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This Padlet documents my learning journey and achievements over this semester in the photography course. I focused on medium format photography, using the Mamiya 645 and RB67 cameras, and worked exclusively with black-and-white film. Each week, I completed themed shooting assignments and gradually built towards the final project — a curated selection of six photographs.

Throughout the course, my Padlet captured key moments of learning, including class notes, behind-the-scenes processes, and reflections on both shooting and darkroom printing. I also conducted extensive research on various artists, which informed my creative decisions.

My learning journey aligned with the course's objectives, pushing me to critically understand the relationship between media practices, visual arts, and technology. I developed practical skills in studio lighting, camera operation, and print finishing, while sharpening my problem-solving and editing abilities.

Beyond technical growth, I engaged deeply with the artistic and conceptual aspects of photography. Through group discussions and individual tutorials, I refined my work, explored new creative directions, and tackled complex visual storytelling. This Padlet not only showcases my final portfolio but also reflects my continuous efforts to address contemporary cultural themes through photography.

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FINAL PRINTS (DIGITAL SCANS)

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WEEK 1  (Scroll down for each week)

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I was excited to start this semester and continue exploring photography, especially with the opportunity to work with more advanced medium format film cameras. This week’s session provided a solid foundation for both theoretical and technical learning.

In the morning, we discussed ‘What is Documentary?’ , examining how documentary photography has evolved from traditional media approaches to being recognized in the fine art world. This shift highlights the role of artistic vision and intent in creating impactful documentary images, beyond merely capturing reality. Our discussion also focused on how photographers use their unique perspectives to convey deeper truths and narratives through their work. This made me reflect on the balance between objectivity and subjectivity in documentary photography and how I might incorporate these ideas into my own practice.

In the afternoon, we had a hands-on session learning about medium format cameras. We started with the Mamiya 645, going over its functions and how to properly load film. Then, we moved to the studio to learn about the Mamiya RB67. Due to its larger size and weight, we were instructed to use it exclusively in the studio with a tripod. Learning to operate these cameras felt both exciting and slightly challenging, but I enjoyed the process. The RB67, in particular, made me appreciate the precision and deliberate approach required in medium format photography.

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Lecture Notes: What Is DOCUMENTARY?

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Photography as a Technology of Instability

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Photography as a Technology of Instability

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Photography constantly shifts between reality and simulation.

It is both a reproduction of reality and a form of creative construction; it is both mechanical and artistic.

Photography technology has always been evolving — from glass plates, film, and paper to digital pixels.

These changes affect:

Who can create images

Where, why, how often images are created

For whom the images are made

"Photography is a technology of instability. It stages a play of the real and the simulated,
Apparent and contrived, the creative and the mechanical…" ---- Nathan Jurgenson

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1. Focuses on reality, documenting the real world;

2. Usually unedited or minimally altered;

3. Emphasizes social responsibility & is often used in journalism.

Photography and Truth

Photography has traditionally been seen as objective, but it is influenced by the photographer’s choices, framing, and perspective.

"Photography does not merely capture reality; it shapes reality."

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Mamiya RB67.

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Mamiya 645.

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Brief one: Produce a portrait focusing on one main quality.

This could be a technical or conceptual device used to enhance what is expected from a portrait. Think about what a portrait is and what it needs to communicate then apply that to the images and ideas you have.

Brief two: Produce a photograph in which the main focus is outside of the frame.

How much of how we read or respond to images is determined by what is NOT included in the frame. Look for an image that engages with the idea that meaning can be enhanced by either the temporal or physical space around the image as well as what is included in the frame and when the shutter was clicked.

Brief three: Displace the meaning of the photograph by altering an element within the frame, or by changing the context of the image.

The simple act of photographing something or someone can impact how they are seen or the meaning they create. Look for an image where the way you have photographed something or juxtaposed objects or subjects within the frame create a new or unexpecting meaning for your image.

Brief four: Create a transformation in a series of 2 photographs by shifting the references to photographic language.

