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why is reflection important?
how can it support your progress?

reflect on the past 5 weeks

what have you enjoyed, why?

what have you not, why?

look at each others work and give critical feedback to at least 2 others in the group

reflect on your feedback and how you are going to progress in the next 4 weeks

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Use your glossary to help structure your reflections

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Some changes since COVID rules,  be thoughtful to your class mates

No need for masks but consider each other’s space

Thank you

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explain the following:

Aperture

Depth of Field

Shutter Speed

ISO

composition

perspective

use own photos where possible

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How To Make DIFFICULT Selections EASY in Photoshop CC (Tutorial)

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Last Updated on February 2, 2022

This article contains a collection of sketchbook pages from art students around the world, including those who study IGCSE / GCSE Art, A Level Art, VCE Studio Arts, NCEA Level 3 Scholarship, and IB Visual Art. Many of the sketchbook pages shown below are from projects that achieved full marks. These examples illustrate the wide range of possible approaches to sketchbook content, annotation, and page layout.

You may be interested in our new book: Outstanding High School Sketchbooks. This book has high-resolution images so that fine details and annotation are clear, making it an excellent resource for students and schools. Learn more!

Examples of great art sketchbooks

This sketchbook page collection features work from students who specialize predominantly in drawing, painting, mixed media, and Fine Art. The examples cover a wide range of presentation techniques and layout styles. It is worth remembering that these represent only a fraction of what is possible.

These International GCSE Art sketchbook pages were created by Nikau Hindin, while at ACG Parnell College, Auckland, New Zealand. This page includes first-hand observational drawings of a still life arrangement and a handmade flax (harakeke) flower, made by Nikau. You may wish to view Nikau's full A* IGCSE Coursework project (98%) or her AS Coursework project (awarded 100%). Larger file sizes of Nikau's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This A* sketchbook was completed by Emilya Swan, while studying A Level Fine Art at Godalming College, Surrey, England. The left-hand page includes a copy of work by Leonard Baskin; the right-hand page contains experimentation with a wide range of media, including pencil on tracing paper and old book pages, Quink ink and bleach, spirit markers, ink and pen, fineliner and oil pastel. Emilya's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

These sketchbook pages were produced by Kate Powell, while studying at North Halifax Grammar School, West Yorkshire, England. Kate gained A* in OCR GCSE Art as a Year 9 student (two years younger than is expected) and A* for A Level Art in Year 12 (one year younger than expected). She achieved full marks (100%) for A Level Photography, in Year 13. You may wish to read about how Kate launched her career while at high school.

This sketchbook page was completed by Annie Loh, while studying Edexcel GCSE Art and Design at Sha Tin College, Hong Kong. This page references the work of artist Stephen Conroy. Annie gained 100% (A*) for this qualification.

These sketchbook pages exploring the human figure were completed by Chloé Zinn, while studying National Senior Certificate at Rustenburg High School for Girls, South Africa. The right-hand image is a mixed replica of an illustration by Kaethe Butcher, completed using masking tape, gouache paint, tracing paper, fine liner, and crumpled magazine paper. A larger file size of the left-hand sketchbook page can be viewed in our publication: Outstanding High School Sketchbooks.

This A Level Art sketchbook page contains drawings of visual analysis of a sculpture by Bernard Meadows. This project was completed by William Govoni, Bedford School, England. More of William's artwork can be viewed in our guide to preparing an art portfolio for college or university.

These graphite paper drawings were part of a sketchbook exercise completed by Jenny Ha, while studying AS Level Graphic Design (A*) at ACG Parnell College, Auckland, New Zealand.

These two International GCSE Art sketchbook pages by Rhea Maheshwari, ACG Parnell College, Auckland, New Zealand, analyzing the work of Jim Dine. Rhea achieved an A* grade. More of Rhea's sketchbook pages (larger file sizes) can be viewed in our publication: Outstanding High School Sketchbooks.

