Dismaland – Banksy’s Exhibition – Weston Super Mare

Dismaland Bemusement Park - Banksy - Weston Super Mare

Dismaland Bemusement Park - Banksy - Weston Super Mare

Dismaland Bemusement Park – Banksy – Weston Super Mare

Dismaland Bemusement Park was a temporary art project, created in secret by the graffiti artist / street artist Banksy. It ran from 21st August till 27th September 2015. The pop up exhibition was constructed in the unused, old lido called the Tropicana in Weston Super Mare, Somerset UK. Banksy described Dismaland as a “family theme park unsuitable for children”, as it was simply a sarcastic, sinister copy of the world-famous Disneyland. Dismaland contained works from Banksy himself and 58 other artists.

Who is Banksy? Banksy’s true identity is unknown, although we do know that he is an English based graffiti artist. He is thought to have been from Bristol, UK, and approximately late 30’s to mid 40’s in age. Banksy began as a freehand graffiti artist from 1990-1994. He was part of Bristol’s DryBredz Crew and worked alongside other artists. He began working with a photographer called Steve Lazarides, who later sold Banksy’s art pieces. Word was that Lazarides became Banksy’s agent. By 2000, Banksy decided to use stencilling in order to create his graffiti pieces, as it took less time to create a piece and by doing so, he was able to avoid capture from the Police, and was able to hide. One of Banksy’s first well known public wall murals, was in Stokes Croft, Bristol. It was called the ‘ Mild Mild West’ and was painted in 1997. It depicts a teddy bear, throwing a Molotov cocktail at three riot police. A second well known Banksy wall mural is on Park Street, Bristol. It depicts a naked man hanging by one arm from a window as a man in suit looks out, supposedly trying to the man the woman is having an affair with. It is located on the side of a sexual health clinic, and Bristol City Council have been made to let it stay after a popular demand for it to remain.

How was it created in secret……? Local residents of Weston Super Mare were originally told that a Hollywood film company called Atlas Entertainment were producing a new thriller film called Grey Fox. Questions weren’t really asked, as signage went up around the Tropicana saying ‘Grey Fox Productions’. It wasn’t until early August that questions began to arise, and news footage aired, due to a large fairy-tale castle and other large sculptures being erected in the centre of the Tropicana.

Once the large DISMALAND signage on the front of the building appeared, it was clear that this wasn’t a film production. I remember the news footage advising us that it was in fact an exhibition created by the local artist Banksy. Banksy quotes in regards to Dismaland ” It’s with great pleasure we throw open the doors of the Tropicana once again, I’ve dreamed of installing a theme park on this site ever since I walked past the building six months ago and peered through a gap in the fence. But this is not your average sugar-coated fantasyland selling scrapings from the Hollywood floor, No, we couldn’t afford the license for that”

Dismaland Bemusement Park - Banksy

Dismaland Bemusement Park – Banksy

The news coverage told us that only local residents were invited to see Dismaland, and in order to gain entry, they would have to collect a cut out ticket in their local paper. People who weren’t residents of Weston, including myself, were disappointed that we would not be able to see the exhibition. News coverage showed the vast queue of residents waiting in line, tickets in hand, to visit Dismaland on the first day of opening.  Below are two online news articles which show the opening day of Dismaland.

A day or two after the opening for residents only, news coverage told us that Dismaland was now in fact open to the public. A website was created called Dismaland Bemusement Park, and tickets were to be purchased online via this website. They cost £5 each per person or you could buy tickets on the door for £3 each per person. A vast difference in price from Disneyland. Like many others, I decided to go on the website to purchase tickets. I was confused as to why the ticket area was ‘Stuck’ somewhat and I was unable to click on anything to buy a ticket, even though it showed them being available. I thought it was perhaps a prank that was being played by Banksy in order to make people attempting to purchase tickets ‘Dismal’, giving us the similar feeling to children not being allowed to go to Disneyland. I decided to give up, and perhaps I would try again another time.

News coverage confirmed that I was not alone, in fact the website had crashed, not allowing anyone to purchase tickets. This happened for days if not nearly a week or more. I gave up trying to purchase a ticket. I saw the daily queues on the news and this also put me off. 4000 tickets were sold a day, so you can imagine how many people were queuing from the 11am opening to the 11pm closing, not including the vast quantity of people who arrived to stand in the queue to purchase tickets on the door. Dismaland was becoming famous worldwide and thousands of visitors from all over the world attended including celebrities.

Many of my family and friends managed to book tickets and were able to see Dismaland and said it was amazing. I was disappointed that I was unable to do so and that I was unable to go. A friend told me that the last but one batch of tickets were going on sale on Wednesday 16th September at 10am. I knew that I had to try to book a ticket, so I set an alarm early, preparing myself to be disappointed again or for the website to crash. I was fortunate to have been able to book 2 tickets, purchased and paid for them at exactly 10:01am. I was determined to go! 20 minutes after I purchased mine, the website sold out again. I was extremely happy that I had secured tickets to go and visit this famous bemusing theme park. All I had to do was wait.

Dismaland Bemusement Park - Banksy - Tickets

Dismaland Bemusement Park – Banksy – Tickets

Wednesday 23rd September 2015 – My Dismaland Experience!

Living in Bristol, Weston Super Mare is only 1hr or so away from where I live. I used to visit Weston regularly and still do so I’m familiar with the place. My time slot for Dismaland was 7pm. I arrived down in Weston at approximately 5:30pm and decided to go straight from the bus stop to the queuing area of Dismaland. There was only 15 people in the queue in front of us which I was completely surprised about, especially as I was waiting for thousands to be queuing already. I queued for over 1hr and a half.

Banksy created Dismaland to be a satirical take on Disneyland. In order for Dismaland to work, staff were advised to be as dismal, miserable and rude as possible. A shear opposite to the staff at the ‘Happy’ Disneyland. This bemusement park was meant to be a dismal, miserable experience for everyone that worked there and attended as visitors.

We arrived at the miserable looking ticket scanners who hurled abuse at the crowds telling us to ‘Get your tickets ready, we haven’t got all day, hurry up’ then moving us on to the ‘Security’ section just inside the front doors. A cartoon style, air port security awaited us. Miserable and rude staff welcomed us into the cardboard cut out security area. They made people jump and hop through the useless security scanners, made you do star jumps, scanned you with their cardboard cut out metal detectors and good luck if you laughed or smiled at them, you would either be told to stand against the wall, or be made to go to the back of the queue. This was hilarious! The staff members were extremely funny and it was so hard not to laugh at them, plus, I wasn’t prepared to go to the back of the queue, so I made sure my face stayed dismal.

Dismaland Bemusement Park - Banksy - Cartoon Security

Dismaland Bemusement Park – Banksy – Cartoon Security

As soon as I was let through the security, I was whispered ‘Welcome to Dismaland, Have a nice time’ by two dismal staff who reluctantly wanted to speak to me. Just outside of the door as you walk through to the main area, there is a burnt, old, wrecked ice cream van. Inside was a dismal staff member who sold the souvenir programmes for the theme park. They don’t speak to you, you just ask for how many programmes you would like, hand over the money, then they either throw the programmes at you, play tug of war with you or ignore you all together and make you reach inside to get them yourselves. Either way, it was funny. I ended up playing tug of war to get my two programmes.

Dismaland Bemusement Park - Banksy - Programme Seller

Dismaland Bemusement Park – Banksy – Programme Seller

Dismaland Bemusement Park - Banksy - Programme Seller

Dismaland Bemusement Park – Banksy – Programme Seller

Dismaland Bemusement Park - Banksy - Programme Seller

Dismaland Bemusement Park – Banksy – Programme Seller

Dismaland Bemusement Park - Banksy - Programme Seller

Dismaland Bemusement Park – Banksy – Programme Seller

Dismaland Bemusement Park - Banksy - Programme

Dismaland Bemusement Park – Banksy – Programme

Dismaland Bemusement Park - Banksy - Programme

Dismaland Bemusement Park – Banksy – Programme

After purchasing my programmes,

Dismaland Bemusement Park - Banksy - Programme

Dismaland Bemusement Park – Banksy – Programme

Dismaland Bemusement Park - Banksy - Programme

Dismaland Bemusement Park – Banksy – Programme

After purchasing my programmes, I decided to make my way over to Cinderella’s castle. I knew that this was one of the popular exhibition areas, and would be full of visitors. I was fortunate to be one of the first in Dismaland, which meant that Cinderella’s castle was empty. This was my chance to go and see it before the queue ended up around the ‘theme park’.

Cinderella’s castle was designed by Banksy himself. On the leaflet it quotes ‘Step Inside the Fairy tale and See How it Feels to be a Real Princess’ ‘Souvenir Photographs Available’. The outside of the castle was illuminated by large spot lights. A large Ariel figurine was situated in the water surrounding the castle. The Ariel figurine was made to look distorted and blurred, so when you photographed her, it would appear distorted in your photograph.

Dismaland Bemusement Park - Banksy - Cinderella's Castle

Dismaland Bemusement Park – Banksy – Cinderella’s Castle

Dismaland Bemusement Park - Banksy - Cinderella's Castle

Dismaland Bemusement Park – Banksy – Cinderella’s Castle

Dismaland Bemusement Park - Banksy - Cinderella's Castle

Dismaland Bemusement Park – Banksy – Cinderella’s Castle

Dismaland Bemusement Park - Banksy - Cinderella's Castle

Dismaland Bemusement Park – Banksy – Cinderella’s Castle

Dismaland Bemusement Park - Banksy - Cinderella's Castle

Dismaland Bemusement Park – Banksy – Cinderella’s Castle

In the water surrounding the castle, old wire mattresses and old shopping trollies were placed against the walls, with rubbish floating around in the water. Not something you would expect from a princess’ castle. The castle was battered and falling apart. We waited in line to be let in.

Dismaland Bemusement Park - Banksy - Cinderella's Castle

Dismaland Bemusement Park – Banksy – Cinderella’s Castle

The animated Cinderella film was playing on old broken televisions, hanging from the corner of the wall. Once you were guided through the ‘ Souvenir Photograph ‘ section, you were in complete darkness. All I felt was sand or gravel under my feet. You could hear a recording of police sirens, ambulance sirens and noises from camera flashes and chirping of birds on a loop. As soon as the lights from the camera flashes began, you were able to see what was inside of the Cinderella castle.

Dismaland Bemusement Park - Banksy - Cinderella's Crash

Dismaland Bemusement Park – Banksy – Cinderella’s Crash

Dismaland Bemusement Park - Banksy - Cinderella's Crash

Dismaland Bemusement Park – Banksy – Cinderella’s Crash

Dismaland Bemusement Park - Banksy - Cinderella's Crash

Dismaland Bemusement Park – Banksy – Cinderella’s Crash

Dismaland Bemusement Park - Banksy - Cinderella's Crash

Dismaland Bemusement Park – Banksy – Cinderella’s Crash

Dismaland Bemusement Park - Banksy - Cinderella's Crash

Dismaland Bemusement Park – Banksy – Cinderella’s Crash

Dismaland Bemusement Park - Banksy - Cinderella's Crash

Dismaland Bemusement Park – Banksy – Cinderella’s Crash

A huge overturned carriage, with broken wheels, fallen horses and mist bellowing out from behind it, was situated in the middle of the room. A mannequin of Cinderella was draped, hanging out of the window of the carriage, being pulled up by her two blue bird companions. Her blonde hair fell against the door of the carriage. The recording played on repeat, the chirping from the birds accompanied by the sirens and flash noises haunted you. The comparison to Princess Diana’s crash was obvious. This was most definitely a piece which portrayed the crash and death of a Princess, who was then hounded by photographers and paparazzi, all wanting to snap that one special photograph.

It is hard to say that this is my favourite piece of Dismaland, but somehow it is. Seeing the sheer size of this piece up close was intense. The atmosphere with it being dark, only a recording playing, and a swarm of mist engulfing you, made you feel uncomfortable, yet somehow this piece struck me the most. I remember the death of Princess Diana, I don’t think any one will ever forget. Banksy has created a piece which is shocking, but manages to put the truth before us. He shows us the side which we wanted to block from our minds, the reality of what actually happened and the aftermath of Princess Diana’s death and the crash. He does it in a way which uses the Disney character we all know, which again makes it personal to each of us. We all know the happy ending of the Cinderella fairy tale, so to see something like this representing what actually happened to a real life Princess, is sad. Some have argued that they don’t like it and are against this piece all together, saying that Banksy has created a disgusting, un-tasteful, insensitive piece. However, others like myself, found it shocking yet somewhat interesting and unique. I suppose it depends on how you view this piece. It is definitely a talking piece and something which Banksy will be remembered for.

Attempting to photograph this piece was extremely hard as one, I had no tripod, so setting my camera to shoot indoors with no lighting would mean extreme camera blur and movement from camera shake. The lack of light, and only relying on the camera flashes meant that I could only shoot when they were. I suppose this is so we are made to feel like one of the paparazzi’s ourselves….? We were also being told to move along as there was now a queue beginning to form, therefore, I was unable to photograph a clear image of this piece. I did however manage to get my Mother to record it on my second camera, so I may be able to get some clearer stills from the video. I have included the video recorded by my Mother, onto YouTube for you to look at.

Outside the exit of the castle, you were met by a large killer whale statue, leaping from a toilet pan, through a hula hoop, into a paddling pool. Sounds crazy, I know, but this was designed to represent the small aquariums which are used in sea world.

Dismaland Bemusement Park - Banksy - Killer Whale

Dismaland Bemusement Park – Banksy – Killer Whale

Dismaland Bemusement Park - Banksy - Killer Whale

Dismaland Bemusement Park – Banksy – Killer Whale

Dismaland Bemusement Park - Banksy - Killer Whale

Dismaland Bemusement Park – Banksy – Killer Whale

This was a large piece, so gained a lot of interest which is good in some way, because it brings light to the small aquariums being used in Sea World.

Behind the castle, close to this piece, was the rest of the water which surrounded the castle. This back area contained an old broken speed boat which was surrounded by rubbish. On the wall of the castle was a poster which reflected into the water. It was symbolizing the wealth and greed of politicians and the helplessness of the less fortunate. The poster was positioned lopsided with the politician being represented as heavy with greed and the family at the other end representing the poor, with nothing. This was a very striking, controversial piece which was talked about a lot.

Dismaland Bemusement Park - Banksy - Politician Poster

Dismaland Bemusement Park – Banksy – Politician Poster

Dismaland Bemusement Park - Banksy - Politician Poster

Dismaland Bemusement Park – Banksy – Politician Poster

A second poster of Prime Minister David Cameron was also on the other side of the Theme Park. It symbolises the downfall of his work as Prime Minister, as it is a poster of London with David Cameron toasting his success, being rolled up. In other words, being rolled up and discarded, ready for the next poster to be put up.

Dismaland Bemusement Park - Banksy - Prime Minister Poster

Dismaland Bemusement Park – Banksy – Prime Minister Poster

Banksy produced a large wheel which you could take a ride on, if you dared. It was battered and broken, but thankfully still safe enough to use. I watched people later that evening, take a ride on the big wheel. It was made to purposely stop every now and then, leaving the people on it dangling in the air, waiting for it to start. It was a funny joke aimed at all of the working big wheels seen in theme parks world-wide. It was a piece which really stood out. You could see the lights shining from the big wheel as you were walking down the path to the Tropicana.

Dismaland Bemusement Park - Banksy - Big Wheel

Dismaland Bemusement Park – Banksy – Big Wheel

Dismaland Bemusement Park - Banksy - Big Wheel

Dismaland Bemusement Park – Banksy – Big Wheel

Dismaland Bemusement Park - Banksy - Big Wheel

Dismaland Bemusement Park – Banksy – Big Wheel

There was a small indoor shop area called ‘Pocket Money Loans’ designed by artist Darren Cullen.

Dismaland Bemusement Park - Banksy - Darren Cullen's Pocket Money Loans

Dismaland Bemusement Park – Banksy – Darren Cullen’s Pocket Money Loans

Pocket Money Loans was a satirical take on Payday Loans, Mortgages, Loans, Money Lenders and much more. Rather than aiming this at adults, this was aimed at children, hence the ‘Pocket Money’. Darren Cullen, the artist, aimed it at children in order to send us as adults or parents, the message that in this day and age and in the future, our children will be applying for loans, mortgages and pawning everything they can in order to get money to survive.

On the outside of the ‘Shop’, there was a large sand pit play area, full of broken toys and rubbish. There was also a space for pram parking. This added to the effect of it being aimed at children. There was a giant sand castle with a huge windmill on the top, designed by Banksy. This was another favourite of mine.

Dismaland Bemusement Park - Banksy - Giant Sand Castle

Dismaland Bemusement Park – Banksy – Giant Sand Castle

Dismaland Bemusement Park - Banksy - Darren Cullen's Pocket Money Loans

Dismaland Bemusement Park – Banksy – Darren Cullen’s Pocket Money Loans

On the door of the pocket-money loan shop, there was a poster advertising for bailiff jobs. School bullies were wanted during school holidays, to earn money being bailiffs. The whole message surrounding this shop was the truth that in this day and age, money is the main focus of day-to-day living. From loans, benefits and much more, everything on the TV, in magazines, news coverage, is aimed at this. It is very sad, but unfortunately true.

Dismaland Bemusement Park - Banksy - Darren Cullen's Pocket Money Loans

Dismaland Bemusement Park – Banksy – Darren Cullen’s Pocket Money Loans

On the inside of the shop, they had toy action men for ‘Sale’, because every child wants a Barbie doll or an Action Man, however, these were real life Action Men. They were toy models of paralysed soldiers and P.T.S.D Soldiers. There were several advertising posters around the walls which were extremely thought-provoking and on the floor of the shop was a trampoline with balls from the ball pit underneath. I watched several people in front of me and behind me, fall over or bounce on without knowing that it was there, typical adults…. whereas if children were they, they would be jumping up and down on it. Where it was placed was also thought-provoking, as it was placed close to the counter where you paid for any items purchased. Children normally have trouble reaching counter tops in shops, therefore, this hidden trampoline would allow children to bounce up and down in order to reach the counter top to pay. Very interesting and thought out very well! They have also created a ‘Real’ Facebook page.

https://www.facebook.com/PocketMoneyLoans

Dismaland Bemusement Park - Banksy - Darren Cullen's Pocket Money Loans

Dismaland Bemusement Park – Banksy – Darren Cullen’s Pocket Money Loans

Dismaland Bemusement Park - Banksy - Darren Cullen's Pocket Money Loans

Dismaland Bemusement Park – Banksy – Darren Cullen’s Pocket Money Loans

Dismaland Bemusement Park - Banksy - Darren Cullen's Pocket Money Loans

Dismaland Bemusement Park – Banksy – Darren Cullen’s Pocket Money Loans

Dismaland Bemusement Park - Banksy - Darren Cullen's Pocket Money Loans

Dismaland Bemusement Park – Banksy – Darren Cullen’s Pocket Money Loans

Dismaland Bemusement Park - Banksy - Darren Cullen's Pocket Money Loans

Dismaland Bemusement Park – Banksy – Darren Cullen’s Pocket Money Loans

Dismaland Bemusement Park - Banksy - Darren Cullen's Pocket Money Loans

Dismaland Bemusement Park – Banksy – Darren Cullen’s Pocket Money Loans

I purchased a few items from the shop and picked up a few free business cards.

Dismaland Bemusement Park - Banksy - Darren Cullen's Pocket Money Loans

Dismaland Bemusement Park – Banksy – Darren Cullen’s Pocket Money Loans

Dismaland Bemusement Park - Banksy - Darren Cullen's Pocket Money Loans

Dismaland Bemusement Park – Banksy – Darren Cullen’s Pocket Money Loans

Dismaland Bemusement Park - Banksy - Darren Cullen's Pocket Money Loans

Dismaland Bemusement Park – Banksy – Darren Cullen’s Pocket Money Loans

Dismaland Bemusement Park - Banksy - Darren Cullen's Pocket Money Loans

Dismaland Bemusement Park – Banksy – Darren Cullen’s Pocket Money Loans

There was a large, working carousel with dismal, rude staff running it. I’ve always loved carousels, mainly because of the ‘Pretty Lights’. However, this wasn’t your average carousel. The music playing on the carousel was slow and ‘strange’. The actual meaning for this carousel was to highlight the horse meat scandal…..horses on a carousel and horses in our lasagne. There was a mannequin of a slaughter man, sat on boxes which had been labelled ‘Lasagne’. Behind the mannequin was a hanging carousel horse. This was a very thought-provoking piece. I loved the carousel, but perhaps not the mannequin, it looked too real, especially the face. Not many people were bothered by the mannequin and were still riding the carousel. I have included my video which I have uploaded onto YouTube for you to watch.

Dismaland Bemusement Park - Banksy - Carousel

Dismaland Bemusement Park – Banksy – Carousel

Dismaland Bemusement Park - Banksy - Carousel

Dismaland Bemusement Park – Banksy – Carousel

Another favourite piece of mine, was the Big Rig Jig, designed by Mike Ross. This piece took seven people, three months to build and construct. They went on a hunt to search and find any dis-used, broken trucks. This piece could be seen for miles and stood out amongst the crowds of people. The shear size and craziness of it is what made it one of my favourite pieces. I have no idea how they managed to construct this piece, but I loved it. My Mother even mentioned that the giant windmill and this, would look great in her garden.

Dismaland Bemusement Park - Banksy - Big Rig Jig by Mike Ross

Dismaland Bemusement Park – Banksy – Big Rig Jig by Mike Ross

Dismaland Bemusement Park - Banksy - Big Rig Jig by Mike Ross

Dismaland Bemusement Park – Banksy – Big Rig Jig by Mike Ross

There were several stalls situated amongst the large pieces. Every stall was different and contained different games for you to play, for example ‘Topple the Anvil with a Ping Pong ball’ and ‘Hook a Duck from the Muck’. This is very similar to what you find at fun fares and travelling circuses. However, this was Dismaland, and of course you were not going to win, if you did manage to win on one of these games, you were extremely lucky. I decided to have a go at ‘Hook a Duck from the Muck’

Dismaland Bemusement Park - Banksy - Hook a Duck from the Muck

Dismaland Bemusement Park – Banksy – Hook a Duck from the Muck

This game was similar to hook a duck and win a gold fish in a bag. However, this one had a twist. The ducks in the muck were representing the oil spills we have in our seas and oceans, hence why there is a statue of a pelican bird covered in oil. The ducks were floating upside down, or had no hooks in them for you to hook, so hooking a duck would be impossible. I decided to have a go anyway.