The purpose an image has or how the image is going to be used plays a huge role in the meaning an image has. Select one of the images you have made in your own style and re-photograph it using a different visual language. How has this changed the way the subject is read?

Brief five: Produce an image that creates a narrative transformation within your sequence of photographs.

Consider how all these editorial prompts help define how we build narratives in photographs. Look for an image from the ones you made that bring together all of the ideas outlined in the previous briefs. What kind of conclusion do you want to make? It could a full stop, an overview or a re-contextualisation of your whole series.

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 The Entanglement of Humanity, Shadows, and the Environment  

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 The Entanglement of Humanity, Shadows, and the Environment  

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In modern society, the relationship between humans and the environment is becoming increasingly strained. We shape the world with artificial materials, yet we are simultaneously trapped by them.

Plastic pollution has become a symbol of environmental degradation, blurring the boundary between nature and human existence. Shadows serve as a visual metaphor—representing both presence and the lingering, often invisible impact we leave behind. Through this project, I aim to explore the interconnectedness of light, shadows, plastic waste, and human activity, questioning how we influence the environment and, in turn, how it reshapes us.

I want this project to push beyond simple documentation of pollution. Instead, I aim to create a visual narrative that forces viewers to confront how deeply embedded artificial materials have become in our existence.

We are not just surrounded by waste; we are part of it, consumed by the very things we create.

harmonious coexistence --> damage/destuction

Artistic References

Dominic Dähncke – The Interaction Between Shadows and Objects

Shadows can serve as a visual bridge, linking people and their surroundings, revealing the symbiotic relationship between humans and pollution. By integrating shadows with plastic waste and artificial materials, the boundary between the two can be blurred, prompting viewers to reflect: Are humans shaping the environment, or is the environment slowly consuming us?

Chris Jordan (Midway Series) – Visual Impact and Environmental Themes

Jordan’s Midway series documents the tragic reality of plastic waste infiltrating nature, particularly the suffering of albatross chicks who unknowingly consume plastic, mistaking it for food. This reflects humanity’s own failure to distinguish between what nourishes and what harms us. His work inspires me to explore:

- Plastic as an invasive force, highlighting how it entangles and suffocates both nature and human life.

- The illusion of sustenance, where artificial materials seem necessary but ultimately lead to destruction.

- Human entrapment, visually representing suffocation, consumption, and dependence on waste.

- The reflection of environmental destruction back onto humanity, showing that pollution is not an external issue—it is an internal crisis that mirrors our collective existence.

Alicja Brodowicz (A Series of Diptychs) – Human and Nature’s Textures

Brodowicz’s diptych series examines the connection between human bodies and the natural world by pairing images of skin with natural textures. Inspired by this approach, I will explore how artificial materials—particularly plastic—can create unsettling yet meaningful contrasts when juxtaposed with the human body. This contrast will emphasize how plastic has become an unnatural yet inescapable second skin for humanity. By visually linking the textures of human skin, plastic waste, and shadows, I want to question whether we can still separate ourselves from the artificial materials we have introduced into our world.

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How to load film?

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Lecture Notes: What is ART?

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1️⃣ Angle of view

Standard 标准

Wide 广角

Long 长焦

2️⃣ Lens Focal Lengths 镜头焦距

Wide Angle 广角 -- Large angle of view, great for landscapes, exaggerates foreground objects. 视角大，多适用于风景.

Standard 标准 (depends on the camera format) -- Natural field of view, similar to human vision, versatile for various photography styles. 接近人眼的自然视角.

Telephoto 长焦 -- Narrow angle of view, magnifies distant objects, ideal for portraits, sports, and wildlife photography. 视角窄 放大.

Super Telephoto 超长焦 -- Designed for extreme distances, commonly used in wildlife and sports photography. 适合超远距离拍摄；如野生动物.

Macro 微距 -- Great for close-up shots, magnifies small subjects like insects and flowers. 特写拍摄，放大物体.

