

(Scots and Parliamentarian siege of York – Walmgate Bar – Lamel Hill 1644 – Canons attacked York) (Battle of Marston Moor – defeated the Royalists of York) – Oliver Cromwell

Could Photo the Spread Eagle Pub (Marstons Brewery) from Walmgate Bar

York and the Vikings – Coppergate- Jorvik  All saints day 866 Halfdan and Ivar the Boneless took york, retreated then retook it in the following year – vikings were on the whole hard-working tradesmen and not as savage as they are made out to be. Made Pottery, Swords (blacksmiths), Shipbuilders etc. St Olaves Chrurch (olafe) Marygate – St Marys Bishophill – coppergate/Jorvik centre (transition – busy)

Layered dig showing ground levels changes from 1st century to modern era at the back of the Library

York Minster – From Petergate and include St Michael le Belfrey or from College Street Minster Yard with the tudor buildings

Rowntrees – Tanners Moat, castlgate (historic sites of rowntrees or haxby road (now nestle)

Psychiatry and its modernisation in York –The Retreat 1790 (quakers) following death of Hannah Mills at Bootham. William Tuke, private rooms, non violence, modernised psychiatric care, dignity

Heslington Road

The Shambles – Diagon Alley (Harry Potter) – Anglo Saxon The Great Flesh Shambles (fleshammeles) because of the Butchers (see if York Coin Collectors has a Potter themed Coin) Transition – Shambles from Kings Square, snickleways into market

Constantine the Great – St Leonards Place (theatre Royal) and York Minster

Lightroom Tutorial 3 – Develop Module Presets

Lightroom Develop Module

It would be helpful if you opened Lightroom and then clicked on the folder that you used for tutorial 2, Library module. If you didn’t make one then any folder will do, but it would be best if there were only 5 or 6 photos in it.

Once we have opened a folder we are in the Library module. You don’t need to click on develop as there are keyboard short cuts. Press D to go to the develop module and then if you want to go back to the library at any point then press G. To remove the side and bottom menus press tab │←→│.

Your screen should now look like this.

Develop-1

There are small arrows in the circles. If you click on arrows 1 and 3 you will notice that the develop menu has now disappeared and so has your row of photos at the bottom. This is really useful as you can then develop your photos in a larger format, and you can click on any of the arrows to bring them back. However, you don’t need to even do that. Hover over any of the arrows and the menu will show, and you can then use those features. I tend to have the develop menu (top) and the tool menu (right) permanently open, but you will find out what’s best for you by experimentation. For now, press tab and bring all of the menus back up.

The first thing that I always do when in the develop menu is to remove chromatic aberration and enable profile corrections. Chromatic aberrations are sometimes known as “Colour Fringing” and it is to do with how light at different wavelengths are brought to the focal point slightly differently, so you can get a blurred edge, more often of one colour. The lens correction is based upon the known distortions produced by a specific lens.

It’s best to adjust this with all of your photos in this collection at once. If I do this individually I forget some of the time. To choose all of your photos press Ctrl A, then use the right hand side slider until you find this.

Develop-2

Tick the check box for remove chromatic aberration and also for Enable Profile Corrections. You can choose which lens you were using. If you use a camera without interchangeable lenses then I don’t think you can correct the profile. My Fuji bridge camera doesn’t have a profile here so I can’t correct it. Once you have ticked the boxes press sync. (The above photo says auto sync, but it will say Sync on your screen).  If you have used multiple lenses you will need to go through them individually, but I mostly use one lens on one shoot. Your screen will now have this check box.

Develop-3

Although you can sync all settings and it can speed up workflow, I wouldn’t reccoment this until you have got an understanding of the different develop tools. Some photos will require different settings for optimal developing, so it isnt best to sync everything. When you are used to the develop tools and can make a fair assumption of how they will affect other photos you can then sycn settings by selecting multiple photos (Ctrl and left click). The settings will be synchronised with the photo that you are currently editing and applied to the others.

At the moment just tick the same 7 boxes that I have ticked above (deselct the rest by clicking on them if they are already ticked) and then press Synchronize.

