Reflections
This is my log book for the course Digital Photographic Practice. I have studied The Art of Photography at OCA throughout the past year, which I found very rewarding. Previously I have mainly concentrated on basic image making, such as camera techniques and composition. I have no experience of improving photos through digital controls. Therefore I would like to learn more about this part of photography, to be able to improve my images and gain all round knowledge of photography. I have no knowledge of Photoshop, and I know this is not a course in the actual programme, so I am planning to read up quickly on the programme, and learn as I develop through the course.
First impressions
I open the package from the Open College of the Arts, and love the red paper it is wrapped in. As I look through the ringbinder, I notice that the course material is rather short compared to TAOP, but it looks very modern with nice layout and graphics. I am excited to start.
Log book
I have been thinking about ways of how to keep my log book. In TAOP I used a word.doc and it worked OK. But for this course, I thought I would try to keep my log book online. Many of my fellow students at OCA keep blogs. This is my first time for “blogging”, so I looked up the various options. Many of the blog sites I find quite fragmented, and you have to click a lot to get into the various entries. Another drawback is the reverse date order. I like to see the first exercise first. So I googled other various options for keeping a log book on the web, and found http://www.weebly.com which lets you create a website for free. My aim for this site is to keep it as clean and simple as possible, and easy to read. I am quite pleased with this design and hope it develops well.
Gadgets or: How I learned to stop worrying about my VISA card and love to buy accessories
I have long had the persuasion that photography is about art and craftmanship, and that I shouldn't have to buy expensive things in order to express myself through photography. But recently I have succumbed to a few gadgets:
A polarising filter for my 18-200 lens: I was given a new lens for Christmas which has a bigger diameter than my other lens. It's good not having to choose lens because of the weather, but because of the object.
An external hard drive: I realised my photographs were taking over the computer and I needed to offload them somewhere. I will also incorporate the external hard drive in my work flow, so that important photos can be backed up and kept safe.
Photoshop Elements 7: I was thinking that you should be able to take good photos without altering them digitally, that it was almost cheating. But I realise now how much you can improve your photos, and everyone does. So to step up a level in the photos I produce, I am glad to be doing this course and also to work in Photoshop. I was given Photoshop Elements 2 previously, but it was difficult to find books and tutorials corresponding to Elements 2. Since I am a complete beginner at Photoshop, and don't know any one to teach me, and don't feel like paying €300 for a course, I will follow a book to help me get started. The book I bought is called "Adobe Photoshop Elements 7" by Mark Galer, and after reading a few chapters it seems to be a good one.
Colour Space
In response to my query about monitor calibration, my tutor suggested I should start by looking at the colour space, which basically is how many colours the camera, monitor and application sees. There are different colour spaces – or gamuts – with different palettes suited for different outputs such as monitor, personal printers or professional printers. The Adobe RGB colour gamut is the one most suitable for professional printing and if a lot of post-processing is done. The photos I present for the assignments are printed by professional labs, so the Adobe RGB colour space seems the best for my needs. I need to change this setting in three places: the camera, the imaging processing application (in my case Photoshop Elements 7) and in the computer.
In my Nikon D40 I go to Shooting menu > Optimise image > Custom > Colour Mode >Choose II (Adobe RGB).
In Photoshop I go to Edit > Colour settings, and select the setting for Adobe RGB
On my PC, I look in the help section to figure out how to do this: Control panel > Display > Settings > Advanced > Color Management > click on Adobe RGB 1998 > Set as default > Apply > OK
Having the Adobe RGB set to all three devices, will allow a larger colour palette, and will allow saturation and vibrance to be increased further before clipping.
September update
Distance learning is good for me because I can organise the study time as I wish. But it is also a solitary pursuit. The OCA and Flickr are welcome meeting points for students and teachers, and I enjoy the communication there. I have been thinking about joining a camera club, but I don't know if I'm ready to do that yet.
I get a bit fed up with the course sometimes. It seems like lately I worked more on the computer with Photoshop and the web, than with the actual camera. To me this is the core of photography - the time it's only me and the camera and I "see" things and images are created.
I received the results of the assessment of TAOP the other day and I was quite pleased with the result. I spent a lot of time reading books and background material for that course. For DPP there is no "suggested readling list" so I have to come up with study opportunites myself. I have seen some other recommended reading lists, but have not been able to source the books through the library. I miss reading and delving into the topic of photography as a compliment to taking photos. I have to find out some other material to read.
