CHAOS FILM /MARTIN HENSON

Martin Henson was born in 1952 in a place called Adel Mill Farm in West Yorkshire, here he was brought up with all his family. He now lives in a place called Otley a small market town in Wharfedale that is also in West Yorkshire. Because he works from home he has himself a digital darkroom and he does all his processing and printing of images in there. He had his first camera brought when he was 12 years old and it was a Kodak 120 roll film. It was a baker light box camera, with a fixed lens and leaf shutter. It took large negatives and he described it as a 'hit and miss quality' camera, however, it got him started photography. 

He said that his 'first claim to fame' was when he won first prize in the Leeds show and it gave him inspiration to enter more competitions. He said that he's won various competitions over the years but mainly in black and white. Martin Henson had pictures published in nearly every popular photo magazine on the market. He first started in black and white developing and printing, slowly moving to colour, however, he was always drawn back to monochrome as the preferred medium and he said that black and white looks 'simple but effective, dramatic not garnish, and for landscape can't be beaten'. All the pictures on his website were taken over the last few years and he decided to launch his website to show the area around where he lives. 90% of the pictures were taken within a 25 mile radius of where he lives and he intended to shoot lots more and make this website one of the biggest monochrome only landscape websites in the UK. 

'Whilst trekking the hills, dales and moors I have become more aware of the landscape we live in. We don't own it nor do we dictate to it, nature will do what it has to in the most spectacular ways, I am humbled by its power and beauty, I have witnessed amazing light shows, wondrous cloud formations, nature living in complete harmony equipped to cope with the elements, we as humans feel powerful in this technological age but out there we are just another part of life's cycle a gain of sand in a vast arena. I try to capture this sense of power and scale in my images not as the camera sees it but my own interpretation through inspiration on being a witness to events I have been privileged to see.



IVY STUDY

I really like how the edges of the photograph has got a bit of vignette, I think it makes the centre of the image look highlighted and more illuminated. You can really see the detail and the texture in the leafs. The leafs look almost like satin fabric and I like all the small little lines on the leaves.

HOLY LEAFS

I like the vignette on the photograph and I also really like how shiny the holy leaves are. I also think that the aperture on the photograph creates a very elegant look. You can see the texture in the leaves from all the small lines showing definition in the leaves. 

ROSE

I like how to main focus of the photograph is the flower and having the flower in the foreground to be a different colour to the background leaves makes the flower look more bold and centred. The vignette in the photo also make the flower look a lot more highlighted and spotlighted.

FLOWER STUDY

I really like how your eye gets attracted to the centre of the photo. The photograph also has a vignette making the flower look more emphasised. In addition, having the aperture being quite low makes smaller areas in focus being able to fully focus on the flowers and blur out the background. 

CHAOS DIGITAL /MARTIN ROEMERS RESEARCH

Martin Roemers was born in August 21st, 1962 in Oldehove, Netherlands. He is a Dutch photographer and artist. He studied at the aki ACADEMY of Visual Arts in Enschede, the Netherlands and graduated in 1991. For many years, he has worked on long-term projects that result in exhibitions and books such as Relics of the cold War, Kabul and The Eyes of War. His latest project is Metropolis, an exploration of the world's megacities. Martin Roemers' work has been exhibited throughout Europe, America, Asia and Australia. His work is represented in prominent public, corporate and private collections, among them the Rijksmuseum in Amsterdam, the Ford Foundation in New York and The Museum and The Museum of Fine Arts in Houston, Texas. Martin Roemers has written two books, one in 2007 called Final Days of Production and another in 2012 called Martin Roemers: The Eyes of War. This book was about him taking portrait photographs of thousands of people who had lost their eyesight as children or young soldiers during the Second World War. This book features around 40 portraits of war victims from Germany, Great Britain, the Netherlands, Belgium, Ukraine and Russia. 

Martin Roemers, (2014), Piccadilly Circus, City of Westminster, London, United Kingdom [ONLINE]. Available at: http://www.martinroemers.com/work.php?serie_dir=02Metropolis:%20AFRICA,%20AMERICAS,%20EUROPE&nr=2 [Accessed 30 November 2017].

METROPOLIS: AFRICA, AMERICAS, EUROPE

This collection of work was taken with a long exposure from elevated positions so that he could get a perspective looking down and to at the scenery. Martin Roemers created these photographs using a large-format analogue cameras and film. The images that he has created has the movement blurred but all the images are in focus. 'Just over a century ago 13% of the worlds population lived in urban centres, the United Nations predicts that by the year 2050, close to six billion people - 75% of the global population - are expected to be concentrated in cities. The UN has also designated that 28 of these cities now meet their threshold of what constitutes a 'megacity' defined as urban areas with more than 10 million inhabitants. 