Lightroom Presets

Lightroom presets are global develop settings that Lightroom has built in as options for you to use if you wish. They provide a range of options to develop photos and can speed up our workflow. You can use a preset and then add your own adjustments to these, or you may choose not to use them at all, but they are definitely worth exploring.

Develop-4

1- Change background colour, 2- Navigator preview image, 3 – Lightroom presets

Before we use the presets consider changing the background of your screen. Right-click to the side of your photo and click the background colour of your preference. I have recently moved over to a white background. My reason being that most of my photos are displayed online, on a white background. Having the same background in Lightroom means that I am developing a photo as it will be seen online. The colour of the background alters the way that our brain views the light and colour (see https://en.wikipedia.org/wiki/Checker_shadow_illusion)

The navigator is brilliant. You can change the image ratio to zoom in or out, which you can also do with Ctrl + – (no Ctrl 0 in Lightroom like there is in Photoshop). You can increase the zoom further by using the double arrows next to the 2:1 ratio. The fab part of navigation is when you then start to explore the pre-sets. Most frequently I use the General Presets, occasional use of the Colour Presets, and rarely the Black and White Presets.

Exercise

Open the General Preset menu by clicking on the arrow to the left of it. Hover over each of the options whilst looking at the image above in the navigator. You get a preview of how the pre-set will adjust your photo. Do the same with the Colour Pre-sets. Click on one of them and it will adjust your photo, and then you can press Ctrl Z to undo the change.

There is also a + – symbol next to where it says pre-sets in the same panel. This is useful when you realise that you make a lot of similar global changes in your photo developing. You can make the changes to a photo and then press the + symbol, give your preset a name, and you have your own preset. This saves time, but get used to developing your photos first (Tutorial 4 and 5 will explore global and local developing).

I don’t use the copy and paste, you can add your own develop settings into the currently selected preset, or you can copy a presets settings and then paste them into a photo. I am not familiar with this process and I don’t feel comfortable changing around these settings by using the copy and paste. You do not need to use the copy and paste option as once you have used a preset you can still make your own local and global developments to your photo anyway.

Lightroom History

When you are developing photos in Lightroom you are developing a full size virtual copy in a non-destructive manner. It doesn’t matter how many changes that you make, you can always go back to the original settings. You can do this by using Ctrl Z, which is fine for going back a couple of settings, but what if you have used the tools (tutorial 4 and 5) and have made lots of brush strokes and altered a lot of settings and don’t like what you have done? Use the slider on the left of the screen and go down to history. As you haven’t adjusted anything other than chromatic aberrations and lens profile then your History won’t reveal much. However you can see that in my history settings it shows a few of the developments that I have made:- Dark tones, dark tones, lightones, vibrance, clarity, add brush stroke etc.

Develop-5

I have made some awful edits on mine and I don’t like them. I can now step back to anywhere in the history. By hovering over any of the settings, I can view how my photo looked at that point by looking in the navigator as I hover over the history changes. Then click on a change that I want to go back to. Being able to view our adjustment history in the navigator is an excellent tool from Lightroom (Adobe)

Exercise

Click on one of the Lightroom Colour Presets, we are doing this to ensure that you have made a change to your photo (a basic development), now you can compare your developed photo with the original. Press Y and your screen will look like this.

Develop-6

By clicking where it says YY you can alter how you compare the before and after settings, side by side, above and below, or split view side by side and split view above and below. Give it a go. To go back to having just your developed photo (after) on screen press Y.

When you are developing a photo and you want a quick view of the original photo, you dont have to see it side by side. Press the \ and it will bring up the original and then press it again to return to your current stage of development.

I personally do not use the three boxes to the right of where it says before and after because I don’t fully understand how to use them. If I want to go back to any previous settings I just use the history brush.

Next time, in tutorial 4,  we will look at the global developing tools and see how we can begin to develop the whole photo. In tutorial 5 we will make local adjustments.

Review – Tom Hunter

Brief:-

Tom Hunter http://www.tomhunter.org/gallery/ – Look at the two series Life and Death in Hackney and Unheralded Stories. Do you notice the connection between the people and their surroundings? How does Hunter achieve this? What kinds of places are these photographs set in? Are they exotic, special or ordinary, everyday places? There’s something ‘mythical’ and yet also ‘everyday’ about Hunter’s pictures. Look carefully at one or two images and try to pick out the features that suggest these two different qualities.