I would like to research modern photographers more. I read "Photography - A Concise History" which dealt with historical photographers. But I would like to be more aware of what's going on now and get inspiration and develop in new directions. Maybe by reading current photo magazines about modern photographers I would learn more about this. I have come across "Hotshoe - Fresh perspectives on contemporary photography" before, but I will now try to study it in more detail.
I have picked up suggested books in various places, and list them below. I wont be able to read these immediately, but it is good to keep a record of the suggestions.
"The photograph as contemporary art" by Charlotte Cotton.
Basic Critical Theory for Photographs by Ashley la Grange.
Stephen Shore The Nature of Photographs.
Photography and the Art of Seeing by Freeman Patterson
'On Being a Photographer' by David Hurn and Bill Jay.
Criticizing Photographs (Terry Barrett)
Cape Light (Joel Meyerowitz)
Art Photography Now (Susan Bright)
On Photography by Susan Sontag.
Annie Leibovitz "At work".
Solomon-Godeau, Abigail, Photography at the Dock
Taylor, John, A Dream of England (out of print)
Tagg, John, The Burden of Representation
Roberts, John, The Art of Interruption
Barthes, Roland Camera Lucida
Burton, Johanna (ed), Cindy Sherman
Spence, Jo and Holland, Patricia (eds), Family Snaps
Self evaluation
In his report in response to my first assignment for this course, my tutor asked me to be self evaluating of my pictures. I know this is an important part of the learning process. I have been thinking a lot about how to do so, and from various sources I have put together a few notes on how to be more selv evaluating. For assignment two I have tried to answer the questions below. (But I admit not to answer ALL of them).
Reflect after every learning experience
Describe what I am doing/ what I have done
Explain what I am doing/ what I have done
Why did I photograph that particular thing?
What was it that drew me to it?
Have I captured the essence of whatever that thing was?
If I haven't, what is it that's missing?
Did it go well? Why? What did I learn?
Did it go badly? Why? What did I learn?
What will I do differently next time?
How will I do it differently next time?
How can I improve for next time?
Is there a way I could have done it better?
If so, what stopped me doing that at the time?
How do I think/feel about this?
What have I achieved?
What did I learn?
Link what I have done to outside sources
How have I put any theory into practice?
How does what I have been doing lead to me becoming better at a skill?
How can I use this to plan for the future?
How can I use this to plan new learning experiences?
First impressions
I open the package from the Open College of the Arts, and love the red paper it is wrapped in. As I look through the ringbinder, I notice that the course material is rather short compared to TAOP, but it looks very modern with nice layout and graphics. I am excited to start.
Log book
I have been thinking about ways of how to keep my log book. In TAOP I used a word.doc and it worked OK. But for this course, I thought I would try to keep my log book online. Many of my fellow students at OCA keep blogs. This is my first time for “blogging”, so I looked up the various options. Many of the blog sites I find quite fragmented, and you have to click a lot to get into the various entries. Another drawback is the reverse date order. I like to see the first exercise first. So I googled other various options for keeping a log book on the web, and found http://www.weebly.com which lets you create a website for free. My aim for this site is to keep it as clean and simple as possible, and easy to read. I am quite pleased with this design and hope it develops well.
Gadgets or: How I learned to stop worrying about my VISA card and love to buy accessories
I have long had the persuasion that photography is about art and craftmanship, and that I shouldn't have to buy expensive things in order to express myself through photography. But recently I have succumbed to a few gadgets:
A polarising filter for my 18-200 lens: I was given a new lens for Christmas which has a bigger diameter than my other lens. It's good not having to choose lens because of the weather, but because of the object.
An external hard drive: I realised my photographs were taking over the computer and I needed to offload them somewhere. I will also incorporate the external hard drive in my work flow, so that important photos can be backed up and kept safe.
Photoshop Elements 7: I was thinking that you should be able to take good photos without altering them digitally, that it was almost cheating. But I realise now how much you can improve your photos, and everyone does. So to step up a level in the photos I produce, I am glad to be doing this course and also to work in Photoshop. I was given Photoshop Elements 2 previously, but it was difficult to find books and tutorials corresponding to Elements 2. Since I am a complete beginner at Photoshop, and don't know any one to teach me, and don't feel like paying €300 for a course, I will follow a book to help me get started. The book I bought is called "Adobe Photoshop Elements 7" by Mark Galer, and after reading a few chapters it seems to be a good one.
