Scheimpflug

This is what happens if a 5x4 camera is set up in parallel:
Focused 1/3rd of the way in (the front of the white plate) and exposed at f11 - focus falls away towards the back


This is what happens when the scheimpflug principle is applied:
Focused on the front of the plate (again) and exposed at f11

There is much more depth of field, because the new line of focus runs through the new subject plane: from the front of the book up to the top of the bottle. Like this:


The camera will allow many other movements - one which is particularly useful is a reverse tilt - away from the subject, instead of sympathetic to it. The opposite of scheimpflug. Focused on the edge of the gilt bookbinding and exposed (once again at f11)

You will notice that in all the diagrams - the back of the camera is not upright. This causes the bottle and glass to lean outwards a little. This can be corrected by keeping the back vertical - as in the diagram below.

See the full misery of a technical explanation of the Scheimpflug principle for yourself

Sinar have useful info on their website

Digital Infra-red

This is a minefield. Some digital cameras are more sensitive than others to IR frequencies. Chips are different, and so are the IR absorbing (protective) filters infront of the chip.

There are differences even between Canon models - and obviously the same goes for Nikon.

American nutters MaxMax will customise your camera for you by permanently removing the filter.

I suspect they look like this man...

...and I wouldn't let them near me. However...

There are lots of very helpful in-depth Digital infra-red tutorials on the web, written by men who spend every spare minute thinking about photography. They love to tinker with gadgets and techniques - and many of them run their own websites where they give all this knowledge and experience away - free - in exchange for a little love and affection in the form of a few kind words of thanks from complete strangers posted on their blogs and forums. Most of these men are married to women like these:


So, be kind and make someone happy today with an email.

Testing:
Here's a very crude test of IR sensitivity for digital cameras:

Put your camera in auto mode at ISO 100 with a wide aperture - no filter required at this point.

Point your IR telly remote into the lens from no more than 12" away.

Press any button on the remote while making the sound of a Star Wars light sabre and make an auto exposure.

Review the image on your camera screen:

If you see anything like this - you're doing really well:

If you see something like this - all is still not lost:

You need to do some work with levels and curves...

Infra-red

Recipe:

Kodak HIE 35mm - infra-red film (sensitive to 900nm)
Load (and unload) in total darkness
Wratten 25 (red) filter
ISO 400
Meter through the lens (i.e. NOT with a separate handmeter)
Bracket: +2 stops and -2 stops (infra-red is unpredictable)

Develop for 11mins in neat (undiluted) D76 at 20c (agitate normally)
Stop and Fix as usual
Print on Grade 4 or 5 paper


This is a starting point for your own experiments. Full IR filters give different effects.

Focus:
With wide angle lenses, shooting distant subjects with a small aperture, (such as landscape) focus will not be difficult.

With telephoto lenses, with closer subjects and a wider aperture (such as portraits) focus may need adjustment.

This lens has a white 'dot' next to the number '11' on the left of the barrel:


On this lens 'Normal' focus is 2.5m - but if you're shooting in IR you need to manually over-ride the focus to place 2.5m above the little white dot. Simple.

Older cameras are often better for these unusual processes - they don't have electronic film counters that can fog IR film, and have useful 'extras' like 'IR focus dots' - that disappeared in the 1990s when manufacturers began to cut costs on amateur cameras.

Constructed Image assignments

Research exisiting photographs of these subjects in your workbook.

Location: One image – minimum print size 10”x8”
Using a table-top set-up make an image to iIllustrate the word ‘Spring’ – for the front cover of The House of Fraser seasonal promotions catalogue. Do not add any words or logos

Natural light and/or artificial lighting can be used. Keep production notes in your workbook.

Studio: Two images required
5”x4” colour transparencies mounted in presentation sleeves

A prestigious hotel chain requires images to illustrate the following items:

Continental breakfast
Morning coffee
Light lunch
Afternoon tea
Pre-dinner drinks

Choose one from this list and make an image using 5x4 colour transparency film with deep depth of field - complete sharpness - running through the composition.

Choose another from this list and make an image using 5x4 colour transparency film with selectively placed, shallow depth of field drawing attention to a specific part of the composition.

Each picture MUST contain at least one translucent and/or reflective object within the composition. No people or hands.

Studio: One image – Exact print size A3
Make an image to represent the ‘city’

Location: Eight images – minimum print size 10”x8”
Using both infra-red film and digital cameras – make four infra-red images. Shoot four control shots of your IR subjects on conventional film/digital to illustrate the aesthetic differences between IR and panchromatic sensitivity

Assessments: One image to be presented on Wednesday 23rd April

All remaining images to be submitted on Wednesday 28th May

Bookmaking

Your first attempt will be messy, sticky and probably a bit of a disappointment - like everyones' first time - except this won't be over as quickly. So have a practice. Make a small book to familiarise yourself with the cutting, scoring, folding and glueing issues that you'll encounter.