Tom Hunter provides information about his art alongside the two galleries required for review by the brief, and I have been able to add to this with further reading online. Hunter uses local people in their own environment, a place that is familiar for he and them. The photos are staged with “sitters” (not models). They are local people who he either knows, or he discovers locally. Although the photos are meticulously staged so that they represent a painting from the Pre-Raphaelite Brotherhood, the sitters are so familiar with the environment that only a few appear to be staged photos. Hand on heart – I have no idea about the Pre-Raphaelite Brotherhood and no art history, so I have had to do some research)

Hunter gave an interview to the Guardian Newspaper in which he says “The whole idea was to elevate the status of my sitters; to take the attributes of classical painting and put them on to my sitters. That was my political motivation. I’ve always been political, and it’s very important to me that people don’t see Hackney as a mythical place. It is a real place, and it’s somewhere everyone up and down the country can relate to. These things are going on in every town and county. You don’t have to go to Afghanistan to find a war zone. People are shooting each other every day in Hackney.” (Aitkenhead, D; 2005)

Do I understand the political intention behind staging people in their local setting to reenact news-stories, as a way of engaging the viewer with what is going on in front of their eyes? Yes. Do I understand the propaganda instigated by the capitalist minority so that they can further influence and control the behaviour of the proletariat, and corrupt their minds so that they scorn those who live an alternate lifestyle or who are socially excluded, and that this is social control? Yes I do.

Most of the external of the settings appear to be edgelands. The spaces between the city and the countryside, and they also appear to be less affluent. Hell that’s not true, they appear to be places of poverty and degradation. We are seeing marginalised people in marginilised communities. The kind of places that governments make quick promises to, and take slow actions about. These kind of areas can be found in cities and towns throughout the UK and the rest of the world. Interestingly the London Borough of Hackney is no edgeland. Its is in the heart of London and borders with the City of London (business district).

I do not see these places as being exotic (foreign, non-native, tropical) and only three of four of these pieces of art appear to have anything mythical about them. Maybe if I had a history with fine art I may have seen more mystery and myth within the series. Staging photos so that they mimic famous paintings does not necessarily create a magical feeling to those with no knowledge of those works. Although having read from Hunter site, his interview in the Guardian and a review by Robert Wilkes (Wilkes, R; 2014) I do have an understanding of the intent of adding an aesthetical feel to political issues as a way of engaging political dialogue.

Exploring the everyday and mythical

DMJ0104Z_09.tifFig 1

My thoughts –  A dilapidated house from the 1960’s. I would have guessed at an earlier period if it had not been for two miniature colour photos of children on the fireplace to the right of the scene. The woman is alive (colour of skin) and is wearing lipstick and eyeliner that is still very neat with no smudging,(so we are not viewing heroin chic of the late 90’s and no apparent drunkenness). Its 8.50 and I would guess PM as there is the reflection of a light in the painting of the female religious figure on the wall – top left. She is divorced and the wedding band is now on her right hand. Is she preparing to go out for the night to meet her friends? Despite this she is grieving and feels alone, dirty ashamed and unloveable (Symbolism – empty made bed, that’s stained and dirty, the floor has no carpet, the wall paper is terribly faded, there is no longer a mirror above the fireplace and there is now just white paint). She sees herself as a fallen woman, prostrating before Jesus and Mary (Mary statue, Jesus Painting, Cross on necklace on the Jesus painting, female religious painting). There is clearly the overlay of the myth of the fallen woman – a label that puts women on a pedestal as being saintly then humiliates them for being human, and the myth of Christ as portrayed (Catholicism – WHITE (WTF?), halo, saintly, GOD in the form of man).