Dismaland Bemusement Park - Banksy - Hook a Duck from the Muck

Dismaland Bemusement Park – Banksy – Hook a Duck from the Muck

I was given a small length of bamboo pole, with a piece of rope tied to the end. There was a hook on the end which was turned up so much, it was near impossible to be able to hook a duck. I handed over the money to the dismal staff member, and they threw me the pole. I attempted to win a cardboard fish finger in a bag, but every time I managed to get close to hooking a duck, the staff member bounced the water, which moved the duck. She then threw every duck I managed to hook, making me not win. But that’s what Dismaland is about, your not allowed to win. I never managed to win a fish finger in a bag. The pole was then taken from my hand before I had finished my time slot and they slowly walked off to pinch someone else’s pole.

Dismaland Bemusement Park - Banksy - Hook a Duck from the Muck

Dismaland Bemusement Park – Banksy – Hook a Duck from the Muck

I spent more than a few hours in the outside exhibition areas, however, I then decided to go into the indoor exhibition areas, as the crowds outside were beginning to pile up. One of the indoor exhibitions was a model village created by Jimmy Cauty. This model village was constructed over 9 months and every single piece was hand painted and details added.

Dismaland Bemusement Park - Banksy - Jimmy Cauty Model Village

Dismaland Bemusement Park – Banksy – Jimmy Cauty Model Village

Dismaland Bemusement Park - Banksy - Jimmy Cauty Model Village

Dismaland Bemusement Park – Banksy – Jimmy Cauty Model Village

Dismaland Bemusement Park - Banksy - Jimmy Cauty Model Village

Dismaland Bemusement Park – Banksy – Jimmy Cauty Model Village

Dismaland Bemusement Park - Banksy - Jimmy Cauty Model Village

Dismaland Bemusement Park – Banksy – Jimmy Cauty Model Village

Dismaland Bemusement Park - Banksy - Jimmy Cauty Model Village

Dismaland Bemusement Park – Banksy – Jimmy Cauty Model Village

This model village was amazing. The size of it filled a whole room, so I can fully understand how it took 9 months to construct. Each piece is so detailed, it looks realistic. It is almost as though you are looking at photographs of real scenes of crime. This was one of my favourite pieces. Unfortunately we weren’t able to stay long inside this exhibition, as grumpy staff members were moving us along, but I would have loved to have stood and looked at each piece properly. I picked up some leaflets for this exhibition piece.

Dismaland Bemusement Park - Banksy - Jimmy Cauty Model Village

Dismaland Bemusement Park – Banksy – Jimmy Cauty Model Village

Dismaland Bemusement Park - Banksy - Jimmy Cauty Model Village

Dismaland Bemusement Park – Banksy – Jimmy Cauty Model Village

Dismaland Bemusement Park - Banksy - Jimmy Cauty Model Village

Dismaland Bemusement Park – Banksy – Jimmy Cauty Model Village

Dismaland Bemusement Park - Banksy - Jimmy Cauty Model Village

Dismaland Bemusement Park – Banksy – Jimmy Cauty Model Village

Another in door exhibit was The Dance of Death. This involved a grim reaper mannequin driving a bumper car. Sounds strange, but I really enjoyed this piece. Every 15 minutes, this exhibition piece would ‘Begin’. You were standing in the pitch black and suddenly grim music began. Out from a door way, a bumper car appeared and began driving slowly around, until it reached the viewers. It drove along the front where we stood and the scythe nearly hit me around the head, I never realised just how close it actually got to us. All of a sudden, the music stopped and the Bee Gees song Stayin Alive began. The grim reaper began driving the bumper car around, almost dancing to the music. I tried to photograph this, but unfortunately the strobe lighting and the movement of the car was too fast, so some of my photograph are unclear, therefore, I filmed most of it instead.  However, I have uploaded my video to YouTube and have included the link for you to watch.

Dismaland Bemusement Park - Banksy -Dance of Death

Dismaland Bemusement Park – Banksy -Dance of Death

Dismaland Bemusement Park - Banksy -Dance of Death

Dismaland Bemusement Park – Banksy -Dance of Death

Dismaland Bemusement Park - Banksy -Dance of Death

Dismaland Bemusement Park – Banksy -Dance of Death

I know this is very macabre, but it made me laugh, probably because of the music which they put to it. It is something completely different and unique which I have never seen before.

My Dismaland Visit:

Previous to Dismaland, I haven’t really taken much notice of Banksy or his work. I do own a his Wall and Piece book, but I am yet to read it in full. Living in Bristol, I see pieces of his work on a daily basis, spray painted on walls in the city centre and in streets nearby where I live. Visiting Dismaland, and seeing his art work and the art work of others has really opened my eyes to what Banksy actually creates. He creates pieces which are unique and thought-provoking. He focuses on what is in the media at that moment in time, and shows us his opinions on the matters. Many object to Banksy’s work, and think of it as just rubbish spray paint which is illegal, however, some of his work is really good.

I had a fantastic time at Dismaland, even though it was meant to do the complete opposite, I think a lot of people who were lucky enough to go, actually enjoyed themselves. There was so much art work, art pieces, sculptures, games, tents full of posters and much more, that I can’t physically write about all of it which is a shame. Each piece that I viewed that evening was amazing. Some pieces had hidden messages which made you think about the piece and try to figure out the hidden meaning, whereas others such as the horse meat lasagne carousel, were open message pieces.

I was fortunate enough to be at the front of the queue that evening, so when we arrived into the main part of Dismaland, it was empty, allowing me to be able to photograph as much as I could before the crowds of people appeared. Towards the end of the evening, it got very dark and cold, especially as we were in the open air and on the beach, so I was trying to steady my hands from shaking because it was freezing cold. I took hundreds of photographs that evening which I haven’t put on here. I will be able to use photographs from my visit for future exercises or assignments.

I did struggle with changing my camera settings a lot due to the change in the weather and it being dark. I had to make sure that I changed settings from each piece and remember to avoid camera shake and blur. There was hundreds of people in Dismaland that evening, so crowds of people were everywhere which is understandable. I had to be patient in order to take my photographs as I wanted to make sure that I captured the ‘Perfect’ photo. It was hard at some points, as many people would either walk in front of my camera, or they were pushing and shoving people, so I had to be patient a lot.

Banksy created something amazing, which bought thousands of visitors to Weston Super Mare who spent thousands of pounds in local businesses and hotels, enabling them to stay open this winter. I was unable to visit Banksy’s exhibition in Bristol museum back in 2009, so when Dismaland opened, I knew that I had to visit this as I doubt we will see anything like this again in the near future.

Banksy and other artists ‘Hid’ pieces of art work around Dismaland for visitors to find and take with them. Many people found spray painted canvases rolled up or stuck behind objects, strange objects, toys and much more. I was unlucky and didn’t find anything exciting such as art work, although I wasn’t really looking for hidden art, and the art which was visible, I wasn’t going to take as I didn’t know if it was part of an exhibition or not. I did however, twist my foot on something near the horse meat lasagne carousel. When I looked down on the floor, I noticed a tool shaped object, discarded close to the wall. This was covered in mud rock fingerprints, which I spotted as I used to use mud rock in my art work, so I knew this was one of Banksy’s ‘Hidden’ art pieces. I decided to take this piece as it was discarded on the floor and wasn’t part of an actual exhibition piece, so I knew it must have been something left for someone to take. Who know what it is, I cant really decide what it is, but it is unique and it reminds me of my visit to Dismaland.

Dismaland Bemusement Park - Banksy -

Dismaland Bemusement Park – Banksy –

Dismaland Bemusement Park - Banksy -

Dismaland Bemusement Park – Banksy –

If Banksy is to open something like this again, I will try my best to attend as I really enjoyed Dismaland.

Sources:

  • Dismaland Online News Articles

http://www.independent.co.uk/arts-entertainment/art/news/banksy-dismaland-tickets-hoax-10466270.html

http://www.bristolpost.co.uk/Banksy-s-Dismaland-Live-coverage-opening-day/story-27657103-detail/story.html

  • Cinderella Castle Exhibit Online Articles

http://www.dailymail.co.uk/news/article-3204653/Come-eat-cold-chips-sound-crying-children-Banksy-confirms-opening-Dismaland-seaside-bemusement-park-art-exhibition.html

http://uk.businessinsider.com/banky-dismaland-cinderella-princess-diana-2015-8

  • Cinderella’s Castle Exhibition – YouTube Video – Taken by Myself on 23/09/2015

  • Pocket Money Loans – Darren Cullen

https://www.facebook.com/PocketMoneyLoans

  • Horse Meat Lasagne Carousel – YouTube Video – Taken by Myself on 23/09/2015

  • Dance of Death Exhibition – YouTube Video – Taken by Myself on 23/09/2015

  • Banksy Wall and Piece Book

https://www.waterstones.com/book/wall-and-piece/banksy/9781844137862

Publisher: Cornerstone

Published:03/11/2005
ISBN: 9781844137862

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Shaun in the City – The Great Round Up Exhibition – Bristol

120 giant Shaun the Sheep sculptures, which were painted by artists and household names from the worlds of film, art, animation and fashion, grazed green spaces and iconic locations in London and Bristol during spring and summer of 2015.

50 Shaun sculptures were situated around the capital city, London, from the 28th March till the 31st May 2015. From the 6th July till 31st August,  the second flock of entirely different and unique sculptures, were situated around Bristol. In Bristol, we had a Shaun in the City trail. An app was created which showed you the route of the ‘Trail’ which you could follow, in order to find the Shaun statues. As Bristol is quite a large city, the Shaun statues were placed in many different locations, which meant that you could enjoy a day or two out with your family, looking for the sheep statues. Once you had found a Shaun statue, you could note down the code and enter it onto your map. I was able to find two statues whilst out, however, I was unable to go and find the rest.

Melonie Shaun Statue

Melonie Shaun Statue

Melonie Shaun Statue

Melonie Shaun Statue

Melonie Shaun Statue

Melonie Shaun Statue

Bagpuss Shaun Sculpture

Bagpuss Shaun Statue

In Bristol from the 12th – 20th September, the Great Sheep Round Up Exhibition took place. It contained the combined sheep statues from both London and Bristol, 120 in total. This gave everyone a chance to visit the exhibition to view all of the sheep statues together, and to photograph the ones that they may have missed when following the trail. I knew that I had to try to get tickets to the exhibition as I wanted to try to view all of the statues.

I set my alarm early one morning and waited online for the tickets to go on sale. I was extremely fortunate to buy some for myself and my family before they sold out in 20 minutes. I booked tickets for Friday 18th September at 7:30pm.

The Great Round Up Exhibition Tickets

The Great Round Up Exhibition Tickets

The Great Round Up was situated at The Mall Cribbs Causeway. In one of the car parks, they erected a huge pavilion / outdoor tent area. We lined up outside as the staff checked our tickets. As soon as we walked into the tent area, the sheer quantity of Shaun statues took me by surprise. I walked around the indoor tent and photographed every single sculpture. We were given a two-hour slot to view the sculptures and I didn’t think that I would spend that long in there, however, we stayed almost until they were closing. I was fascinated by each sculpture, the details on each statue were amazing and it was great to be able to stand close to them to see the details up close. It must have taken days if not weeks or maybe longer, to paint these statues. They were amazing!

The staff was friendly and were answering questions about the individual sculptures. There was a large number of visitors which attended that evening which is understandable. It was busy at first, so photographing each sculpture was difficult, however, people were pleasant and were allowing you to photograph each sculpture before they did, therefore I had no problem when photographing each Shaun. Towards the end of the evening, the crowd of visitors dwindled, and I was able to take more landscape photographs, which included all of the sculptures.

Below are some screen shots of both the London and Bristol sculptures, from the Shaun in the City website.

http://www.shauninthecity.org.uk/

http://www.shauninthecity.org.uk/shauns?location=bristol

This way, you are able to see the names and front photographs of the statues. I will then upload some of the photographs from my visit to the exhibition.

Bristol Shaun Scultpures

Bristol Shaun Sculptures

Bristol Shaun Sculptures

Bristol Shaun Sculptures

Bristol Shaun Sculptures

Bristol Shaun Sculptures

Bristol Shaun Sculptures

Bristol Shaun Sculptures

Bristol Shaun Sculptures

Bristol Shaun Sculptures

Bristol Shaun Sculptures

Bristol Shaun Sculptures

Bristol Shaun Sculptures

Bristol Shaun Sculptures

London Shaun Sculptures

London Shaun Sculptures

London Shaun Sculptures

London Shaun Sculptures

London Shaun Sculptures

London Shaun Sculptures

London Shaun Sculptures

London Shaun Sculptures

London Shaun Sculptures

London Shaun Sculptures

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

Woolly Jumbo Shaun

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

The Great Round Up Exhibition - Bristol

The Great Round Up Exhibition – Bristol

Choosing a favourite sculpture is extremely hard as they were all fantastic and if I could, I would have chosen them all, however, if I had to choose my favourite Bristol Sheep sculptures were the Bagpuss Shaun, Air Fleece Shaun, Great West Shaun, Star Bake Shaun, Woolly Wonderland and Shear – Lock Holmes Shaun. My Favourite London Sheep sculptures were the Another one Rides the Bus Shaun, Happy & Glorious Shaun, Woolly Jumbo Shaun, To Sheep Perchance to Dream Shaun and The Guardian,  Chelsea Pen-Shaun-er Shaun and Kanzashi Shaun.

Happy & Glorious Shaun

Happy & Glorious Shaun

Happy & Glorious Shaun

Happy & Glorious Shaun

Happy & Glorious Shaun

Happy & Glorious Shaun

Happy & Glorious Shaun

Happy & Glorious Shaun

Air Fleece Shaun

Woolly Jumbo Shaun

Air Fleece Shaun

Woolly Jumbo Shaun

Woolly Jumbo Shaun

Woolly Jumbo Shaun

Star Bake Shaun

Star Bake Shaun

Star Bake Shaun

Star Bake Shaun

Air Fleece Shaun

Air Fleece Shaun

Air Fleece Shaun

Air Fleece Shaun

Air Fleece Shaun

Air Fleece Shaun

Woolly Wonderland Shaun

Woolly Wonderland Shaun

Woolly Wonderland Shaun

Woolly Wonderland Shaun

Woolly Wonderland Shaun

Woolly Wonderland Shaun

Woolly Wonderland Shaun

Woolly Wonderland Shaun

Another one Rides the Bus Shaun

Another one Rides the Bus Shaun

Another one Rides the Bus Shaun

Another one Rides the Bus Shaun

Another one Rides the Bus Shaun

Another one Rides the Bus Shaun

Another one Rides the Bus Shaun

Another one Rides the Bus Shaun

On Thursday 8th October 2015, the sculptures went under the hammer in a grand auction hosted by Sotheby’s auctioneer Tim Wonnacott. This gave everyone an opportunity to bid and win a Shaun statue to take home. Each statue sold, raised money which would help sick children in hospitals across the UK. The proceeds from the London sculptures sold, would go to The Wallace & Gromit’s Children Charity, which supports children’s hospitals and hospices throughout the UK. The proceeds from the Bristol sculptures sold, would go to The Grand Appeal, which funds life-saving care, pioneering medical equipment, facilities, and comforts for patients at Bristol Children’s Hospital. I was in two minds as to bid on one of the large sculptures, however, I couldn’t afford the prices they went for. In total, the money raised from the sale of all 120 sheep sculptures raised over £1Million for charity which is absolutely fantastic!

Like me, if you were unable to bid on one of these giant sculptures, you could purchase a mini Shaun sculpture instead. On the Shaun in the City website, they have an online shop with a variety of products which are sold for charity. They have produced mini replicas of some of the popular larger Shaun sculptures. I was surprised by my mother, who purchased me two of the mini sculptures.

Shaun the Sheep Figurine

Shaun the Sheep Figurine

Star Bake Shaun - Shaun the Sheep Figurine

Star Bake Shaun – Shaun the Sheep Figurine

Star Bake Shaun - Shaun the Sheep Figurine

Star Bake Shaun – Shaun the Sheep Figurine

Star Bake Shaun - Shaun the Sheep Figurine

Star Bake Shaun – Shaun the Sheep Figurine

Happy & Glorious - Shaun the Sheep Figurine

Happy & Glorious – Shaun the Sheep Figurine

Happy & Glorious - Shaun the Sheep Figurine

Happy & Glorious – Shaun the Sheep Figurine

Happy & Glorious - Shaun the Sheep Figurine

Happy & Glorious – Shaun the Sheep Figurine

Happy & Glorious - Shaun the Sheep Figurine

Happy & Glorious – Shaun the Sheep Figurine

Happy & Glorious - Shaun the Sheep Figurine

Happy & Glorious – Shaun the Sheep Figurine

These sculptures were hand-made and hand painted, with every detail just as amazing as the giant one.

I really enjoyed The Great Round Up exhibition. Being able to see all of the combined sculptures from London and Bristol was great. Every sculpture was amazing and I was amazed by the details on each one. I am pleased that I was able to visit these sculptures and that my money and the money raised will help hospitals all over the UK.

Sources:

  • Shaun in the City Shaun Sculptures

http://www.shauninthecity.org.uk/

http://www.shauninthecity.org.uk/shauns?location=bristol

Digital Photographic Practice Bibliography

  • Part Five: The Final Image.

 

References: Assignment Five: Personal Project.

PETA article – The Reality of Zoos – Michelle Carr – 2013

The Reality of Zoos

Liz Tyson article – 23rd June 2013 – Chester Zoo, UK.

https://www.thedodo.com/community/Liz_Tyson/if-we-really-care-about-animal-601151421.html

Article One: PETA – 13 Times Zoos Were Bad for Animals – http://www.peta.org/features/zoo-animal-abuse/

Article Two: CAPS – 10 Facts about Zoos – March 3rd 2010 –  http://www.captiveanimals.org/news/2010/03/10-facts-about-zoos

Jaschinski, Britta.

Britta Jaschinski – Zoo Book – Amazon.

  • Hardcover: 112 pages
  • Publisher: Phaidon Press (13 May 1996)
  • Language: English
  • ISBN-10: 0714834726
  • ISBN-13: 978-0714834726

Britta Jaschinski Photograph, By Spiros Politis, Jan 01, 2010,

Website: http://www.brittaphotography.com/projects.php

Winogrand, Garry.

Garry Winogrand – The Animals Book – Amazon

  • Hardcover: 48 pages
  • Publisher: The Museum of Modern Art, New York; 2nd edition (April 2, 2004)
  • Language: English
  • ISBN-10: 0870706330
  • ISBN-13: 978-0870706332

Garry Winogrand Photograph, Self Portrait.

Master Profiles: Garry Winogrand

Garry Winogrand, The Animals Photographs,

The Animals

Peter Barker Blog Article, February 18th 2013 –

The Animals

Vanden Eeckhoudt, Michel.

Michel Vanden Eeckhoudt – Zoologies Book – Amazon

  • Hardcover
  • Publisher: Delpire; First edition (1982)
  • Language: French
  • ISBN-10: 2851071041
  • ISBN-13: 978-2851071040

Photo Book and Photographs –

http://www.agencevu.com/photographers/photographer.php?id=83

 

References: Project: A Web Gallery.

Fashion / Beauty Galleries:

  • Tim Walker – London.

http://www.timwalkerphotography.com/recent-work

  • Jason Bell – London / New York City

http://www.jasonbellphoto.com/#/home/

  • Richard Miles

http://www.richardmilesphotography.co.uk/#!/home/

Animal / Wildlife Galleries:

  • Joel Sartore

http://www.joelsartore.com/

  • Jim Dratfield

http://petography.com/

My Own Website / Web Gallery

  • Website Builder

https://www.wix.com/

  • My Photography Website

http://chantellegracephotos.wix.com/photography

 

  • Part Four: Reality and Intervention.

 

References: Assignment Four: Real or Fake.

The Photograph – By Graham Clarke – Published by Oxford University Press 1997. ISBN: 978-0-19-284200-8 –

Pages 187-207  The Photograph Manipulated.

Chambré Hardman, E.

The Birth of the Ark Royal 1950 – By E. Chambré Hardman
Langdon Coburn, Alvin.
Fifth Avenue from the St. Regis, Platinum Print – By Alvin Langdon Coburn
Times Square (The Christmas Tree) 1912, Gelatin Silver Print – By Alvin Langdon Colburn
The Tunnel Brothers 1908, Gum Platinum Print – By Alvin Langdon Colburn
Ut, Nick.
Vietnam Napalm 1972 Photograph – Trang Bang Village – By Nick Ut for Associated Press.

http://www.apimages.com/metadata/Index/Watchf-AP-I-VNM-APHS021000-Vietnam-Napalm-1972/e674e44489a54fbca89b41a7d821b89e/1/1

Lange, Dorothea.

Migrant Mother Photograph.Florence Owens Thompson, ‘Migrant Mother’, Nipomo, March 1936. By Dorothea Lange for the FSA. Published in

Dorothea Lange. Phaidon 55. Phaidon Press Limited, London 2001. Pages 38-39.

ISBN: 071484053x

Iconic Photo Exposed: Migrant Mother

Ditched, Stalled and Stranded Photograph, San Joaquin Valley, California, 1935.  By Dorothea Lange for the FSA. Published in

Dorothea Lange. Phaidon 55. Phaidon Press Limited, London 2001. Pages 30-31.