Focal Length and Magnification 焦距与放大倍率

The longer the focal length, the narrower the angle of view and the higher the magnification. The shorter the focal length, the wider the angle of view and the lower the magnification. 广角镜头提供更宽的视角，而长焦镜头则缩小视角范围并放大远处的对象

3️⃣ Focal Length and Perception of Space / 焦距与空间感知

📌 Distortion – Flattening / 畸变 – 扁平化

广角镜头会夸大近处物体的比例，使画面具有透视感。

长焦镜头则会压缩空间，使前后景物看起来更近。

Wide-angle lenses exaggerate perspective, while telephoto lenses compress the space.

📌 Presence – Detachment / 现场感 – 疏离感

近距离使用广角镜头可以增强观众的沉浸感。

长焦镜头会让观众感觉被“拉远”，有种冷漠的疏离感。

Wide-angle lenses create an immersive feel, while telephoto lenses give a sense of detachment.

📌 Prime lenses – what are the advantages? 定焦镜头

画质更佳，光圈更大，适合低光环境拍摄。

结构简单，通常比变焦镜头更轻巧。

Sharper image quality, larger aperture for low-light shooting, simpler and lighter than zoom lenses.

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DEFINITION

is a creative and expressive form of photography where the photographer aims to convey an idea, emotion, or concept rather than just capturing a realistic representation of the subject.

It can be abstract, surreal, or even performance-based.

Major Approaches 艺术摄影的主要方法

📌 SOMETHING AND NOTHING

Observational photography 观察式摄影

Gives non-human subjects meaning through photography 通过摄影赋予非人类对象意义

📌 REVIVED AND REMADE 重现与重塑

Meta-photographic

Engages with viewers' knowledge of existing images 依赖观众对已有图像的认知

📌 DEADPAN

Objective and detached style 客观、冷漠的风格

Removes poetic or emotional aspects 去除诗意和主观情感

📌 INTIMATE LIFE 亲密关系

Uses personal life and relationships as subjects 以摄影师的个人生活和关系为主题

Diaristic and sometimes therapeutic 具有日记式风格，有时带有治疗性

Can address broader social issues

📌 IF THIS IS ART

Incorporates performative elements into photography 将表演性元素融入摄影

Used to visualize invisible aspects of a situation or space 用摄影展现原本不可见的关系或情境

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WEEK 2

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Lenses and Camera Functions

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Do you find any images in the lecture problematic? If so, why?

The problem with this photograph is that its colour and composition may detract from the seriousness and negative impact of war, sending a ‘romanticised’ or ‘heroic’ message. Documentary photography requires careful handling of the balance between artistic expression and truthful recording, otherwise it may deviate from the original intention of revealing the truth.

We believe that the vivid colours in the picture have a certain expression of ‘glorifying war’. If this photo is used in a specific context (e.g. military propaganda), its vivid colours and calm atmosphere may cater for a specific purpose. However, if it is used in a critical context, it may not be expressive enough and may even be controversial.

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Find a photographic image or project that you think employs an interesting art-based approach.

What is your reading of the image? Can you describe what the particular approach the photographer has used (it could be one I have touched on in the lecture or it could be something else)? How might you use a similar approach?

1️⃣ What is your reading of the image?

This photo series, called New Utopias, uses highly idealized and contradictory family scenes to reveal society's unrealistic pursuit of the "perfect family." What attracts me the most about this series is the use of bold colors. The high-saturation tones catch my eye, but the scenes they create give me a sense of unease. For example, everyday objects in the photos (like a toaster, blender, and coffee pot) are given symbolic meanings, hinting at the repetitive and dull nature of the model's role in her family. In New Utopias #1, the toaster is smoking heavily, symbolizing the potential breakdown of the "ideal life."

2️⃣ What is the particular approach the photographer has used?

Miles Aldridge uses a mix of hyper-stylized visuals and symbolism to tell stories:

Color psychology: Vibrant, saturated colors create contrast between the seemingly happy environment and the inner tension.