The reality is that it could be any one of us in this situation and at different times throughout our life we all feel alone, ashamed, tired, grief and not good enough. When compared to Death of Sardanapalus by Delacroix and become aware that a man is laying on a bed staring out from his bed at an orgy, with a woman dead at his feet, we are then reminded that the woman on Hunters bed has suffered at the hands of man. That is so familiar that most of the 3.6b women on the planet can relate to. The myth that is alluded to is a familiar and frequent reality for many.

the-way-home-high-2009-emailFig 2

My thoughts – When I first viewed the series Life and Death in Hackney, this was the photo that I stopped at. The reason being that all of the others looked like candid or street photography. However this photo did not. It reminded me of a painting, and this was the one photo that looked staged. The canal has indeed become a stage so that Hunter could recreate the painting Ophelia by John Everett Millais. The blue trousers, the grassy bank and shrub with its flowers and bloom and its petals in the canal, provide a very surreal scene. However the bridge and industrial buildings in the background bring us back to the present day. The title suggests that there has been a misadventure on the way home, but the staging stops me from having emotion relating to it. I don’t believe the story because of the staging. I find that is a shame. Because the story is tragic, and it is tragic because it is real. Hunter read a newspaper article about a woman who had been found dead in a canal. This leaves me with the dilemma and tension between the beauty and art of the photo, and the tragedy of the narrative. I do not like that feeling, but its an incredibly clever piece of art that brings together myth, tradgedy and beauty – all of which are very real and very human.

References

Fig 1 – Hunter, T; 2010; Death of Coltelli; At http://www.tomhunter.org/unheralded-stories-series/

Fig 2 – Hunter, T; 1998; The Way Home; At http://www.tomhunter.org/life-and-death-in-hackney/

Aitkenhead, D; 2005; Life is Grand; In The Guardian [online] at https://www.theguardian.com/artanddesign/2005/dec/03/photography (accessed on 14/06/2017)

Wilkes, R; 2014; Reinterpreting the Pre-Raphaelites: Tom Hunter; At https://dantisamor.wordpress.com/2015/12/15/reinterpreting-the-pre-raphaelites-tom-hunter/

Passive Agressive

Roses are red

Violets are blue

Sugar is sweet

I deeply hate you

 

Mary had a little lamb

It’s fleece was white as snow

I wish you would divorce me

You really have to go

 

Amazing grace

How sweet the sound

You once were sweet to me

Your voice it hurts

Your touch is rough

Like sandpaper can be

 

Five fat sausages

Sizzling in a pan

Threw it in his face

And his nose went bang

 

Remember remember the 5th of November

Gunpowder, treason and plot

We had our own fireworks

Divorce is what we got.

 

 

Do the Chicken Rap

I was on the farm

With my feathers and my beak

When I saw this bird who made my knees go weak

Went and had a chat

Thought I’d try my luck

She said “go away and cluck”

I’m not a chicken I’m a duck.

 

Do the chicken rap, you know you should

Do the chicken rap, it’ll make you feel good.

 

I wrote a dating add

That I sent to the press

I got no replies

Now my heads in a mess

I hate this farm

The only chicken, I’m alone

The last resorts

To snap my own wish bone

 

Do the chicken rap, you know you should

Do the chicken rap, it’ll make you feel good.

 

All I want is to sit and share

The water

And the corn

With romance in the air

It’s not gonna happen

It’s a real rough ride

So I’ll slice and dice myself

Chicken suicide

 

Eat the chicken wrap, you know you should

Eat the chicken wrap, it’ll make you feel good.

 

Assignment One – Square Mile – Developing My Ideas

I have decided that I am not going to follow the postcard into the style of Hinde idea. Why? Taking tourist and summer beach photos doesn’t inspire me at all.

So I have two ideas which I am going to pursue. I can make both series on the same day.

1 – The stories I’ve heard about York.

It was once legal for a man born within the Bar Walls to stab a Scotsmen in kilt.

The father of the lie. Constantine the Great lived in York when his father was the governor of the city. Constantine the Great was involved with the Council of Nicaea – which had a role in choosing which books to include in the bible.

A pregnant woman can ask a policeman for his helmet to take a wee in.

York is the most haunted city in the UK.

York has a different pub for everyday of the year.

The destruction of the Jewish community, burned to death in Clifford tower to cover the theft by a local lord.

I will need to research Clifford tower and the history of the Jewish community in York. I feel that ethnic cleansing is too much to portray as a story I have heard without checking the validity. It requires sensitivity.

My inspiration for this story has come from briefly looking at the work of Tom Hunter. I am considering taking photos of text, signs and notices around York and having them as the background and then blending the themed photos into them.