Colour Space
In response to my query about monitor calibration, my tutor suggested I should start by looking at the colour space, which basically is how many colours the camera, monitor and application sees. There are different colour spaces – or gamuts – with different palettes suited for different outputs such as monitor, personal printers or professional printers. The Adobe RGB colour gamut is the one most suitable for professional printing and if a lot of post-processing is done. The photos I present for the assignments are printed by professional labs, so the Adobe RGB colour space seems the best for my needs. I need to change this setting in three places: the camera, the imaging processing application (in my case Photoshop Elements 7) and in the computer.
In my Nikon D40 I go to Shooting menu > Optimise image > Custom > Colour Mode >Choose II (Adobe RGB).
In Photoshop I go to Edit > Colour settings, and select the setting for Adobe RGB
On my PC, I look in the help section to figure out how to do this: Control panel > Display > Settings > Advanced > Color Management > click on Adobe RGB 1998 > Set as default > Apply > OK
Having the Adobe RGB set to all three devices, will allow a larger colour palette, and will allow saturation and vibrance to be increased further before clipping.
September update
Distance learning is good for me because I can organise the study time as I wish. But it is also a solitary pursuit. The OCA and Flickr are welcome meeting points for students and teachers, and I enjoy the communication there. I have been thinking about joining a camera club, but I don't know if I'm ready to do that yet.
I get a bit fed up with the course sometimes. It seems like lately I worked more on the computer with Photoshop and the web, than with the actual camera. To me this is the core of photography - the time it's only me and the camera and I "see" things and images are created.
I received the results of the assessment of TAOP the other day and I was quite pleased with the result. I spent a lot of time reading books and background material for that course. For DPP there is no "suggested readling list" so I have to come up with study opportunites myself. I have seen some other recommended reading lists, but have not been able to source the books through the library. I miss reading and delving into the topic of photography as a compliment to taking photos. I have to find out some other material to read.
I would like to research modern photographers more. I read "Photography - A Concise History" which dealt with historical photographers. But I would like to be more aware of what's going on now and get inspiration and develop in new directions. Maybe by reading current photo magazines about modern photographers I would learn more about this. I have come across "Hotshoe - Fresh perspectives on contemporary photography" before, but I will now try to study it in more detail.
I have picked up suggested books in various places, and list them below. I wont be able to read these immediately, but it is good to keep a record of the suggestions.
"The photograph as contemporary art" by Charlotte Cotton.
Basic Critical Theory for Photographs by Ashley la Grange.
Stephen Shore The Nature of Photographs.
Photography and the Art of Seeing by Freeman Patterson
'On Being a Photographer' by David Hurn and Bill Jay.
Criticizing Photographs (Terry Barrett)
Cape Light (Joel Meyerowitz)
Art Photography Now (Susan Bright)
On Photography by Susan Sontag.
Annie Leibovitz "At work".
Solomon-Godeau, Abigail, Photography at the Dock
Taylor, John, A Dream of England (out of print)
Tagg, John, The Burden of Representation
Roberts, John, The Art of Interruption
Barthes, Roland Camera Lucida
Burton, Johanna (ed), Cindy Sherman
Spence, Jo and Holland, Patricia (eds), Family Snaps
Self evaluation
In his report in response to my first assignment for this course, my tutor asked me to be self evaluating of my pictures. I know this is an important part of the learning process. I have been thinking a lot about how to do so, and from various sources I have put together a few notes on how to be more selv evaluating. For assignment two I have tried to answer the questions below. (But I admit not to answer ALL of them).
Reflect after every learning experience
Describe what I am doing/ what I have done
Explain what I am doing/ what I have done
Why did I photograph that particular thing?
What was it that drew me to it?
Have I captured the essence of whatever that thing was?
If I haven't, what is it that's missing?
Did it go well? Why? What did I learn?
Did it go badly? Why? What did I learn?
What will I do differently next time?
How will I do it differently next time?
How can I improve for next time?
Is there a way I could have done it better?
If so, what stopped me doing that at the time?
How do I think/feel about this?
What have I achieved?
What did I learn?
Link what I have done to outside sources
How have I put any theory into practice?
How does what I have been doing lead to me becoming better at a skill?
How can I use this to plan for the future?
How can I use this to plan new learning experiences?
Hotshoe
I have taken out a subscription on Hotshoe and the first number was delivered the other day. It concerns contemporary photography and it is very inspirational. I enjoy reading the text as well as looking at the photos. We are often encouraged as students to write more about our photography and it is not an easy thing to do as you start off as a photography student. I have started now to get into the writing a little bit more, and I think reading something like Hotshoe can show how to write about the topics.
