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Images for each week                                                                                                   

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Images for each week                                                                                                   

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At the beginning of class, we reviewed the iso, aperture and shutter speed on a small quiz. And how these three elements affect the photo. At the same time, the teacher explained how to use the school website to book and hand over the films and cameras.

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I learned how to use film cameras. How to roll film and debug the focus. Manually load the film, making sure to pass through the rails correctly and rotate to align the starting mark. Adjust the focal length/focus range and focus manually to make the picture clear. Since the school’s film cameras do not have a built-in light meter, we use an external light meter to know the accurate exposure. When the shutter is pressed, it is necessary to rotate again to allow the film to be in place. Medium format cameras are more suitable for portrait photography, so during the practice period, we take turns taking photos for our classmates to achieve the purpose of practice.

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How to roll film with medium format film camera

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How to roll film with medium format film camera

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The nature of photography. Photography is an "unstable" technology. With the advancement of technology, the way of photography is created, audience and communication channels, from film cameras to digital cameras, and the way of photography are also changing. In the class, we explore contemporary photos that have a strong impact on individuals or society. It discusses what realistic photography consists of. Photography is not just about the capture of light, the focal length, shutter, angle, and light will affect the presentation. The photographer's perspective, framing, and tailoring will affect understanding. At the same time, people from different cultural backgrounds will have different understandings when they see the same photo. There is an essential difference between documentaries and art photography. Documentaries need objective records, emphasizing authenticity and historical value. But artistic photography allows creative and abstract expressions, not bound by authenticity.

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After the first week of class, I invited my friend as my model. I want to shoot a group of people through different external conditions, how to change a person. Large-format imaging can better enlarge and enrich my details. Because the subject I chose requires photographing such details as bags and clothes. At the same time, because of choosing studio shots indoors, the studio has a camera rack configuration, so there is no need to worry about the problem of hand shaking caused by the weight of the camera.

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Art photography is not just a simple record of reality, photographers express content or emotions through composition, light and shadow. Art photography allows the audience to have a deeper understanding of the photos through different styles and methods.

something and nothing

By observing daily objects that are not humans as the subject, and by shooting, they are given new or deeper meaning.

revived and romade

meta- photography, using the audience's perception of the current image to create new viewing thinking. Use visual memory and visual effects to reshape images.

deadpan

A shooting method that removes subjectivity and emotions, objective, sorting out, without emotions.

intimate life

Photographers use their personal life and relationships to take some diaries or healing techniques. This is a method of merger of records and expressions.

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HAUS is a solo exhibition by Fischli Weiss, the Swiss artist duo known since the 1980s for their films including Der geringste Widerstand (The Least Resistance) and ambiguous sculptural everyday objects.

At the core of this new exhibition is Haus (House), a work Peter Fischli and David Weiss first developed for Skulptur Projekte Münster in 1987 and subsequently showed in exhibitions at the Guggenheim Museum, New York and Museo Jumex, Mexico City (2016). This exhibition focuses on the architectural reference system at the heart of the artists' work with a selection of sculptures and archival material.

Read more

Peter Fischli David Weiss
Equilibres
October 12-October 18, 2006
London

The photo works of EQUILIBRES were created in the years 1984/85. It is a series of black-and-white and colour photographs showing assemblages of everyday objects. A smaller selection was presented for the first time in 1985 in the exhibition STILLER NACHMITTAG (QUIET AFTERNOON) at the Cologne gallery of Monika Sprüth, at the Kunsthalle Basel and at the Groningen Museum, accompanied by the artists' book of the same title. Precarious and often on the verge of collapse, the photographs with their suggestive titles are reminiscent of thought experiments or experiments in form and evoke the familiar Surrealist image of the "chance encounter of a sewing machine and an umbrella on a dissection table" (Lautréamont). The titles alternately function as accurate summaries of the sculptural situation, as in the case of the Schlummerschlinge (slumber snare) made of wood and a hose, as humorous suggestions, or as anecdotic descriptions.

Peter Fischli David Weiss
Airports
March 29-May 12, 2001
Munich

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Peter Fischli David Weiss Estate - Sprüth Magers

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Peter Fischli (*1952) and David Weiss (1946-2012) have created sculptures, videos, site-specific installations, projections and photographs. Their broad conceptual and artistic œuvre engages with the world of everyday life. With wit, subtlety, gentle irony and modesty, they question the mechanisms of artistic authorship, the value-added cycles of the art world, the symbolic value of artworks and the role of the viewer.

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How to interpret this photo?

This photo presents a surreal atmosphere. The horse in the picture is illuminated by a strong flash, showing the sense of separation between the theme and the background. The horses and the land are affected by red lights, forming a strange contrast with the blue sky in the background. Only one horse as the theme shows a "apocalypse" of detachment and loneliness. Only this horse survives or seems to be in an environment that does not belong to it.

What artistic technique did the photographer use?

This photo may fit the artistic photography style of deadpan. The picture does not have strong and obvious emotional expressions, and is shot with an objective and calm perspective and composition. Although the color of the photos is exaggerated, the horse's posture and environment as the subject show a sense of alienation. I would think that the feeling presented in the photos is not a comfortable environment, nor is it a scene that you may see in daily life. This leads to a feeling that it is difficult to fit into the photos.

How to apply it in personal creation?

Use strong sources of lighting to create unnatural light effects. Separate the subject and the background to create a unique atmosphere. Different color effects are presented through color comparison. Choose independent animals or objects to enhance emotional expression.

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A flash is a device that emits strong light in a very short time and is used to illuminate a scene. Due to the short duration, the flash can keep a certain action unchanged, but if the subject moves when flashing, an exposure deviation will occur. At the same time, the light from the flash can only radiate to a specific range, rather than even penetration of the entire scene.

How do we control the flash?