This A Level Art sketchbook page is by Daisy Wrigley, completed while studying AQA A Level Art & Design (Fine Art) at St. Mary's Catholic High School. Investigating the work of Crystal Neubauer, this sketchbook page explores a wide range of media, including ribbon, maps, book pages, parcel tape, corrugated cardboard, tissue paper, fabric, paper towel, charcoal, stitching, and acrylic. Daisy gained 98% (A*) for her final A Level Art grade. More of Daisy's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This is part of a Process Portfolio by Enrico Giori, completed as a part of IB Visual Arts at St. Louis School of Milan. Enrico was awarded Level 7, obtaining full marks in all three components of the course. You may wish to view more of his IB Visual Art project or his CIE IGCSE Art exam or IGCSE Coursework project (A* Grade). Some of Enrico's sketchbook pages can also be viewed in our publication: Outstanding High School Sketchbooks.

This Edexcel AS Level Textile Design sketchbook page is by Halima Akhtar, completed while studying within the Woldingham School Art Department, UK. Halima achieved 95% for her AS Exam and 100% for her AS Coursework (A*). She also gained 100% for A Level Fine Art. This sketchbook page references the work of Naum Gabo and contains drawings in pencil and fineliner pen, photographs of a paper sculpture and a polyprint carving. You may wish to view more from Halima's outstanding AS/A2 textiles projects. Some of Halima's sketchbook pages can also be viewed in our publication: Outstanding High School Sketchbooks.

These A* A Level Art sketchbook pages were created by Nettle Grellier, St. Edward's School, Oxford, England. Nettle currently runs workshops for art students while travelling around Europe in her studio on wheels.

An A Level Art sketchbook page by Ruth Beeley, St George's School, Hertfordshire, England. Using 'modrock' (a plaster of paris bandage) and glue to create raised areas, with other mixed mediums such as wire, ink and Biro pen, Ruth adds detailed drawings over a chaotic ground. You may wish to view more of Ruth's 100% A Level Art Coursework project.

Sketchbook pages completed as part of a VCE Studio Arts folio by Australian high school student Heesu Kim. Heesu writes about the project: "I want to create a narrative-like line of work that illustrates the process of birth and innocence to slow corruption and finally death of soul. For me, the 'death of soul' is when our minds are shaped to fit the norms of society and cut to think only in the values that it presents. This process both starts and finishes at high school. Ultimately the conclusion is thousands of machine-like individuals, fresh and ready to become slaves to the system. I talk to my friends and see peers that conclude their whole lives and future based on how high their ATAR score is, who adopt dreams that their parents decide for them, dreams that make more money, instead of following their real passion. I'm aware of it but accept it myself as there is no other choice but to. So subtle and complete is the control over us that we embrace it, actively acknowledge to it, and at the same time still suffer emotionally under it."

This Francis Bacon study was completed by Stefan Iyapah, while studying A Level Art at Beal High School, Redbridge, England. In his own words, Stefan "broke out of a timid and controlled way of working and became heavily influenced by the emotion-filled paintings of Francis Bacon which encouraged me to use color experimentally and loosely".

A sketchbook page by Louis Trew from Bideford College, Devon, England.Louis achieved the best equal result in 2011 for his A Level Art submission (AQA). In this sketchbook page (exploring the work of graphic illustrator Russ Mills) every splash of paint, every pen line and every torn piece of background material is placed with care. Even in a page that contains multiple elements, the composition of the page as a whole is important. Louis demonstrates superb technical skill, with the ability to place, balance and integrate items in a harmonious layout.

This eye-catching sketchbook page by Iona Judd includes dripped white spirit (mineral turpentine) through oil paint. Triangles are cut out, with black stitching used to define the human form.

This sketchbook page was completed by Year 12 student Stenelee Taminaya, while studying at St Francis Xavier College, Australia, taught by Damien Veal. Beautiful pencil and biro drawings of hearts and lungs are inspired by images of preserved food in jars.

These expressive sketchbook pages are by Lina Abu Sita, completed while studying AS Art and Design at the British international school Doha College, Qatar. The gestural, painterly experiments combine a range of mixed media, including collage, acrylic paint, oil pastel, and trial various compositional approaches.