Surrealism: Everyday items like toasters and coffee makers are exaggerated or misused, making the scenes feel unnatural.

Carefully directed characters: The models’ stiff poses and blank expressions emphasize emotional detachment and societal pressure.

Pop art influences: Aldridge blends fashion, consumerism, and critique, creating a unique narrative through bold visuals.

3️⃣ How might you use a similar approach?

Using symbolic props to add hidden meanings to my photos.

Creating contrasts with color to show emotional tension.

Designing surreal compositions by exaggerating common objects or situations.

Combining storytelling with a critical perspective to explore societal issues, such as stereotypes or personal identity.

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As one of the pioneers of documentary photography, Cartier-Bresson was not only a photographer but also a co-founder of Magnum Photos, the world’s first cooperative agency for photographers.

This photo captures the decisive moment of a man attempting to leap across a puddle. Documentary photography is not merely about replicating or reproducing reality; rather, it is an intuitive and almost “magical” way of capturing images.

The Decisive Moment

📌Origins of the Concept

Cartier-Bresson formally introduced the concept of The Decisive Moment in his 1952 photography book Images à la Sauvette (the English edition titled The Decisive Moment).

The "decisive moment" refers to the perfect convergence of the photographer’s eye, the camera, and the real world at an exact, fleeting instant.

He believed that photography was not just about documentation but about capturing brief yet meaningful moments that reveal the essence and truth of life.

📌Key Techniques

Quick Reflexes: In Cartier-Bresson’s era, photographers used film cameras without burst mode, requiring them to react with exceptional speed.

Composition and Intuition: Before pressing the shutter, he already had a mental composition of the image, rather than taking shots randomly.

Some Elements from This Photo:

The Jumping Man:

Suspended between rising and falling, he appears to be frozen in time.

His toes are just about to touch the water, yet he remains mid-air. This precise capture creates tension, making viewers wonder what will happen next.

The Reflection in the Water:

His reflection is nearly perfectly mirrored in the puddle, creating symmetry and visual balance.

This not only enhances the aesthetic appeal of the image but also reinforces the concept of the “decisive moment”—had the shot been taken too early or too late, the reflection might not have been as complete.

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Authenticity? Objectivity?

This photograph also prompts reflection on whether documentary photography is truly objective.
While traditional views suggest that the purpose of documentary photography is to record facts as objectively as possible, Cartier-Bresson’s work demonstrates that a photographer’s choices—when to shoot, what to shoot, and how to compose the image—all influence how reality is perceived. Thus, documentary photography is inherently subjective.

This can be seen in the photograph:

The image doesn't depict the entire street but is framed from a specific angle that creates a contrast between the man and the poster in the background.

Instead of capturing moments before or after the man’s leap, Cartier-Bresson chose the exact instant that maximized tension, a choice that itself reflects subjective intent.

I have marked two red rectangles in the image, highlighting an interesting contrast:

A man clumsily attempts to leap over a puddle, while in the background, the performer "Railowsky" in the poster executes a more exaggerated yet effortless jump.This contrast introduces a sense of humor while uncovering an extraordinary moment in ordinary life.

I believe this challenges the conventional understanding of documentary photography. More importantly, it guides viewers to recognize the hidden, subtle moments worth capturing in the real world. Cartier-Bresson’s work tells us that photography is not just about recording reality—it is also a form of artistic expression, and the photographer is both an observer and a storyteller.

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The moment I saw this photograph, I was shocked and curious—how was it captured so perfectly? Was it a coincidence or an accident? This closely relates to the concept of the "decisive moment." The coincidence lies in the fact that photographers cannot predict what will happen next, especially in the chaos of war. Their challenge is to swiftly adjust their equipment and capture the most impactful moments. I often encounter perfect moments in daily life, but by the time I pick up my camera, they are gone. This makes the existence of this photograph even more astonishing to me.