ISBN: 071484053x

  • President Abraham Lincoln Photograph
  • Josef Stalin Photograph
  • Benito Mussolini Photograph

Article By Lee Moran, 28th February 2012

http://www.dailymail.co.uk/news/article-2107109/Iconic-Abraham-Lincoln-portrait-revealed-TWO-pictures-stitched-together.html

Self Magazine and Kelly Clarkson Article

Beauty Redefined Blog, By BR Admin 03 December 2014

Photoshopping: Altering Images and Our Minds

Photographs of book front covers:

  • Roald Dhal; James and the giant peach, Charlie and the chocolate factory – Google Images
  • Charlotte Bronte; Jayne Eyre – Google Images
  • F. Scott Fitzgerald; The Great Gatsby – Google Images

Research into Badgers:

http://badger.org.uk/

http://badger.org.uk/badgers/badger-portrait.aspx

http://www.binfieldbadgers.org.uk/about_badgers.htm

http://www.badgertrust.org.uk

http://www.badgertrust.org.uk/threats/bovine-tb.aspx

http://www.rspca.org.uk/getinvolved/campaign/badgers

Brian May Photograph:

‘May leads protest against badger cull

Article by Brian Whelan, 01 June 2013
Badger Posters:
  1. Poster used at a Taunton Protest – http://www.bbc.co.uk/news/uk-england-somerset-33946471
  2. Team Badger Anti Cull protest poster – Google Images
  3. Care for the Wild poster –  Google Images
  4. Badger Trust poster – Google Images

 

References: Exercise: Alteration.

Practical Photography Magazine. February 2015. Pages 96-97.

Article Retouch detailed images with the healing brush, By Matthew Higgs.

 

References: Exercise: Enhancement.

Practical Photography Magazine. July 2014. Page 96-97

(Editing Suite-Basic Skills) Basic Eye Brightening Article By Tim Berry

Practical Photography Magazine. August 2013. Page 88-89.

Dramatic Portraits Article, By Tim Berry

Photoshop Elements Changing Eye Colour. By David Peterson.

http://www.digital-photo-secrets.com/tip/1747/photoshop-elements-changing-eye-color/

 

References: Exercise: Correction.

Digital Photography Masterclass, Dorling Kindersley Limited, London, 2008. Pages 167-168.

ISBN: 9781856131315

Dust Particles Article, July 27, 2010 By Nasim Mansurov

How to Spot Dust on Your DSLR Sensor

(Dust Specks Image) By Vit Kovalcik, 26 November, 2014

Fight Dirt and Dead Pixels

Polygon Flares:

  • Understanding Lens Flare & Ghosting Article. By Todd Owyoung, 13 July 2011http://www.ishootshows.com/2011/07/13/understanding-lens-flare-ghosting/
  • 25 Artistic Lens Flare Effects in Digital Photography Article, By Alex 5 March 2011. Image Rays in Sunlight, By Bernd

25 Artistic Lens Flare Effects In Digital Photography

 

References: Project: Digital Photography and ‘Truth’

Photography: The Key Concepts, David Bate. Bloomsbury, London 2009. Pages 112-120.

ISBN: 9781845206673

Photographs:

McDonalds Burger Advert.

Julia Roberts Photographs; Lancôme Advertising Campaign 2011.

http://news.softpedia.com/news/Julie-Roberts-Airbrushed-Within-an-Inch-of-Her-Life-in-Lancome-Ad-144951.shtml

Beyoncé Photographs: L’Oreal Infallible Advertising Campaign 2013

Procter & Gable Cover Girl Mascara Advert 2011:

http://www.businessinsider.com/us-moves-toward-banning-use-of-photoshop-in-cosetics-ads-2011-12?IR=T

Lady Gaga, Versace Advertising Campaign 2013

 

  • Part Three: Processing the Image.

 

References: Assignment Three: Monochrome.

References:

John Hedgecoe 2005. John Hedgecoe’s Complete Guide to Black and White Photography. Collins & Brown, London.

ISBN: 1 84340 316 1

Monochrome Article by Jeff Meyer, January 26 2015

http://www.digitalcameraworld.com/2012/04/12/10-rules-of-photo-composition-and-why-they-work/

McCurry, Steve.

Afghan Girl, Steve McCurry 1984, Afghanistan. Published on National Geographic Front Cover, June 1985.

http://stevemccurry.com/galleries/portraits?view=grid

Practical Photography Magazine, September 2013. Practical Photography Camera School Guide, Pages 10 -11. Article by Paul Gallagher.

Lindbergh, Peter.

Kate Moss, Peter Lindbergh, Published in Vogue Italia 2015.

http://www.fubiz.net/en/2016/01/30/kate-moss-unphotoshoped-portraits-by-peter-Lindbergh/

Testino, Mario.

Diana, Princess of Wales, Mario Testino, London, Vanity Fair 1997.

http://www.mariotestino.com/exhibitions/mario-testino/diana-princess-of-wales/

Article – Testino’s portrait of William and Kate By Jonathan Jones. Published on The Guardian, July 09 2015.

http://www.theguardian.com/commentisfree/2015/jul/09/mario-testino-portrait-william-kate-children

The Duchess of Cambridge, Princess Charlotte, Prince George and Prince William. Princess Charlotte’s christening, London 2015. By Mario Testino

Prince George and Prince William, Princess Charlotte’s Christening. London 2015, By Mario Testino

Adams, Ansel.

Ansel Adams Photographs. Leopard 1995.

ISBN: 0-75-0017-X

Rose on Driftwood. Ansel Adams 1933. Gruber Collection. Published in 20th Century Photography, Museum Ludwig Cologne, Taschen, London 1996.

ISBN: 3-8228-8648-3

The Zone System, Produced by Ansel Adams and Fred Archer, 1939-1940. Article written by Trudy Wilner Stack, Curator on Creative Photography Website.

http://www.creativephotography.org/study-research/educators/ansel-adams

Evening, Ansel Adams. McDonald Lake, Glacier National Park. 1933-1942. Published in Mater of Light, Ansel Adams and His Influences. Therese Lichtenstein, Todtri, New York 1997, Page 101.

ISBN:0-7651-9150-4

Yosemite Valley Winter, Ansel Adams. Yosemite National Park 1938

Boaring River, Ansel Adams. Kings Region, Kings River Canyon. 1933-1942. Published in Mater of Light, Ansel Adams and His Influences. Therese Lichtenstein, Todtri, New York 1997, Page 99.

ISBN:0-7651-9150-4

Winston Link, O.

O. Winston Link, Biography, article written on Danziger Gallery Website.

http://www.danzigergallery.com/artists/owinston-link

Life Along the Line, A Photographic Portrait of America’s Last Great Steam Railroad. Abrams, 2012.

ISBN: 978-1419703720

http://www.amazon.co.uk/O-Winston-Link-Photographic-Portrait/dp/1419703722

Train 2 arriving at Waynesboro Station. O. Winston Link. Waynesboro, Virginia, April 14th 1955. Published in Life Along the Line, A Photographic Portrait of America’s Last Great Steam Railroad. Abrams, 2012.

ISBN: 978-1419703720

Lubricating wristpin. O. Winston Link. Bluefield, West Virginia, June 20th 1955. Published in Life Along the Line, A Photographic Portrait of America’s Last Great Steam Railroad. Abrams, 2012.

ISBN: 978-1419703720

Train #17, the Birmingham Special, arriving at Rural Retreat. O. Winston Link. Rural Retreat, Virginia, December 26th 1957. Published in Life Along the Line, A Photographic Portrait of America’s Last Great Steam Railroad. Abrams, 2012.

ISBN: 978-1419703720

Electrician J. W. Dalhouse, a close-up view. O. Winston Link. Shaffers Crossing, Roanoke, Virginia, March 19, 1955. Published in Life Along the Line, A Photographic Portrait of America’s Last Great Steam Railroad. Abrams, 2012.

ISBN: 978-1419703720

O. Winston Link Article, A Gorgeous Photographic Elegy to the Last Great Steam Train. By Rebecca J Rosen. Published on The Atlantic website, October 4th 2012.

http://www.theatlantic.com/technology/archive/2012/10/a-gorgeous-photographic-elegy-to-the-last-great-steam-train/263220/

Shaughnessy, Jim.

The Call of Trains: Railroad Photographs by Jim Shaughnessy. W. W. Norton & Company, New York, 26th August 2008.

ISBN: 978-0393065923

http://www.amazon.co.uk/The-Call-Trains-Photographs-Shaughnessy/dp/0393065928

On a Cold Night in Sherbrooke, Que. Jim Shaughnessy, February 1957. The Engineer of Canadian National  4-6-2, No 5293 admires his steed. Published in The Call of Trains: Railroad Photographs by Jim Shaughnessy. W. W. Norton & Company, New York, 26th August 2008.

ISBN: 978-0393065923

Jim Shaughnessy Photographs, Taken from The Call of Trains: Railroad Photographs by Jim Shaughnessy book. Published in The Call of Trains: Railroad Photographs by Jim Shaughnessy. W. W. Norton & Company, New York, 26th August 2008.

ISBN: 978-0393065923

http://railroad.net/articles/columns/reviews/thecalloftrains/

Article Chasing Trains, Jim Shaughnessy, By Margaret M Knight, Published on Rensselaer Magazine. December 2008

http://www.rpi.edu/magazine/dec2008/chasing_trains2.html

Article Jim Shaughnessy, Published on Classic Trains Magazine, May 09th 2006. Taken from Classic Trains Magazine Fall Issue 2001.

http://ctr.trains.com/railroad-reference/photographers/2006/05/jim-shaughnessy

 

References: Exercise: Black and White.

Adams, Ansel.

Ansel Adams, Ansel Adams Photographs. Leopard 1995.

ISBN: 0-75-0017-X

Ansel Adams. Published in Mater of Light, Ansel Adams and His Influences. Therese Lichtenstein, Todtri, New York 1997.

ISBN:0-7651-9150-4

http://www.creativephotography.org/artists/ansel-adams

Image: http://uploads6.wikiart.org/images/ansel-adams/mirror-lake-morning-yosemite-national-park.jpg

Forgham, Paul.

http://www.paulforgham.co.uk/gallery_251599.html

http://www.paulforgham.co.uk/section304482.html

Practical Photography Magazine. February 2014. Page 45

Image: Makin’ Waves

 

References: Exercise: Interpretative Processing.

John Ingledew, Photography. Laurence King Publishing, London, 2005. Manipulation, Pages 97-100.

ISBN: 9781856694322

Tayeb, Hena.

Night Circus.
Taken while enjoying a warm summer New Jersey night at the state fair. The lights illuminating the night sky. Hena Tayeb.
Take me to Heaven.
The Notre Dame Basilica, Cathedral in Old Quebec City, Canada. Hena Tayeb.
Irani Sky,
When traveling from Tehran to Shiraz in Iran, the sun was setting surrounded by these gorgeous dark dramatic clouds.  Hena Tayeb.
Lighthouse.
The surprisingly arid, cactus covered terrain of Aruba. The iconic California Lighthouse in the background. Hena Tayeb.

Chug a Chug Chug, The Essex Steam Train in Connecticut. Hena Tayeb.

https://www.etsy.com/listing/43467817/photograph-whimsical-vintage-connecticut

http://www.henatayebphotography.com/#!about/c1wdj

 Parr, Martin.

Introduction

Think of England Book, Phaidon, 2004. Martin Parr.

Books by MP

England. Bristol. Car boot sale. 1995. From the series British Food 1994 – 1995. Martin Parr.

England. Ramsgate. 1996. From the series New British 1994 – 1996. Martin Parr.

Woman Sunbathing, Spain 1997. From the series Common Sense, Published by Dewi Lewis, 1999. Martin Parr.

Woman Sunbathing, From the series The Last Resort, 1986. Published by Promenade Press 1986. Martin Parr.

Demiralay, Metin.

Set of Unknown Photographs, By Metin Demiralay.

Photography by Metin Demiralay

http://metindemiralay.deviantart.com/art/xx-110-128376271

http://photo-hub.co.uk/artists/metin-demiralay

 

References: Exercise: RAW

JPG vs RAW, Get it Right the First Time, Online Article. 09 January2009, KenRockwell.com.

http://www.kenrockwell.com/tech/raw.htm

 

References: Project: The Value of RAW

RAW vs JPEG

Digital Photography Master Class, Tom Ang, Dorling Kindersley Limited, London 2008. Page 184-187.

ISBN: 9781409333906

Images:

Bird Photography and Flash

 

 

  • Part Two: Digital Image Qualities.

 

References: Assignment Two: Seeing Like Your Camera.

Arndt, Gary.

http://travelphotos.everything-everywhere.com/

http://travelphotos.everything-everywhere.com/Europe

http://travelphotos.everything-everywhere.com/Europe/Italy

Pisa 2009:

Looking up the facade of the Cathedral of Pisa in Italy, Pisa 2009. Gary Arndt.

Street scene at Pisa, Italy, Pisa 2009. Gary Arndt.

Looking up the pillars and ceiling of Cathedral of Pisa in Italy, Pisa 2009, Gary Arndt.

The Virgin Mary at the Cathedral of Pisa, Italy, Pisa 2009. Gary Arndt.

Sculpture at pulpit of Cathedral of Pisa, Italy, Pisa 2009. Gary Arndt.

Naples 2011:

Inside the Galleria Umberto I in Naples, Italy, Naples 2011. Gary Arndt

Tall hallways inside Galleria Umberto I in Naples, Italy, Naples 2011. Gary Arndt.

Close-up shot of the ceiling in Galleria Umberto I – Naples, Italy, Naples 2011. Gary Arndt.

Castel Nuovo in Naples, Italy, Naples 2011. Gary Arndt.

Entrance building to Galleria Umberto I in Naples, Italy, Naples 2011. Gary Arndt.

Amalfi Coast 2013:

Beautiful view of the ocean and cliff at the Amalfi Coast, Italy, Amalfi Coast 2013. Gary Arndt.

GMA_3297-X2, Amalfi Coast 2013. Gary Arndt.

GMA_3430-X2, Amalfi Coast 2013. Gary Arndt.

Panorama of the buildings along the Amalfi Coast in Italy, Amalfi Coast 2013. Gary Arndt.

Detail of buildings in the Amalfi Coast of Italy, Amalfi Coast 2013. Gary Arndt

Brown, Colby.

Bio

Sunrise Over Bagan, Bagan, Myanmar. Colby Brown.

The Beginning of the Universe, Vivid Sydney, Australia. Colby Brown

Lago de Atitlan, Guatemala, 2010, Colby Brown

Grand Reflections, Sheik Zayed Grand Mosque, Abu Dhabi. Colby Brown.

Yi Peng, Chaing Mai, Thailand. Colby Brown.

Buddhist Prayer, Bagan, Myanmar. Colby Brown.

Petra by Night, Ancient City of Petra, Jordan. Colby Brown.

A Homage to Buddha, Angkor Wat City, Cambodia. Colby Brown

 

References: Project: White Balance and Overall Colour Cast

http://www.cambridgeincolour.com/tutorials/camera-sensors.htm

Introduction to White Balance

Digital Photography Master Class, Tom Ang, Dorling Kindersley Limited, London 2008. Page 169-169.

ISBN: 9781409333906

 

References: Project: Noise

Digital Photography Master Class, Tom Ang, Dorling Kindersley Limited, London 2008. Page 18

ISBN: 9781409333906

 

References: Project: Highlight Clipping

Digital Photography Master Class, Tom Ang, Dorling Kindersley Limited, London 2008. Page Pages 162-163.

ISBN: 9781409333906

 

References: Exercise: Sensor Linear Capture

Online Article, Photoshop Curves Tool: 6 techniques every photographer must know, By Jeff Meyer, March 18 2013.

http://www.digitalcameraworld.com/2013/03/18/photoshop-curves-tool-6-techniques-every-photographer-must-know/

Digital Photography Master Class, Tom Ang, Dorling Kindersley Limited, London 2008. Page 164

ISBN: 9781409333906

Online PDF, Raw Capture, Linear Gamma and Exposure, by Bruce Fraser. Adapted from his book Real World Camera Raw, published by Peachpit Press, in August, 2004.

http://www.adobe.com/digitalimag/pdfs/linear_gamma.pdf

Comparing The Levels And Curves Adjustments In Photoshop

Using the Photoshop Curves Tool

 

References: Project: Linear Capture

Digital Photography Master Class, Tom Ang, Dorling Kindersley Limited, London 2008. Page 164

ISBN: 9781409333906

Understanding Digital Camera Sensors

Online PDF, Raw Capture, Linear Gamma, and Exposure,  by Bruce Fraser. Adapted from his book Real World Camera Raw, published by Peachpit Press, in August, 2004.

https://www.adobe.com/digitalimag/pdfs/linear_gamma.pdf

 

  • Part One: Workflow.

 

References: Exercise: Editing

John Ingledew, Photography. Laurence King Publishing, London, 2005.

ISBN: 9781856694322

 

References: Exercise: Your Own Workflow Part One

John Ingledew, Photography. Laurence King Publishing, London, 2005. Telling the story of war, Pages 28-37

ISBN: 9781856694322

Photography: The Key Concepts. David Bate. Bloomsbury, London 2009.

Pages 67-80.

ISSN:1747-6550

ISBN:978-1-8452-0667-3

The Photograph, Graham Clarke. Oxford University Press, London 1997. Page 101

ISBN: 9780192842008

Diana, Princess of Wales, London, Vanity Fair 1997. By Mario Testino.

Arnold, Eve.

Marilyn Monroe, An Appreciation by Eve Arnold. Hamish Hamilton, London 1987.

ISBN: 024112381x

The Photography Book, Phaidon Press Limited, London 1997. Eve Arnold, Page27

ISBN: 071483937x

http://www.magnumphotos.com/C.aspx?VP3=SearchResult&ALID=2K7O3R14TARD#/SearchResult&ALID=2K7O3R14TARD&VBID=2K1HZSQFB43VQ&PN=1Marilyn

1. Monroe on the set of ‘The Misfits’, USA. Nevada 1960. Eve Arnold.

2.  Marilyn Monroe, on the Nevada desert during the filming of ‘The Misfits’, Nevada, USA 1960. Eve Arnold.

3. Marilyn Monroe on the set of ‘The Misfits’, Nevada, USA 1960. Eve Arnold.

4. Marilyn Monroe, Studio Sessions. Los Angeles, USA 1960. Eve Arnold.

5. Marilyn Monroe, Studio Sessions. Los Angeles, USA 1960. Eve Arnold.

6. Marilyn Monroe, on the set of  ‘The Misfits’, Nevada, USA 1960. Eve Arnold.

7. Marilyn Monroe, Resting between takes during a photographic studio session, Filming The Misfits. Hollywood, USA, 1960. Eve Arnold

8. Marilyn Monroe, on the set of ‘The Misfits’, Nevada, USA 1960. Eve Arnold

9. Marilyn Monroe, Studio Sessions. California. Los Angeles. USA, 1960. Eve Arnold

Stern, Bert.

1. Marilyn Monroe, From “The Last Sitting,” 1962 (Diamonds). Bert Stern.

2. Marilyn Monroe, From “The Last Sitting,” 1962 (Diamonds). Bert Stern.

3. Marilyn Monroe, From “The Last Sitting,” 1962 (Diamonds). Bert Stern.

1. Marilyn Monroe: From “The Last Sitting” 1962. Bert Stern.

2. Marilyn Monroe: From “The Last Sitting” 1962. Bert Stern.

3. Marilyn Monroe: From “The Last Sitting” 1962. Bert Stern.

4. Marilyn Monroe: From “The Last Sitting” 1962. Bert Stern.

5. Marilyn Monroe: From “The Last Sitting” 1962. Bert Stern.

Bailey, David.

Box of Pin-Ups, 1965. David Bailey.

The Beatles. Box of Pin-Ups, 1965. David Bailey.

The Kray Brothers. Box of Pin-Ups, 1965. David Bailey.

 

 

 

Tutor’s Feedback For OCA Learning Log: Part Five; The Final Image and Assignment Five: Personal Project

Feedback on assignment

In my opinion this was a very well researched and well executed project, which demonstrated both a commitment to an angle / ideal and resulted in some strong monochrome imagery.  I think this was the best work I have seen from you to date.

Key issues mentioned in my last report are as follows:

  •  Look at the work of Nick Ut / Dorothea Lange / Robert Capa
  • Consider the format of your front cover Assignment 4 (Landscape / Portrait)
  • Consider the technical aspects of the submission and the impact of using either colour or monochrome.
  • Look at Mishka Henner / Chambre Hardman in relation to image manipulation.

Having looked through your blog again I can see that you have responded very well to all suggestions made. The re-worked final image for Assignment 4 works much better now and I was glad to read you were happier with it.

As mentioned above … I was really impressed with this assignment Chantelle and think that it shows a real development and maturity within your photographic practice.  You came at it from the right angle and really drilled down into the research including Jaschinski / Winogrand / Vanden Eeckhoudt … all of whom are very pertinent to the project being tackled.  You really thought about this and presented your arguments very clearly prior to shooting … thus being able to be very clear in your own mind what it was you were intending to capture.  This comes across in the final images … which work really well for me.

Your comprehensive and appropriate research has clearly had a very positive influence on your final images.  This really shows how important this part of the image making process can be … and how it is so often overlooked.  You ventured into this space with clear images ‘pre-visualised’ within your mind’s eye … which I am convinced has helped you focus upon the job in hand.  It can so often be the case that once you arrive at a venue, you are overwhelmed by what is going on and lose sight of the original purpose.  You have not fallen into this trap and the quality of the images you have returned with provides clear evidence of this.

I enjoyed looking through all the images as a series, but I thought images five and eight really stood out for me.   The first as it was really full frame, with the animal stretched out to the four corners of the image.  Compositionally I thought this image worked well … given the fact the wire meshing was visible across the entire image and the patterns that this made added to the shot. For shot eight, the key to this image compositionally was the foregrounded warning sign … which was just sufficiently out of focus to place the attention on the eyes of the gorilla in the background.

With regards to your thoughts on monochrome … I’ve just finished a powerful little book by Vilem Flusser entitled “Towards a Philosophy of Photography”. (See Below for reference)  On pages 43 and 44, Flusser discusses the differences stating:

“Colour photographs are on a higher level of abstraction than black and white ones.  Black and white photographs are more concrete and in this sense more true: They reveal their theoretical origin more clearly, and vice versa: The ‘more genuine’ the colours of a photograph become, the more untruthful they are, the more they conceal their theoretical origin.” (Flusser, 1983)

On several occasions within your research you have identified specific elements or components within an image which for you, presents the reason why the image works.  I’m not sure whether or not you have come across Roland Barthes yet within your readings …. But would urge you to at least read Camera Lucida.   When you look at a series of images and one makes you stop, this can be referred to in terms of what Barthes would call ‘Studium’ or a general enthusiasm or interest assigned to an image.  This is as opposed to something that might be classed as a rare detail or piercing moment of either pain or delight, which Barthes would term ‘Punctum’.  I have listed a publication below by Barthes entitled Camera Lucida, which I urge you to read in relation to developing your photographic critical position.