These two A* sketchbook pages were completed by Rhea Maheshwari, as part of her IGCSE Art Coursework project at ACG Parnell College, Auckland, New Zealand. This section of work was derived from observational drawings of a still life arrangement of shells in flax (harakeke) bags. The sketchbook page on the left features composition studies created from digital manipulations of her own scanned drawings. More of Rhea's sketchbook pages (larger file sizes) can be viewed in our publication: Outstanding High School Sketchbooks.

These rich, textural mixed media pages are part of an A Level Art project by Ellie Green, while studying at Graveney School, London, England (awarded A*). The work shows clear first-hand sources and a personal response to local environment: shells, feathers, rope, and coastal landscapes. The pages include drawings and collage using a range of mixed media, with the repetition of blue and brown colors visually linking different parts of the page together.

These sketchbook pages are by Hojeong Bonnie Park, completed while studying Edexcel A Level Art and Design at Colombo International School, Sri Lanka. Bonnie explored the exam topic, 'Inside, Outside, In Between,' using a still-life theme, analyzing the artwork of Juan Sánchez Cotán. Bonnie gained 100% (A*) for her final grade. More of Bonnie's beautiful sketchbook pages can be viewed in in our publication: Outstanding High School Sketchbooks.

This GCSE Art and Design sketchbook page is part of an exam unit by Alisha Khanna from Highclare School, UK. This sketchbook page analyzes the work of Andy Warhol, and includes a range of media including colored pencil, crayon, and corrugated cardboard. Alisha gained 94% for her GCSE Art exam. More of Alisha's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This sketchbook page was completed by Heather Louise Thomas, while studying Edexcel GCE Art, Craft and Design at St Edmund Campion Catholic School, UK. This page analyzes the artwork of Terry Flannery and contains highly detailed colored pencil replications of Flannery's work. Heather achieved A* overall. Some of Heather's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This is an AS Level Fine Art sketchbook by David Wasserman, from Monks' Dyke Tennyson College, England. Referencing the work of M.C. Escher, this page explores reflections upon curved surfaces, such as a glistening eyeball, and a shiny Christmas bauble. Photographs of work in progress have been included, documenting drawings at different stages of completion.

This A Level Art sketchbook page contains pen drawings from life at a string ensemble practice in a music hall, exploring ways of capturing the movement of the violin. This project was completed by William Govoni, while studying at Bedford School, England.

This NCEA Level 3 Scholarship Printmaking workbook exemplar by a high school student in New Zealand. It provides a great example how second-hand imagery can be seamlessly integrated with your own photographs, written documentation and analysis. This student looks at architectural abstraction and references the work of Gordon Matta-Clark and Young Ae Kim. More information about this project can be viewed at NZQA.

These sketchbook pages were completed by Manisha Mistry, as part of her A* IGCSE Art Coursework project, ACG Strathallan, Auckland, New Zealand. You may wish to view more of Manisha's 98% IGCSE Art project, which explored natural forms, such as shells, seaweed and fish.

These sketchbook pages are by Elliswg, a high school student studying at a Sixth Form college in Derby, UK. Exploring portraiture, the sketchbook pages contain a thorough and competent investigation of emotion and facial expression, sketched using a range of drawing mediums.

This A Level Art sketchbook page was completed by John Hui, while attending St John's College, Portsmouth, England. The page includes detailed investigation of eyeballs, mouth infections and diseases, working from a combination of first and second-hand images.

These sketchbook pages are by Sabrina Syed, completed as part of her IB Visual Arts Diploma, at the International School of Geneva, ISG La Châtaigneraie, Switzerland. These pages analyze the work of Leonardo da Vinci and Auguste Rodin and contain a variety of media, including collage, ink pen, felt pen, graphite pencil, water-soluble colored pencil, and tracing paper. Sabrina was awarded the highest grade (level 7) for IB Visual Arts. Some of Sabrina's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

An A Level Art sketchbook page by Lucy Luu. At its essence, a sketchbook page should provide insight into a student's ideas and intentions, as well as revealing the influence of other artists. This A Level Art sketchbook page is beautiful in its simplicity: devoid of all superfluous decoration, it shows a dedicated and committed student learning a technique from artist Jonathan Yeo and then carefully applying this to original artwork.