I have taken out a subscription on Hotshoe and the first number was delivered the other day. It concerns contemporary photography and it is very inspirational. I enjoy reading the text as well as looking at the photos. We are often encouraged as students to write more about our photography and it is not an easy thing to do as you start off as a photography student. I have started now to get into the writing a little bit more, and I think reading something like Hotshoe can show how to write about the topics.
Inspiration
I came across the video above which really is an ad for the Olympus Pen camera. I found it really creative and inspiring. It must have taken ages to make. What particularly I like about it is the transition in tone of the photographs, from black and white, through various tones to modern vibrant colours. It is supposed to mimic the development of the Olympus camera. I have had this idea before about creating a set of images, with the tones transforming to show progress.
The reason I came across this video is because I was looking up info about the new Olympus PEN E-P1. I'm not normally a gadget person, but it seems such a perfect little camera to carry with me all the time. At the moment I miss a lot of images I see because I don't have my camera with me. I see images everywhere.... The camera is on my wish list, but if I actually get it is another thing alltogether.
I came across the video above which really is an ad for the Olympus Pen camera. I found it really creative and inspiring. It must have taken ages to make. What particularly I like about it is the transition in tone of the photographs, from black and white, through various tones to modern vibrant colours. It is supposed to mimic the development of the Olympus camera. I have had this idea before about creating a set of images, with the tones transforming to show progress.
The reason I came across this video is because I was looking up info about the new Olympus PEN E-P1. I'm not normally a gadget person, but it seems such a perfect little camera to carry with me all the time. At the moment I miss a lot of images I see because I don't have my camera with me. I see images everywhere.... The camera is on my wish list, but if I actually get it is another thing alltogether.
Reality and intervention
In our time of digital photography and with its possibility of manipulation, we might get the impression that photographic manipulation is a new phenomenon. But from the very birth of photography, the reality it tried to catch, was manipulated through various means. An article called The Original Sin in "Hotshoe" Oct-Nov 2009 discusses this in further detail.
The technical limitations in early photography created distortions of reality such as shadows from both left and right because of long exposures. In the photographic movement of Pictorialism, techniques such as out of focus lenses and scratching of negatives were used to capture the spirit rather than the crisp details of an image. Later artists like Anselm Adams used the dodging (lightens) and burning (darkens) techniques in the darkroom to create an image containing a wide range from blacks and whites. Manipulation is in other words nothing new to photography. As the article claims: "Reality is no more than a mental construction".
Another interesting image which I found in the book "Photos that changed the world", is one by Dimitri Baltermants. He was a Soviet photographer and captured the image "Searching for dead relatives" (see below) in the Crimean war in 1942. When he came back to Moscow he noticed that his negatives were damaged, and inserted a cloudy sky to cover the damages, which actually made the image more dramatic. This is very similar to Exercise 22 of this course. I would be interested to see how the montage was done using the negatives. The photo wasn't actually published until 20 years later, as the human suffering of war which the image portrays didn't pass the censors. I think this manipulation of the image in order to save it, is quite acceptable. He didn't change the people who plays the most important role here. The censoring of the photo I find less acceptable.
Dimitri Baltermants "Searching for dead relatives" 1942
Portraits
After using portraits in my assignment 4, my tutor raised the question if it's possible to actually convey personality in portraiture. Many contemporary artists now portray models with a "dead pan" expression. My tutor then asked what I think of this approach to portraiture.
In order to examine this further, I looked at the images in Taylor Wessing Photographic Portrait Prize 2009, on the web site of the British National Gallery, and also at the portraits by Thomas Ruff which are in a passport photo style. Ruff says “ Photography can only reproduce the surface of things.” So what is the point he is trying to make with these dead pan expressions? That we are merely looking at a piece of chemically treated paper or a computer file made up from a binary code?
People often put on a smiley face when being photographed. Even small children have learnt to smile in photographs. This does not always look natural, but it almost like a reflex. Is deadpan portraiture a reaction to this?
Models photographed in this way are of course aware of being photographed. They put on this expression which means “show an empty mind, think about nothing, show no personality”. But this is no closer to a natural expression either. Can only unaware portraiture show a true reflection? How can this nothingness be meaningful?
What do I get out of looking at the deadpan passport like photos that Thomas Ruff presents? To me, it doesn’t’ evoke much emotional response. I don’t feel that I like or dislike it. I don’t feel happy, excited, curious or disgusted. Mostly I feel just bored.