I will point some of my other students to your assignment as I think it is an excellent example of how time spent prior to picking up a camera, is time well spent.  In addition to this …. I really like your images and the reasoning why you have taken them.

Learning Logs/Critical essays

Again … I have nothing further to comment upon here, as everything appears to be in order.  I particularly like your writings … which are very clear and very reflective.

 Suggested reading/viewing

Barthes, Roland.1993: Camera Lucida. Vintage Classics. London.

ISBN 13: 978-0099225416

Flusser, Vilem.1983: Towards a Philosophy of Photography. Reaktion Books. London.

ISBN: 978-1-86189-076-4

Conclusions and targets for next assignment

Having completed all five assignments for this module it is now time to submit the work for formal summative assessment which has been discussed above.

My Thoughts:

Im am extremely happy with the feedback I received from my tutor regarding this assignment. This assignment allowed me to research into something I felt strongly about. I was able to focus my research around a specific area, which allowed me to research a lot, prior to me going out to shoot for my final photographs. By researching different photographers, and reading articles online about zoo’s, I was able to take in as much information as possible, with enabled me to pre-visualize how I wanted my final photographs to look. By doing so, I was able to produce powerful final photographs which have a story behind them. They draw the viewers attention in, and by doing so, you want to find out more about why this photograph was taken. This then allows me to explain the bad side of zoo’s and I am able to express my views and opinions through these photographs.

I have taken all of my tutors feedback into consideration, and I don’t believe that I need to change anything. I will have a look and read the two recommended books that he suggested as I believe that they can help me more.

 

 

 

Assignment Five: Personal Project

This final assignment asks you to apply all you’ve learned in the course to build a collection of 10-12 final images on a theme of your choice.

When you’ve completed your collection, return to the brief that you set yourself at the start, and consider how well your completed project matches up to your original intentions. Write a reflective account of around 500 words to accompany your images. Below are a few ideas:

  • How did you choose your theme?
  • Was it a good choice?
  • What went well?
  • What went badly?
  • Did you stick to your original brief or did you find yourself departing from it? If yes, then why?
  • What technical problems did you experience?
  • How did you solve any technical problems?
  • Are you pleased with your final collection?
  • What could you have done differently?

Before I begin this assignment, I remembered that my tutor gave me some advice regarding this upcoming final assignment. Below is his advice:

“Jumping ahead a little it might be worth thinking about the following in relation to the fifth and final assignment.  The shots an editor would be expecting to see in a photo story would be Establishing [setting the scene], Portrait [Human Condition], Action and Detail shots.  Obviously depending on what you are trying to say with the work, they would not always include all of these.

Photographic stories are the visual communication of a personal experience.  They can be considered unique and can provide an excellent vehicle for personal expression.  In order to communicate effectively, you must try to make a connection with what is happening.  In order for this to work, you must research your subject thoroughly and if the story includes people, patiently observe before starting to photograph them.

Just to dwell on the subject of the photo story for a while, it is important for you to have a ‘point of view’ or an ‘angle’ for the story.  With this work you could argue it was capturing the space of yesteryear. You must have an opinion about what is being recorded and this should in turn come across.

The most popular subject for the photo story has always been the ‘human condition’.  The aim is usually to select one individual or group of individuals and try to relate their story to the viewer.  The story may then relate the experience to a brief or extended period of time.”

After taking my tutors advice into consideration, I decided on a subject that I wanted to focus this assignment on. During my studies of Photography 1: The Art of Photography, my fifth and final assignment was Assignment Five: Applying the Techniques of Illustration and Narrative. For that assignment, I focused on Bristol zoo, and decided that I would base that assignment around the ‘Good Sides’ of zoos and conservation. I remember reading through my previous tutors feedback regarding that assignment, and it has played on my mind ever since. Below is some of her feedback regarding that assignment:

“I think that you have chosen a great subject in Bristol Zoo, you might be interest in the work of Britta Jaschinski “ZOO” where she took monochrome images within zoos but challenge the celebratory image of the zoo that the organization would want to put across, showing an oppressive place with animals shown very much as in captivity, perhaps with more of a political slant than the images you have produced.”

“You have adequately realised your ideas in this project and presented your work well. You show the zoo in some images as a place to visit to see these particular animals but I feel some images look a little more snapshot in appearance as they include the wires of the cages which you wouldn’t usually see in images to promote a place, zoos battle against this view that people have of animals in cages and focus more on the conservation side of things. It is more likely to see these sort of images in a more challenging work on zoos. For promotional work showing the positive side of zoos I would expect to see more images of animals looking like they are in their natural environment, for example the meerkat, bird and reptile images.”

I remember her feedback mainly because I agreed that some images I used included cages or glass windows, which is not something that you would want to include in a photograph if you were promoting zoos and conservation. As my tutor stated, if you were promoting a zoo, you would want to show the animals in their natural environment, not behind cages or glassed enclosures.

Thinking back to my tutors advice for this assignment; “Just to dwell on the subject of the photo story for a while, it is important for you to have a ‘point of view’ or an ‘angle’ for the story. You must have an opinion about what is being recorded and this should in turn come across.” Therefore, this meant that I have chosen to focus this assignment on ‘Bad Side’ of zoos and conservation. I would have to multitask whilst completing this assignment, and re-do my previous assignment ( Assignment Five: Applying the Techniques of Illustration and Narrative ) , as it wouldn’t make sense to keep the images which included cages in the previous assignment.

Therefore, for this final assignment, I will be focusing on showing the bad side of zoos and conservation. I will take my previous tutors feedback and I will study Britta Jaschinski. When shooting for my final images, I will focus on showing the animals in their cages, glassed enclosures and I would try to focus on their expressions to see if I could capture any depressed faces.

Before I began photographing any images for this assignment, I decided to do research regarding the bad side of zoos and conservation. We don’t usually hear about the bad side of zoos and conservation. I personally think that it is withheld for a reason, so that we don’t question their work, the captivity side and any deaths for example. However, I also think that we purposely shield ourselves from even thinking that there is a bad side to zoos and conservation. When we visit a zoo, we think that out ticket monkey will go to help pay for the upkeep of the animals and the zoo itself, and when we are inside, all of the animals are happy, well fed, looked after, enjoying where they are, however, this may not be the case, and these false smiles and fake behaviour could in fact be hiding something much more shocking and upsetting. I wanted to make sure that I began with research, in order to see the wider perspective of this subject. I didn’t want to be just influenced by my feelings and my previous experiences of zoo visits, I wanted other people’s views and opinions, to help me gain knowledge of bad experiences that they may have witnessed for example.

I began by reading an article written on the PETA website regarding the reality of zoos. The article was written by Michelle Carr in 2013. http://www.peta.org/living/entertainment/reality-zoos/

Michelle Carr wrote this article, in response to a question she had received from a reader. The question was from an animal lover in St. Louis USA , this reader asks; ‘ I’m a huge animal lover, and I understand why the circus is bad for animals, but what about zoos?’ Carr responds by confirming that not many people are aware of the amount of cruelty behind zoos. She goes on to explain her experiences when visiting zoos as a child and quotes,  ‘When I was a kid, I went to the zoo all the time with my family. I loved pandas as a kid (still do!), and I thought being able to see them in person would be neat. But once I saw them “up close and personal,” I realized that the animals were miserable. It instantly became very clear to me that the animals imprisoned in zoos are sad and don’t want to be kept in artificial environments, have people gawk at them, listen to children who bang on the windows of their enclosures, or have cameras flashing in their faces. To put it simply, zoos are imprisoning animals who want to be free’.

This is sad to hear, as my own personal experiences when visiting zoos as a child, have been exciting and good. I have always loved visiting the zoo, and still do, so to hear that someone who was a child at the time, noticing something like this and realising that something was wrong, even back then, makes you question what really goes on behind closed doors, and how long has this been going on for.

Carr goes on to explain that captive animals are essentially deprived of everything, from their natural environment, all the way up to the correct type of food suitable for that animal. She advises the reader, that captive animals can sometimes suffer from ‘Zoochosis’, a heart-breaking condition which affects animals who have been confined for a number of years. This is usually shown by the animal rocking back and forth, or pacing around their enclosures. This is something that I have previously read about and have watched on documentaries on the television. It is an awful thing to watch, and I am fortunate to have not witnessed this in my local zoo. Carr explains that animals suffering from Zoochosis are often given medication such as Prozac, which will alter their mood, essentially calming them down and making them more docile, in order to stop the symptoms, as visitors to zoos were stating to witness the behaviour problems first hand, and were raising the issues with the zoo itself.

I read an article written by Liz Tyson on 23 June 2014, after she had visited Chester zoo, UK. She mentions that she witnessed an elephant showing the symptoms of Zoochosis with constant head rocking and swaying. Her article includes a short video which is extremely sad to watch, but I have included a link below so that you can read her article and watch her video. https://www.thedodo.com/community/Liz_Tyson/if-we-really-care-about-animal-601151421.html

Carr advises us that a gorilla named Jabari in a Dallas zoo, was shot dead by police, after an attempt to escape his enclosure. A witness described that a group of teenagers had been tormenting the gorilla, throwing rocks at him and taunting him, causing the male gorilla to attempt an escape. He jumped over the walls and moats of his enclosure, only to be fatally shot. This is an extremely sad story, something which makes you sit back and question just exactly what must have been going through the gorillas mind at that time. Imagine if roles were reversed, and that was a human, being taunted, stoned with rocks and shouted at by another group of humans…. Not only is that illegal and should be a prosecution case, but it is disgusting behaviour, and the gorilla must have been terrified and petrified. Just because it happened to a wild animal, who was imprisoned in a cell, doesn’t mean that what happened was ok. This animal was shot dead because he wanted to escape this bullying and stoning. What makes this ok? Has this happened in other zoos? I hope it hasn’t, but I was shocked to even read that this has happened.

Carr then goes on to explain that un-natural weather environments such as severe cold, rain and wind, can debilitate certain animals. Lucy, a lone elephant from Edmonton zoo is usually locked inside her barn during the frigid cold winters. This means that Lucy only has a small amount of room to walk around, and is therefore locked inside for a long period of time. The constant confinement during these winter periods, have left Lucy with extremely painful and debilitating arthritis. Elephants are known to walk 30 miles in one day, but Lucy doesn’t even come close to walking that long. She has been withheld from her natural instinct and is now left with this crippling arthritis, she will be able to walk even less than she did before.

How is this ok? Why are we not told about this….? Are we only shown the ‘Pretty’ side when we visit, when in reality, behind closed doors, these things really are happening? Perhaps we as visitors are held back at a long enough distance, so that we don’t see the truth behind what really happens. Carr mentions that we as visitors, only usually spend a few seconds or minutes at the enclosures, waiting for the animals to do something exciting. So we don’t actually spend enough time looking and observing the enclosures, or the animals. Therefore we miss things.

In addition, captive animals don’t get to choose who they mate with, like they would in the wild. They are in fact, usually artificially inseminated for breeding purposes, leading to sales and trading of young between other zoos. This artificial breeding can lead to miscarriages, death and rejection between mother and baby, probably because they don’t actually know what this baby is and what to do with it, because they haven’t been taught by their mothers. This is really sad, and especially the loss of a baby, and in some circumstances, it’s a baby of an endangered species which makes it even more precious.

In regards to what Michelle Carr advises regarding zoos, she quotes; ‘ Instead of going to the zoo, you can learn about animals by watching nature documentaries or observing the animals in their own natural habitats instead. Now that I know the reality behind zoos, I don’t go to the zoo, and I encourage my friends and family to boycott them as well. I love animals, and I want to see them free, not held captive behind bars!’

I read a further two articles regarding the bad sides of zoos and conservation. Both of these articles have bullet points as to how zoos fail, and what is actually happening behind our backs. I have included the link to both articles below, however, I will include the bullet points from article two below.

Article One: PETA – 13 Times Zoos Were Bad for Animals – http://www.peta.org/features/zoo-animal-abuse/

Article Two: CAPS – 10 Facts about Zoos – March 3rd 2010 –  http://www.captiveanimals.org/news/2010/03/10-facts-about-zoos

Captive Animals Protection Society / CAPS – 10 Facts about Zoos – March 3rd 2010:

  • Zoos are miserable places for animals
  • Zoos can’t provide sufficient space for the animals
  • Animals suffer in zoos
  • Animals die prematurely in zoos
  • Surplus animals are killed
  • UK Zoos are connected to circuses
  • Animals are trained to perform tricks
  • Animals are still taken from the wild
  • Zoos don’t serve conservation
  • Zoos fail education

After doing my research regarding arguments against zoos and conservation, I decided to do photographer research. I decided to begin with Britta Jaschinski.

Britta Jaschinski

Britta

Britta Jaschinski by Spiros Politis

Jaschinski is a world-renowned, award-winning, German photographer. She learned the skill of photography whilst working in a German advertising studio. She studied photographer’s art whilst at Bournemouth College of Art and Design. Ever since she was young, she had empathy for animals.

On January 1st 2010, Sublime Magazine published an article about Britta Jaschinski called ‘Cage Fighter’ written by Stephen Armstrong.

Britta Jaschinski Sublime Magazine January 1st 2010 Article 'Cage Fighter' by Stephen Armstrong.

Britta Jaschinski, Sublime Magazine. Article ‘Cage Fighter’ by Stephen Armstrong, January 1st 2010

Her parents quoted that they would find Jaschinski ‘Scooping insects out of her sandpit, worried she might squash one, she turned vegetarian at 16′. Her animal and nature photography has won her a dedicated and strong international following.

Walking past London Zoo gave her an idea which later turned her into a well-known international photographer.  Jaschinski quotes in an article for Sublime magazine  ‘Even as a kid I felt uncomfortable going to zoos but I could never express why,’ she explains. ‘While other kids licked ice creams and laughed at the animals, I just felt an intense pain in mind and body. And when I developed my photos I could see why I felt so deeply depressed about the fate of the animals incarcerated in the name of education and conservation. My Zoo book was the result.’

On May 13th 1996, Phaidon Press published her Zoo book. 112 pages of black and white, bold, captivating photographs which showed animals in concrete cells, glass compounds and caged exhibits. Below are two reviews for her book;

Britta Jaschinski Zoo Phaidon Press ISBN-13: 9780714834726 ISBN-10: 0714834726

Britta Jaschinski
Zoo
Phaidon Press – 1996
ISBN-13: 9780714834726
ISBN-10: 0714834726

‘A point forcefully made through outstanding photography.’ (Amateur Photographer)

‘Here is a book with almost no text, but full of unease and mystery…’ (The Good Book Guide)

Her second, Wild Things followed in 2003. This photo book is quite simply apologising to the world for human interference and destruction.

She is a member of CAPS, which stands for Captive Animals’ Protection Society

She quotes:

“We talk to animals but we don’t listen to them. We stroke them with one hand and beat them with the other. CAPS gives animals a voice and fights for their rights. Animals don’t need us but we need them. We must protect them from ourselves.” Britta Jaschinski.

Britta Jaschinski, Zoo 1996

Britta Jaschinski, Zoo
1996

This image is saddening, elephants are beautiful, majestic animals, and when I think of elephants, I think of them in their natural environments. Seeing an elephant behind bars, to me symbolises the same as being a prisoner in a cell. The trunk of the elephant is reaching out almost to touch the walls trying to find a way out, or shouting after someone for help to get out of the cell. This is a very strong image, and as a viewer, it is sad to see this. You don’t want to think of an animals stuck behind bars in a zoo, however, if you were to perhaps look deeper into the story behind this elephant, it may not stay in this cell all day, it probably only sleeps in there or perhaps is in there for a short period of time, and in fact has a bigger enclosure somewhere. However, seeing this image shocks you first into thinking about this poor elephant trapped, and not necessarily thinking about the story behind the image.

Britta Jaschinski, Zoo 1996

Britta Jaschinski, Zoo
1996

This is an interesting image. Jaschinski has managed to incorporate the scratches on the glass windows of these primates enclosure. For me, when I visit the zoo, I stand for ages looking into the eyes of the primates, as you can tell so much from their eyes. You can see when they are sad, happy or even depressed. Jaschinski has managed to capture both of these primates eyes, which can be hard, as usually one animal always moves or looks away when you try to photograph them. Capturing both sets of eyes is great, as this has created a depressing looking image. You can see the boredom and depression in their eyes. The scratches on the panes of glass can be interpreted as escape attempts, or boredom. This is a very interesting image, and something I will keep in mind when photographing the zoo.

Britta Jaschinski, Zoo 1996

Britta Jaschinski, Zoo
1996

When I think of a camel, I think of the desert, lots of sand, beaming sun. However, this is thee complete opposite. Concrete walls and wire to keep the camel from escaping. The enclosure doesn’t even look as though it is suitable for a camel to reside, it looks small. Similar to the elephant photograph, perhaps there is a story behind why the camel is in this concrete enclosure, however, a photograph speaks a thousand words, and when you see this first, you immediately think that the camel is trapped in a cell.

Britta Jaschinski, Zoo 1996

Britta Jaschinski, Zoo
1996

It’s hard to say that this is my ‘Favourite’ photograph, however, it is. Jaschinski has captured an amazing image here of this gibbon monkey. When I look at this photograph, I can almost feel the sadness, the depression, the boredom of this little monkey. She manages to compose this image so the monkey is in the centre of the frame, surrounding it with what looks like a circular toy or running wheel, keeping him as the main focal point in the image. She keeps the monkeys eyes visible, in order to see his expression clearly. She also manages to capture the cage wires ever so faintly in the foreground, they aren’t distracting which is good, as you want the focus to be on the monkey, however, you can still see that there are wires, and this monkey is enclosed and bored in his enclosure. This is such a brilliant photograph, and I hope to capture something similar when I photograph the zoo.

Looking at Jaschinski’s Zoo photographs, one thing that is noticeable is that she uses black and white / monochrome. Using black and white enables you to bring the viewer’s attention to details within the image such as the wires from the cages, scratches on the panes of glass and the look of depression in the animals eyes. Using colour within photographs like this may distract viewers from the main subject, keeping to black and white gives you the impression of depression, bleakness, coldness, giving the appearance of a dull world that these animals live in. You are also able to show the detail from the scratching of the glass, dirt on the walls or wires, which you may not see so clearly in a colour photograph,

Keeping the cage wires, scratches in the glass windows and black and white final images, is something that I will remember when shooting my photographs and when I am processing my final images.

The second photographer I researched was Garry Winogrand.

Garry Winogrand Self Portrait

Garry Winogrand Self Portrait

Garry Winogrand was born January 14th 1928, in New York City. After high school, he enlisted in the US Air Force, but later returned to New York in 1947 to study painting at City College of New York and Columbia University.

He later decided to focus his studies on Photography and Photojournalism, which he proceeded to study in college. In the 1950’s and 1960’s, Winogrand began working as an advertising photographer and a freelance photojournalist.

In 1969, Winogrand’s photographed his observations of the Bronx Zoo and Coney Island Aquarium.  A collection of these photographs completed his first photo book called ‘The Animals’, which contained images showing the connections between humans and animals.

‘Winogrand’s zoo, even if true, is a grotesquery. It is a surreal Disneyland where unlikely human beings and jaded careerist animals stare at each other through bars, exhibiting bad manners and a mutual failure to recognize their own ludicrous predicaments’.
–John Szarkowski

Garry Winogrand, The Animals. Published By: The Museum of Modern Art, New York; 2nd edition (April 2, 2004)

Garry Winogrand, The Animals, 1968.
Published By:
The Museum of Modern Art, New York; 2nd edition (April 2, 2004) ISBN-10: 0870706330 ISBN-13: 978-0870706332

Garry Winogrand, The Animals, 1968.

Garry Winogrand, The Animals, 1968.

This image for me represents young children’s attention spans. You don’t normally see rhino so close, it’s not an everyday occurrence that we are fortunate to one. When I think of rhino’s, I think of the African safari sites. However, these children clearly aren’t interested in looking at these beautiful animals, which by the way are an endangered species, but they are more interested in hanging off of the railings like monkeys hanging from monkey bars. Even the mother is more interested in watching these two children messing around, then looking at the rhino. This is an interesting subject, and knowing that there will be similar situations at Bristol zoo when I go, I will keep an eye out for situations like this, which I can photograph.

Garry Winogrand, The Animals, 1968.

Garry Winogrand, The Animals, 1968.

This is a sad image. Winogrand manages to capture the eye of this rhino, looking up to this gentleman. In the real world, unless you are on safari, lucky enough to get this close to a rhino, then there is no way you could possibly be this close. Capturing this intimate moment of curiosity, shows how this rhino is not acting how it would in the wild. It is sad to see that an animal which should be scared of humans, is actually showing it’s helplessness, and it’s need of human love. When shooting my images, curiosity from the animal to the visitor, is something that I would love to try and capture, as we should technically be curious about them as well.

Garry Winogrand, The Animals, 1968.

Garry Winogrand, The Animals, 1968.

Who says that animals don’t have feeling! This is such a brilliant photograph. There is a saying ‘It’s like being in a zoo’, you normally hear that when you are in a crowded situation, being stared at. You may encounter this in a waiting room or a job interview. Imagine being in cages, enclosed for the rest of your life….. hundreds of scary, noisy people staring at you, shouting at you, poking you every day of your life. This is what it is like, being an exhibition piece in a zoo. Winogrand has captured a  photograph showing the true feelings of what this bear thinks about being poked at. This is great! I have to keep this in mind when I shoot my images. Animals facial expressions and behaviour, can tell you a lot about how they are feeling in that current situation, and this bear does just that. I want to try to capture the expressions on the animals face when I shoot my photographs, as their expressions can really help make an image.

Garry Winogrand, The Animals, 1968.