Adjust the distance between the flash and the subject, the closer you get, the brighter and clearer it will be. At the same time, most flashes can change the power of the flash, and adjust the power of the light source according to the desired effect.

Camera Sync Speed

The Mamiya RB67 can be flash synchronization up to 1/400 second (blade shutter).

Mamiya 645 has a maximum synchronization speed of 1/60 seconds (focal plane shutter).

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https://www.magnumphotos.com/arts-culture/alec-soth-songbook/Alec Soth –《Songbook》

It is a photographic work on the theme of American society. SOTH captures everyday life, social gatherings or moments of solitude in the United States through film photography. Because it is a black-and-white film photography, it strengthens the sense of time and makes the picture symbolic, with a combination of past news, documentary and virtual, and at the same time with the expression of personal narrative. Increase the contrast to accentuate the mood and ambience of the subject. On-camera flash, the subject is more prominent.

Regarding his work, it is a black and white photograph and is visually styled through on-camera flash. creates a surreal, abrupt atmosphere. In the center of this photograph is a small child, suspended from a baby swing hanging from a tree. There is also an empty swing next to it, perhaps hinting at the undertone of loneliness. Trees without leaves, with very twisted branches, give a cold, fearful feeling. It's the opposite of how babies feel. With an open landscape in the background and mountains in the distance, it seems that children should not be alone.

Direct flash light allows the child to stand out from the background, creating unnatural shadows. Black and white photography makes light and shadow and composition clearer, without the distraction of color. Enhance the contrast, bare branches and small children form a strong visual impact. The twisting of the branches and the hanging posture of the child form a relationship that makes people feel uneasy, as if there is some deep meaning behind it.

What kind of inspiration can this work give me/the viewer. Use flash to create an unnatural effect, allowing the subject to pull away from the background. Contradictory scenes, babies and desolate environments are constructed to create tension and emotional output.

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Songbook • Alec Soth • Magnum Photos Magnum Photos

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‘Songbook’ presents a lyrical, personable and widely encompassing homage to American life through the lens of Alec Soth as community newspaper reporter

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https://www.1854.photography/2019/06/liz-johnson-arturs-black-balloon-archive/Liz Johnson Artur

is a photographer known for his focus on and documenting the African community. Known for her immediacy, affinity, and visual storytelling, her work has a unique style in street photography and documentary photography. She focuses on Black culture, documenting the daily life, fashion, and identity of Black communities around the world. Her shooting style is not posing but street capture, with realism in real-time images, and natural movements are more realistic. In her paintings, the characters are often closely integrated with their streets, homes, social places and other environments, showing the breath of life. Her lens does not focus on celebrities or politicians, but only on people in everyday life, as if to give them light.

In her masterpiece Black Balloon Archive, there is a photograph that fits her unique lens language. The three women in the picture, standing outside a store, look as if they are waiting for a break. The shopping bag in their hands hints at their path of movement for a short period of time before this photograph. One of them was using a mobile phone, a very everyday act that reflected the immediacy of contemporary life. The black-and-white photos highlight the expressions and postures of the characters, and the billboards behind them point to consumer culture, echoing the shopping bags in their hands, and the ideological push of capital will affect everyone. Although the photograph is contemporary, it gives a sense of time blurring because of its black and white tones. This photograph is a reflection on street culture and modern changes, creating an intimate but non-offensive viewing experience that allows me/the viewer to enter the world she is documenting.

How to learn her style?

Pay attention to the posture, expressions and interactions of the characters, so that the picture is full of story and layers. Employing street photography, it focuses on the relationship between everyday people and the environment. Her work has a lot of emotional power.

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Liz Johnson Artur’s Black Balloon Archive - 1854 Photography

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The expansive archive of photographs captures the richness and complexity of black British life

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The Mamiya RB67 is a classic medium format film camera

Key features:

Film format: 6×7 cm (120/220 film)

Lens mount: Interchangeable lens system for Mamiya RB67

Focusing method: manual focusing (large-area focusing screen)

Shutter: Inter-lens shutter speed (shutter speeds ranging from 1 sec to 1/400 sec. for different lenses)

Fuselage Design:

RB stands for Rotating Back, which allows you to switch between horizontal and vertical compositions without rotating the camera

Fully mechanical, no battery power required

Modular design, replaceable back, viewfinder, handle and other accessories

Indoor portrait photography: Rich in detail thanks to the 6×7 format and interchangeable lens system, it is suitable for high-end portrait works.

Landscape photography: Large-format film provides extremely high resolution, but handheld shooting is difficult and requires a tripod.

Commercial photography: Equipped with a high-powered flash in the studio, you can get the highest image quality.

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The Mamiya 645 is a classic medium format film camera that uses a 6×4.5cm format film format. It's more compact and lightweight than 6×7 format cameras while still delivering higher image quality than 35mm film.

1. Key features:

✅ Film Format: 6×4.5cm (larger than 35mm film for higher quality)

✅ Shutter type: Focal plane shutter (some models support electronic shutter)

✅ **Flash sync speed: Up to 1/60s (may be lower on some models)

✅ Framing method: Replaceable viewfinder (waist-level viewfinder or prism viewfinder)

✅ Focusing method:Manual focusing (some electronic models support auto-metering)

✅ Lens mount: Mamiya 645 dedicated lens mount (interchangeable for a variety of high-quality lenses)

✅ Weight: Approximately 1.4kg (lighter than Mamiya RB67 for handheld shooting)

✅ Applicable scenes: weddings, portraits, documentary, travel, landscape photography

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How does photography become a part of contemporary art? Photography is not only a tool for recording reality, but also a bridge of expression. Photographers express themselves through conception and planning images, not just passively capturing the world.