I suppose the trend is to make the viewer create their opinion about the image. The photographer gives nothing away, no connection with model and does not tell a story about the person. It’s like a blank canvas and the viewer can draw their own conclusions. What is the point of this?
Looking at the Exhibition from The National Portrait Gallery, I feel that many of the images are not very original or groundbreaking. I feel that “I could have done that”. But if the images are in the National Portrait Gallery, then it is deemed to be art. This reminds me of Duchamp’s urinal which was entered as a piece of art to an exhibition under the name of R. Mutt, but was rejected. Duchamp contested this as he said “Whether Mr Mutt with his own hands made the fountain has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view - created a new thought for that object.”
Maybe is it in this context we should see the dead pan portraiture? The photographer chose an ordinary article of life – a model putting on a blank expression – and created a new thought for this object.
After using portraits in my assignment 4, my tutor raised the question if it's possible to actually convey personality in portraiture. Many contemporary artists now portray models with a "dead pan" expression. My tutor then asked what I think of this approach to portraiture.
In order to examine this further, I looked at the images in Taylor Wessing Photographic Portrait Prize 2009, on the web site of the British National Gallery, and also at the portraits by Thomas Ruff which are in a passport photo style. Ruff says “ Photography can only reproduce the surface of things.” So what is the point he is trying to make with these dead pan expressions? That we are merely looking at a piece of chemically treated paper or a computer file made up from a binary code?
People often put on a smiley face when being photographed. Even small children have learnt to smile in photographs. This does not always look natural, but it almost like a reflex. Is deadpan portraiture a reaction to this?
Models photographed in this way are of course aware of being photographed. They put on this expression which means “show an empty mind, think about nothing, show no personality”. But this is no closer to a natural expression either. Can only unaware portraiture show a true reflection? How can this nothingness be meaningful?
What do I get out of looking at the deadpan passport like photos that Thomas Ruff presents? To me, it doesn’t’ evoke much emotional response. I don’t feel that I like or dislike it. I don’t feel happy, excited, curious or disgusted. Mostly I feel just bored.
I suppose the trend is to make the viewer create their opinion about the image. The photographer gives nothing away, no connection with model and does not tell a story about the person. It’s like a blank canvas and the viewer can draw their own conclusions. What is the point of this?
Looking at the Exhibition from The National Portrait Gallery, I feel that many of the images are not very original or groundbreaking. I feel that “I could have done that”. But if the images are in the National Portrait Gallery, then it is deemed to be art. This reminds me of Duchamp’s urinal which was entered as a piece of art to an exhibition under the name of R. Mutt, but was rejected. Duchamp contested this as he said “Whether Mr Mutt with his own hands made the fountain has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view - created a new thought for that object.”
Maybe is it in this context we should see the dead pan portraiture? The photographer chose an ordinary article of life – a model putting on a blank expression – and created a new thought for this object.
Personal style
How can I work toward creating a personal style? I came across an article called “A Few Thoughts on Photographic Style”. It mentions three basic points:
- Know the camera inside out. This will allow you to use it as a tool to express yourself.
- Seriously study A LOT of pictures. Note what triggers your interest. Start looking for these triggers.
- Be willing to take risks and express your emotions. This means you might risk rejection, but you have to be brave. It doesn’t matter if others don’t like it, as long as you’re true to yourself.
I think the three points are a real eye opener to what I must do in order to develop a personal style. This is my second course with the OCA and I really do wish to develop more than just technically. It is of course important to be confident using your camera, so that you don’t fumble and risk missing something. I think I know my camera quite well, but it wouldn’t hurt to read the manual once more in case I find something new.
I do look at a lot of pictures. Flickr is one of places. I was just recently looking at a group called Film Noir Mood and the pictures really interested me. I would like to explore this look further.
I am also often inspired by album covers as they express both the music and the essence of the artist. I would like use this inspiration in my own photography.
Finally, I am willing to take a risk. Photography is such a remarkable medium of expression and I am quite thrilled to show more of my personality through photography. I actually think that distance learning makes it easier to be “brave”. All communication is done through the internet, email and post. I don’t have to stand up and defend my work in front of other people. I don’t have to fit in with what a magazine or gallery wants. This is actually very liberating.
I feel that some of my pictures taken for the exercises in this course are not particularly personal or innovative or creative. They are more technical exercises. But for the assignment I put more personality into the photos.
- Know the camera inside out. This will allow you to use it as a tool to express yourself.
