What can you see?

1. What can you see?

2. Clue: what is the photographer trying to communicate?

3. TURNING THE ORDINARY INTO EXTRAORDINARY Activity: Documenting THE CHANGING/ALTERING LANDSCAPE’- reinvent, reinterpret, re-define using a camera as a tool • Aim: • To build an understanding of point of view and to encourage you to look at a familiar setting in new ways—with the eyes of artists and photographers • 2. To introduce unit 2 of the AS in Digital and Lens based media

4. Our universal, traditional, conditioned understanding of the landscape. Everything on a horizontal plane. Captured at eye-level in a panoramic (or ‘landscape’ aspect ratio) These examples are idyllic, utopian but do they show the realities of the landscape around us? Or depict the artists limitations? Painting c.1928 by George H. Downing SPROWSTON MILL

5. Try not to let traditional understanding dictate. How does the context and setting tell a story? Artists experiment with juxtaposition of Urban and natural / logical and unexpected Can you document YOUR experience of the environment. HOW do you experience it? HOW can you capture this? How could you frame things in an innovative way?

6. Hockney's creation of the "joiners" occurred accidentally – Take risks! the the way human vision works is amazing: we join Fractured, fragmented, patchwork, composite image together with the power of our memories and our mind – we can recreate this using layers on Photoshop.. He captured huge expanses with overlapped images. You could contrast this and try looking at the ‘whole’ and breaking it down into tiny macro details – how little can you capture before recognition is lost?

7. The vortograph (also the vorticism movement), invented in the early 1900s by Alvin Coburn, was an early form of abstract (or “non-objective”) photography. Traditionally it uses Rotating layers, mirror imaging, symmetry/asymmetry, pattern, lines, geometries to depict industry and manufactured These contemporary shots adopt similar techniques but devekop the style still further  http://dornob.com/kaleidoscopic-cities-10-vortograph-inspired-urban-images/#ixzz2VoiJ2FtC

8. Our relationship with Technology and the landscape.... Modern artists often experiment in combining both this can result in images that have a child like curiosity and play Honkey Kong (Donkey Kong) by Christian Åslund Christian Åslund found a wonderful way to still be playing in the streets. Or on it really. In his series Honkey Konghe transformed the streets of Hong Kong into a two-dimensional platform. In this amazing series he pays tribute to classic 2D platform games. The series is part of an advertising campaign for the shoe brand Jim Rickey.

9. Pinhole Photography by Scott Speck There is a pin hole function in your school cameras “The unique characteristic of a pinhole camera is its ability to image with an effectively infinite depth of field. Everything from a fraction of an inch from the camera, all the way to infinity, appears at the same level of focus in the image. This means that one can record intimate textural detail across all distance scales, enabling one to explore near to far perspectives, in which nearby objects appear much larger (but in focus) relative to more distant objects (also in focus). ”

10. TREASURE HUNT! Explore all viewpoints and senses, Experiment and Take Risks! Try different Points of View: A bird’s-eye viewpoint / worm’s-eye viewpoint / canted angle / point of view shot / extreme close up / macro / panoramic / rule of thirds / symmetry / asymmetry / natural or unnatural framing…. Are there other points of view that you can use? You may need to use imagination and a smart phone to research some terms In Pairs: You have 20 minutes to find images then 10 minutes to upload, edit and save the best ones to the file – prizes for the best work

11. Observe like you never did before Walk down the street, stop randomly and look around. Pick an object, study it from different perspectives and then shoot. Anja Bührer Think about : Contrast texture and surfaces- reflections Orientation, pattern, repetition, lines/diagonals, balance. Ellie Vanhoutte : adding that extra dimension to a sometimes-mundane urban utilitarian landscape

12. http://maxdart.net/en/ Go back to the basics line, shape, form, texture, pattern, and colour. Experiment with Contrasting colours and geometries Cropping and framing a subject: what’s inside and outside the frame?

13. Shoot details to create interest Capture Light trails (adjust shutter speed), colour, depth of field Texture, focal point/rule of thirds and the golden section. Worms eye view of trees Think about: The space subjects do and don't ocupy. Positive space: Silhouette of the branches leaves trunks. Negative space: the shapes of the sky The negative space can form interesting patterns Angela Jewell of Gordon, Berwickshire,

14. Keep it simple Sometimes it's all about isolating an object that you would not normally pay attention to. Another fine monochrome by Giovanni Orlando of a very basic, everyday kind of subject, yet the photograph is beautifully presented with a superb choice of depth-of-field, admirable simplicity, great tones and wood texture, and to top it all up a great black and white conversion which emphasizes and magnifies every little detail.

15. Look for contrast: light v dark, rough v smooth, circle v square LIGHT AND SHADOW: creating ABSTRACT patterns and forms [Stairs, Railing, Shadows and Four Men] André Kertész (American (born Hungary), Budapest 1894–1985 New York) Date: 1951

16. Tips for turning the ordinary into extraordinary Observe like you never did before Go back to the basics: line, shape, form, texture, pattern, and color. Shoot details to create interest Look for contrast Keep it simple Photo by Giovanni Orlando

17. Summary: • By challenging and using traditional codes and conventions to do with landscape, you have: • gathered and documented experience • presented and arranged images in alternative ways • this encourages you and your audience to reflect and connect with your work.

18. We all struggle for inspiration and creativity, and we – as human beings – tend to take so many things around us for granted. We might see, but not observe. We might glimpse, but not appreciate. And we go on and on trying to find some source of inspiration for ideas to make some new pictures, when the truth of the matter is it’s all around us. The sky is the limit!!!!

19. Pinhole Photography by Scott Speck No more than an old filthy toilet seat could from inside look like an abandoned building. The light, perspective, and black and white treatment really do wonders to this plain old view that many might not even think to photograph, let alone treat specially and bring out all these fine details and stunning effects to light with a very thoughtful and beautiful end result.

20. SUbjECT What are you trying to say about the subject in this photograph? TECHNIqUE What techniques can you use to direct attention to the subject? How do you want to compose the photograph? Lighting: What direction is the light coming from? Point of view: Where can you position yourself when taking the photograph? Framing: How can you hold the camera? (Vertical, horizontal, parallel to horizon, or tilted?) Timing: When should you take the photograph? Motion: Should anything be moving in the photograph? Should it look blurry or frozen in space? Focus: What should be seen clearly in the photograph? Materials: What camera, film, and equipment do you need for this photograph? Tips: Create more than one photograph. Approach the subject from different points of view and vary how you hold the camera and frame photographs. Capture different moments in time, especially when photographing people or motion.

21. Special, unique, personal and purposeful relationship with your landscape. South Lincolnshire Fens. “English Landscape Symetries” “I was born in the Lincolnshire fens and have a special relationship with this landscape.”“...based upon fractured images of fenland landscapes and Derbyshire treescapes, [these photos] are meditations upon scientific observations of reiterating patterns in nature which often manifest forms of symmetry of form out of what at first sight appears as complete chaos” David Lewis-Baker Influenced by Hockney Taken on: March 6, 2009 one of a series