Garry Winogrand, The Animals, 1968.

This photograph is similar to Jaschinski’s photograph of the elephant in the cell room. Similarly, both of these elephants have their trunks stretched out, almost looking for attention, help, or a method to escape. This elephant is being hand fed by visitors by the looks of it, not something that would usually happen in the wild. The positioning and stance of this elephant is somewhat slumped and leaning, almost as though it has given up hope.

Garry Winogrand, The Animals, 1968.

Garry Winogrand, The Animals, 1968.

This is an interesting photograph. To me, the visitors are more interested in other things, that they are not even looking at the seals. One woman looks like she is crying, one woman is being kissed by a male, whilst looking bored and uninterested, and one male isn’t even looking at the seals. From my point of view, the seals look more interested in the visitors, than the visitors being interested in the seals. This shows how we as visitors take these animals for granted. You wouldn’t normally be able to see these animals this close in the wild, so why not appreciate seeing them this close now…… They are positioned directly in front of you, yet you still ignore them…. This is something that I need to look out for in the zoo when I shoot my images. Lack of interest from the human side, yet much interest from the animal side, shows almost a role reversal.

The composition of this photograph is also interesting, as Winogrand has composed it so that there is only a small amount of water visible. It doesn’t look as though it is enough water for all of them to reside or swim in on a daily basis. I personally think that this is done purposely, to portray and even smaller enclosure and lack of room or space, making us as the viewer concerned about how small their enclosure must be.

Comparing Winogrand’s work to Jaschinski’s, I can see some similarities and some differences. Thee most obvious being that they both have used black and white / monochrome photographs. Thus meaning that each image draws the viewer’s attention in without the distraction from any colour. The second being that they both decided to keep the cages, wires and glass in the image, adding to the hidden message of captivity and depression. Winogrand, however, makes a purpose of including people within his photographs. Including guests at the zoo, observing the animals, with the animals observing the guests gives the image two stories. One being what the people within the photograph were thinking when looking at the animals, and the second being what the animals were thinking when looking back at the people. The inclusion of people looking at the animals and the animals looking back has a sad message of captivation, not being able to leave that enclosure, being stared at constantly with little children making strange scary noises, and banging the cages or glass windows. The saying ‘ It’s like being in a zoo’ springs to mind, when I look at photographs like this, because we as humans don’t necessarily enjoy being stared at by fellow human beings, however, on a daily basis, these animals are being watched, stared at, tormented and locked in an enclosure.

This is very interesting and is something that I will think about when shooting my photographs. Including people in the image may help make an interesting photograph.

I have found an interesting blog regarding zoos and Winogrand’s work. Written by Peter Barker on February 28th 2013, http://peterbaker.org/the-animals/

Barker writes about whether or not Winogrand was photographing the ‘Truth’ about what really happened / happens at zoos, whether he was finding the confinement of animals who had to perform tricks for food funny, or whether he just photographed these situations for us, the viewers to make our own choices. Peter Barker doesn’t agree that Winogrand’s zoos are everywhere, and there is infact brilliant zoos around. Zoos which don’t humiliate animals in the return for treats, zoos which care for the conservation of the species, and zoos which show that animals are happy in the environment that they are in.

However, Barker then goes on to question whether or not these ‘Happy’ outer appearances are in fact just for show, and whether deep down, Winogrand did actually manage to see beyond the ‘Front cover appearances’ and captured the sadness within each animal.

‘Until relatively recently zoos were called menageries, and were hobbies of princes, serving the same function as court dwarfs and court musicians. After the rise of modern science such simple entertainments seemed frivolous, so menageries were called zoological gardens—the idea being that they were really laboratories for the study of animal behaviour. While this concept is superficially plausible, a moment’s thought makes it evident that one cannot very well study the behaviour of lions and gazelles, for example, as long as they are locked in separate cages. The real reason that zoos have been built, and even sustained with tax money, is that people think that the other animals are (1) noble, or (2) funny looking. Winogrand’s book proves that those who hold the second opinion are correct. The other animals are indeed funny looking.’ Peter Barker

‘For those of us on the other side of the bars the case is less clear. We are there because animals look funny, or conceivably because they look noble, but there may be a darker side to the satisfaction we find at the zoo. It may be that we are relieved to find that even the animals, with their much-­‐publicized supposed virtues—sharp of tooth, swift of foot, courageous in protecting their young, good eyes, etc.—that even the animals can be reduced to a state of whimpering psychic paralysis if they are forced to live in circumstances similar to those of the typical modern urban dweller. After all that has been said in the past fifty years concerning man’s deep-­rooted inadequacies, it is bracing to go to the zoo and observe that the orangutang, magnificent though he may be in the jungle, is no better than the rest of us when forced to live in a modern city.’ Peter Barker

Whether what Peter Barker is saying has any truth to it, and whether or not you or I agree or disagree with what he is saying, you can see from Winogrand’s photographs, that there is indeed some truth to this. Zoos have been called Zoological Gardens to make it sound ‘Better’ and more appealing to us as customers. We want to think of the animals in their natural environments, even though we know that’s merely impossible as we are entering a concrete jungle, filled with cages and windows, for us to peer in and look at them. One can argue that yes, zoos do a brilliant job at saving animals, helping with conservation so that in years to come, when several animals which are then extinct, can be used to re-produce to then re-populate the wild. However, is keeping them locked away in these concrete, caged houses, really the best thing for them in the end. This is a discussion that could have many answers, and can be looked at from many different angles, linking it to things such as hunting and poaching. The possibilities are endless.

The third photographer I researched was Michel Vanden Eeckhoudt.

Michel Vanden Eeckhoudt

Michel Vanden Eeckhoudt

Eeckhoudt is a Belgian photographer, who lives in Brussels. He is well-known for his animal photography, just like Jaschinski and Winogrand. Usually, his animal photography looks into the troubling and sad relationships between pets and their masters, however, in 1982, a book called ‘Zoologies’ was published containing sad images of captive zoo animals.

Zoologies Michel Vanden Eeckhoudt Paris: Delpire, 1982. ISBN: 2851071041

Zoologies
Michel Vanden Eeckhoudt Paris: Delpire, 1982.
ISBN: 2851071041

“The clear, cold and cruel eye of Michel Van Eeckhoudt forces us to see what onlookers zoo perhaps forget to see: that the animals in the pen are the largest permanent exhibition of sadness.”

Zoologies 1928 Michel Vanden Eeckhoudt

Zoologies 1928
Michel Vanden Eeckhoudt

This too is a sad image, similar to that of Jaschinski’s gibbon monkey. With this monkey however, having it almost pleading for help with hands on the glass, is extremely sad.

Zoologies 1928 Michel Vanden Eeckhoudt

Zoologies 1928
Michel Vanden Eeckhoudt

To me, this shows the sheer ignorance of humans. Eeckhoudt has captured a moment in time which shows one of thee most majestic, powerful and dangerous animals on this earth, being harassed by a man in a suit, somewhat sticking his face or head, into the lion’s head and mouth area. Fair enough, by all means get a close look at one of these incredible animals. When I’ve visited the zoo before and the Lion enclosures, I’ve stood for ages just watching the lions, simply because I will never be able to get that close to a wild animal like this again, unless I am fortunate in the future to go on a safari. However, I don’t torment the animals, by poking them, sticking my face in theirs and so forth. The sheer ignorance of this man astonishes me, if this was in the wild, this Lion would have eaten you. Just because it’s behind bars and it’s dignity, rights, and life has been taken from him, doesn’t mean that we as visitors have the right to not respect them still. You are tormenting him, and almost taunting him by showing that you are now the dominant male, and I can do what I want because I know that these bars will stop you from eating me………… I hope not to see something like this on my visit, but you never know. If I do, I may have to photograph it to show human ignorance and lack of respect for animals.

I also find this an oddly composed photograph, I am unsure as to why he never cut the males face out from the right hand side of the frame, and only focused on the male in the background?

Zoologies 1928 Michel Vanden Eeckhoudt

Zoologies 1928
Michel Vanden Eeckhoudt

This is similar to the enclosure we have at Bristol zoo, for the lions. People are able to get this close to the glass panels. I hope to shoot images like this, because I want to show again, how something that could kill a human being, is now stuck behind a pane of glass or a cage, still following you and looking at you as though you are prey….. the only thing is that these bars, and windows, are stopping them.

Comparing Winogrand’s and Jaschinski’s work to Michel Vanden Eeckhoudt, you can again see similarities and differences. The three of them use black and white / monochrome photography, to stop colour from distracting the viewer and to enhance to main message or subject within the photograph. Like Winogrand and Eeckhoudt, they both include the visitors to the zoo, within the photograph.  They all include the cages, glass windows, scratches on the windows and depressed faces on the animals.

My Personal Project:

Taking my photographer research into consideration , I now know that for this assignment, I want to produce a set of photographs, using inspiration from all three of the photographers I have researched. Taking inspiration from my previous assignment, Assignment Three: Monochrome, I will convert my final photographs to monochrome, as by removing any colour distractions, I will be able to include different textures and details on the wire cages, glass panels, walls, details on the faces of the animals, sharper details on the facial areas. I will also be able to show different shapes and tones of enclosures. With the removal of colour and the inclusion of details and texture, I believe this will help to create a sombre, cold, depressed and sad feeling to each image, as it will show elements of the zoo, which can be missed or overlooked in a colour photograph.

I want to compose my images so that I include cages, glass windows, concrete enclosures and zoo visitors in my photographs. I will try to capture the moment when the animal(s) look back and the visitor(s), perhaps looking at each other through a cage or a window. I want to try and capture the expressions of the faces of the animals, including their eyes, as I believe this will help produce a better final image.

Therefore, for this assignment, I will be revisiting my local Zoological Gardens, Bristol Zoo. Pre-visualizing how I wanted my photographs to look, and knowing what animals I wanted to photograph,  I decided that I would take my usual Canon 18mm-55mm lens, and my Sigma 70mm-300mm lens. Taking both a 55mm lens and a 300mm lens, enabled me to capture any small details on the animals faces, or capture any animals which were too far away in their enclosure. By using a long lens, I am also able to zoom into an enclosure, cutting out vacant space or parts of the enclosure I don’t want in the frame, and I am able to portray an even smaller enclosure, similar to how the photographers I researched have composed their images.

Having being born in Bristol, and visiting the zoo on that many occasions, I pretty much know my way around in the dark, however, with techniques learned at the beginning of this course, in Exercise: Your Own Workflow, I still decided to plan my visit so I knew exactly where to go and what animals to see first before any crowds arrived. I arrived at the zoo at approximately 11:00am. The zoo was quiet with only a handful of people walking around. I decided to go straight to the Lion enclosure, as I thought that by going there first, I would be able to photograph them without anyone in the way, especially as I know that throughout the day, the lion enclosure is extremely popular and would be busy. Unfortunately, they were sound asleep and wouldn’t budge for anyone. I was surprised that I was on my own, and I was able to take a quantity of photographs from different angles, of the lions asleep. At one stage, one of them woke up, and at the right time, I was able to shoot some images of him looking out the window as if to see where the visitors were. Of course, I did want to take photographs with visitors in the shot, similar to Eeckhoudt’s photograph of the tiger, however, being the only one there, I knew that I would have to revisit the lion enclosure later in the day for those shots.

After visiting the lion enclosure, I walked through the butterfly house, which was much too hot, and being as it was an actual reproduction of a tropical rain forest, I knew that this wasn’t the best place for taking ‘Captivity’ shots, as these butterflies and moths were almost in a real jungle environment, but that didn’t stop me from taking photographs which I knew I could use later on, with other assignments and projects.

After cooling down from the butterfly house, I decided to visit the giant tortoise, and reptile houses. By this time, it was mid-day, and therefore, crowds of people had arrived. It took me a while to manage to shoot the giant tortoise, as there were too many people stood in front of their glass enclosure. I could have photographed this, but as you couldn’t see that giant tortoise, I knew that this would be a wasted photograph, as it would only show a crowd of people looking into an enclosure, but we as viewers wouldn’t be able to see what was in that enclosure. Using my senses, I managed to find a small room where two other giant tortoise were. They were in a barren room, with just some bedding and lights. No one was looking at them, and to me, I knew this could be an interesting shot. I took several shots of this pair, however, I was then engulfed by people who had somehow managed to find this secret enclosure, which meant I then had to move along.

I worked my way around the zoo, until I reached the primate section and gorilla island. These have always been one of my favourite areas in the zoo, and I stand for ages watching the primates. You have to watch their every movement, as they always do something interesting, quirky or funny. Unfortunately though, I’m not the only one that loves the primate section. It was crowded and full of people. I knew that this was the perfect timing for me to stand back from the crowds, and shoot them watching the primates, as the primates then watched them in return, keeping in mind the work of Winogrand and Eeckhoudt. It is fascinating to watch, especially when you look at the primates eyes, and you can see confusion, depression and sometimes even sadness, at the simple fact that us visitors are stood staring at them whilst they go about their daily business. Once I had managed to shoot photographs of the visitors, I decided to focus on trying to capture some shots of the primates, similar to that of Britta Jaschinski’s work, especially of the gibbon monkey. They have an outside enclosure, which is caged off from the visitors. I decided to stand by the fences, and see whether or not they would venture out from their glass enclosure, as they were becoming agitated with the noise from children banging on the windows. I was extremely luck, and one brown spider monkey, decided to venture out into the caged enclosure. I was quick enough to be able to shoot some photographs, whilst he was climbing along the cages. And to my luck, he decided to sit right in front of my camera, on a tree, and positioned himself similar to that of Britta Jaschinski’s monkey. I was thrilled, and shot away making sure I captured this moment before he moved off inside again.

After this, I decided to visit the Gorilla island. By this time of the day, hundreds of visitors were now inside the zoo. They were doing a lot of renovation to the gorilla island area, and only the male silver back was inside the 360 degree glass enclosure. The rest of the gorilla family were outside, asleep on their island. I decided to focus on the male silver back, and stood at the back of the crowds, in order to shoot several images of the gorilla being watched by the visitors. Once I had photographed this, I managed to squeeze my way into a corner of the window area. I stood and waited with camera ready, and shot the male silver back, looking back through the windows at the visitors. He decided to lie down with his head resting on his hands, and I noticed that there was a sign on the pillar I was stood next to. I positioned myself so that the pillar and the sign were visible, but the depressed gorilla was in the centre of the frame. I knew that this would be a great shot.

I then moved onto the seal and penguin coast area. This was packed with visitors because they were doing the specialised talk about the penguins and it was feeding time for them. I knew this would be great for taking shots of the crowds and the hand feeding of fish which the penguins were receiving. I wanted to try and get the hand feeding in with the crowds of people, as the hand feeding of fish, is not something that ‘Normal’ penguins would do or receive, so by including this into my photograph, I would be able to show the unnatural way of feeding. I managed to squeeze into a corner near a rock. I was angled so that I could photograph the zoo keeper feeding the penguins, whilst being able to incorporate the crowd of people, watching the penguins. Moving onto the seal section, this was not so crowded, however, whenever I seem to think that, the crowd of people then decide to appear from nowhere and engulf you. I managed to cling to the wooden railings overlooking the seals. They were very active as they knew it was nearing feeding time for them too. I managed to shoot several photographs of them jumping through the water, however, I struggled trying to use the correct shutter speed, and by this time, they had moved on, and were interested in something else. Once I had found the correct settings, I managed to shoot three of the seals, looking up at the visitors, as they looked down upon them. This was similar to that of Garry Winogrand’s photograph of the seals he captured. I composed the images, using a long lens, so that the enclosure looked smaller, and I could focus on a small amount of water with them in it, and the visitors watching them. I also then managed to shoot the seals during feeding time on the ‘Pride Rock’ until they decided to move the seals to the separate enclosure.

Afterwards, I decided to visit the Meerkat enclosures. I knew that this would be a popular section of the zoo, so I was expecting to be here for a while. When I arrived at the enclosure, I realised that it wasn’t too full, and I was the only person photographing the Meerkat’s in their outdoor, glass enclosure, yet the inside glass enclosure was full. I decided to start shooting with my 55mm lens, taking shots of them in their surroundings, digging the corners of the enclosure, as it trying to escape, then I decided to use my 70-300mm lens. I decided to use this, as there was one meerkat sat on his ‘Pride Rock’ almost posing for his photograph to be taken. I positioned myself so that I could zoom in for close detail and zoom out for the background. In the outdoor enclosure, there is a ‘Mole Hill’ type area, with glass or plastic windows, in which you can climb into to be ‘Inside’ the meerkat enclosure yourself. Two young male children decided that they would use these and were messing around as their parents attempted to photograph them with the meerkat in the photograph. I decided that like Winogrand and Eeckhoudt, I would use this opportunity to shoot this photograph, showing that these young boys were only interested in messing around, and weren’t interested in actually looking and appreciating the meerkat. I knew that this would turn out as a great final image.

After the Meerkat section, I made my way around the rest of the zoo, taking opportunity to photograph any animals I missed, and incorporating the crowds of people who had descended on the zoo. I left the zoo at closing time which was 16:30, I had been there all day. I knew that I had managed to capture some great images which would work well for final images, and that on some occasions, I was lucky enough to capture images similar to that of the Jaschinski, Winogrand and Eeckhoudt. When I got home and looked through the 500 photographs I had taken, several immediately jumped out at me and got my attention. I knew that these would be the ones I would use for final images, as they were exactly what I was hoping to have photographed.

Final images:

Choosing my final images was not that hard, as the ones that caught my eye, I knew were the ones that would make great final images. I had to keep in mind that I would be processing these into monochrome images. I opened a separate file in my images, and copied these images into the folder. I chose 20 in total, even though I knew I was only to select between 10-12 final images, however, I knew that by selecting 20, I would be able to process them, and decided whether or not they work well in monochrome, as sometimes, an image may look better in colour, rather than monochrome, and vice versa. I decided to use Lightroom 4.4 for processing my images into monochrome, as I am comfortable using Lightroom settings. I have gained experience using the settings such as converting the image to black and white, then altering the colour tones, lights, darks, blacks, whites etc, in order to produce a well composed monochrome image. I would then use Photoshop Elements 9 for any brush tools, such as lightening eyes, details, dodge and burn areas, as I am comfortable using these adjustments in Photoshop.

Regarding processing and adjustments, for each image, I tried to use the same adjustments. I converted the colour image into black and white in Lightroom, I then used the colour sliders to alter the tones of the areas within the image, to make them lighter or darker. I then adjusted the tone curve, contrast, brightness, darkness, clarity, sharpness and exposure. Once this had been done, I then saved the image, and opened it in Photoshop Elements 9. Once in Photoshop, I used the smart brush tool and enhanced details, dodge and burned areas, sharpened areas, and lightened eyes.

The Photographs:

IMG_6168 - Copy copy

Photograph One: Asiatic Lion Enclosure – Bristol Zoo – 2015

When taking this photograph, I used inspiration from Michel Vanden Eeckhoudt’s photograph of the tiger in the glass enclosure. I wanted to achieve somewhat the same type of photograph, however, at the time when I shot this, there was no one around except myself. This meant that I could then focus on taking photographs, portraying the loneliness of the lions. These lions slept the whole time I was at the zoo, so I was lucky enough to photograph this lion waking up, only because he heard a helicopter flying past. As this enclosure was almost a 360 degree enclosure, I decided not to shoot from the front on, but rather to go around the back, and photograph them with the windows the opposite side, in the shot. This would give the perspective of what the lions see on a daily basis. Through the eye of the lions you could say. In a way, with no visitors around, and only the Lion looking out to a vacant zoo, it appears as though the Lion is somewhat happy that there are no visitors, and now he can get some peace and quiet. It was just unfortunate that there were no visitors standing, watching them through these windows, as this could have been interesting, seeing what the lions see on a daily basis.

By shooting from this angle, I was able to compose a photograph which showed a small area of glassed enclosure, portraying it as being smaller than it actually was. Similar to the work of Winogrand and Eeckhoudt.

I decided to focus the lions face in the middle of the frame, whilst keeping two stickers on the windows visible and framing his face. The stickers on the windows are of a female lioness and a giraffe. I found this interesting, as in the wild, it has been known for lions to hunt giraffes. Keeping these stickers in the shot, allowed me to frame a ‘Lazy, Sleepy’ Lion, with an active hunting type scene.

I am very pleased with the final image, I believe that this image works well in monochrome, more than colour. I was able to enhance the texture of the wood chippings, the details and texture on the lions face and mane and in some places, you can see the scratches on the glass window panels. I also like the different tones in this photograph, the difference between light and dark, you are also able to see the small white glint in the Lions eye. I am to use the colour version of this image in the future, I would probably work on the saturation of colours, brightness and darkness, and sharpening the details.

Photograph Two: Asiatic Lion Enclosure - Bristol Zoo - 2013

Photograph Two: Asiatic Lion Enclosure – Bristol Zoo – 2013

I took this photograph in 2013, whilst photographing Bristol Zoo for my other assignment. The two male brothers, Kamran and Ketan, were only one year old, so were still babies. My tutor back then, advised me that this image would not be suitable for portraying the ‘Good Side’ of zoological gardens and conservation, as by showing cages, in fact does the opposite, and symbolises captivation, and entrapment. I took her advice, and decided to no longer use this image, but I saved it for another time. For this assignment, I looked back through my previous zoo photographs, and decided to use this image as one of my final images, because it is similar to Michel Van Eeckhoudt’s photograph of the gentleman in the suit, sticking his head into the lions mouth almost.

I know it is not the exact replica of Eeckhoudt’s photograph, but I don’t want it to be. I decided this would be a good final image because it is showing that again, humans aren’t supposed to be this close to wild animals, especially Lions. To be this close to a predator is unusual when you think about it, and similarly to Eeckhoudt’s photograph, it’s only the cages and wires, keeping this zookeeper from being this male lions dinner.

The raised hand in fact had a chunk of raw meat inside, in order to grab the lions attention, as this zookeeper was feeding them treats with a stick. However, showing this raised hand, is almost portraying a circus feeling, when you grab the attention of the animal to jump or stand on its hind legs, to show off to visitors. This was a similar situation, only involving meat on a stick, which made these lions jump up the cages. During this time and situation, I was unable to shoot a clear shot of them jumping with the meat dangling off of the stick, as I needed to change shutter speed, and I was being pushed by crowds, so this was the only clear image left showing what was happening.