Concept precedes the image

At the heart of the photo is ideas, not superb technology. A theme and concept need to be clarified before shooting. Such ideas can present new meanings through composition and combination even ordinary daily objects. Through light, angle, etc., these daily objects become unfamiliar or surreal. Photography can imply a deep meaning through text or title. Adding a short paragraph of text in each photo can guide the audience to have a new understanding. At the same time, photography is used as a way to record performance art, such as following a stranger and shooting the same scene every day, making photography a part of the behavior. Concept photography does not pursue traditional composition very much, but focuses more on the meaning of images.

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A fun book that targets an audience of art viewers without the usual arty mumbo jumbo. There’s humour throughout the pages and there’s inventiveness in the categories Cotton chose to classify conte…

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Sherman uses prosthetics, comedy effects and photography to reconstruct the familiar images and express them in disturbing forms. Her works explore the dark side of human nature, displayed through horror or vicious gaze.

In her latest work, she shifts her attention to different parts of the face and cuts them, or twists them to build a fully awake character. This way shows hierarchical details, removes the external environment, focuses on the face and head, and creates a sense of discomfort through grimaces, etc.

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Hauser & Wirth was founded in 1992 in Zurich by Iwan Wirth, Manuela Wirth and Ursula Hauser, who were joined in 2000 by Partner and President Marc Payot

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Walker Evans’ Labour anonymous series for magazine captures portraits of street pedestrians and presents the diversity of American workers. Unposed photos were taken at the fork in the city center, each presented in a similar composition. The background is a bare plywood wall, and the main body is a pedestrian walking from right to left. This arrangement guides the audience to make details, such as pipes. The photos were taken on Saturday afternoon, and many of the subjects may not be working, but are relaxing or doing private matters. This background information adds a new layer to the photo.

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Walker Evans’s Typology of the American Worker

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In the summer of 1946, on assignment for Fortune magazine, Evans spent an afternoon at an intersection in downtown Detroit, photographing passersby.

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This week I learned how to match the borders of the washing film after I learned how to match the proportion of the frames. Using a caliper, first jamm one corner of the rectangular paper, draw a right angle, and then jaw the caliper diagonally to the right angle drawn. The washing film screen operated in this way is centered and the edge size is the same.

Take out the negative carrier and change it to a size that just stuck your film. After it just got stuck, gently put it into the machine. Twist the black knob on the side, remove the original lens, and change the lens to 80mm.

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This is my contact sheet this week. Due to the focal length adjustment problem, some photos are boring. But this week, I have some direction for my final project. Regarding Winnie's actions, so essentially this week is a first draft of final. My filming theme this week was “Winnie’s Day in School.” From Winnie to school, drink water at the water dispenser, go to the classroom, sit in front of the computer, and go home from school. It was a complete, coherent day. I want to use anthropomorphism to give a doll a new perspective, and such a day should not belong to a lifeless doll.

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https://www.reframingphotography.com/

In photography, a single photo cannot fully express complex emotions and complete narratives. We can show a story through multiple photos. Body research around specific topics. Express abstract feelings through series of images, rather than relying solely on the meaning of a photo.

Photos can be arranged in time or in order, which can better reflect the relationship between photos. The photos are presented in a repetitive and contrasting manner, forming a strong test paper relationship and emphasizing structural aesthetics. It can create visual tension and have a sense of overall feeling.

Through composition, tone, and changes in light and shadow, the viewing experience is more layered.

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The Reframing Photography: Theory and Practice book and website are about photography in the widest possible sense of the word. Each presents a broad and inclusive rethinking of conceptual and technical aspects of photography across time periods, across themes, and through varied materials. Essays and how-to sections provide ideas, information, and inspiration for artists who use photography in varied ways.

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.https://www.holdenluntz.com/magazine/photo-spotlight/eliot-porter-in-wildness/

Eliot Porter is a famous American photographer with profound attainments in sorting and series. His shots are sorted in the order of the four seasons, with each photo according to time and natural rhythm. His albums are visual poetry, allowing the audience to experience the natural fluidity through sequence. Such visual effects allow the audience to read and understand nature. It breaks the limitation that photography is just a visual experience. His works not only express the direction of natural beauty, but also advocate ecological protection. He broke the barriers between photography and other majors, such as science and literature, allowing them to communicate across disciplines. Photography requires a reexamination of the essence of photography from multiple angles, not just the superficial content, but a deeper understanding. At the same time, use photography to influence environmental policies and strive to promote social improvement

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Combining a love of color photography with an unerring eye, Eliot Porter was a watershed photographer. In the 1930’s he became intrigued

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Bernd & Hilla Becher is known for his systematic shooting of industrial buildings. Their work has a strong visual style, through emphasis on series, sorting and structure. They used scientific investigation shooting techniques to photograph European industrial buildings and create unique visual archives. This visual sorting method emphasizes contrast - the changes of buildings of similar forms in different environments, lights, and years, allowing the audience to observe the commonalities and individualities of industrial structures more intuitively. They make photography a visual research tool, not just artistic expression, through grid arrangement.https://www.tate.org.uk/art/artists/bernd-becher-and-hilla-becher-718/who-are-bechers

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Who are they?

Hilla Becher was a German artist born in 1931 in Siegen, Germany. She was one half of a photography duo with her husband Bernd Becher. For forty years, they photographed disappearing industrial architecture around Europe and North America.

They won the Erasmus Prize in 2002 and Hasselblad Award in 2004 for their work and roles as photography professors at the art academy Kunstakademie Düsseldorf.

How did they become a duo?

They began collaborating together in 1959 after meeting at the Kunstakademie Düsseldorf in 1957. Bernd originally studied painting and then typography, whereas Hilla had trained as a commercial photographer. After two years collaborating together, they married.

What did they photograph?

Industrial structures including water towers, coal bunkers, gas tanks and factories. Their work had a documentary style as their images were always taken in black and white. Their photographs never included people.

