Sensor check and Shutter speed test

• Set camera to the highest F stop
• Put on Aperture priority (A)
• Widest lens setting
• ISO setting set as low as possible
• Set to infinity
• Point to a white wall/image
• Upload pic to Photoshop
• Select Image and Auto contrast

• Make sure the battery is fully charged
• Pull the Lens off the camera
• Menu, setting, Lock mirror up for cleaning, OK that
• Clean with swab, dust wand
• Repeat the test until complete 

Top Tip, When changing Lens, switch camera off, as dust will get sucked in onto the sensor.

Lens lesson

Prime? Zoom? Wide, Normal and Tele.

Wide =

• To get everything in shot
• Dramatizing the sky
• for close subjects
• increase depth of field
• also works in doors

18mm = Wide                  35mm = Standard               55mm = Tele

Prime = The lens in itself is not a zoom, fixed focal length

Telephoto = Condensing perspective

1 mile seems really close, inclusion Vs exclusion Abstract cut on tele.

400mm Increase ISO to 800 on a bright day

Noise is ok, shake is unacceptable

APC = Cropped sensor

Size of sensor = Need a bigger lens to cover the frame

Look up – Tony ray Jones, Mark Power, Don McCullin, Paul Wakefield

Location perfume shoot redo

Today I showed Andy my picture to see if it was professional enough, it was but i'm to lighten it up a bit either on Photoshop or Lightroom, so I did, on Lightroom. 

It does not look as intense for me but at least you can see the bottle and the words on it, I suppose it gives that light and airy feel that the adverts go for with fragrances. 

Research Others

• Az Edwards = Motorsport
• Man Ray
• Bernard Cahier - french
• Paul Henry
• Horst P Horst - Fastion
• Ian Rankin
• Bob Martin - Sport
• Henry iddon – life/sport
• Mallbry Morrison - Underwater fashion
• Radu Carnary - Fashion
• Dave Morgan – Pindery art

E-mail & books & interviews on you tube

Assessment criteria and learning outcomes

• Know your settings = Technical (Meta-data)
• Fundamental physical light = Understand light (No colour no light/Wave length/colour balance). Don't look at the object look at the light on the object.
• Construct a basic set (shoe box) (David La Chapelle)
• Explain research = Investigative/Documentary
• Evaluation on final image
• Contact sheets

• Look up Kelvin Chart (captivated by Milakel)

• Aresat tilt shift lens Photoshop
• Preferences – general preferences – 200 – history status
• Filter – liquify – pinch
• Blend mode – Command + or – over lay/hard light
• Mask = [ o ] button
• Alt + click on the mask, levels work, change density.

Handin for Flowers

What I handed in for flowers

This is the picture that Richard picked

I got an unofficial score of 62/100 which is a commendation.

Although I did want hand in a negative image of these flowers I am happy with this image. Richard did like the one with the negative with the candle in it but i'm glad that this one was chosen as it is beauty surrounded by art and pictures of family. 

Modernist Aesthetics

Clive Bell’s questions:

What is art?

What makes art good or not?

Piero della Francesca, Resurrection, (1463/5)

Giotto, Lamentation, (c.1305)

Stained glass window, 

Chartres Cathedral, (1200s)

Turkish plate, (1500s)

Ancient Egyptian
hunting scene (c.1500BC)

Cezanne, Riverbanks 
(1904)

Antony Gormley, The Angel of 
the North, (1998)

Antoni Gaudi,
Sagrada Familia 

Cathedral, 
Barcelona (1892-1906)

Look at the text by Clive Bell:

1.What is ‘aesthetic emotion’ and why 

is it important?

(p.107/l.1-13)

2.What is ‘Significant Form’?

(p.108/l.1-5)

3.What is ’descriptive painting’?

(p.108/l.7-15)

4.Can ‘descriptive painting’ be good art?

(p.108/l.15&16) (p.109/l.4-7)

5.Why is ‘Primitive’ art successful? 