I am pleased with this photograph, especially in monochrome. I was able to enhance the texture of the wire cages and the different tones within the image. It definitely works better with this assignment, as to my previous one that I used it for. If I could re shoot this image, I would compose it so the sign board wasn’t in the frame, however, I was unable to do so, because there were too many people stood watching. I think this is a photograph that will have multiple meanings depending on the viewers, however, this is interesting, to see how others interpret this photograph.

Photograph Three: Giant Tortoise Enclosure - Bristol Zoo - 2015

Photograph Three: Giant Tortoise Enclosure – Bristol Zoo – 2015

I spotted this hidden cell which enclosed two giant tortoises. It was barren, apart from the bedding area which one of the tortoises was already sat in. I waited for a while, waiting for the second tortoise to join the first, and managed to capture this photograph. I thought it was an interesting situation, especially as the rest of the tortoises were outside in the outdoor enclosure, yet these two were stuck inside. The one tortoise was trying to climb on top of the other tortoise, and being situated directly below a large glass window, I thought it would create an interesting final image.

Similar to Jaschinski’s monkey photograph, and Eeckhoudt’s monkey photography, I perceived these giant tortoise attempting to look out of the window. Others could perceive it as being loneliness, especially as no one is looking at them through the opposite window. It’s as though they are hidden away, almost forgotten about.

I decided to compose this image by zooming into the room, cutting out the vacant concrete flooring in the foreground, and by only focusing on the two tortoise, the window and the lights above, portraying a small room. I decided to burn the detail into the opposite window, in order to bring out the detail from the trees outside, which would then show the difference between the barren, concrete cell inside, and the sunny outdoors with trees.

I am pleased with this photograph. I am glad that I managed to burn the detail back into the window, which wasn’t that clear in the colour version. I think this is an interesting image, especially as it shows heat lamps, yet outside, it was hot and sunny, and with it being in monochrome, you can’t see the red heat coming from the lamps. Without the inclusion of the red heat from the lamps, it helps to portray this room as being cold.

Photograph Four: Brown Spider Monkey Enclosure - Bristol Zoo - 2015

Photograph Four: Brown Spider Monkey Enclosure – Bristol Zoo – 2015

When I visited the primate section of the zoo, I kept in mind Britta Jaschinski’s work. Her photographs of the gibbon monkey behind cages really stuck with me, especially the facial features and the eyes.

I knew that attempting to compose an image similar to Jaschinski’s would be hard, especially as you are unable to tell the monkey where to sit, and animals don’t usually stay around long enough to shoot clear photographs. However, I positioned myself outside the cage, leaning on a wooden railing, and I was lucky enough to have this brown spider monkey sit directly in front of my camera, but only for a short time. As I previously described above, the noise from inside drove him out, and the noise then outside drove him back in. However, I managed to shoot some brilliant photographs of this monkey.

I positioned him in the frame similar to Jaschinski, I wanted to keep the focus on his face. Photographing him quickly, whilst being able to keep him in focus, yet keep the cage in shot was difficult, but I managed to achieve it. I made sure that I kept his eyes visible, in order to see his facial expression and the depression and sadness, similar to Jaschinski’s gibbon monkey. Even his posture is similar to her photograph.

I was extremely happy with this photograph, and converting it to monochrome was a good decision. It brings out the detail of his hair, eyes and facial features, the ropes from his enclosure and the wires from the cages.

Photograph Five: Brown Spider Monkey Enclosure - Bristol Zoo - 2015

Photograph Five: Brown Spider Monkey – Bristol Zoo – 2015

This was the same brown spider monkey, whilst he was swinging across the cage away from the noise. I decided to use this as a final image because it is similar to Michel Vanden Eeckhoudt’s photograph of the monkey behind the glass window, holding his hands up.

I composed this image making sure that he filled the frame, I wanted him to dominate the photograph, holding onto the cage as if he was a prisoner, or was trying to escape.

My interpretation of this photograph, is captivity, not being able to break through these cages, not being able to climb over the top, but being able to see through the cages the outside world. This brown spider monkey’s eyes and face show these emotions in my opinion. His facial expression is similar to Eeckhoudt’s monkey, the expression of ‘Help’ and confusion as to why this ‘Thing (Cage)’ s holding me back, why can’t I get out.

I am pleased with this photograph, as with the previous image, it works better in monochrome, as you can see the details better, and the tones in contrast.

Photograph Six: Brown Spider Monkey Enclosure - Bristol Zoo - 2015

Photograph Six: Brown Spider Monkey Enclosure – Bristol Zoo – 2015

Taking inspiration from Michel Vanden Eeckhoudt, I decided to photograph the pair of the brown spider monkeys whilst they were inside their glass enclosure. I photographed them with the cages and wires, similar to that of Jaschinski’s work, however, I wanted to include an image which showed the glass windows and people looking through at the animals, whilst the animals looked at the visitors, similar to Eeckhoudt’s work.

Composing this image was difficult, as there were many people inside the glass enclosure area, so I knew that I had to stand at an angle to the glass windows and the visitors, in order to show the layers of glass windows and the people the other side. I made sure that I composed the image, to include the window frame in the centre of the image, as this broke the image up, making the enclosure look even more smaller. I knew that there would be reflections in the windows from the lighting, people and posters, however, I knew that this would be a great image. If I hadn’t of stood at an angle to the window, I wouldn’t have been able to include both the monkeys, the glass from the window and the people on the other side. I also made sure that I included the door where the zoo keepers enter the enclosure, in the frame, as this portrays it being an artificial enclosure.

Converting this to monochrome was a good choice, as the amount of detail, tones and contrast is great. I was able to show the reflection from the glass panels, the people looking through the glass windows, the detail on the wooden structures, the monkeys and much more. I am really pleased with this image. This photograph will have many different interpretations to different people, depending on how they view it.

Photograph Six: Gorilla Island - Bristol Zoo - 2015

Photograph Seven: Gorilla Island – Bristol Zoo – 2015

Although none of the photographers I have researched, photographed a male silver back gorilla, I do find similarities between this image and the works of Garry Winogrand. I took Winogrand’s approach at standing back and allowing visitors to do as they please, whilst you shoot away, taking photographs of them looking upon the animal, whilst the animal looks upon them. Although in most of Winogrand’s photographs, the visitors are ignoring the animals, but the animals are interested in them.

With this photograph, I decided to stand back and shoot. I saw this opportunity of photographing this young child, who was actually intrigued and interested in this male silver back gorilla, unlike the children in Winogrand’s photographs.

I composed this image so that the glass window panel was framing the gorilla, again showing that this powerful animal was only enclosed between a glass window and us. It was great that the young child put his arms up onto the railings, that gave the child that interested stance. The gorilla was extremely fed up and his eyes said it all. Like I mentioned previously, when you look into a primates eyes, you can see exactly how they are feeling. This male gorilla flopped into this position and then proceeded to rest his head on his hand, thus showing the human characteristics of how we rest our head on our hands if we are sad, bored or depressed.

I was unsure whether or not to crop the right hand side of this image, making the focus be only on the young child and the gorilla in the window, however, when I made a copy of this image and cropped it, I didn’t find it appealing. I personally believe that by keeping the right hand side of the image still in the frame, I was able to give it the feeling of perhaps a prison cell, with the dividing line from the glass window frame splitting the two rooms. You can also see a second gorilla asleep in the top right hand corner, with the vacant cell below. Converting it to monochrome also helps with the portrayal of a prison cell, as I was able to remove any colour distraction which enabled me to show the blank, colourless walls. Giving the Gorilla, an almost dull, boring and plain room.

Photograph Seven: Gorilla Island - Bristol Zoo - 2015

Photograph Eight: Gorilla Island – Bristol Zoo – 2015

I took the opportunity to move to the other side of the enclosure, so that I could see the gorillas face, in order to see his facial expressions. I noticed an interesting sign on a post where I was stood, it said ‘Please do not cross the barrier’.

I knew that this could be a great photograph if I composed it well. I decided to bend down slightly, in order to focus on the gorillas face, I wanted to frame him with this post and the post inside his enclosure. By doing so, I was able to frame him in an almost triangular shape. I kept him in focus, which therefore made the writing on the sign out of focus, however, it was still visible and readable.

Keeping in mind that we were in a 360 degree glass enclosure, with only the framework holding up the glass, there was no way we could ‘Cross the barrier’ as we would technically walk into a glass panel. Therefore, this sign has an interesting meaning, and can be see to represent the ‘Barrier’ stopping, holding and keeping this gorilla inside this enclosure. That is why I wanted to include it into the shot.

On the other side of this post, was the details from the cage door, which lead into the second bedding area. This therefore again, shows the cages and not being able to get through them or get out of them.

I am pleased with this photograph, I am glad that I was able to photograph a clear image of this gorilla’s face and his expressions. Framing him in the triangular section was an interesting composition for me. Converting this to monochrome, again was a good idea, as I could show the detail, contrast between the different materials. The white writing on the sign also stood out better.

Photograph Nine: Meerkat Enclosure - Bristol Zoo - 2015

Photograph Nine: Meerkat Enclosure – Bristol Zoo – 2015

Whilst visiting the Meerkat enclosure, we have a see through dome which you as visitors are able to be inside the enclosure, to see the Meerkat’s up close and in detail. I was stood photographing this little meerkat on his pride rock, whilst keeping the glass panels from the enclosure in shot, showing that even though he looks as though he is in the wild, he is enclosed by glass.

However, as I was photographing him, I noticed that two young male children were playing around inside the dome area. Their mother was trying to photograph them with the meerkat in the shot, but they kept messing around. I knew that this was a similar situation photographed by Garry Winogrand of the Rhino’s.

I decided to use my long lens for this image, as I could zoom into the enclosure, cutting out the wide enclosure full of sand in the foreground. Therefore, I could compose it so the focus was only on the two young male children and the meerkat on his pride rock. I managed to capture this photograph at the right moment when both boys were laughing whilst posing for their parents photograph.

What I like about this photograph, is the posture of the meerkat, he is posing like a model, waiting for his photograph to be taken. Yet, he doesn’t realise that behind him are two boys who are laughing at him. It is similar to us humans posing for a photograph, and someone behind making a silly face or ‘Photobombing’ causing you to have a bad photograph. However, this isn’t a bad photograph, and I am in fact pleased with this image. It shows that like Winogrand’s rhino photograph, these boys aren’t interested in the meerkat, they are only interested in making silly faces at the camera, and jumping around.

Photograph Ten: Penguin Coast - Bristol Zoo - 2015

Photograph Ten: Penguin Coast – Bristol Zoo – 2015

I decided to photograph the penguin coast during feeding time, in order to show how in captivity, you wait to be either hand fed, or you wait until the fish is thrown into the water for you to ‘Catch’. This is not what it is like in the wild, as penguins have the opportunity to hunt for fish every second of the day, not just at certain times like how it is in a zoo or in conservation.

I wanted to copse this image so that I could include the zoo keeper handing fish to each penguin. As you can see, the penguins are still huddled together and are unsure whether or not to approach the keeper, even though she has food. In my opinion, this shows that they are uncertain of their environment, and even though the smell of fish is appealing, they still aren’t sure whether or not to approach, as if they do, they could be in danger.

I also wanted to include visitors in the background, similar to how Garry Winogrand shoots his photographs. By doing so, I can incorporate the feeling of the penguins being similar to an exhibition piece, people constantly watching your every move. I used my cannon lens for this, as I would be able to compose an image which contained everything in it. However, I did zoom in slightly to cut out the buildings opposite the enclosure, which therefore cropped the image.

Photograph Eleven: Seal Coast - Bristol Zoo - 2015

Photograph Eleven: Seal Coast – Bristol Zoo – 2015

Photographing the seals was not the easiest of tasks, especially as on this day, they were very active, and were jumping through the water, showing off to the visitors. Seal coast is normally very busy with visitors, so I was thankful that I was able to position myself close enough to photograph them.

When photographing the seals, I kept in mind the photograph of seals taken by Garry Winogrand. I wanted to create something similar, where the seals were looking up at the visitors, and either the visitors were looking back at the seals, or the visitors were looking away, uninterested.

I was fortunate to have been able to photograph the three seals, just as they stopped near the bridge, with visitors looking down at them. Unlike Winogrand’s photograph, all of the visitors in my photograph are interested in looking at the seals. This photograph shows a lot of curiosity, more so from the seals. They look curious as to who is watching them, and what the ‘Click, Click’ noise is from the camera.

In terms of showing the bad side of zoos, I believe this photograph shows that especially in terms of the small water space. Like Winogrand, I composed this image by zooming in and focusing on including the visitors and the seals, making sure that I only showed a small amount of water and the closeness of the visitors, to portray a smaller enclosure and to give the photograph an almost ‘Enclosed’ feeling. By doing so, when you look at this photograph for the first time, you immediately think, ‘Is that really how much water they have to swim in?’. However, what people don’t realise, is that I cut out from the frame, the rest of the seal coast, which contained extremely deep water with underwater viewing galleries, and several mountain type rocks, for them to sleep or rest on. If I hadn’t of composed the image this way, and included the rest of the coast are in the frame, I don’t think it would have the same impact, and I personally believe this is what Winogrand was thinking when he shot his photograph of the seals.

Photograph Twelve: Seal Coast - Bristol Zoo - 2015

Photograph Twelve: Seal Coast – Bristol Zoo – 2015

Keeping Garry Winogrand’s photographs in mind, I decided to shoot photographs of the seals during feeding time. I decided to compose the photograph so that the focus was on the seal in the centre of the frame, in order to balance the photograph. By doing so, I was able to then include the visitors either side watching the seal.

Similar to Winogrand’s photograph of the seals, I noticed that several people were not interested in the seal, and were in fact more concerned about their mobile phones. I noticed a monotonous expression on the face of the zookeeper, which to me shows how his excitement for caring for this animal may be expiring. Perhaps he has worked with seals for years, and the mundane task of feeding the seals for entertainment purposes has begun to bore him too. It’s as though the zookeeper is showing the facial expressions, of what the seal is probably thinking himself.

In my opinion, this is a very lifeless photograph. The seal is sitting waiting for the food, as he knows that the keeper in the suit is the only one that feeds him. The facial expressions on the visitors are somewhat lifeless, as there is only about 4 people who actually look happy to see the seal. Converting it to monochrome also helps to add a lifeless, boring feeling to the situation in the photograph, as by removing colour distractions, I have made the visitors faces the target to look at.

Conclusion:

At the beginning of this assignment, I read through my tutors advice;

“Jumping ahead a little it might be worth thinking about the following in relation to the fifth and final assignment.  The shots an editor would be expecting to see in a photo story would be Establishing [setting the scene], Portrait [Human Condition], Action and Detail shots.  Obviously depending on what you are trying to say with the work, they would not always include all of these.

Photographic stories are the visual communication of a personal experience.  They can be considered unique and can provide an excellent vehicle for personal expression.  In order to communicate effectively, you must try to make a connection with what is happening.  In order for this to work, you must research your subject thoroughly and if the story includes people, patiently observe before starting to photograph them.

Just to dwell on the subject of the photo story for a while, it is important for you to have a ‘point of view’ or an ‘angle’ for the story.  With this work you could argue it was capturing the space of yesteryear. You must have an opinion about what is being recorded and this should in turn come across.”

His advice was very helpful, and when I answer the questions below, you will be able to see why I decided to choose this theme to study my personal project on, and any technical issues etc that I may have had.

When you’ve completed your collection, return to the brief that you set yourself at the start, and consider how well your completed project matches up to your original intentions. Write a reflective account of around 500 words to accompany your images. Below are a few ideas:

  • How did you choose your theme?
  • Was it a good choice?
  • What went well?
  • What went badly?
  • Did you stick to your original brief or did you find yourself departing from it? If yes, then why?
  • What technical problems did you experience?
  • How did you solve any technical problems?
  • Are you pleased with your final collection?
  • What could you have done differently?
  • How did you choose your theme?

As previously mentioned at the beginning of this assignment, I remembered some feedback that I received from my previous tutor, regarding an assignment I had submitted. For that assignment, I decided to study my research around the ‘Good Side’ of zoos and conservation, however, her feedback advised me that some of the photographs I had submitted, included cages and windows, which gave the photograph the opposite feeling of what I wanted to portray, and I was in fact showing a bad side, by including these cages. She advised me to research Britta Jaschinski and Garry Winogrand, in order to understand why she was advising me that I should perhaps remove these photographs from my submission.

Therefore, I decided to research Britta Jaschinski and Garry Winogrand’s work, and I was taken back by how amazing yet how sad their work was. I had previously researched animal hunting, animal cruelty, the fur trade and cosmetic testing, so I had some knowledge of researching works for this and photographing the bad side of these subjects, however, I wasn’t aware of photographers who had shot works of the bad side of zoos and conservation, until now. After looking at these photographers, I knew that if I had the opportunity in the future, that I would research them again and study this subject, in order to make my own set of photographs and works based upon this theme.

Ever since I was a chid, I have always loved visiting zoos and zoo like environments, unlike Britta Jaschinski, so for me, getting my brain around the idea that I would have to stop thinking about the good side of zoos and animal conservation, and that I would have to in fact look closer at the bad side of zoos and conservation, for me was going to be slightly difficult, especially as I didn’t want to then stop enjoying any future visits to the zoo. I suppose I thought to myself that once I opened my eyes to the truth behind the animals being born in captivity, never knowing what it’s like to be in their natural environment, never experiencing freedom, it would shock me and I would then start to question myself whether or not a zoo environment was actually a good place or whether or not it was all for show, and deep down it wasn’t all as it appears to be.

This is similar to the blog article written by Peter Barker in 2013, regarding Garry Winogrand’s photographs, portraying what he believed to be the real side of zoos.

I think that by researching the bad side and hidden side of zoos and conservation, before I began this assignment, I was able to get the other side of what we usually see when we visit the zoo. It’s the harsh truth perhaps, and we as visitors are unaware that these things happen behind closed doors. It is slightly hard to believe, and I don’t for one minute believe that my local zoo is anything like these zoos mentioned in these articles, however I wanted to study this theme, in order to decided for myself, whether or not bad sides of zoos and conservation existed, and Jaschinski, Winogrand and Eeckhoudt’s photographs do in fact reveal to us the truth, or whether or not there is some underlying falseness to their works and to the accusations.

  • Was it a good choice?

100% Yes, it was a good choice. For me to be able to research this subject, something which I had no previous experience of studying, really opened my eyes to something that I never knew really happens or takes place. I have seen things like this on documentaries, and you sometimes hear about these things in the news regarding the mistreating of animals whilst in zoo care or perhaps circuses, however, it is very few and far between that the news do in fact report on stories like this. I personally believe that this is not reported on purposely, as it will cause major problems if the truth behind captivation and the bad sides of zoos, really did come to light, and was publicised. I find this a very upsetting subject, as I am for animal rights, and I hate to see any type of mistreating of animals, hence why this is a topic that I wanted to study, to see whether or not it was in fact true and whether I saw anything like this at my local zoo.

My photographer research enabled me to compare all three of their works, and to see whether or not there were any similarities regarding the cages, enclosures etc. It also enabled me to compare how each of them composed their photographs.

Once I had found similarities between all three of them regarding how they composed their photograph, making sure that they cropped the enclosures, portraying them to be smaller than they were, making sure that they composed it so the cage wires were visible, glass panes were visible and visitors were visible, made me question whether or not all three of these photographers purposely composed their photographs in order to falsely portray the bad side of zoos, or whether they were composed to actually show us as viewers, what it is like to be one of these animals, in one of these small enclosures every single day.

Therefore, yes, it was a good choice, because I would be able to see what is the truth and what isn’t the truth. What has been falsely represented and what is real. Since I was a young child, I have never seen any mistreating of animals in out local zoo, in fact they have been known to rescue mistreated animals from other conservation areas. So for me, to think that my local zoo was covering up the captivation by making it look as though the animals were in their real environment, by painting on their enclosure walls, adding natural sources such as sand, wood etc into their enclosures, was hard to try to believe or disbelieve. I suppose I just wanted to know the truth.

  • What went well?

I was able to get the shots that I wanted. I must admit, it wasn’t easy, but I will explain why below, but I am happy with what I managed to shoot.

I was glad that I planned my visit. Taking two lenses so I could change the view of the image, was a good idea. I was pleased with the weather, thankfully it wasn’t raining and it was a lovely sunny day, which meant that I wouldn’t have to worry so much about lighting, getting my equipment wet, or having to trudge around soaking wet.

I was pleased that I managed to arrive early, enabling me to photograph scenes quietly, so I was able to photograph the lions for example, easier alone, than if there was a huge amount of people around. I don’t think I would have been able to achieve some of the shots, if I hadn’t of planned my visit beforehand.

  • What went badly?

People! I know that zoos are a favourite attraction, but I found the crowds of people, and the manners of the people ever so rude and annoying. I tried to keep calm, I didn’t get flustered, I just wanted to take my time, shoot what I needed to shoot, and then I would move onto the next part. However, I just find that people inside of zoos, can sometimes act worse than the animals that live in them. I was constantly pushed around, causing blurred images, which meant I would have to steady myself again to reshoot the image, I was move along, when I didn’t want to move. It wasn’t thee best. But I suppose that is what shows the difference between the well-mannered animals and the ill-mannered humans viewing them….

I remember my tutors advice regarding photographing people, ‘you must research your subject thoroughly and if the story includes people, patiently observe before starting to photograph them.’  I took this advice on board, and I made sure that in any situation with a large crowd of people, I stood back and waited, photographing along the way, but I made sure to wait for the right moment which could be the right shot.

Another thing that didn’t go to plan was the animals….. They say never work with animals or children. Well, unfortunately, the zoo was renovating some enclosures, so some animals were not available to view, which meant some pre-planned shots, were not available for me to take. Some animals were asleep, or were hiding in their enclosures, which meant that again, I was unable to photograph them how I had wanted. I can’t blame them, I would probably be asleep or hiding from the crowds too, but when I had a pre-planned vision of what animals I wanted to photograph, and they weren’t around, made me somewhat disappointed.