(Update 2 hours after original post:- I am not going to use the idea of the destruction of the Jewish community at Cliffords Tower in this series. The other ideas are more light hearted and I don’t feel this theme fits. I also don’t think one photo in a series of six gives the just attention that is merited. I would like to explore and research the history of the Jewish community in York in more depth later in the course or when I move on to the degree.

I will use the connection between Guy Fawkes and York instead.)

The second idea will be a collaboration based upon Johari’s window. A psychological tool designed by Joseph Luft and Harrington Ingham. It’s a tool for helping people to understand relationships. It explores what is:- known to self and others; known to self but not others; known to others but not self; unknown to self and others.

I will take a photo of a transition area in York that I have a connection with – known to self. Then turn around and take a photo of something I haven’t noticed before – unknown to self. And leave an envelope asking passers by to take a photo in the area of something they like in the area – known to others.

I like both ideas so I plan to take them both forward. I can then review which photos work best as a series.

I will be able to build upon the skills from 100 photos coursework with using manual mode, manual white balance and use of contact sheets. The transition photos will build upon the exercise from stillness and movement. I will also make use of techniques I developed in the light and shadow exercise coursework. I also feel that by photographing the things I haven’t seen before, and collaborating with others, will improve my skills in relation to looking and seeing. These skills are highlighted through the the Workflow coursework.

Reference

Luft, J and Ingham, H; 1955; The Johari Window Model; Online at http://www.selfawareness.org.uk/news/understanding-the-johari-window-model (accessed on 12/08/2017)

www.tomhunter.org (accessed on 12/08/2017)

Lightroom Tutorial 2 – Library Module

As we are going to begin our process of developing our photos it would help if you were to create a new folder on your desk top and copy six photos into it. We will then be able to use these as a practical means of understanding and making use of Lightroom.

If you open Lightroom it will begin in the library module, and with the last catalogue that you developed. It will look something like this.

Library-1

There are four numbered arrows and four circles. Before we consider their importance press the tab key, its above Caps Lock “│←→│”.  The tab key removes the side menus so that you can see a larger grid view of your images. If you now repress the tab key. There are other ways to remove the side menus, and that is by the tiny white arrows that are in the circles in the image above. This gives you the option of seeing more of your photos, or a larger photo if you are in Loupe view.

The numbered arrows are parts of the library that we will explore in this exercise

1 – This arrow is pointing at metadata

2- Folders that you have previously imported into Lightroom

3 – A menu that gives you the option to view images that contain certain text, metadata and attributes.

4 – Quick Develop, Add/View keywords, Add/View metadata, Add/View comments

Exercise

Import the folder of photos that you just made by going to the top menu, Click File, Click import photos and videos. We are importing in this manner rather than using the import button at the bottom left of the screen so that we don’t add our photos to the current library.

Locate the folder from your desktop. It will then bring the photos into the library. There is a button at the lower right of the screen that says import but don’t press it yet.

Your screen will now look like this.

Library-2

1 – Build Previews. Lightroom generates thumbnails and full pictures as virtual copies in the library and the develop module. I use 1:1 previews because they are the highest quality. It may take a while for Lightroom to build the previews, but you can still work with your images while it is doing so. If you set this to standard or minimal then Lightroom will import more quickly, but each time you edit a photo it will build a 1:1 image each time and this slows down your workflow.

2 – Develop Settings – Until you are sued to the develop settings, which isn’t necessary right now, then either select auto tone or none.

3 – Keywords – Keywords are an important part of recording metadata into photos. Keywords are not the only metadata and I will explain more later. Lets add some keywords. Why? Over time you will process thousands of photos and will want to find one or two really quickly. If you have keywords then you can search all of your photos in Lightroom via keywords and it will take you to the photos with those words. I have added Lightroom library module walk-through, followed by a comma. Adding the comma after each word or sentence means you can add another keyword or phrase, so I have then added Lightroom, and FiP. Adding keywords here will add them to all photos that you are importing, but you can add photos to individual photos later on. Now click Import.

Library-3

Because I had my develop settings as auto-tone, my photos have been imported with the tone corrected. The first photo with the light grey around it is the active photo.