(p.108/l.23-26 & l.33-36)

'For, to appreciate a work of art we need bring with us nothing from life, no knowledge of its ideas and affairs…' (p.109/l.7&8)

Clive Bell, (1914)

‘A work of art must carry within itself its complete significance and impose that upon the viewer even before he recognises the subject matter.’

Henri Matisse in ‘Notes of a Painter’ (1908), Art in Theory, p.73/l.32&33)

Derain, The Bridge at Charing Cross, 1906

Braque, Violin 

and Jug, 1910

Dix, The Match Seller, 1921

George Grosz, Grey Day, 1921

Rene Magritte, 

The Human Condition, 1933

Wassily Kandinsky, Improvisation 19, 1911

Piet Mondrian, Composition, 1921

Reading for 19/11:

Josef Albers, ‘On my Glass Wall Paintings’ (1933) in Albers and

                         Moholy-Nagy exhibition catalogue (London, Tate, 2006)

Umberto Boccioni, extract from ‘Technical Manifesto of Futurist Sculpture’  

                                  (1912) in Umbro Apollonia (ed.), Futurist Manifestos, 

                                   (London, Thames& Hudson, 1973) p64&5

Redo Perfume studio and location

Today, whilst on break I decided to try and take pictures of the perfume bottle again. I took it into the studio and did a studio shoot with the one light I had available, one with a soft box on it. 

So I set up on the lager of the curve tables and created these pics. 

At first I tried it with the light in front of the bottle but the background looked to dark.

So I moved it round to the back and tried to use a mirror to bounce the light onto the box as it was to dark to be seen. Yet the background did not look right, although I did like the hint of purple that it gave and the reflection, which is why I changed to portraiture.

Changing the exposure drowned it out, quite a lot.

So I tried to change it down until I got the desired effect.

This did not happen.

I tried and failed to introduce a black card to try to see if I could try and get the lettering that was on the bottle. 

So I resorted to using it as a back drop, which in my opinion did work, you still have light bouncing off the silver of the bottle and the reflection on the surface.

I don't know but I think that this (or something like this) will be used for the final image with some dark text on it maybe? I will see how it looks. I like how the reflection is so well defined and how everything is so clear, I would try and get rid of that shadow in the left bottom corner though. 

When I got home I chose to take advantage of the mist that had lingered all day and try to take a location shot in the massive plant pots outside my door. 

This is what happened.

Ap. f/4.2 Ep.1sec ISO 125

Wide frame with flash

 The first was completely drowned out, with the shear size of the plant, the pot and the light. So I chose to use the flash on the camera, which did work but was still drowned out. So I choose to move in closer.

Not in focus

Same but in focus

I tried it once without the light in the background and a pebble dash wall but it was to busy, I didn't like it. So I tried a closer still with the street light in shop, on these two shots I used the flash on the camera to highlight the bottle.

Ap. 5.3 Exp. 1sec

Then I tried it without the flash and I believe that this works better, I am so lucky in the fact that out street light is an LED white rather than the traditional orange. Yet there is a orange street light across the road and you can see this bouncing off the lid and the bottle itself and you have the white light and the green of the plant coming through as well.

Ap. 5.3 Exp. 1sec ISO 100

This enlarged one would be the one that I would hand in out of all of the shots taken as you can clearly see the product, it doesn't have any windows in it but you can clearly see that it is in an urban environment. I think that this is important as I feel as it is the spirit of Tommy Girl range, yes there are beautiful women in the adverts (thats a standard) but they are not floating about in an etherial manner. They are owning any situation they are in, one looks as though she is in a trailer park but do you question it? No.

I thought i'd see if I could make the orange light work but I wasn't as happy with it as the white light and didn't even attempt it with the flash on. I was going for the the lines on the the bin shed to create shape and space, still I wasn't happy, so I left it at that.

Thinking about it, I should have tried the flash.