Globally, one in eight urban residents now live in a megacity and by 2030 it is predicted that there will be forty-one of these over-loaded metropolitan centres around the world. Martin Roemers has been fascinated by the vibrant energy and mix of cultures living amidst this chaos, inspiring him to create Metropolis (2007-2015), a collection of 85 photographs in which he portraits 22 megacities across five continents.'

Martin Roemers, (2014), Victoria Embankment, City of Westminster, London, United Kingdom [ONLINE]. Available at: http://www.martinroemers.com/work.php?serie_dir=02Metropolis:%20AFRICA,%20AMERICAS,%20EUROPE&nr=0 [Accessed 30 November 2017].

This is a piece of his work that was taken at Victoria Embankment in the City of Westminster, London, United Kingdom and was created in 2014. I really like how the slow shutter speed make the people looked blurred. I also love how the people are blurred but the background and buildings are in focus. This collection of his work consists mostly of slow shutter speed shots to show how populated these 'megacities' are.

Martin Roemers, (2014), Camden High Street, Camden Town, London, United Kingdom [ONLINE]. Available at: http://www.martinroemers.com/work.php?serie_dir=02Metropolis:%20AFRICA,%20AMERICAS,%20EUROPE&nr=3 [Accessed 30 November 2017].

This was taken in Camden High Street in Camden Town, London, United Kingdom and was created in 2014. I really like the position and composition of this shot because you have all the shops to the side of the image then all the out of focus blurred people in the lower part of the photo. I also really like how much colour is in the photograph because it makes it look bold and bright. The shops themselves are old and unique in colour but the different colour of clothing on the people add to the colour.

Martin Roemers, (2015), Jardins du Trocadero, XVIe Arrondissement, Paris, France [ONLINE]. Available at: http://www.martinroemers.com/work.php?serie_dir=02Metropolis:%20AFRICA,%20AMERICAS,%20EUROPE&nr=4 [Accessed 30 November 2017].

This photo was taken in Jardins du Trocadero, XVIe Arrondissement in Paris, France. He create this shot in 2015 to go along with the rest of his Metropolis collection.

ANALYSING A STUDENTS WORK

FIRSTLY, LIST 5 WORDS TO DESCRIBE THAT WORK?
The work is very colourful and intense. All the different colours make the image look very bold and bright making the image look very creative and interesting. The light trails also make the image look very unique.

WHAT IS THE MEDIUM OF THE WORK?
The medium of the work is a portrait digital pigment print.

WHAT KIND OF SHAPES OR FORM CAN YOU FIND?
I can see lots of lines from the light trails. 

WHICH TECHNIQUES HAVE THEY USED?
They have used layering in photoshop to layer the light trails photo over the top of the portrait photo. Also I can see the use of rule of thirds in the photo because you naturally look in one of the golden sections. 

HOW DOES THE WORK MAKE YOU FEEL?
The work gives off a happy and uplifting atmosphere from the rich and vivid colours. 

MULTIPLICITY

Using photoshop I created both these images of multiplying/cloning the subject person. I shot these images set up in camera RAW but didn't adjust the image until they all were layered so that I could make them all the layered images look the same. 

When I went out to take the pictures, I made sure that I had an interesting background so that there was something interesting behind the subject. I shot the images with a tripod so that the frame was the same the whole time. I got the subject to change their position and move along the frame once I had focused and taken the photo. Once all the photos were taken, I then imported them into my computer and opened the into camera RAW. However, I didn't adjust any of the photos until they were altogether and I could adjust them all to still look the same. Once they were all opened into Photoshop I copied the second photo onto the first photo. 

So once all the images were opened up in Photoshop, I then copied one of the other images with the person in a different place and layered the image. I added a mask layer and erased part of the top layer to reveal the person below.

 

HYPERLAPSE

When you open photoshop, go to the file menu and open the first image in your sequence. At the bottom of the dialogue box, click on the image sequence box. Having your files numbered consecutively it will help a lot. After choosing the first image and clicking on the sequence box, clicking open will import the images into Photoshop as a time-lapse video file. If there are gaps in the sequence, then there will be segments of the time-lapse video with a black screen. 

After opening the image, a box will pop up asking you to select a frame rate. If you click the dropdown arrow will reveal a number of options. Usually stick to 24 fps for the cinematic look however, the frame rate can be changed later on in the editing process so this step isn't majorly important. 

Opening the image sequence in Photoshop will create a video layer, which is indicated by the filmstrip icon on the layer thumbnail. In order to see the video clip, go to window menu and select timeline. In the timeline, you can customise the duration of the video clip, watch a preview, or even add still images, complete with transitions. 

After making all the video edits or even if you make no changes at all, you need to export the time-lapse video. To export the video, go to file, export, render video. 