Cut your paper to size, and factor-in an extra centimeter to score and fold over (we'll call this bit the 'tang')

Japanese folding book:

The idea is that the tangs allow the pages to be joined, and provide a 'spacer' to help the book sit flat when the photographs are added. The book can be anchored together at one side with ribbon or tape to form a spine, allowing the book to open conventionally. The tapes or ribbons can be released to allow the book to extend as a long 'concertina', showing all the images at once.

PVA 'School' glue is ideal for sticking the book together, but use sparingly.


Conventional book:

This method fixes the spine of the book on one side, but (again) the 'tangs' provide spacers to let the book lie flat when the photographs are added.

For those who didn't grow up with Blue Peter or don't have an adult to help you, Photobox.co.uk will make a book for you from your uploaded images - similar to how flickr works


As with anything cheap, easy and quick, everyone and his dog is likely to start doing it, so remember that hand-made means unique.

Silverprint portfolio boxes and actetate sleeves are easily found through the link on the right.

Graded Unit

10.00am start Studio 22

Proposal review and Portfolio/book-making demo

The work of Art in the age of mechanical reproduction

Please download "The work of Art in the age of mechanical reproduction" by Walter Benjamin

In 1936, Benjamin wrote with alarming foresight of an age where reproductions are more common - and sometimes, more acceptable to us - than the original.

The essay has become a hugely significant piece of writing, for everyone connected with image making. It has taken on even greater importance with the advent of digital imaging and the age of the internet, where the concept of 'the original' becomes clouded.

For instance, I'm writing this blog post on my computer, but it looks exactly the same on yours - and on the computers of anyone else who chooses to look. Is there an original?

Take the time to read through Benjamin's essay - twice


Assignment
Choose an iconic image* that you are familiar with - through a reproduction (*Photograph, drawing, painting, sculpture, maybe even a building, but if you choose a person, please refer to a specific image of them.)

Research contextual biographical details of the work and author. With a minimum of 1000 words in mind, explain through which form of reproduction and in what context you can first recall seeing that image*.

Have you ever seen the original? If you have - did it surprise you, reassure you, or disappoint you? If you haven’t seen it - do you want to?

Do you think that reproduction of your chosen image diminishes the original? (Bad?)
Do you think that the reproduction of your chosen image democratises it and enables more people to see it? (Good?)

Make reference and use quotes from Benjamin's essay (and other texts you may already be aware of) where appropriate.

Conclude with an overview of the different forms the image now takes - through mechanical reproduction. And where is the ‘original’?

Submission: Monday 3rd March - Lecture theatre at 10.00am.


Walter Benjamin leads into ideas about simulation (simulacra) and Hyper-reality - best described by Umberto Eco

Here's a link to a Guardian article about tourists' disappointment with famous landmarks and tourist attractions.

This link will take you to Martin Parr's pictures of modern tourism

Graded Unit tutorials - Studio 22

9.30am
Donaldson Lucy
Rodriguez Jesus
Granadero Perez Eva
Gregory Michael

10.10am
Fokinther Amy
Harkins Eilidh
Steven Jill
Irvine Siobhan

10.50am
Schiefler Anja
McMillan Vicky
Moreno Maria
Mugueta Estibaliz

11.30am
Madsen Louise
Zatonow Anna
Kavanagh Stephen
Kozak Anna

Interesting

Robert Capa

Darkroom project

Photograph a fruit or vegetable in the style of Edward Weston



Make a 'guide' print to the best of your ability using resin coated paper, processed through the machine in the college darkroom.

Select two different types of silver halide-based photographic paper.

Make a ‘fine print’ using each of the papers, processed by hand through dishes. The college provides Dektol developer. Others are available. You may wish to try an alternative.

Follow the permanent links on the right to Silverprint, Fotospeed, Kentmere, Kodak, Calumet and 7 day shop. Do a deal with your classmates and split the costs.

Keep all your test strips and work prints. Make notes on your observations about the quality and tonality of the print on resin-coated paper compared to the prints on fibre-based paper.

Deadline Tuesday 18th March Studio 22 @ 10.00am

Graded Unit

Proposal:
Between 500 and 1000 words
Deadline: Tues 26th Feb @ 10.00am in Studio 22
Counts for 15% of marks (late submissions marked out of 8%)

Identification of aims and objectives:
Introduction (2 marks)
Aims and objectives (3 marks)

Selection and justification of techniques/equipment/format
(4 marks)

Strategic planning:
Presentation format (1 mark)
Timescale (2 marks)

Identification of research required (3 marks)

Total = 15

Research, development and production
70% of marks

Evaluative report
15% of marks

FINAL DEADLINE: Monday 12th MAY

CTS - Monday lecture programme

Lecture Theatre 10.00am

4th Feb: The Medium is the Message
11th Feb: The Work of Art in the Age of Mechanical Reproduction
18th Feb: Group activity
25th Feb: Faking it - Fashion photography
3rd Mar: Group activity
10th Mar: Mass Communications and Consumerism