They exhibited their work in sets or typologies, grouping of several photographs of the same type of structure. The are well known for presenting their images in grid formations.

Was it even photography in the first place?

Well technically yes, but their work has also been referred to as sculpture. The Bechers called the subjects of their photographs 'anonymous sculptures', and they produced a successful photobook of the same title in 1970.

In 1990, they received an award at the Venice Biennale not for photography, but sculpture, due to their ability to illustrate the sculptural properties of architecture.

What were the common themes?

Overlooked beauty and the relationship between form and function. Both subjects addressed the effect of industry on economy and the environment.

What were their key works?

Their first photobook Anonymous Sculptures was published in 1970 and is their most well-known body of work. The title is a nod to Marcel Duchamp's readymades and indicates that the Becher's referred to industrial buildings as found objects.

The book consisted of an encyclopaedic inventory of industrial structures including kilns, blast furnaces and gas-holders categorised into sections (the pot, the oven, the chimney, the winch, the pump, and the laboratory.)

What was their legacy?

They were often labelled as conceptual artists and influenced minimalist and conceptual artists like Ed Ruscha, Carl Andre and Douglas Huebler.

As professors of The Dusseldorf School of Photography, they influenced a generation of German photographers who were their students (including Andreas Gursky, Candida Höfer, Thomas Ruff and Thomas Struth.)

What do the critics say?

The Bechers approached photography the way a botanist might approach the cataloguing of flora and fauna
Sean O'Hagan, the Guardian
They are the lines on the face of the world. The photographs are portraits of our history. And when the structures have been demolished and grassed over, as though they were never there, the pictures remain.
Michael Collins, The Long Look
I was struck as always by the underlying sense of loss and melancholy that emanates from these photographs: you are looking at a lost world, however soul-destroying that world was for those who had to live and work in it.
Sean O'Hagan, the Guardian

Becher in quotes...

The question 'is this a work of art or not?' is not very interesting for us.
Instant Expert, American Photo

By placing several cooling towers side by side something happened, something like tonal music; you don't see what makes the objects different until you bring them together, so subtle are their differences.
Hilla Becher obituary, the Guardian

We photographed water towers and furnaces because they are honest. They are functional, and they reflect what they do - that is what we liked. A person always is what s/he wants to be, never what s/he is. Even an animals usually plays a role in front of the camera.
Süddeutsche Zeitung Magazin

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This introduction discusses the life and work of photographer Hilla Becher including works from Tate's collection

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This week, the teacher gave us a few photos and let us sort them by brief. According to your own sorting of brief, you will have a deeper understanding of it and express abstract text in a concrete way using pictures.

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Through previous studies, I have a rough understanding of briefs and an outline of the topics I took. I ended up choosing my favorite character Winnie the Pooh as my subject of shooting. Because I like it since I was a child, I know very well about Winnie's story. I am also a big collector of Winnie's dolls. But the ideas expressed in my childhood memory are too superficial. Because I have been buying Winnie since I was a child, I am buying when I came to study in the UK. This series of experiences is accompanied by Winnie. So I want to integrate the mentality changes in Winnie's growth experience. I chose a few Winnies for debugging. Highlight Winnie's image as the subject from the dimensions of childhood, youth, adulthood, and maturity. From naively basking in the sun, to finding yourself in front of the mirror, to having many friends and emotions, and then the confusion and pressure of living independently, to finally realizing that people are alone after all. I have done a lot of homework from the transformation from thinking to practical practice.

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http://www.beyond-obvious.com/2012/05/trent-parke-minutes-to-midnight-or.html

Because I will most likely shoot at home, the scene level is not rich enough. I just want to increase levels and enrich the subject through light and shadow. So I checked many photographers for inspiration.

Trent Parke

He is a photographer known for his high contrast black and white photography and light and shadow. He needs to dig into loneliness, anxiety and dreamy emotions in reality, so he often presents works that are half bright and half shadow in his photography. His work is not a linear narrative, but tells the story through fragmentation and metaphor. It not only depicts the real scene, but also reflects the psychological state of a person. In his works, shadows represent unknown and anxiety, while light symbolizes hope.

What can I learn from his work.

You can use curtains or door cracks to create shadows, so that Winnie can stay in different parts in different states, or entangled and confused stages, let the light and shadow cut into your body, making it half in the light and half in the dark. Take photos of different stages separately, and each stage uses different light and shadow to present different moods.

My initial idea. Winnie bathes in the sunshine from innocently, representing a new life full of vitality. To a messy scene, the light cuts Winnie's body. The last photo shows that people who enter society or mature people are ultimately confused and hopeful.

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Trent Parke was born in 1971 and raised in Newcastle, New South Wales. Using his mother's Pentax Spotmatic and the family laundry as a darkroom, he began taking pictures when he was around 12 years old. Today, Parke, the only Australian photographer to be represented by Magnum, works primarily as a street photographer.

Trent Parke, the first Australian to become a Full Member of the renowned photographers' cooperative Magnum Photo Agency, is considered one of the most innovative and challenging young photographers of his generation. He is also member of street photography collective of In-Public .

In 2003, with wife and fellow photographer Narelle Autio, Parke drove almost 90,000 km (56,000 miles) around Australia. He had been saving for five years to make a road trip, but finally set off after noticing a newspaper survey that claimed most Australians thought their country had come to the end of an era. Parke says it was then he decided that the time had come to find out what his country had become. Minutes to Midnight, the collection of photographs from this journey, offers a sometimes disturbing portrait of twenty-first century Australia, from the desiccated outback to the chaotic, melancholic vitality of life in remote Aboriginal towns. For this project Parke was awarded the W. Eugene Smith Grant in Humanistic Photography.