A STUDENTS WORK

FIRSTLY, LIST 5 WORDS TO DESCRIBE THAT WORK?
delicate
detailed
pretty
bright
colourful

WHAT IS THE MEDIUM OF THE WORK?
close up, landscape

WHAT KIND OF SHAPES OR FORM CAN YOU FIND?
shape of the petals and leaves

WHICH TECHNIQUES HAVE THEY USED?
close up, aperture, depth of field

WHAT KIND OF TEXTURES?
fur
hairy
water droplets

HOW DOES THE WORK MAKE YOU FEEL?
The work makes me feel happy because of the bright colours from the flowers and leaves.

RAW FILES

When you take photos in RAW and open them in photoshop, Camera Raw opens up. Camera Raw is a process in which you can edit photos before you edit it further in photoshop. With the majority of my photos I changed the temperature, exposure, contrast, highlights, shadows, whites, blacks and the clarity. I also increased the sharpening amount, radius, detail and masking to make the picture clearer. With the noise reduction I increase the luminance to make the image look a little softer. On some of my images I converted them to greyscale then increased the contrast to make the images darker. When I edited the image of the Shard with the pink sky, with the split toning tab I changed the Hue colour and the saturation colour to get the soft pink colour. 

In some of my RAW photographs I enabled the lens profile corrections to remove some of the vignette in the corners of the photo and also it removes the distortion of the photo. In the effects tab of camera RAW, I didn't change the grain of the photos because I wanted the photos as clear as possible. However, I did add some of the post crop vignetting to most of my photos. I didn't use the camera calibration, presents or the snapshot settings. Once I had finished editing the one image I saved them to my hard drive as 'tif' files but when I uploaded them to blogger I had to export them to JPEG files so that image size was smaller. 

HENRI CARTIER-BRESSON/ FORM & MOOD

Henri Cartier-Bresson was a French humanist photographer considered a master of candid photography, and an early user of the 35mm film. He pioneered the genre of street photography, and viewed photography as capturing a decisive moment.  Life is once, forever

Place de L'Europe - Gare Saint Lazare 1932

 

This photo from Henri Cartier-Bresson, I would describe the photo to look very haunting because of the fogginess with the gravestones behind the sinister shaped fence in front. Looking at the whole photograph it seems very dramatic with the reflection of the restless man running but frozen in the image.

FORM

The medium of the work is decisive moment. The decisive moment means, when you go out to take photographs, you sit and wait for the moment in time you want to take a picture of then shoot hundreds of photos in that one moment. Not when you go out and shoot a hundred photos in completely different places. 

MOOD
The work makes me feel distressed and unsettled. I feel this vibe from the photograph because of the gloomy fog within the gravestones behind the scary looking fence. In addition, the photo being black and white makes the man look creepy and scary, like he is running away from something bad in the foreground. 

THE FUTURE THROUGH THE LENS

CAMERAS

As the years go by there have been an improvement in phone camera quality, more compact cameras, and cheaper prices. These are a few of the new and improved cameras:

LILY DRONE

This drone is the worlds first drone fully equipped with GPS and can fly up to 50 feet. It can act as your own personal robot videographer programmed to get the best shot. It is able to record 1080p video footage and produce 12MP stills. You can quickly upload your images using the included 4GB micro SD card and USB micro SD card reader. The 2.4GHz, 4.5 channel transmitter is equipped with an LCD interface so you can view valuable flight information, as well as giving you a complete 3D fight control forward, backward, up, down, rotate or lateral movement. This drone is also waterproof and very compact so can travel anywhere in your backpack. 

ZEISS IPHONE LENSES

The Zeiss makers have introduced a line of high-quality attachment lenses for your iPhone. The selection of lenses includes a telephoto, wide-angle and macro lens. They also have an aluminium bracket that attaches to your iPhone. It secures the lens like a standard tripod mount and a cold shoe for attaching other accessories.

OLLOCLIP IPHONE ACCESSORIES

The Olloclip iPhone accessories includes nearly everything a photographer or someone interested in photography to want to take the best quality images just from your iPhone. It collection includes a protective studio case and a rail mount. This can attach two cold-shoe adapters, two clips to attach a tripod, grip or handle, a finger grip and a kickstand. For one of the most recent iPhone releases the 6/6s devices this piece of equipment could take your photos and videos to a hole other level. The Olloclip's Studio components seamlessly work together so you can focus on capturing everything through a phone without having to buy a DSLR camera for over £500.

NIKON D500

If you want to upgrade you Nikon D series (D7000, D200, D300), have a look at the new compact D500. The quality is almost as close as the other models and match in zoom and compatibility. Other feature of the D500 are the smart connectivity to premiere the SnapBridge Image sharing technology. This allows your camera to push photos to your smartphone wirelessly on the go with ease. Lets not forget about cameras video quality which boasts an amazing 4K video image for clear crisp footage. 