  • Did you stick to your original brief or did you find yourself departing from it? If yes, then why?

I did stick to my original brief.

  • What technical problems did you experience?

It is hard for me to say really, I found it difficult when shooting in the twilight world. In the twilight world, we have nocturnal animals, which meant it was completely in the dark except for a few small red heat lamps. When shooting under here, it was advised as a rule to not shoot with a flash, which was completely understandable, so I had to adjust my settings manually, in order to photograph them in the small amount of available light. However, it took me a while as I was being pushed again, causing my camera to move, which meant that my photographs were blurred. I was slightly annoyed when leaving this area, as I found the manners of people very rude and annoying. I decided to not use any of these photographs for this assignment, simply because I didn’t feel that they were suitable.

Another thing regarding shutter speed, was when I was photographing the seals. They were extremely active due to it being feeding time, which meant that I had to adjust my settings manually, in order to capture them. However, again I had to stand my ground and stop myself from being nudged and pushed against the railings, causing me to shake, blurring some images.

I also had to decide when to change lenses for certain enclosures, and halfway through, I had to check my images were being saved on my memory card, and I had to add a second memory card, as the first one was full.

  • How did you solve any technical problems?

It was just common sense really, I used my settings on my camera and adjusted them accordingly to the situation I was shooting. I positioned myself against railings or rocks, in order to stop camera shake and to steady my hands when photographing moving animals, as I was unable to use a tripod.

  • Are you pleased with your final collection?

Yes, I am extremely pleased with my final collection. I am glad that I was able to use the inspiration from my photographer research to help me when I was shooting for these, as I was able to compose these images with their inspiration in mind, which I may not have done if I hadn’t researched beforehand.

I am pleased that I chose to convert all of these to monochrome final images, as I believe that this has made them better. By converting to monochrome, I was able to enhance the contrasting tones, the details on the cages, windows and the animals. This would have been slightly challenging with colour images, as the colour would have been too distracting.

  • What could you have done differently?

I don’t think that I could have changed anything regarding my final images, as I am pleased with them. However, I think if I could have done anything differently, It would have been taking more photographs. Unfortunately as I previously mentioned, some animals were unavailable due to renovations on their enclosures, however, if I could have changed that, and they were available, then I would have photographed them, the same with the animals that were hiding or were asleep.

I could also have composed different photographs, especially if there weren’t too many people around. I may have been able to have shot more interesting photographs, however, the amount of visitors stopped me from doing to as I was unable to reach places.

My Personal Opinion:

I really enjoyed the freedom of this assignment. At the beginning, I thought that it may be quite difficult to think of something to base this assignment on, as when you are given the freedom to study a theme of your choice, I usually find it hard to think of something that I haven’t previously studied. You also have to decide whether or not it would make an interesting set of final photographs, and whether or not the subject would be easy to photograph. However, being able to choose your own subject and theme to focus this assignment on, was great for showing something that you felt strongly about.

For me, I have always been an animal lover, and I am against the mistreating of animals in any way shape or form. I have studied other themes regarding mistreating of animals, such as hunting, fur trade, cosmetic testing etc, however, I have not studied the bad sides of zoos and conservation. I remembered feedback from my previous tutor regarding an old assignment, when I had studied the good side of zoos. She mentioned to me that I should research Britta Jaschinski, a photographer who focused on the bad side of zoos and conservation. After researching her work, I knew that sometime in the future, I would most definitely want to study the bad side of zoos, and use Britta Jaschinski’s work as inspiration for any images that I shot. When this assignment came up, I knew that this subject would be perfect for me to focus on. Therefore, researching and studying the bad side of zoos would be a first for me, and I thought that it was be very interesting and would lead to an interesting set of final images.

This meant that I would have to begin this assignment by researching into the bad side of zoos and conservation. I found some very interesting articles online which shocked and saddened me, as to the extent of what really is hidden from us on our visits to zoo type environments, and also what is hidden from us in the media. Doing photographer research also really helped me.

When I was doing my photographer research, I noticed that they all had similar composition, focusing on the animals enclosures, expression, cages and glass windows. I noticed that how they stood whilst taking these photographs could cause perhaps a misrepresentation of the enclosure and the situation at the time. These techniques when shooting, would allow them to produce sets of images which portrayed smaller enclosures, and depressed animals, when in fact, they were cropping out perhaps a huge part of the enclosure, in order to give the shot in the frame an enclosed feel. This was done purposely, to give the final image a better impact on us as viewers. I took note of these techniques and I used them whilst shooting for my images, and I must admit that where you position yourself, and what lens you use can alter your image dramatically. I was able to make enclosures looks smaller than they were. I was able to focus on cages, glass windows and visitors. Some may argue that this is entirely wrong and I have purposely shown smaller enclosures to mislead people, and I couldn’t agree more. I have purposely done this.

I think by doing so, I was able to show that perhaps Jaschinski, Winogrand and Eeckhoudt didn’t shoot the bad side of their zoos. Perhaps they have taken misleading photographs, in order to make it a better story and a talking point. Are their photographs lies? Are they misleading? or are they truthful, and have they actually been able to capture the truth behind the bad side of zoos. I suppose it is something that we will never know the real answer too, however, I can admit, that I used their techniques whilst photographing for my final images, and I believe that I have been able to produce some very interesting, very striking final photographs for this assignment. I have never seen any mistreating of zoo animals at my local zoo, and I don’t believe that what I shot that day shows any mistreating, however, I do believe that I used my composition skills, software processing skills and techniques I have learnt from research, have enabled me to produce a final set of photographs that you could argue, show that my local zoo cages and encloses depressed animals, bored animals, and lonely animals.

I suppose this is a subject that we will never fully understand, nor will we ever be told the entire truth about, as it would cause uproar. However, some zoos and conservation places are fantastic and do care 100% for the animals and their wellbeing. It was hard for me to try to portray a good zoo, as being a bad one. I knew that I would have to in order to produce these photographs, however, it does make me question whether or not these other photographs I have seen, and articles I have read are in fact truthful or not, or are they in fact good zoos that have been portrayed badly, just for a talking point.

I don’t think that we will ever know, however, my view on my local zoo is still a good one. I still love going to the zoo. Maybe I am wrong for those thoughts, but I love animals, and seeing wild animals who are endangered, up close, for me is a special, unique opportunity, that my children or grandchildren in the future, may never get the chance to see for themselves. I treasure the chances that I get to view a majestic lion so close, and I only hope that others do from here on. I also hope that in the future, any problems regarding mistreating of animals in zoos, small enclosures etc, can be changed, and perhaps if light was shone on this subject more, than maybe zoos which are struggling, could receive the help they may desperately need.

References:

PETA article – The Reality of Zoos – Michelle Carr – 2013

http://www.peta.org/living/entertainment/reality-zoos/

Liz Tyson article – 23rd June 2013 – Chester Zoo, UK.

https://www.thedodo.com/community/Liz_Tyson/if-we-really-care-about-animal-601151421.html

Article One: PETA – 13 Times Zoos Were Bad for Animals – http://www.peta.org/features/zoo-animal-abuse/

Article Two: CAPS – 10 Facts about Zoos – March 3rd 2010 –  http://www.captiveanimals.org/news/2010/03/10-facts-about-zoos

Jaschinski, Britta.

Britta Jaschinski – Zoo Book – Amazon.

  • Hardcover: 112 pages
  • Publisher: Phaidon Press (13 May 1996)
  • Language: English
  • ISBN-10: 0714834726
  • ISBN-13: 978-0714834726

Britta Jaschinski Photograph, By Spiros Politis, Jan 01, 2010,

Website: http://www.brittaphotography.com/projects.php

Winogrand, Garry.

Garry Winogrand – The Animals Book – Amazon

  • Hardcover: 48 pages
  • Publisher: The Museum of Modern Art, New York; 2nd edition (April 2, 2004)
  • Language: English
  • ISBN-10: 0870706330
  • ISBN-13: 978-0870706332

Garry Winogrand Photograph, Self Portrait.

http://shooterfiles.com/2015/05/master-profiles-garry-winogrand/

Garry Winogrand, The Animals Photographs,

http://peterbaker.org/the-animals/

Peter Barker Blog Article, February 18th 2013 –

http://peterbaker.org/the-animals/

Vanden Eeckhoudt, Michel.

Michel Vanden Eeckhoudt – Zoologies Book – Amazon

  • Hardcover
  • Publisher: Delpire; First edition (1982)
  • Language: French
  • ISBN-10: 2851071041
  • ISBN-13: 978-2851071040

Photo Book and Photographs –

http://www.agencevu.com/photographers/photographer.php?id=83

Project: A Web Gallery

What you can see on your monitor can also be distributed across the internet to as many people as you can persuade to look. Posting a selection of your images to a web gallery is quite straightforward (You will need a web account), and a number of image-processing programs and photo-browsing programs offer simple procedures for creating one. This part is not at all taxing, and you should concentrate on two aspects that will establish the character and quality of your gallery – preparing the images for on-screen display, and designing the viewer’s experience of visiting the site in such a way that it shows off your images to their best advantage.

Most of what we have been through in this course has been directed at the on-screen appearance of photographs, so there is very little else that you will need to consider for the gallery.

The size of the image is one. Usually, a large size on-screen delivers a stronger visual impact, but this may be offset by slower loading. You might also want to consider whether the images at your chosen size would benefit from a certain amount of sharpening.

The seconds aspect is editorial, and concerns the design of the pages and the sequencing of images. Work with the tools offered by the program you decide to use, which will almost certainly include a choice of already designed templates. You might want to consider the following;

  • Decide what you want from your website. What is its purpose? Do you want to show off your best images, or exchange all of them with friends, or present just one aspect of your work?
  • You are presenting your best work. Maintain confidence in the excellence of your images, and think of the website as a display arena of fine photographs.
  • The image comes first. The first priority should be displaying each photograph to its best advantage. That means occupying a substantial area of the screen and with nothing around it that fights for attention.
  • Everything needs a reason. Add symbols, buttons and words only as necessary.
  • Do you want your site to fit in with the general standards and style of other photography sites? Or do you want it to stand apart? Take some time to look at other photographers’ websites. Consider making screen grabs of them so that later, you can put your new design among them to see how it compares.
  • Keep it simple. A good default decision in photo gallery design is simplicity.
  • Offer the fewest clicks to navigate. Don’t make the viewer work hard.
  • Make it searchable. Put important words in HTML, not embedded in pictures. Search engines like Google can search only words, not pictures.
  • Let viewers know where they are at any time, and how to get to the next picture or set of pictures. An array of thumbnail images is a good way of stepping in and out of a collection.
  • Get other people’s opinions. Talk through your ideas and design with friends and other photographers, in order to help give advice and an objective opinion.

It’s up to you whether you want to attempt to create a web gallery at this stage or not. If you feel as though you are not yet ready, spend some time looking at other photographers’ galleries and make notes, about what you like and don’t like, useful features, things that get in the way etc.

Before I begin this project, I want to do some research into what makes a great photography website / gallery. I will look at well established photography websites and galleries, and note any eye-catching qualities, anything I like or dislike, and any similarities or differences between them.

Fashion / Beauty Galleries:

Tim Walker – London.

http://www.timwalkerphotography.com/recent-work

Walker is a British photographer who gained his passion for photography whilst working at the Condé Nast library in London where he worked on the Cecil Beaton archive for a year before university. After completing his 3 year BA Honors degree in Photography, he was awarded third prize as The Independent Young Photographer Of The Year. He began working as a freelance photographic assistant in London, before moving to New York City to work as a full-time assistant to Richard Avedon.

Upon his return to England, he began focusing his photography around portrait and documentary work for British newspapers. At the age of 25 he shot his first fashion story for Vogue. He has since photographed for the British, Italian, and American editions, as well as W Magazine and LOVE Magazine ever since.

Tim Walker Front Page

Tim Walker Front Page

Tim Walker Recent Work

Tim Walker Recent Work

Tim Walker Biography

Tim Walker Biography

Tim Walker Photo Book Page

Tim Walker Photo Book Page

When looking at Walker’s website, I have noticed that he keeps it very simple, similar to a high-end fashion magazine. A plain white background enabled his photographs to stand out a lot more, than if they were on a busy background, similar to how he would expect his photographs to be shown in a fashion magazine. Because his photographs are very unique and thought-provoking, I think that by keeping a simple background, it helps to draw the viewer’s attention to the photograph. He also includes details in the bottom left hand corner regarding who the photograph is of, where it was taken, for whom it was taken and the date.

It is a very easy website to use, the tabs in the left hand corner are accessible and simple. He includes options to view his photo books, news articles, biography and contact details.

  • Simple yet bold front page with only one photograph
  • Simple white background
  • Bold name header
  • Simple, clear tabs in the left hand corner
  • Options to view his photo books, news articles, biography, videos
  • Information regarding the photograph, included at the bottom left corner
  • Large and medium-sized photographs
  • Contact details available
  • Professional looking

Jason Bell – London / New York City

http://www.jasonbellphoto.com/#/home/

Bell is a British photographer, born in London. He chose a career as a portrait photographer whilst in university. His work has included well-known celebrities and has appeared in some of the worlds most famous publications, such as Vanity Fair and Vogue US & UK.

Bell has shot photographs which have been used for film posters including Billy Elliot, Love Actually and Bridget Jones 2. The National Portrait Gallery have purchased several pieces from Bell’s work, and have been kept for their permanent collection.

Jason Bell Front Page

Jason Bell Front Page

Jason Bell Vogue Photographs

Jason Bell Vogue Photographs

Jason Bell Biography

Jason Bell Biography

Jason Bell Photo Books

Jason Bell Photo Books

There are noticeable similarities between Tim Walker and Jason Bell’s website. The first being that they both have a simple front page. They both have a large striking photograph on the front, drawing the viewer’s attention in. They keep the background simple, keeping it plain white. Bell includes the name of the model under the photograph, similar to Walker.

They have simple easy to use tabs on the left hand side of the page. These too include present and previous works, photo books, biography and contact details.

They are both professional, clean-looking websites that are easy to use, and therefore only focus on their work. They let their photographs speak for themselves and for the website. They both remind me of high-end magazines, in which they have plain white backgrounds, where the photographs are the main focus with little but necessary writing.

  • Simple yet bold front page with only one photograph
  • Simple white background
  • Bold name header
  • Simple, clear tabs in the left hand side of the page
  • Options to view his photo books, present and previous work, biography, videos
  • Information regarding the photograph, included at the bottom left corner
  • Large and medium-sized photographs
  • Contact details available
  • Professional looking

Richard Miles

http://www.richardmilesphotography.co.uk/#!/home/

Richard Miles is an award-winning, freelance photographer who has been internationally published. He has appeared on BBC television and has worked with respected industry names such as Errol Douglas, Phil Smith and Royston Blythe. His hair and beauty photographs have regularly appeared on the front cover of several best-selling glossy magazines.

Richard Miles Front Page

Richard Miles Front Page

Richard Miles Hair and Beauty

Richard Miles Hair and Beauty Colour

Richard Miles Hair and Beauty Monochrome

Richard Miles Hair and Beauty Monochrome

Richard Miles Biography

Richard Miles Biography

One noticeable difference with Miles website is that he has decided to use a black background. His front page contains a slide show, consisting of large monochrome and colour photographs which take up a large quantity of the screen.

His links are situated at the top of the page, which take up less room, enabling larger photographs to be used. His links include options to other works, videos, biography and contact details, similar to Walker and Bells. He also uses links to social media sites, something which Walker and Bell don’t use.

His photographs of the hair and beauty are located on a slide which you slide along in order to view each photograph. The photographs are all the same size, giving the feeling of uniformity and tidiness.

His choice of using a black background is a very well thought out choice. His photographs of the hair and beauty are either colour or monochrome. They each contain a well-lit model with a striking pose. Although they are lined up at the same size, on a slide mechanism, and don’t include much of the black background, they are still somewhat framed by the background, making them stand out much more.

This is a very easy to use website, with a lot of his work available to view.

  • Bold front page with a slide show of work
  • Simple black background
  • Bold name header
  • Simple, clear tabs at the top of the page
  • Options to view his present and previous work, biography, videos, blog and social media links
  • Large and medium-sized photographs
  • Contact details available
  • Professional looking

Animal / Wildlife Galleries:

Joel Sartore

http://www.joelsartore.com/

Joel Sartore is a world-famous photographer, who specializes in photographing landscapes and documenting endangered species. He chooses to photograph these subjects, because he is a conservationist. He wants to show us as viewers, a world worth saving. Sartore is also a speaker, author, teacher and a National Geographic Fellow. He regularly contributes to the  National Geographic Magazine. He is the founder of The Photo Ark, a multi-year documentary project to save species and habitat. He has also written several books.

In addition to the work he has done for National Geographic, his work has also appeared in Audubon Magazine, Geo, Sports Illustrated, The New York Times and numerous book projects. Not only has his work been published in magazines, but it has also appeared in several national broadcasts, such as National Geographic’s Explorer, the NBC Nightly News, NPR’s Weekend Edition and an hour-long PBS documentary, At Close Range.

Joel Sartore Front Page

Joel Sartore Front Page

Joel Sartore Photographs Page

Joel Sartore Photographs Page

Joel Sartore Buy Photographs Individually

Joel Sartore Buy Photographs Individually

Joel Sartore Store

Joel Sartore Store

Joel Sartore Biography

Joel Sartore Biography

Comparing Joel Sartore’s website, to the three previous fashion websites, I have found some similarities and differences. The first similarity is on the front page. Sartore uses a slide show on the front page, which moves through medium size photographs. Similar to Richard Miles, only just on a smaller scale. There is also a short description about Sartore and his work on the front page, which helps draw your interest in, and makes you want to look through the rest of his website.

The tabs and links are situated at the top of the page, leaving more space and room for photographs in the main section of the page. He also has quick links which enable you to search for certain photographs, rather than scrolling through all of them. There is also quick links to his social network pages and contact details, all located on the front page, making it quick and easy for people to look and click for any information they may need.

When you click to view his ‘Photos’ page, each set of photographs are in categories which makes things easier and simple to view, rather than scrolling through one large section of photographs.

Once you click to view a photograph, there is an opportunity to purchase them individually, check for stock quantity and an option to share the photograph via social media. This is a great idea if you are thinking of selling your photographs on your website. Enabling the viewers to check for stock next to each photograph, is a great idea, especially as it can be annoying if you add an item to your basket, and attempt to check out, only to find that it is not in stock. At least with this feature, you’re able to check in advance. Each photograph also contains details about the image underneath, similar to the other websites previous.

Sartore has a store on his website, which contains several different items, all incorporating his photographs, for you to purchase. Therefore, not only is this a portfolio website, it is also a shop, and you are able to purchase your favourite prints or products.

He also has several other links, similar to the three previous website, including a biography page. There is also links which enable you to download head shots, documents from events he has attended, videos to watch and much more.

I find this website very easy to use, similar to the previous three. He has kept it simple with a plain dark background which help to show off his photographs against the simple background. There is a bold yet simple front page, incorporating a slide show of his best work, similar again to the others. It is a user-friendly website, with simple links, social media links and a lot of event details, contact details, videos to watch and much more.

I like the addition of the store, and being able to purchase prints. This gives us as viewers the opportunity to own a great piece of work.

  • Bold front page with a slide show of work
  • Simple dark background
  • Bold name header
  • Simple, clear tabs at the top of the page
  • Options to view his present and previous work, biography, events, videos, blog and social media links
  • Large and medium-sized photographs
  • Details about each photograph, underneath.
  • Contact details available
  • Store to purchase prints and products
  • Downloadable PDF files and Photographs
  • Professional looking

Jim Dratfield

http://petography.com/

Jim Dratfield was born in Princeton NJ. He grew up in a theatrical family, and even starred on Broadway himself, when he was young. His love for theatre encouraged him to open up his own theatre company O Drat! Productions.

Jim decided to move back to the East Coast, where he later combined his love for photography and animals, whilst dreaming up concepts for promotional mailing which was being sent to casting directors, and photographing himself and his beloved pet dog Kuma an Akita. Combining photography and pets was something he knew would be popular, as owners like him, have a deep affection for their pets and he knew that they would cherish portraits of their little ones.

In February 1993, Dratfield co-founded Petography Inc, an animal portrait studio, specializing in fine art photographs of pets, all shapes and sizes. Since then, Petography Inc has become a huge success. Dratfield has flown all around the world photographing owners with their pets, he has even photographed portraits for well-known celebrities.

Jim Dratfield Front Page

Jim Dratfield Front Page

Jim Dratfield Drop Down Menu - Portfolios

Jim Dratfield Drop Down Menu – Portfolios

Jim Dratfield Cat Portfolio

Jim Dratfield Cat Portfolio

Jim Dratfield Book Page

Jim Dratfield Book Page

Jim Dratfield Biography

Jim Dratfield Biography

Jim Dratfield’s website is very similar to all of the above websites. He has a very simple front page, with a slide show of his best work in a large size. He has a large name header at the top, followed by his easy to use links.

When viewing his portfolio work, he uses slide shows to look through his work, this is similar to Richard Miles. A difference is that he doesn’t include any information about each photograph.

He uses a plain dark background, again similar to the previous websites, this makes his work stand out from the background.

There is a book link which takes you to a list of his published books, and a link to Amazon where you can purchase them. Different to the other websites.

There are links for biography, events and press, and also a contact link which takes you straight to a message box and email address. Very simple, yet different to the other websites. There is also now links to social media, which is similar to Tim Walker and Jason Bell, leaving me to have the feeling that this is a high-end photographer, who can only be reached by message or email only.

  • Bold front page with a slide show of work
  • Simple dark background
  • Bold name header
  • Simple, clear tabs at the top of the page
  • Options to view his present and previous work, biography, events and contact details
  • Large and medium-sized photographs
  • Contact details available
  • Professional Looking

After looking at all of the websites and galleries, I have found similarities and differences between all of them. Some things I like and some I don’t.  The first similarity is that they all look professional. The first appearance always count, and every front page is clean, simple and tidy. They each contain a bold image which draws you in as a viewer first, and some even contain a slide show which showcases their best work, as like me, I would find it hard to choose just one photograph to put as a front cover, and therefore choosing a slide show option would work better.