The project of Minutes to Midnight is a highly personal and elemental kind: events, people and places as they are chanced upon and as they appear, not in the face of a looming deadline, but in the perma-glare of the outback.. Like many of Parke's photographs it is beyond news. It looks as if it could have been taken the day after tomorrow, in the aftermath of history.

Trent Parke's intense black and white photographs present a vision of this country that is desolate, dark, and hauntingly beautiful. He went looking for Australia and found not a dead heart, but a heart of darkness. He found a harsh country still dealing with its brutal colonial past, unsure of its future and where it is going. But Parke finishes the exhibition on a cautiously hopeful note. The final image records the birth of his son. Presented on a glowing light box, the next generation arrives slippery wet, limply white and with his eyes wide open.

Parke won World Press Photo Awards in 1999, 2000, 2001 and 2005, and in 2006 was granted the ABN AMRO Emerging Artist Award. He was selected to be part of the World Press Photo Masterclass in 1999. Parke has published two books, Dream/Life in 1999, and The Seventh Wave with Narelle Autio in 2000. His work has been exhibited widely. In 2006 the National Gallery of Australia acquired Parke's entire Minutes to Midnight exhibition.

Trent Parke's quote: "I am forever chasing light. Light turns the ordinary into the magical."

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Trent Parke. Minutes to Midnight or Moments of a Genius?

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Trent Parke was born in 1971 and raised in Newcastle, New South Wales. Using his mother's Pentax Spotmatic and the family laundry as a d...

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Afterwards, I conceived the shooting techniques I might use. In the first photo, I wanted to use a softer light effect, which was one of my wonderful childhood memories, so when I was a child, Winnie always had filters in my eyes. After that, Winnie had a lot of friends, but I wanted to blur this photo. The reason is that I think many friends cannot help understand themselves or understand others, so it is a relatively confused stage, but they are not aware of it. Regarding inner contradictions, self-cognition, and finding the true self, I want to use a mirror as a prop. I think mirrors are the most intuitive way to see themselves. There is no beautification or ugliness, and the only thing that is directly related to is their own state. Growing up, I might use low-angle shooting techniques. It makes Winnie look small and surrounded by the environment, showing a sense of powerlessness. This is the separation between childhood and growth world. Finally, Winnie finally realized that life is not all light or dark, and these two things exist alternately in life and life. In this photo, I want to use light and shadow to express a diverse mood and state of people.

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From this week on, I officially confirmed my protagonist - a classic Winnie I bought. I took Vinie out the door and I wanted to test the light and shadow. I put it on the lawn and supported the camera with a tripod. I want to try out what kind of light and shadow will the outdoor natural light get. Winnie sat in the newspaper surrounded by blooming yellow daffodils. This photo expresses the innocence and hope of childhood. Winnie's relaxed state seemed to be exploring the world curiously. With natural light, bright shades can bring warmth. Put Winnie in the center of the picture and look down on the shooting to emphasize the relationship with nature. The sunlight from the side forms a clear shadow. What can be improved in this photo is that the light and shadow changes in the picture are too flat, and things such as leaves can be used to create a sense of layering. The photos should be made more content and highlight some detailed things, such as what book Winnie is reading.

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Park benches, green plants and small white flowers. Winnie was surrounded by newspapers, as if she was taking a nap or feeling overwhelmed by knowledge. Using natural light, Pooh's shadow slightly extends to the newspaper, adding a sense of spatial layering. Green vegetation and white flowers form the background in nature, making Winnie's red clothes stand out more. At the same time, if you take a break in this photo, it shows that Winnie tries to adapt to society but is a little tired. If you are overwhelmed by knowledge, it is the acquisition of knowledge during your growth process. Telling the complexity of the world in real life, Winnie felt confused when facing the huge and complicated information. Regarding the idea of ​​improvement, I should let Winnie's hand press down on a corner of the newspaper to enhance the sense of interaction. The light is too uniform, which allows the sun to pass through the leaves, forming a mottled light that symbolizes complex thinking. A fallen book should be placed next to it, showing that Winnie was overloaded with information and was unable to do anything.

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The tall buildings, the city with starry lights, and the railings form a clear sense of division. Winnie sat alone in front of the railings, facing the vast cityscape. The high camera perspective highlights Winnie's insignificance. The city lights in the distance provide background spots, making the picture more in-depth. The very dark prospect forms a contrast between light and dark, creating a lonely atmosphere. The existence of the railing reinforces the feeling of being "trapped" or "estranged from the world", implying a certain psychological dilemma.

Winnie faces the city, and seems to be thinking or yearning for a certain future, similar to the struggles of unknowns in the process of growing up.

Optimization ideas

The shadow of the railing can be cast on Winnie, a metaphor for the feeling of "restriction" or "bound". Use a lower angle to make the railing appear higher and make the feeling of being "trapped" more obvious. Let Winnie deviate slightly from the center of the picture, making the city view more intense in composition, making Winnie look smaller. You can also try lower camera positions to make Winnie's perspective closer to the city and enhance the feeling of "looking up to the future". It also reflects a feeling of being more confused.

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How to use copy stand?

Device List

Camera: Nikon D800 (powered by AC power supply)

Lens: Tamron 90mm macro

Software: Capture One (shoot & negative film reversal)

Cleaning tools: white gloves, dust removal air blow

step

✅ 1. Place the negative: the negative side is glossy and aligned

✅ 2. Adjust the camera height: Make sure the negative film fills the screen

✅ 3. Connect Capture One: Check whether it is recognized/connected to the camera

✅ 4. Shoot: Trigger the shutter in Capture One. Tap the shutter to automatically focus the camera (AF), and the image will be displayed in the form of a negative film and further adjustments are required.