- Seriously study A LOT of pictures. Note what triggers your interest. Start looking for these triggers.
- Be willing to take risks and express your emotions. This means you might risk rejection, but you have to be brave. It doesn’t matter if others don’t like it, as long as you’re true to yourself.
I think the three points are a real eye opener to what I must do in order to develop a personal style. This is my second course with the OCA and I really do wish to develop more than just technically. It is of course important to be confident using your camera, so that you don’t fumble and risk missing something. I think I know my camera quite well, but it wouldn’t hurt to read the manual once more in case I find something new.
I do look at a lot of pictures. Flickr is one of places. I was just recently looking at a group called Film Noir Mood and the pictures really interested me. I would like to explore this look further.
I am also often inspired by album covers as they express both the music and the essence of the artist. I would like use this inspiration in my own photography.
Finally, I am willing to take a risk. Photography is such a remarkable medium of expression and I am quite thrilled to show more of my personality through photography. I actually think that distance learning makes it easier to be “brave”. All communication is done through the internet, email and post. I don’t have to stand up and defend my work in front of other people. I don’t have to fit in with what a magazine or gallery wants. This is actually very liberating.
I feel that some of my pictures taken for the exercises in this course are not particularly personal or innovative or creative. They are more technical exercises. But for the assignment I put more personality into the photos.
In an article with the above name, Alain Briot discusses how a photographer can establish a personal style. He is, according to himself, "one of the most successful landscape photographers working in the US today". Starting off, he says that we often think of personal style as something the masters have, and something we as students still haven't developed. We think we might have to wait until we have reached their level to possess a personal style. It might seem mysterious how this stage is obtained.
There is nothing wrong with being influenced by other artists. But there is a difference between copying some else's work and using the inspiration as a part of the learning process. He goes on by saying "developing a personal style is finding out who you are and making your work the extension of your personality".
In order to develop this style, we need to focus on ourselves, rather than on how others obtained it. Briot says that as a student he was more fascinated by his studies rather than by his personality. So what matters most is "finding out who we are, what we like and dislike and what we want to do with the time we can devote to our chosen medium". These questions are not related to equipment, technique or craft.
So how can we actually develop a personal photographic style?
Simply choosing a subject is not enough to develop a style. Subject is what you photograph, style is how you photograph it. Briot recommends however to choose a subject "to set up a structural environment in which to develop your personal style". It would be more complicated to apply a developing style to various subjects he claims. Personally, I am not at the stage where I want to decide for one subject, such as only landscape, urban or people. I find it such a joy to try different subjects, and discover new things to photograph.
A developing photographer will soon or later fit into a specific genre, or photographic movement, such as straight photography or pictoralist. Genre defines how you look at your subject from the perspective of the art movement you embrace. Genre is not the same as a personal style, but is good to know which genre your work is moving towards.
There is nothing wrong with being influenced by other artists. But there is a difference between copying some else's work and using the inspiration as a part of the learning process. He goes on by saying "developing a personal style is finding out who you are and making your work the extension of your personality".
In order to develop this style, we need to focus on ourselves, rather than on how others obtained it. Briot says that as a student he was more fascinated by his studies rather than by his personality. So what matters most is "finding out who we are, what we like and dislike and what we want to do with the time we can devote to our chosen medium". These questions are not related to equipment, technique or craft.
So how can we actually develop a personal photographic style?
Simply choosing a subject is not enough to develop a style. Subject is what you photograph, style is how you photograph it. Briot recommends however to choose a subject "to set up a structural environment in which to develop your personal style". It would be more complicated to apply a developing style to various subjects he claims. Personally, I am not at the stage where I want to decide for one subject, such as only landscape, urban or people. I find it such a joy to try different subjects, and discover new things to photograph.
A developing photographer will soon or later fit into a specific genre, or photographic movement, such as straight photography or pictoralist. Genre defines how you look at your subject from the perspective of the art movement you embrace. Genre is not the same as a personal style, but is good to know which genre your work is moving towards.
Links
The course Digital Photographic Practice is run by the Open College of the Arts.
OCA's Photography course author Michael Freeman in discussion - The Freeman View.
My tutor is Jesse Alexander.
The OCA student group on Flickr
Digital photography tutorials by Cambridge in Colour
The Luminous Landscape
OCA's Photography course author Michael Freeman in discussion - The Freeman View.
My tutor is Jesse Alexander.
The OCA student group on Flickr
Digital photography tutorials by Cambridge in Colour
The Luminous Landscape