After further research, I was pleasantly surprised by the backstory of this image. When Nick Ut captured The Terror of War, he was originally documenting villagers fleeing after an airstrike. Suddenly, injured children ran towards him, forming this incredibly powerful scene. This image was neither pre-planned nor staged—it was the raw reality of war, making its impact even stronger.

Beyond this, I have also reflected on the relationship between anti-war beliefs and media interests. After its publication, this photograph triggered widespread anti-war sentiment globally, especially in the U.S., where it fueled opposition to the Vietnam War. Many photographers, including Nick Ut, hoped to use their images to expose the brutal realities of war and promote peace. Ut himself later stated multiple times that he wished for this photograph to serve as an anti-war symbol.

On the other hand, media outlets must also consider their own interests when deciding which images to publish. Powerful photographs can increase newspaper sales, attract public attention, and even influence political decisions. This particular image, involving a nude child, would typically not be published under U.S. media standards. However, its immense journalistic value led to an exception, turning it into a historically significant image. I believe this highlights the unique paradox of war photography—while photographers expose suffering to reveal the truth, their work may also be criticized for exploiting that very suffering.

Following the photo's publication, some accused Nick Ut of being indifferent—capturing the chaos and the pleading children without intervening. In reality, after taking the photo, he immediately put down his camera and took Kim Phuc (the nude girl running with outstretched arms) and other injured children to the hospital. He later recalled that his initial reaction was shock and sorrow, hoping that she would survive. Thanks to his efforts, Kim Phuc received timely medical treatment and survived. This made me reflect deeply—war photography not only exposes the brutality of war but can also act as a catalyst for anti-war movements. This image brought the horrors of the Vietnam War closer to the American public and is even believed to have influenced the U.S. government’s decision to withdraw from Vietnam in 1973.

This raises an ongoing debate—should photographers merely document, or should they intervene? Without these photographs, the world might never fully grasp the horrors of war or feel the urgency for change. Some argue that photographers are mere observers, while modern journalistic ethics recognize their responsibility to help whenever possible. However, in war zones, intervention is often impossible, as photographers must also protect themselves.

I don't have a definitive answer, but I am grateful for these powerful works. They not only provide a raw, unfiltered record of war but also create tangible social impact, raising awareness and compelling people to confront the realities of war.

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This photograph also reminds me of The Starving Sudan, taken by Kevin Carter in 1993. It depicts a severely malnourished Sudanese child crawling on the ground while a vulture lurks nearby, seemingly waiting for her death. The image became an icon of global poverty, famine, and social injustice. However, after winning the 1994 Pulitzer Prize, Carter faced severe public criticism for merely taking the picture instead of helping the child. In reality, he had scared away the vulture and stayed at the scene, observing UN relief efforts. Yet, many still believed he should have done more.

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When I learned that The Terror of War had been cropped in different media publications, I couldn't help but think about the reasons behind this decision and the discussions it sparked. From a media perspective, cropping might have been done to highlight the central subject, directing the audience’s attention more intensely toward the naked, fleeing Kim Phúc to enhance the visual and emotional impact. Considering journalistic ethics, images involving child nudity are typically not published, and the fact that this one was an exception already made it a unique case. Additionally, cropping could have been a practical decision to fit different publication layouts, making the image more adaptable for various media formats.

However, this modification also raises important questions—does cropping alter how the audience perceives the event? The original frame included not just the terrified children but also soldiers and other fleeing villagers, all of whom contributed to the full context of the scene. If background elements are removed, does it risk misleading the audience or shaping a specific emotional response? Another thought that crossed my mind was whether this selective editing unintentionally reinforced anti-war sentiment. When an image is altered in a particular way, it can serve as a tool for a narrative rather than simply a record of reality.

This made me realize that documentary photography isn’t just about capturing a decisive moment—how an image is processed afterward also plays a crucial role in its impact and historical significance. Despite these controversies, I still believe The Terror of War remains one of the most powerful war photographs in history, whether cropped or not. It gave me a profound understanding of the horrors of war and made me reflect on the role of photography in shaping public discourse and historical narratives.