The screen that you are seeing is called grid mode. You can select a different photo with the arrow keys, left click or Ctrl left click for multiple images. You can also click on one photo, then move to any other photo and press the Shift key “↑” and click with the shift pressed down. This will now select all of the photos from your orignal selection to this photo.

Keyboard Shortcuts

Press Ctrl A and all images are selected and then Ctrl D to deselect the images.

Press E – you now have one photo selected in full screen and this is Loupe mode. Press G and you are taken back to grid.

Click on any image to select it.

Press 2, and a message set rating to 2 flashes on the screen, now press { (next to P) this will decrease the start rating “attribute” and the key next to it will increase it. Keys one to five will do this. Keys 6-9 add a colour rating. 6=red, 7=yellow, 8=green, 9=blue. I use the attributes to select photos that are either worth developing or to review again as Maybe’s.

Press 2 on three of your photos, and on one of these press 6.

Above your photos is a short menu, text, attribute, metadata or none. Click attribute and your screen looks like this.

Library-4

Where it says rating click on the first star and your screen will now only show the photos with an attribute of 1 star or above, so you now only have three photos showing. Now tick the red box, and you will only have one photo showing. Click on the red again to deselect it. This is a really good way of reviewing your photos, and sorting through which ones that you want to develop so that you don’t take them all into the develop module and feel like youre wading through photos to find the ones that you wish to develop.

The right hand side of your screen will now look like this

Library-5

Click Metadata, then where it says preset None, click the arrow to the right and then edit presets.

Library-7

Edit Metadata Presets is an important tool. Once you have this set up you can then import your photos with your presets, copyright and contact information embedded into your photos.

IPTC metadata

IPTC (International Press Telecommunications Council) state that “Photo metadata is key to protecting images’ copyright and licensing information online. It is also essential for managing digital assets. Detailed and accurate descriptions about images ensure they can be easily and efficiently retrieved via search, by users or machine-readable code. This results in smoother workflow within organizations, more precise tracking of images, and increased licensing opportunities.” https://iptc.org/standards/photo-metadata/

Not all search engines look for photographic metadata, but some do, and Adobe are encouraging Google to do so. Many Stock libraries use metadata and WordPress has a widget that can tag your photos by reading metadata. We can add lots of information.

Here are the settings that can be most useful

Camera Info

IPTC Copyright – in this section there are four boxes.

1 – Copyright – I add my email as my copyright but you can add your name.

2 – Copyright Status – I tick the Copyrighted box

3 – Rights usage terms – I use a creative commons license and add the details of my specific license https://creativecommons.org/

4 – Copyright info – I provide a link to my copyright page on my website

IPTC Creator

I don’t fill all of the boxes within this section but I do add my name, email, Country and website details. You can add your address and phone number if you wish, but I am not comfortable with this at this stage of my development as a photographer.

IPTC Status

Title – If I am producing a series such as Northern Pride then I will add a title here, as its OK for all of the images to have the same title. However you can add individual titles to photos later quite easily without using the user preset that you are now creating. I then add my name in the credit line and my website into the source.

Keywords

I then skip down to the last section and add keywords. These are words that fit the whole series generically, and then can add photo specific keywords to the individual photo later.

Click DONE and then you can name your preset. You only need to do this once, and then in future you can import your photos with your preset. You will need to add title and keywords in future but nothing else.

Warning

I have found that sometimes Lightroom has not saved my keywords to photos, so whenever I close Lightroom, I go to the menu at the top of the screen – Click Metadata and then Save metadata to files. NOT ALL FILE TYPES RETAIN METADATA, but RAW, TIFF, JPEG and PSD do.

PNG files do not retain metadata, but we don’t need to worry about this in Lightroom. Be aware of this if saving photos in other editing software such as Photoshop. If you save photos in formats other than TIFF, JPEG or PSD you will lose the metadata that you have spent time adding.

Metadata for individual photos

Click on a photo to select it. Using the slider on the right hand side of the screen find where it says title, add a title to a photo. Then go up slightly to where it says Keyword List, there is an add button + and you can now add keywords to individual photos. Once you have done this you can again go to the metadata drop down at the top of the screen and save metadata to files.

You can also use the quick develop module by moving the right hand slider to the top of the screen and adjust tone, white balance, exposure, clarity and vibrance, but I prefer to do this within the develop module, which will be the next theme.