File backup: Backup to the ddp storage space, your own folder, use capture one and lightroom to adjust and put it into the class share folder

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This photo is one of the briefs I conceived. Many Winnie were stacked together, of different sizes and directions, some of which were even upside down. The way dolls stack makes them seem individual and seem to be stored indiscriminately, suggesting lost innocence or past self in growing up. Winnie went from a single body to multiple individuals, symbolizing that he gradually had friends around him. But they have different forms and states, showing different emotions. Winnie is gradually surrounded by other Winnies, symbolizing the fact that they have made many "friends", but at the same time, this increase may bring warmth and chaos. Winnie is no longer alone, but multiple dolls surround it, some close to it and some slightly far away, representing different interpersonal relationships. Winnie with different colors and sizes may symbolize different emotions and personalities. Some Winnie can hug each other and show friendship; some can face different directions, metaphor for alienation between people. "Lost in Growth" is actually something that many people can resonate with. Everyone will encounter:

Make friends, but the relationship is complicated.

I'm experiencing emotional fluctuations and don't know what to do.

The true self cannot be found in the group.

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Black and white inversion processing steps

📌 Import scan files: Import film scans (usually negatives) into Capture One.

📌 Invert the image: Use the Curves tool to invert the input curve 180° to make the negative film become a positive film.

📌 Adjust contrast: Use Levels to stretch the histogram to make highlights and shadows more balanced.

📌 Sharpening and noise reduction: Enhances details while reducing the graininess of negative film scanning.

Handle scratches and blemishes

When scanning film, there will inevitably be problems such as dust and scratches, as shown in the red text in the picture "Really bad scratches!". The following methods can be used to correct it:

✅ How to reduce scratches:

Light correction: Use wet cleaning film when rescanning to avoid additional scratches during scanning.

Adjustment Layers: Use the Brush tool to create masks in Capture One to adjust only the brightness and contrast of damaged areas.

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I have a few considerations about the choice of photos.
1. Emotions and stories
I will observe the status of Winnie in each photo. First of all, make sure the photos are clear enough to convey different emotions.
·Happiness and friendship
Multiple dolls and interactive pictures can enhance the growing social experience
·Explore and grow
Interact with new elements, such as mirrors
·Loneliness and confusion
Choose to stand alone on the edge of a tall building and the empty scene

2. Tone and visual coherence
Ensure that the selected photos have certain consistency in color, light, shadow, and composition, so that the entire work looks more unified

3. Composition and visual impact
Choose photos with more tension in composition and stronger visual guidance.
Scenes with strong perspective (such as railings of tall buildings and stairs) can enhance the image of Winnie the Pooh's "confusion" or "growth".
The picture is simple but can highlight the composition of the subject and make it easier to focus on emotions.

4. Comparison
Choose photos from different angles, close or long view
·The vision shows the environment, emphasizing loneliness and unknown
·Middle view emphasizes state and adds details
·Close-up enhances emotions.

Finally
Select photos that form progressive relationships
Starting point (innocent, exploration)
Development (experience friendship, loss)
High (conflict or low)
Ending (growth, retrieval or open ending)

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Outdoor photos: Usually the light is strong and there may be high contrast (overexposure of the bright part, and lack of details in the dark part).

Indoor photos: Darker light may lead to underexposed or increased noise.

To judge the exposure by observing the density of the negative film—the darker negative film (the bright part in the negative film) may be overexposed, while the shallower negative film may be underexposed.

Post-adjustment of contrast: After the darkroom is enlarged or scanned, you can use curves to adjust the bright and dark parts to make the visual style of the entire series more unified.

Select photos that match exposure: If the exposure of some photos is too extreme (too bright or too dark), you can consider giving up to ensure that the tone of the entire series is consistent.

Local adjustment: If there is a specific photo that is important but the exposure deviation is large, local adjustments can be used to balance it.

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This stone bench and the red brick wall behind it have the cold and hard feeling of the city, which contrasts with Winnie's softness and childlikeness, strengthens the theme of "lost in growth".

Winnie's posture triggers associations, lying on a stone, facing down, like a "exhausted" or "collapse" state, with very emotional tension. Winnie was lying face down, loose and powerless, and it seemed like she had experienced an emotional breakdown. This "imperfect" image breaks people's traditional perception of its lovely. Focusing on this picture as a "climax/trough" node, it tells the story of Winnie's loss of self in the city. This photo is anthropomorphic, not playing, but escaping emotions, which is in line with psychological struggles in growth.

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lightroom is an industry-standard image sorting and processing software that does not affect the original files. Lightroom Files > Imports > Exports > Catalogue

After using this software, all files must be processed internally.

Import images to Catalogue

Start Lightroom Classic ➝ Create Catalogue

Import with the "ADD" option (do not copy the file, only read it in place)

Steps: Select a folder ➝ Check "All photos" ➝ Settings preview ➝ Click "IMPORT"

Basic panel: exposure, white balance, contrast, black and white switching

Tone Curve Curve: Used for image inversion (negative film to positive film

Summarize

Scan / shoot ➝ Import Lightroom ➝ Adjust ➝ Export ➝ Check ➝ Backup ➝ Upload DDP

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Lightroom is running, in the Library module.

The middle area shows a thumbnail of an image, located in the "Grid View" and the user can see multiple images arranged in a grid.

Filmstrip at the bottom shows a series of image thumbnails.

On the left are the "Catalog" and "Folders" panels, which display the currently imported collection of images.

The toolbar on the right is not expanded, indicating that no editing is currently performed.

The overall picture is in the image sorting stage and has not yet entered the Develop module.

The photo in the picture has been imported into Lightroom and has been edited basicly, such as exposure or white balance adjustment. Although currently viewed in the Library module, the icon in the bottom right corner of the bottom thumbnail prompts that the image has been adjusted in the Develop module, reflecting the characteristics of Lightroom's non-destructive editing: the original image has not been changed, all modifications are saved in Catalogue, and a new image file needs to be exported before it can be generated.