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Examples from each major approaches

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When I first saw Cindy Sherman’s Untitled Film Stills, I instinctively tried to recall the names of the “movies” in my mind. Her work cleverly exploits the audience’s familiarity with classic film scenes, making us believe that these images belong to actual movies. In reality, however, each photograph is a carefully staged visual narrative in which she directs and performs herself. She plays various female roles in front of the camera—some resemble 1950s housewives, while others appear to be fugitives. These characters not only mimic film stills but also reveal how media constructs female identity. I believe these photographs are not just about reproduction; they deconstruct social and cultural norms. Her work challenges the truthfulness of photography, making me realize that images have the power not only to document reality but also to create it.

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The photographers employ a humorous yet philosophical approach, rearranging everyday objects to create a temporary structure of balance. This piece is part of their Equilibres series, which explores the delicate tension and fleeting stability between objects. What I see in this work is a group of kitchen utensils and bottles connected by a rope, forming an almost metaphorical representation of climbers supporting one another, as if embarking on a miniature mountaineering expedition.

The essence of this piece lies in its emphasis on imminent collapse. At the moment of capture, this fragile structure is frozen in a state of perfect balance, yet we understand that it could fall apart at any moment. This inherent instability creates a sense of tension while also prompting viewers to consider the relationships between objects and their transient harmony. Fischli & Weiss challenge our conventional perception of everyday items, transforming the mundane into something unexpectedly poetic. In the context of Something and Nothing, this work perfectly demonstrates how ordinary objects, when carefully arranged, can acquire new symbolic meanings and serve as vehicles for visual storytelling within photography.

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When I look at Rineke Dijkstra’s Beach Portraits, I immediately sense a calm and direct atmosphere. Her subjects are teenagers standing on the beach, their expressions slightly awkward and their postures stiff. There is no dramatic lighting or emotional manipulation in these photographs—they simply present the subjects as they are. I think this approach allows the audience to focus more on the individuals themselves without being influenced by the photographer’s emotions. These teenagers seem to be in a transitional phase, filled with both uncertainty and traces of growth. I believe this “deadpan” style makes the work more universal, allowing every viewer to find a reflection of themselves in these faces.

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When I look at Corinne Day’s Diary series, I feel as if I am peeking into someone’s private photo album. Her images are not polished; they are sometimes messy, but this raw authenticity is what moves me the most. Under her lens, Kate Moss is not a glamorous fashion icon but an ordinary young woman—tired, unrestrained, and sometimes vulnerable. I think Day’s diary-like approach breaks the perfectionism of traditional fashion photography and presents life as it truly is. This style makes me reflect on the fact that photography is not just about aesthetics; it can also be a way to document personal experiences and express oneself.

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When I learned about Shizuka Yokomizo’s Dear Strangers, I was fascinated by her approach to photography. This series is unique in that she left anonymous letters outside people’s homes, inviting them to stand by their window at a specific time and look directly into the camera. The photographer waited outside, pressing the shutter at the moment the strangers met her gaze. The result is a series of images filled with an eerie sense of confrontation—there is no communication between the subject and the photographer, yet their eyes meet, forming a silent connection.

Her photographic technique is highly conceptual, using the transparent window as an “invisible barrier” that creates both a sense of safety and a feeling of voyeurism. I notice that the expressions of the subjects vary—some appear cautious, others curious, and some even confident. This uncertainty gives the viewer a strange sense of participation. I find myself wondering: if I were the subject, how would I react? Would I be comfortable allowing a stranger to capture me in this way?

This project perfectly embodies the concept of “If This Is Art.” It is not just a series of static photographs but a social experiment, an invisible interaction between people. Yokomizo does not manipulate her subjects but allows them to decide how they present themselves in this silent exchange. This approach makes me realize that photography is not merely about capturing reality—it can also be a form of performance art, forcing us to reconsider the right to look, the boundaries of privacy, and the nature of human connection.