They each keep to a simple plain colour tone, whether it is white or black. None of them have chosen to use patterned backgrounds or multi-coloured backgrounds. By doing so, they have avoided any confusion. Choosing a wild patterned or multi-coloured background would be very messy and it wouldn’t pull your attention into the photographs as well as a simple background would. Perhaps a faint pattern or pastel multi-coloured could work, however, it would depend on what theme of photography you would be showcasing.

They all have bold name headers, showing off their names or the company’s name. This is extremely important, as you want people to know who you are. They all have simple, quick and easy to use links to other pages, portfolio works, biography, contact areas and books or shops. Navigating around a website can be confusing at times, however, I found that navigating around these were very easy and simple. This is something that I want to incorporate into my website.

I like the use of categories when showcasing your work, for example, Joel Sartore uses categories to split the large quantity of photographs up. It looks tidy and is easy to use and find certain themes of work, rather than scrolling through image after image.

The use of social media links is a good idea, as this makes you more accessible to your clients, viewers or fans. They are therefore able to see any upcoming events, news feeds or new photographs that you have taken. It may be difficult if you don’t have a social media page based on your photography work. This is something I don’t have, so using social media links wouldn’t work for me. However, this is something that I do like.

Incorporating a store / shop, where you can purchase prints or products is a great idea. However, I have to decide whether or not I want my website to just be a portfolio for my best work, or whether I want to combine that with the opportunity to sell prints.

Therefore, after gaining inspiration from researching other photographers website and galleries, I now have to plan my own.

My Own Web Gallery:

Looking back to the advice given at the beginning of this project, we were given bullet points of key things to remember when beginning your own website and web gallery. I will add them below and reply with my response.

  • Decide what you want from your website. What is its purpose? Do you want to show off your best images, or exchange all of them with friends, or present just one aspect of your work?

I want to produce a website which shows off my best photographs, similar to a portfolio of work. I want to showcase three or four themes of work, I don’t want to just focus on one area of photography. I want to have a website which is accessible to not only friends, but to everyone. I want it to be seen worldwide.

  • Do you want your site to fit in with the general standards and style of other photography sites? Or do you want it to stand apart?

After researching other photographers websites, I would like to fit in with the general standards and style of their sites. I prefer the professional looking websites when it comes to showcasing your work as it looks more appealing. The viewers are able to focus more on your photographs, rather than focusing on a distracting background, or they may give up looking all together if your website is messy or difficult to navigate around.

  • You are presenting your best work. Maintain confidence in the excellence of your images, and think of the website as a display arena of fine photographs.

For my website, I will be presenting my best photographs. I will have to look through all of my saved photographs on my computer, and choose only a handful to show. I have to remember that less is more, so when I am choosing what photographs I want to show, I need to select the best ones. I also have to decide what themes of work I want to present, for example, Animals, Flowers, Landscapes, Travel, Portraits… I need to narrow it down to only a few, but I want to show a range of work, in order to show that I am able to photograph a variety of things.

  • Keep it simple. A good default decision in photo gallery design is simplicity.

In regards to the research I have done on the photographers websites, the one similarity I noticed was that they were all simple, clean and easy to use. This is something I want to apply to my website. I want it to be easy for people to use. I want easy, clear links to use, so people know where they are when viewing the different photographs or pages.

I want to produce a striking front page. The websites I researched all used either one main photograph to grab the viewer’s attention, or they used a handful of their best pieces, and used a slide show. I need to remember that the first appearance is what counts, it needs to have a lasting impression and needs to either pull the viewer in, making them stay and proceed to look around, or it can make them exit and look elsewhere.

I need to make sure that each photograph is categorised, and that they are not all bundled together, making it a long line of photographs to scroll through. It needs to be organized properly.

  • The image comes first. The first priority should be displaying each photograph to its best advantage. That means occupying a substantial area of the screen and with nothing around it that fights for attention.

In terms of displaying each photograph, I need to remember that nowadays, browsing online can be done via PC, Mac, Laptop, Smart Phone or Tablets. Therefore, I need to choose a website which has the added feature of being able to be viewed on all of these devices.

I need to choose a size of photograph to present. I will be using my JPEG photographs, as this is mainly what I shoot with anyway. In terms of the size of the photograph, If I choose a large size, than I need to keep in mind that the larger they are, the slower they may load on certain devices, and the more image processing it may need, such as sharpening.

I also need to decided what colour background I will be using for my website. If I am to fit in to the general standard of photography websites, then showing my photographs may work well on either a white or black background. I will have to decide what looks best when I am designing my website.

  • Everything needs a reason. Add symbols, buttons and words only as necessary.

Less is more, in regard to writing. I will only add writing about where the photograph was taken, if the website template I use will allow me to. I will also create and about page, in order to introduce myself and some background history, but not too much.

In regards to symbols and buttons, again less is more. The less buttons or links there are, the easy it is us use and navigate around. I have found in the past when viewing websites, that the more buttons or links that have been used, the more confusing it can be.

I will be including watermarks on each of my photographs, in order to stop any theft. These watermarks will be very small and faint, in order not to distract the attention from the photograph. My watermark will say Chantelle Grace Photography.

I will not be including a shopping cart or store area, as I don’t intent to sell any prints or products. This may change in the future, and if the website template allows me to add a selling area, then I may include it in the future.

I will also not be using links to social media, as I don’t have social media accounts for my photography.

  • Make it searchable. Put important words in HTML, not embedded in pictures. Search engines like Google can search only words, not pictures.

I want to find a free website which I can create my website on with no charge. I am fully aware that this may hinder certain things for example, it may have advertising from the website company itself, or their domain name, however, at this moment in time, I do not feel that I am 100% certain about diving into a photography website. I want to produce this website for free, as this will be a learning experience for me as I have never made one before, and I would like to learn on the way. I think that by me purchasing anything will be too final, and I am not ready to take that step yet.

  • Let viewers know where they are at any time, and how to get to the next picture or set of pictures. An array of thumbnail images is a good way of stepping in and out of a collection.

When viewing photographs on a website, it is sometimes difficult to find out how you navigate onto the next photograph. Sometimes there are hidden arrows which can only be found if you hover over the present photograph, or sometimes it changes by itself as it may be a slide show. I need to decide what navigation tool I will be using, and whether it will be visible in order to help people navigate their way through my photographs. I will also need to decide if I will use thumbnail photographs at the bottom of each larger photograph, or just allow the viewer to look through each photograph one by one.

  • Get other people’s opinions. Talk through your ideas and design with friends and other photographers, in order to help give advice and an objective opinion.

I will definitely ask my friends and families advice when I am designing my website, after all, second or third opinions are better than just one. They may not like some of my photographs or they may advise me to alter certain things on the website, it just depends on their opinions. I need to remember that these opinions may help as the things they notice, will be what others may notice too, which could lead them to not wanting to stay on my website, and therefore missing out on viewing the rest of my work.

Beginning My Website:

The first thing I had to do was choose what photographs I wanted to present on my website. I own a vast quantity of photographs which I have taken over many years. Thankfully, I always categorise my work, making it easier for me to search for certain photographs. I decided to open up a new folder for this project, in order to drop any photographs I thought would be suitable for this website, into. After looking through all of my photographs, I decided to categorise them in the new folder. I made four folders, Animals, Flowers, Beaches and Sunsets and Travel. Each folder contained approximately 10-16 photographs.

My Folder Choices

My Folder Choices

Animal Choices

Animal Choices

Flower Choices

Flower Choices

Beaches and Sunset Choices

Beaches and Sunset Choices

Travel Choices

Travel Choices

After choosing these photographs, with the help of my Mother, I managed to reject a few which were either too blurred, duplicated and one was better than the other, not bold or interesting enough. I must admit, it was difficult to choose the ones I wanted to keep and the ones to reject, but I had to remember that less is more, and I want to present my best photographs.

Final Animal Choices

Final Animal Choices

Final Flower Choices

Final Flower Choices

Final Beach and Sunset Choices

Final Beach and Sunset Choices

Final Travel Choices

Final Travel Choices

Once I had chosen my final selection of photographs, I had to go through each of them and process them to make them better final images. Some would need cropping slightly, some needed brightening or darkening in places, and some would need sharpening, but the rest were ok. I didn’t want to over process any of them as this would create fake images and I didn’t want to present false images.

Once the image processing had been done, I then needed to find a free website in order to begin building mine. I looked around on Google, for free websites, which have templates already made for you to then alter and adjust yourself as you wish. I found a website called https://www.wix.com/.

Wix Website Builder

Wix Website Builder

After finding the website builder which had templates, I decided to have a look through their photography templates. I wanted to find something which was simple, clean, professional looking and easy to use. They had four pages of photography templates, so deciding on a favourite was going to be difficult.

Wix Template Selection

Wix Template Selection

Wix Photography Templates

Wix Photography Templates

Wix Photography Templates

Wix Photography Templates

Wix Photography Templates

Wix Photography Templates

After looking through all of the templates, I decided on just one. I decided to choose the ‘Fashion Stylist’ website template. Below are some screenshots of the template which I have chosen. I will explain underneath why I decided to choose this template to build my website from.

Fashion Stylist Website Template Front Page

Fashion Stylist Website Template Front Page

I decided to choose this template, because it reminded me of Tim Walker and Jason Bell’s websites. The front page is clean, simple, professional looking and contains one strong photograph to draw the viewer’s attention in. The links are situated at the top of the page, in a tidy row. There is a bold name heading, which makes an impact, and lets people know who I am.

Another reason is because this template is suitable to be viewed on all devices. This way, my website can be viewed on a PC, Mac, Laptop, Mobile or Tablet devices.

Fashion Stylist Website Template Fashion Page

Fashion Stylist Website Template Fashion Page

This is the fashion page. I would obviously change the link names to what themes I am presenting, which is Animals, Beaches, Flowers and Travel. However, what drew me to this template is the way the photographs were presented. I mentioned previously that I liked how Joel Sartore presented his work, in a categorised manner. I didn’t want to use a slide show for my website, so I had to decide whether or not I would present my photographs one by one in a row, or whether or not to use a presentation similar to Joel Sartore.

The way these photographs were presented caught my eye simply because I liked how they have arranged the different shapes and sizes. Rather than lining up all of the horizontal photographs together and the landscapes together, they have mixed them together. This somehow flows and you are able to see every photograph at once. You as a viewer are then able to choose which photograph you want to click on to view larger.

Fashion Stylist Website Template Beauty Page

Fashion Stylist Website Template Beauty Page

Fashion Stylist Website Template Open Image

Fashion Stylist Website Template Open Image

Once you have clicked on a certain photograph to view, the photograph is then opened on the screen like this. It has a clear X to close the photograph, and clear arrows to go back and forth. This is something I like, as I have previously mentioned that it can be annoying or distracting if you can’t find a way of moving onto the next photograph or closing the first one down. Like this project advised, your viewers must always know where they are, and how they can move onto the next set of photographs. This template has made that very clear and easy to use.

Fashion Stylist Website Template Blog Page

Fashion Stylist Website Template Blog Page

Every website I researched contained an about section and a contact section. This template contains both which is great, as this way , I am able to let viewers know who I am, and a way to contact me. It is very simple and easy to use, so they won’t find it difficult to use.

Fashion Stylist Website Template Blog Page

Fashion Stylist Website Template Blog Page

This template contains an option for a blog. You are able to use a current blog or create a new one via your website. You are then able to link and social media pages to that blog. This way you are able to keep any fans or followers updated with any new photographs you may have taken, or any current projects you are on.

I don’t currently use a social media page for my photography work, therefore, I will not be adding any social media links to this website, however, I will keep the blog, as this way, if I am to keep this website in the future, I will be able to write blog entries for viewers of the website to read, and I may think about opening a social media page, which can the be added.

In the meantime, I will most likely inform the viewers of this blog, by adding the link for people to read, and explain why I have opened the website.

Now that I have my photographs ready and I have chosen the website and template I will be using, I now have to proceed in building my website.

I will start with my front page. The first thing I will do, is decide on what photograph I would like to present on my front page. I wanted to use a photograph which contains colour, as this will pull in the viewer’s attention. I have decided to use a large red poppy for my photograph on the front page. It is a very bold, colourful and detailed photograph. This will help to draw viewers in, making them want to look at the rest of my work.

The second thing I needed to change was the name header. It currently had the template name, so I changed it to Chantelle Grace, with Photography underneath. I then had to re name the links at the top, and add one more page as there were only enough for three photographic areas and I needed four. I also changed the copyright name at the bottom of the page to my full name. I have included screenshots of my website. The screen was zoomed out in order to fit the full page onto the screen, therefore, things may appear smaller than they actually are.

My Website Front Page

My Website Front Page

I kept my front page simple, with one singular bold photograph on the front with the links to the other pages up the top. My name is bold and situated in the centre of the page so people know who I am and that it is a photography website. My front page has similarities between Tim Walker and Jim Dratfield’s websites. They both keep their front pages simple with a plain background and a large photograph on the front page. A similarity between mine and Dratfield’s is the links are situated at the top of the page with a photograph in the centre of the page. Apart from the background colour, the only difference is where our name headers are situated. In regards to Walker’s website, there are noticeable differences such as where the photograph is located and the writing, however, it is similar with the clean white background and the professional look. I also haven’t included information about the photograph to the side of this photograph, which Walker does on his front page.

Tim Walker Front Page

Tim Walker Front Page

Jim Dratfield Front Page

Jim Dratfield Front Page

My Website Animal Page

My Website Animal Page

This is how my photographs are presented on each page. Rather than being grouped all together, I have categorised them, allowing each category to have its own page, similar to Joel Sartore. This way, you won’t have to scroll through my photographs as they aren’t on a slideshow mechanism. You are able to see all of the photographs in this category on a small scale, then you can decided whether or not you want to view them larger.

My Website Animal Photograph

My Website Animal Photograph

If you do decide to click on a photograph, to view it on a larger scale, this will appear. The photograph will be on its own with clear arrows either side to let the viewer know where to click in order to view the previous or next photograph. There is also a clear X in the top right hand corner, which allows the viewer to know where to click in order to close the photograph.

My Website Beaches Page

My Website Beaches Page

My Website Flowers Page

My Website Flowers Page

My Website Travel Page

My Website Travel Page

My Website About Page

My Website About Page

Tim Walker Biography

Tim Walker Biography

Richard Miles Biography

Richard Miles Biography

Every website I have researched has contained an about page with contact details, therefore, I knew that I had to keep the one on the template and alter the writing and contact details. I kept the information simple as I didn’t want to write an essay about myself. The message box allows viewers to message me directly to my email account, which means that if they require any more information etc, then they can have direct contact to me. The only difference between my biography and contact section and the websites I researched, is that I combined both together to save space, whereas they had separate pages for biography and contact details. I had to do this because I added a fourth page for the travel photographs.

My Website Blog Page

My Website Blog Page

Unlike the websites I researched, I decided to keep the blog page on this template. The websites I researched contained links to Book pages, Events pages, Video pages and Archive pages, however, none of them contained a blog page. I decided to keep this because in the future, if I am to keep this website and update it regularly, then by keeping a blog going, I will be able to allow the viewers to read my progress. They will be able to read about any new photographs I may have taken and uploaded to the website, about any exhibitions I may have visited and much more. It is a way of keep a social feel to that part of the website, as I don’t own a social media page for my photography yet, so this is one step to beginning a social media presence.

The one unfortunate thing is that because I produced this website for free, the company ‘WIX.com’ have kept an advertising banner at the bottom of the page and in the top right hand corner. This is unfortunate, but understandable, as I know that if I decided to pay in the future, then this would be taken off and removed. However, for now, it stays.

Below is the link to my website. I hope you all have a look and enjoy it as much as I do.

http://chantellegracephotos.wix.com/photography

Conclusion:

I am extremely pleased with my final website. I have never made a website before, so by creating one which would present my photography work was going to be difficult as I wanted to produce something which showed off my work. I thought that if I got something wrong with the website or the designs, then I may end up producing a terrible website and no one would want to look at it or my work. I believe that by researching photography websites of other photographers was a brilliant idea, as I was able to gain a lot of inspiration from looking at how they designed their websites in order to show off their work. I was able to use this inspiration in order to look for the right template design for my website. Once I had chosen the template, I used the inspiration to present my work and keep things simple and professional looking.

The one challenge I experienced was deciding what photographs to present on the website. I have a vast quantity of photographs on my computer, so it took me a while to decide what were the best ones and to narrow my choices down. Once I had chosen the few, I then had to apply some image processing to crop a few areas and lighten some photographs, I also had to add water marks with my name, in order to stop any theft of my photographs once they are on my website.

I had no technical problems in regards to designing my website. I was very fortunate because the template I used was easy to adjust and alter. The designers of the template made everything simple and easy to use. I was also fortunate that this template was able to be used on all type of media devices, so my website can be viewed online on any device.

If I had to change anything, I suppose that in the future, I would add some more photographs or change a few around, keeping it up to date. I would think about paying for the website to enable me to discard any ‘Wix.com’ advertising banners. I would also be able to design my own domain name, allowing me to take out the .wix.com.

I would also think about using the Shop and Store link which my template has, in order to sell a few prints in the future. I would also think about creating some social media sites in order for me to link my website to the social media pages, making my photography more visible and well known. However, for now I am pleased with the final result.

References:

Fashion / Beauty Galleries:

  • Tim Walker – London.

http://www.timwalkerphotography.com/recent-work

  • Jason Bell – London / New York City

http://www.jasonbellphoto.com/#/home/

  • Richard Miles

http://www.richardmilesphotography.co.uk/#!/home/

Animal / Wildlife Galleries:

  • Joel Sartore

http://www.joelsartore.com/

  • Jim Dratfield

http://petography.com/

My Own Website / Web Gallery

  • Website Builder

https://www.wix.com/

  • My Photography Website

http://chantellegracephotos.wix.com/photography

Exercise: Sharpening for Print

For this exercise, you are asked to take an image that you have processed as the reference standard, with some edge detail and some smooth areas. A portrait is ideal – with the eyes carrying wanted detail, and the skin smooth areas that you do not want to be over sharpened. For the reference image, make sure that you have applied no software sharpening.

Once you have your chosen portrait photograph, you are to make three more versions, each with a different degree of sharpening. There will be a certain amount of trial and error in this but make sure that the weakest of the three is quite close in on-screen appearance to the un-sharpened original and the strongest is noticeably aggressive.

Print all four images at full size. Next, with neutral white lighting next to the computer screen, compare these prints with each other and with the 100% magnification images on-screen. You may be surprised at the difference in appearance between the same images as it looks on the screen and as a print. Use a magnifying glass to inspect the prints in detail.

Write down the difference you see, and also your assessment of which degree of sharpening seems to your taste to be the most appropriate for the image in print form.

For this exercise, I decided to use a portrait I took for a previous assignment.

Original Image:

IMG_4246 - Copy

The only alterations made to this original image is blemish removal.

I took several copies of this image and opened the first one in Lightroom 4.4. I decided to use Lightroom, because I prefer the sharpening tool in Lightroom, to the one in my Photoshop Elements 9.

Once in Lightroom, I then scrolled down to the sharpen adjustment box. The maximum amount of sharpness you could apply was 150.

Weakest Sharpening:

Weakest Sharpening After

IMG_4246 - Copy - Copy-Weakest Afer Sharpening

Medium Sharpening:

Medium Sharpening After

IMG_4246 - Copy - Copy - Copy-Medium After Sharpening

Strongest Sharpening:

Strongest Sharpening After

IMG_4246 - Copy - Copy - Copy - Copy-Strongest After Sharpening

IMG_4246 - CopyIMG_4246 - Copy - Copy-Weakest Afer SharpeningIMG_4246 - Copy - Copy - Copy-Medium After SharpeningIMG_4246 - Copy - Copy - Copy - Copy-Strongest After Sharpening

After looking at the exported, saved photographs from Lightroom, I noticed that it wasn’t showing the sharpening as much as it did on the Lightroom screen. I therefore screen shot the Lightroom screen to show what I saw.

Weakest

Weakest Sharpening After 2

Weakest Sharpening After 3 zoomed in

Medium

Medium Sharpening After 2

Medium Sharpening After 3 zoomed in

Strongest

Strongest Sharpening After 2

Strongest Sharpening After 3 zoomed in

Weakest Sharpening After 3 zoomed inMedium Sharpening After 3 zoomed inStrongest Sharpening After 3 zoomed in

After looking at these comparisons, I prefer the medium sharpening. The strongest amount of sharpening causes too much noise within the image. The medium amount of sharpening also causes noise, however, this could be reduced and perhaps not as noticeable. I would also have to smooth the skin more, as there is a slight grainy texture to the skin, especially towards the forehead area.

Sharpening an image for online shows that the more sharpening you apply to an image, the more noise and problems that will occur within that image. Less sharpening or medium sharpening is best, so long as you reduce noise at the same time, and think about detail and how realistic your image looks or doesn’t look.

Print all four images at full size. Next, with neutral white lighting next to the computer screen, compare these prints with each other and with the 100% magnification images on-screen. You may be surprised at the difference in appearance between the same images as it looks on the screen and as a print. Use a magnifying glass to inspect the prints in detail.

For this exercise, you are to sharpen for print. This is something which I haven’t really thought about, nor have I really done before. I will be using a Canon Pixma MG3150.

After printing my images, I have noticed that the sharpness is not as noticeable as on screen. In fact, I think it remains almost the same as if the image had not been sharpened. I think this depends on what photo paper you use, ink etc, as perhaps if it was a more professional printer, used for galleries or professional printing, then you may be able to notice sharpening.

Conclusion:

I enjoyed this exercise, as sharpening an image for print is something which I have not done before. I have sharpened images before, but never to the maximum extent, as when you over sharpen an image on screen, they appear extremely pixelated and noisy and I wouldn’t want my final image to have this appearance. However, this has taught me that even after I printed these images, even with the maximum sharpness image, the sharpness was hardly noticeable, something which I was not expecting. I was expecting the printed photographs to have the same appearance as the over sharpened image on screen.

The results could be dependant on what photo paper or ink I used and it may have had different results if I used a professional printer. However, this has been a very interesting exercise.