Exposure adjustment: Make photos brighter or darker

Contrast fine-tuning: Enhance the visual impact of the image

White balance: Use the straw tool or color temperature slider to correct the color cast

Color Mode Switch: Try switching between Black & White and Color

Tone Curve Operation: Learn how to reverse images (especially suitable for film negatives)

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This is the briefs I have preliminarily finalized.

But I was still hesitating about the first one. Because I don't think the presentation of this portrait has achieved the effect I'm satisfied with. A back has little to do with the childhood I want to express, and the content is a bit thin.

The second one expresses the content outside the framework. I used a mirror as an element, and I wanted to express that everyone will receive different feedback when looking at the mirror, different states and moods. But we can't intuitively feel Winnie's emotions.

The third photo is changing the element. I used a lot of Winnie and wanted to express Winnie's different moods and perspectives. At the same time, many Winnie also expressed their mental state of gradually having many friends but still being confused.

Chapter 4 requires two more photos to be converted. I used Winnie to shoot at the same location, day and night at different times. It means that people will have different states at different time periods. There are different contents to think about.

The last one is that a narrative change is needed. Winnie, who is thrown into the trash can, will give people a stronger visual impact. Compared to the previous photo, this photo looks even more "cruel".

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This image is my second practice piece in Lightroom. By importing, organizing, editing and exporting new materials.

1. Import images

Import new images into existing Catalogue using "ADD" method

Files are classified in Imports folders, retaining a unified structure

2. Library module

Quickly locate images using Grid + Filmstrip browsing

Add keywords and star ratings to prepare for later selection and organization

3. Image editing (Develop module)

Select the "Black & White" processing mode to unify the visual language

Adjust Exposure and Contrast to increase tone intensity

Use Tone Curve to enhance the levels of dark and bright parts to create a sense of space

Adjust White Balance to ensure a balance between black, white and gray

Use the local adjustment tool to brighten/dark some areas to highlight the body

Check Histogram to make sure the image is not exposed or dead

4. Export settings

Set the export format and size according to course requirements

Clearly named files, easy to distinguish and archive

Export to Exports folder

This work emphasizes visual level and tension. I try to create a sense of space through light and shadow, and weaken the color information, so that the audience can focus on the structure, material and emotional expression of the image. Fine-tuning of contrast, shadows and details in Lightroom makes the image more "thick" and expressive.

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This work is not intended to show the technical operation of light and shadow, but to try to strengthen emotions by "weakening visual information" later.

Black and white make the audience pay more attention to the outline and light and dark tension.

Dark the surroundings and concentrate the line of sight: Through the local adjustment tool, I deliberately lowered the exposure value at the edge of the image, creating a slight "encirclement" and allowed the line of sight to be naturally guided to the center of the picture.

Reduce clarity, not boost: In the adjustment, I tried a different approach - reducing Clarity, allowing the edges of the image to soften slightly. This makes the overall picture more dreamy and weakens the sense of reality.

Black & White Mode Enable: Adobe Monochrome

Exposure -0.2 (slightly darkened)

Clarity -15

Highlights -35 (low-highlight)

Shadows +25 (brightens the dark part)

Partial Adjustment Brush: Four corner luminescence reduction

Export size is 2000px long side, JPG, high quality

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Both images depict extremely daily, even seemingly boring scenes, but it is this "silent" image that gives me a nearly meditative way of gaze. Through black and white photography, I try to explore a psychological texture of static, repressive and restrained.

Mode: Black & White

Configuration file: Adobe Monochrome

Exposure: -0.25

Contrast: -15

Highlights: -30

Whites: -20

Shadows: +20

Clarity: -30

Texture: -15

Added Grain: Quantity 25, Size 20, Roughness 50

Gradient filter (upper and lower edge): exposure -0.30, feather 60

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Mode: Black & White

Configuration file: Adobe Monochrome

Exposure: -0.40

Contrast: +35

Highlights: -25

Shadows: +30

Whites: +5

Blacks: -40

Clarity: -10

Post-Crop Vignetting: -20

Radial filter: central area exposure +0.30, feather 75

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I lowered the overall exposure in this photo, making the image less direct and eye-catching, but a bit "sinking" in it. The contrast is gently lifted up, but not to highlight the structure, but to maintain a restrained tension between black and white.

I lowered the clarity, which was a loose treatment of “reality.” The reality is too clear, and I want this image to become something between memory and imagination. The texture is also slightly weakened, further blurring the materiality of the image.

I didn't add obvious vigors, nor did I use filters to emphasize a certain area. This picture is not for "guiding viewing", but hopes that the viewer can enter slowly in his own pace

Basic adjustment (Basic)

Exposure: -0.35

Contrast: +25

Highlights: -20

Shadows: +15

Whites: +5

Blacks: -30

⬇️ Detail Control

Clarity: -25

Texture: -10

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This photo uses strong light and shadow contrast to place a plush toy Winnie bear on the right side of the picture, accurately illuminated by the sun, highlighting Winnie as the main body, while on the left is a whole dark shaded area.

This is a portrait work, but it is not a portrait of a character in the traditional sense, but a "stand-in" expressing a certain psychological state in childhood through the doll. As a companion to many people's childhood, Winnie symbolizes a sense of security, intimacy and innocence. It is placed on the sunny side, strengthening this positive and warm mood and also symbolizing the time surrounded by sunshine in childhood.