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A bellows system allows the lens to be extended away from the camera sensor for extreme close-up focusing. 风箱（Bellows）是一种用于微距摄影的装置，可以调整镜头与传感器的距离，以实现更近的对焦

Basic principle of Bellow:

Fully collapsed bellows allow infinity focus. Fully extended bellows significantly shorten the minimum focusing distance (e.g., 50mm lens can focus as close as 45mm, 37mm lens as close as 6mm).

⚠️Exposure Compensation Rules：

When extending the bellows, compensate exposure:

Light gray zone: +0.5 stops

Dark gray zone: +1 stop

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Exposure Compensation with Bellows / 使用风箱时的曝光补偿

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The Floating System / 浮动对焦系统

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The floating system helps manage depth of field (DOF) in macro photography.

How to use the floating focusing system?

1. First measure the distance of the subject with the scale on the right side of the camera.

2. Depth of field (DOF) is calculated based on lens type and bellows spread.

3. By rotating the blue ring (just a calculation aid), to roughly judge the depth of field effect in the picture.

Importance of DOF Control

In macro photography, DOF is very shallow, so precise focusing is critical. Estimating DOF helps prevent out-of-focus shots.

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In the morning lecture and seminar, we explored the question, What is Art? , focusing on photography’s long-standing struggle to be recognized as an art form. The discussion covered different artistic approaches to photography, as well as how these methods impact truth-telling within the medium. Analyzing various works that exemplify these approaches deepened my understanding of how artistic intent shapes photographic meaning.

The afternoon session was more technical, as we continued working with medium format cameras, specifically the Mamiya 645. Compared to the Mamiya RB67, the 645 felt smaller and more lightweight, making it a more portable option for my assignments. After reviewing the camera’s shooting process in the studio, we moved outdoors to capture our first set of film photographs. Since the available locations on campus were somewhat limited, it took longer than expected to complete the 16 shots on the roll. Unfortunately, I didn’t get to see the developed results yet, but I’m excited to see how my first outdoor film shoot turns out.

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WEEK 3

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See what 文洋 蔡 (yolandawenyangcai1117) has discovered on Pinterest, the world’s biggest collection of ideas.

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In the morning, our group gathered around to discuss last week’s Something and Nothing assignment. We exchanged feedback and suggestions, which gave me valuable insights into how I could improve my approach for future shoots. Hearing different perspectives helped me think more critically about composition, subject matter, and the meaning conveyed through seemingly ordinary scenes.

We then delved deeper into the deadpan photographic style, analyzing various artworks that exemplify this approach. Understanding its detached and objective aesthetic made me rethink how I can use this technique to create impactful images. For this week’s assignment, we were tasked with producing photographs based on this style, which will be an interesting challenge for me.

In the afternoon, we moved to the studio, where Kristy introduced us to hand held flash photography. This was my first time working with an off-camera flash, and initially, I found it quite difficult to grasp. However, after some hands-on practice, I quickly adapted and gained confidence in using it. I took detailed notes on the correct techniques for handling flash lighting, which I found incredibly useful. At the end of the session, I booked both a flash unit and a camera to take home and complete my weekly shoot.

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A flash is a device used in photography that produces a burst of artificial light for a very short duration to help illuminate a scene.

Flash fires at a particular duration, turning on and off within a fraction of a second.

Flash covers a certain amount of space.

Flash operates faster than a camera shutter.

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What is Flash?

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Why Use Flash?

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Flash photography is widely used for different artistic and documentary purposes.

These photographers use flash to enhance the mood, highlight subjects, and create a striking contrast between illuminated areas and ambient light.

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How to Alter/Control Flash?

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1. Adjusting Distance: Moving the flash closer or further from the subject changes the intensity of illumination.

2. Changing Flash Brightness: Many flash units allow manual adjustment of brightness levels.

3. Aperture Settings:

A smaller aperture (higher f-number) reduces both flash and ambient light brightness.

A larger aperture (lower f-number) increases the brightness.