 

Review – Dan Holdsworth

Brief:-As research for this assignment, look at the work of two photographers and note down your responses. Dan Holdsworth http://www.danholdsworth.com. Why do you think he often works at night? Is it because there’s less people and traffic about to clutter the view? Is it because of the effect of light in a long exposure and the sense of artificiality or ‘strangeness’ that brings to the image? What happens to your interpretation when the views are distant, wide and the main emphasis is on the forms of the man-made landscape? Is there a sense that these images are both objective (because you are looking out at the world) and subjective (because they seem to deliberately conjure up a mood)?

Initial Thoughts

I am aware that when I make my initial notes and present them in my learning log, I need to expand upon these to turn them into a critique. My notes often form an impression of my thoughts but the lack of detail can leave people unsure of my meaning. However I am going still going to record my initial thoughts for each of Holdsworth’s series that I have looked over, in my own way,  and then answer the questions at the end, followed by a reflection.

Spacial Objects 2015

Spacial Objects no 17 C-type print

Physical installation, large dimensions, over two meters tall. Constructed shapes, bold colours, reds, greens and blues of various hues. Constructed linear shapes, angles, bright highlights, deep shadows, some blacks but not many. Geometrical.

I am aware that this series is not photography, however it has relevance to me for two reasons. I had no understanding of photographic series before beginning Foundations in Photography. I had been working on a series about homelessness, but wasn’t aware of how to link photographs together in any way other than typography. Spacial Objects is typographical, coloured geometric shapes that have the same physical dimensions. But more than this they are of similar tone and use of highlights and shadows. The geometry is of linear angles, but there are circular patterns as part of the texture.

The other relevance to me from this series is seeing how an artist develops their photography over time and builds upon existing pieces of work. His series California from 2003 explores man-made structures and geometry; Mirrors from 2014 is a representation of natural form and structure where angular geometry is introduced by the axis of symmetry and thereby bringing man into the natural world; Spacial objects – a physical installation – man made geometrical shapes, which are a reflectiin of the best of man made and natural structure.

Mirrors FTP 2014

Mirrors FTP 2014 cg05a C-type print

Landscape, geology, rock forms taken from a distance, possible from above (flying over?) 180 degree symmetry rotated around mid-point. Muted colours of natural landscape possibly from igneous rock. Good tonal range, few blacks. Ice and snow in some of the photos in the series. Excellent depth of field, crisp, sharp photos. What is not being shown? Why has the half of the image that is used to create the symmetry included and not the other half?

Upon the first viewing of this series I have to say that I was somewhat perplexed. I asked my self:- What do I think he is trying to convey? and I responded that I had no idea, they are pretty photos that demonstrate excellent photographic technique, and are a great example of how a series of photos work well together. Similar tonal range and image ratio. Similar in hue and saturation, a typology of igneous rock formations.

I had to take a break and re view the photos. This time I asked:- What is missing from this series of photographs? Now were getting somewhere. I do not see any signs of life. No animals, no trees, no people. And what I now see, after reflecting upon what is missing, is that Holdsworth is using symmetry to bring the man-made “marks” into the natural form of the earth. The mirrored formations have sharp edges and create unnatural patterns which add an artificial dymension and destruction into a part of the world that man has not damaged through encroachment. It’s a very clever way to highlight the relationship between nature and man, without showing anything of man.

Blackout 2010

Blackout 2010 11 C-type print

Metamorphic rock formations, snow-covered mountains/glaciers at night. Either artificially lit, or long exposures then when digitally developed the skies have been darkened to black. I suspect there is a form of artificial lighting. There is light drop off at the far side of the scene and highlights at the bottom left. If the photos were taken with bulb exposure there would be some light drop off, but the sky would be brighter and we would see stars or clouds. The scenes are not lit by the moon. To have that level of lighting the moon would need to be higher in the sky than is suggested by the lack of light in the distance, and there would not be light drop off.