The sunlight forms a clear "boundary" in the picture, giving the photo a strong sense of visual rhythm and visually distinguishing the "safe/warm" and "unknown/dark" spaces. Winnie is close to this border, but still sits firmly in the light, this delicate position reinforces the theme – childhood may be close to the shadow of unknown and growth, but it is still a space full of warmth and tranquility

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In this photo, Winnie is facing the mirror and is "putting on makeup". The reflection in the mirror is the only way we see the expression on its face. The mirror becomes the medium for us to observe the protagonist's "self-cognition" process. The most important thing is that the actions that Winnie is doing, its "gaze", and the result of its makeup all happen in the mirror - that is, in the real space outside the picture.

“the main focus is outside of the frame”. because:

We cannot see its true “face” – only reflected through the mirror;

Nor do we know how it perceives itself;

All meanings are based on the actions and psychology of "not directly presented"

Makeup is not only an externally changed behavior, but also symbolizes the individual's construction of self-identity, especially the "disguise" or "imagined self" during growth. Winnie is a character who symbolizes childhood, but now she sits in a real space filled with daily necessities and cosmetics, "changing yourself" in front of the mirror. This is a metaphor for the self-cognitive process in real society: how we gradually shape our own image through the gaze of others (mirror) or social norms.

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Through the repeated Winnie, the original context of "one Winnie = a childhood image" has been changed, and a new visual and emotional meaning has been created in the picture - similar to the complexity of interpersonal relationships, the diversity of emotions, and even dialogue or conflict between multiple inner selfs.

Changes in Number: Winnie is no longer a lonely character, but “many” appear. This itself changes the viewer’s understanding of Winnie’s image—it is no longer just “your childhood friend” but perhaps “a metaphor for your social world.”

Repeat of the same character: These Winnies may have different postures, angles, and positions, just like different aspects that people show when facing different occasions during their growth.

Metaphor of emotions and perspective: Each Winnie represents a different emotion or perspective. Through this arrangement, you blur the question of "who is the real me", just as we will experience emotional changes and identity changes due to environment and relationships as we grow up. The audience cannot immediately distinguish which one is the "protagonist", thus losing the centrality of the traditional portrait and replaced by a state of chaos, multiple, overlapping.

They are stuffed in a corner, some fall down, and some only reveal part of it. This treatment makes the picture feel forgotten, suppressed, and hidden.

During the process of growing up, we will have many different oriented elves, some of which are seen in external social interactions, and some are buried deep in our hearts;

Every Winnie is like an "emotion", or a memory, relationship. They may be warm, or heavy, and complex.

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In this work, I placed the Winnie Bear before a grand cityscape, photographed during the day. In the picture, Winnie is arranged at the bottom of the picture, away from the visual center, and appears in a blurry outline, facing away from the camera, staring at the towering buildings in the distance. It is separated from the city by a grid formed by a balcony guardrail, and vertical railings interspersed throughout the picture, like a cage. These visual arrangements are not accidental, but the way I deliberately use to express the psychological state of "first entry into society". Winnie is not the protagonist of the picture, or even the clear focus. It is situated in the corner of the picture, not facing the viewer head-on, but leaving its back to us. This arrangement makes it no longer a concrete role, but more like a "projector of emotion" - it represents a state rather than the individual itself, and therefore, anyone can substitute his own experience into its perspective.

2. Metaphor of the fence

A clearly visible railing has a dual meaning:

On the one hand, it symbolizes “the protection of childhood residuals”, isolating Vinie from the outside world and forming a security boundary;

On the other hand, it also implies "discipline of social structure". Individuals have not yet truly crossed this invisible threshold and are still standing at the observation point before participating in society.

The urban landscape in the distance is regular, orderly, and lacks emotions, presenting a typical "modern society". There is no one in the picture, only tall buildings, squares, and tracks. This cold sense of order constitutes an invisible pressure. The train tracks below also imply the operation of the social system

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This image was taken at night, which contrasted sharply with the picture during the day. Winnie was still sitting in front of the window, facing the camera, staring at the city. However, the city at this moment is no longer a neat and rational building complex, but a vague structure embellished by lights. The originally clear tall buildings now become hazy and overlapping in the night, and the railings appear heavier due to changes in light, as if they are shrouding Vini in a psychological hint.

The overall picture becomes darker, and the city is as bright as it is in a dream. This is an emotional graphic language, symbolizing the complex heart that people face when they are alone, especially at night.

During the day, we face the world; at night, we face ourselves.

This picture no longer talks about "social order", but explores "individual emotional fluctuations". Nights are always easier to make people contemplate and reflect on themselves, and they are also easier to make real emotions emerge.

This night's work forms the "inner mirror" in the previous work (day) - it transfers from the external social structure to the inner emotional state. The two images form a mirror transformation through similar compositions, forming a double annotation of the growth state:

Daytime symbolizes “an expectation in the face of the world”;

Night symbolizes "face your own thoughts".

The change of light brings a completely different psychological context in the same role, the same city, and the same location. I try to present a very real experience in my growth in this way: between the alternation of day and night, we gradually become complex selves.

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This photo is a consolidation of the entire series. No longer sitting in the sun, in front of the mirror, by the window, Winnie was placed in a garbage can filled with waste. What appears with it are drink bottles, crumpled tissues, and torn packaging boxes - these are the most daily, trivial, and most overlooked "life fragments" in adult life.

As the protagonist of the series, Winnie, from the first picture symbolizing "the light of childhood" to now lying deep in the trash can, completing a very tense visual gap.

This contrast is not a denial of childhood, but an honest presentation of the reality of growth.

Metaphor of the trash can

A trash can is not only a real object, it also symbolizes the "sense of giving up" or "chaos" in the psychological state.

The world of adults is often not a continuation of ideals, but a mixture: dreams are still there, just overwhelmed by real muds.

Even though Winnie is in the trash can, the picture is not completely dark. The intense direct light hits its body, creating an ironic and real contrast: even in the "worst" position, we are still trying to be illuminated and understood.

This light symbolizes hope and resilience, perhaps weak, but still exists