POLAROID SNAP+

This is a click and print camera. It has an integrated printer, that allows you to print full colour 2x3" prints/stickers in under a minute when an image is captured along with filter options in black and white, colour and vintage sepia and you can even print the photos with the classic Polaroid boarder to add a bit of retro flare to your photos. They said that its like bringing Polaroid into the 21st century'. It is equipped with Bluetooth connectivity so you can share an edited image from your smartphone or tablet and print it off on the camera, all via a 3.5-inch touchscreen LCD. With up to 128MB of expandable memory, you can take hours of filtered 1080p HD video with no hesitation. 

SKETCHBOOK PAGE PHOTOS

THESE ARE JUST A FEW OF THE PAGES FROM MY SKETCHBOOK

These two pages above show my photogram work. Later on in the book I present more of my recent photograms.

 This page shows an explanation of pinhole photography and some examples of my own work.

This page shows my SLR darkroom prints. It mainly consists of the test strips and the prints that didn't go so well.

These pages show my SLR prints and have a small explanation about each of the prints.

These pages show my darkroom explanation, and the method of processing 35mm film. It also shows the aperture and shutter speed explanation that can also be seen on the blog. 

I also have pages on week 4 of the carousel with my typography and my alphabet photography and also the darkroom health and safety.

CAROUSEL/ WEEK 4/ GRAPHICS (TYPOGRAPHY)

TYPOGRAPHY

We then opened the scan up in Adobe Illustrator so that we could draw over our own drawings. This was half of my scanned in drawing from the typography session we have.

Firstly we renamed the background layer to 'bg layer'. Then we created a second layer so that we don't damage the first background layer and so that when we tried other effects, we could hide the other layers.

Then we used the pen tool to outline our letters and because I had holes in my letters I needed to use an effect to cut out the hole in the centre of the letter.

We used a blog brush tool and traced inside the block letters. We could increase the width of the line however, as the thickness of the line grew bigger the less it looked like block letters which I didn't like. 

CAROUSEL / WEEK 4/ GRAPHIC DESIGN

Document what you did in this session on Tuesday and Wednesday, list below under the headings:

- SKILLS: being able to edit photos on Adobe Photoshop, Adobe InDesign, Adobe Illustrator

- PROCESSES (instruction) that you used: 

- MATERIALS: computers, camera, hard drives,

THE DESIGN CYCLE

client problem - planning research - test development - production

SCANNING (STEP BY STEP TO SCANNING)

Make sure that the power is on for the scanner

On the computer go to launchpad in the dock

Go to the search bar at the top an type in IMAGE CAPTURE and select the icon

On the application select : devices - select the scanner

The scanner will then scan the image and you can save it to the desktop.

RESOLUTIONS

72dpi -screen (phones, tv, computer screen)

150dpi - newsprints

300dpi - photographic print

PHOTOSHOP SHORTCUTS/GENERAL SHORTCUTS

cmd shift 3 - screenshot full screen

cmd shift 4 - screenshot selected area

(Photoshop) cmd,D -opens images

(Photoshop) cmd,J - creates a layer

(Photoshop) shift cmd,E - compresses all layers

1ST TASK - USING MAGAZINE/POSTER FRONT COVERS IN PHOTOSHOP

First open the crop tool in Photoshop

Then in the top bar we had to decide what the crop layout that was used in the five magazine/poster front covers that we had chosen. I decided to chose the rule of thirds layout for this magazine cover. 

For this magazine I decided to choose the golden spiral layout because the end of the spiral finishes at a important point of the front cover.

For this magazine I decided to choose the grid layout.

For this magazine cover I decided to choose the rule of thirds layout because it seems to be split into 3 sections.

For the last magazine cove, I decided to chose the rule of thirds layout.

CREATING MY OWN WORK

Start by importing your image into Photoshop and add a layer. Once the new layer has been selected go down to the bottom of the sidebar and select curves so that you can edit the contrast brightness etc. 

Adjust the contrast and brightness etc, using the lines on the graph and adjust it to your liking. Then create a new layer ready to adjust the colour balance.

I adjusted the colour balance only slightly because I was happy with the colour of the photo.

The using the shortcut of 'shift' 'command' 'e' it will compress all the layers together and lock it all together

After all layers are compressed, use the rule of thirds crop tool to crop the image. And save it to your desktop.

Then open the InDesign application and open your photoshopped image and drag it to the size of the paper.

I created a new layer in layers on the side tab then added some text over the top of the page. I rotated it and resized it to the way I wanted it to look.

Because we had to base the font style on the font that we drew out the day before, I decided to use the IMPACT font. And because my drawing was 3D, I duplicated the white font and made it yellow and moved it more to the right to create the shadow.

This was my final design from using Photoshop and InDesign.