Surreal, ghostly, as if looking at the surface of the moon whilst being in a “moon rover” The photographs in the series have a definite sense of space, depth and timelessness. We are shown the “unseen”. Very few people will have seen these landscapes at night, and the artificial lighting means that we are exposed to the light that resides within darkness. This series appears more metaphorical to me, with the psychological aspect of looking within our shadow to see our light. I remain unconvinced by the series and of my analysis of it.

California 2003

California 2003 02 C-type print

This is a small series of only three photographs. A road, a factory and a car park (possibly from a petrol station or shopping mall).

Taken at night. Artificially lit, but the lights are from street lighting or building lights rather than lighting that has been introduced to the scene. Man made, sterile, angular, solid, defined, harsh lighting, are words that I would use for this series. Whereas the terms flow, movement, texture, smooth, balanced tone, are words that I think of when considering Blackout and Mirrors.

Questions from the Brief

Why do you think he often works at night? Is it because there’s less people and traffic about to clutter the view? Is it because of the effect of light in a long exposure and the sense of artificiality or ‘strangeness’ that brings to the image? What happens to your interpretation when the views are distant, wide and the main emphasis is on the forms of the man-made landscape? Is there a sense that these images are both objective (because you are looking out at the world) and subjective (because they seem to deliberately conjure up a mood)?

I have looked at a mixture of Holdsworth series, some that have been shot at night and others during the day. My belief is that Holdsworth deliberately avoids shooting people, and in doing so he is trying to get the viewer to question the relationship between man and nature, and natural geology and geometry, in comparison to man-made structure and geometric marks.

There is a subtlety of texture, movement and tone in the landscape photos. The mountains in the Blackout series may have strong lines and angles but the interaction of a multitude of lines, textures and structure has a fluidity to it. This is a contrast to the series that I looked at with man-made structures (California) that have many straight, rigid lines. I believe that the series Mirrors exemplifies this. By introducing symmetry to the natural landscape Holdsworth is making a statement about the structures that man makes, and how “man made” interferes with the beauty and flow of the natural world.

This sense is added to by the lighting. In California the artificial lighting presents a sterile environment that eliminates nature. It highlights straight marks, straight lines and an inability of Man to add to the environment. The lighting in Blackout – whether it’s artificial or long exposure – brings out the surreal and creates flowing, ghostly ice sculptures. These have a multitude of texture and detail, and create a feeling of awe. The wonder of looking at the moon or the surface of Mars. We are seeing the unseen.

Holdworths work does not feel objective. I find its highly subjective and is leading the viewer to consider the impact of man upon the environment, the difference between the sublime and the sterile, and the confined and the free.

I have felt out of my depth with this review. Partly because as a student I am considering photography in a more serious manner, and partly because I have been reflecting upon themes, that Holdsworth presents, in a context that I have no familiarity with. I also have a thought that maybe I have over complicated this.

I am not used to the concept of a photographic series. Yes I have grouped my own photos together. My project on Homelessness is my first attempt at this, and I had only considered the importance of theme, or a basic typography. Holdsworth many series have their own individual theme, and fit into an overarching schema which explores:- marks, shape, form, structure and light. His most recent series Spacial Objects builds upon his previous works, by trying to represent the best of space, geometry, light and structure that runs through many of his series of work. Spacial Objects is an installment of man made physical structures, that have some of man’s rigid geometric shapes combined with nature’s flow, space and texture.

Each individual series is made of photos that are a similar aspect, tone, lighting, hue and saturation, and also have contours and lines that are common throughout. This has been a wonderful, if somewhat challenging, opportunity for me to gain some understanding into how to present a series of work and how an artist builds upon previous knowledge and experience as they develop and mature.

References

Fig 1 Holdsworth, D; 2015; Spacial Objects no 17; Online at http://www.danholdsworth.com/ (accessed on 08/08/2017)

Fig 2 Holdsworth, D; 2014; Mirrors FTP cg05a; Online at http://www.danholdsworth.com/ (accessed on 08/08/2017)

Fig 3 Holdsworth, D; 2010; Blackout 11; Online at http://www.danholdsworth.com/ (accessed on 08/08/2017)

Fig 4 Holdsworth, D; 2003; California 02; Online at http://www.danholdsworth.com/ (accessed on 08/08/2017)

Keys, R; 2017; Homelessness; Online at http://www.photosociology.info/homelessness (accessed on 08/08/2017)