4. ISO Sensitivity: Increasing ISO makes the flash appear brighter.

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Understanding Flash Exposure

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Flash photography involves two different exposures:

Exposure Illuminated by Flash (controlled by Aperture, Flash Power, and ISO) 由闪光灯照亮的曝光

Shutter Speed does not affect flash exposure (because flash bursts are extremely short, usually 1/1000s or faster)

If you don't want the flash to be the dominant light source：

For example, if the camera aperture is set to f/8.0 and the flash is set to f/5.6, the brightness of the flash will be relatively reduced, thus reducing its dominance of the picture, so that the ambient light takes more weight in the picture.

Ambient Light Exposure (controlled by Aperture, Shutter Speed, and ISO) 环境光的曝光

Shutter speed affects the brightness of the background (because it determines how long the camera's sensor records ambient light)

Shutter speed does not affect flash exposure (because flash bursts are extremely short and are almost unaffected by shutter speed)

How to adjust the orientation of the flash to get a soft light：

The flash head can be reflected towards the ceiling (bounce light), so that the light received by the sensor will take a longer path than directly on the subject, which will eventually produce a soft light, avoid harsh shadows, and make the light more even and natural.

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Taken at a beach resort in the United Kingdom, Parr uses a strong direct flash to shoot tourists, making their skin appear almost overexposed, while the background is darker or underexposed.

Since the flash is the primary light source, exposure is almost entirely controlled by the aperture, flash power, and ISO, with little impact on shutter speed.

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In this photo, a young man sits on a dim street, his face lit by a subtle flash, while street lights and billboards are still visible in the background.

Here, exposure to ambient light is controlled by the aperture, shutter speed, and ISO together, and the flash is used only to fill the light, not to dominate it.

A slower shutter speed (such as 1/30s or 1/60s) is usually used to ensure that ambient light energy is recorded, while gently highlighting the subject with the flash

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This photo shot at the entrance of the opera house in the upper class of New York City, two gorgeously dressed ladies walk out of the theater, while a ragged woman stands nearby, looking at them with ironic eyes.

Weegee used a flash so that the ladies in the foreground were strongly illuminated, but due to camera synchronization issues, the exposure in the background was slightly limited, creating a shadow resembling a black bar.

Flash banding makes the picture have stronger visual stratification, the rich people in the foreground and the ironic characters in the background form a strong contrast.

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FLASH BANDING 黑条

In English, there is no particularly uniform term for "black bar photography", but it is often described as "flash banding" or "shutter curtain shadow".

Under the high-speed shutter, the flash is triggered when the shutter curtain is not fully opened, resulting in partial exposure and partial black occlusion of the image.

Although the "black bar" is seen as a technical error in traditional photography, in art photography, many photographers have intentionally used it to create a unique visual style, making the work more experimental and dramatic.

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Camera Sync Speed refers to the maximum speed at which the shutter speed works in sync with the flash. 快门速度与闪光灯同步工作的最高速度

If the shutter speed exceeds the sync speed of the camera, the light from the flash may not fully illuminate the entire picture, resulting in Flash Banding or uneven exposure in parts of the picture.

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Camera Sync Speed 相机同步速度

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With a focal plane shutter, the maximum synchronization speed is only 1/60s.

If the shutter speed is set higher than 1/60s, the flash may not be able to completely cover the entire picture, resulting in a black bar(flash banding) below the photo.

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It use a blade shutter, it is possible to synchronize to 1/400s, which is much faster than the Mamiya 645.

This means that even with a faster shutter speed, the flash can still correctly expose the entire picture without shutter occlusion problems.

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Consists of two shutter curtains (front curtain & rear curtain) that move sequentially from side to side.

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The shutter blades open and close inside the lens like an aperture, rather than moving back and forth like a focal plane shutter.

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A perfect example of FB found online (but I can't find the reference)

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16s 2.5con

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WEEK 1  (Scroll down for each week)

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Metz 45 CL-4 series portable flashgun

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Flashmate (Digital Light meter)