This A* sketchbook page was completed by Hania Cho, while studying A Level Painting at ACG Strathallan College, Auckland, New Zealand. This page examines the work of Claude Monet. You may also wish to view Hania's A* IGCSE Coursework project.

These sketchbook pages are part of an IB Visual Arts project by Wing Yung Ng, completed while studying at Sha Tin College, Hong Kong. Wing Yung Ng gained the highest grade (level 7) for this project. Wing Yung Ng is one of many students from Sha Tin College with work in our publication: Outstanding High School Sketchbooks.

These sketchbook pages were created by two different students. The image on the left was created as part of a Higher Level Investigation Workbook (IWB) by Naomi Ng, completed as part of the IB Visual Arts Diploma Programme at Sha Tin College, Hong Kong. You may wish to view more of Naomi's IB Visual Arts project, which was awarded Level 7. This right-hand AS Art sketchbook page by Charlotte Taylor shows the visual investigation of hands: drawing from a range of angles and in a range of different mediums. Charlotte has worked over scraps of lined note paper (some with maths equations left on them) with meticulous, detailed pen drawings, developing familiarity with the human form.

This A Level Art sketchbook page by Robyn Yeang from Queen's College London, UK, commands the attention of the examiner, without superfluous decoration, enlarged headings or busy page layouts.

This is part of a 98% A* IGCSE Art and Design Coursework project by Sarah Loh, completed while studying at ACG Strathallan College, Auckland, New Zealand. In this sketchbook page, Sarah has produced observational drawings of shells, line drawings and printmaking experiments. You may wish to view Sarah's AS Coursework project.

These sketchbook pages by Allison Ho were completed as part of IB Visual Arts at Sha Tin College, Hong Kong. These pages include composition development and critical analysis of work by Ian Murphy. Allison achieved the highest grade for IB Visual Arts (level 7). Larger file sizes of some of Allison's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This sketchbook page was completed by Heather Louise Thomas, while studying Edexcel GCE Art, Craft and Design at St Edmund Campion Catholic School, UK. Inspired by the work of Jessica Drenk, Heather created porcelain shells, decorating these with tissue paper and power towel soaked in porcelain slip. She then added patches of color to the textural surfaces, contrasting with the areas of satin and gloss glazes. Heather achieved A* overall. Some of Heather's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

This sketchbook page is by Rebecca Fawdry, completed while studying Edexcel GCSE Art and Design at West Island School, Hong Kong. (You may wish to follow WIS Art Department on Pinterest). This sketchbook page includes critical analysis of work by artists Ian Murphy and Emily J. Hay. A range includes a range of media has been used, such as graphite pencil, ink pen, marker pen, tissue paper, tracing paper, and newspaper. Rebecca was awarded 100% (A*) for GCSE Art, and is one of many students featured in our publication: Outstanding High School Sketchbooks.

These Edexcel A Level Art sketchbook pages are from a Grade A* student project from Steyning Grammar School, UK. These sketchbook pages are two of many excellent examples shared by the school on the SGS Art Department Pinterest profile.

This Edexcel GCSE Art and Design (Fine Art) sketchbook page is by Sophie Blow, completed while studying at the Frances Bardsley Academy for Girls, UK. This page shows analysis of a portrait, with original interpretation, using graphite pencil, colored pencil, and acrylic paint. Sophie gained 93.5% (A*) for GCSE Art.

This AQA GCSE Art and Design sketchbook page is by Genevieve McGechie, taught by Kate Ash at Christopher Whitehead Language College and Sixth Form, UK. This page explores the work of Timothy Hyunsoo Lee, and includes a range media such as watercolor, acrylic paint, colored pencil, and graphite pencil. Genevieve gained an A* for GCSE Art.

These sketchbook pages by Allison Ho were completed as part of IB Visual Arts at Sha Tin College, Hong Kong. These pages include critical analysis of work by a range of artists, including Michael Shapcott and Zhong Biao. Allison achieved the highest grade for IB Visual Arts (level 7). Larger file sizes of some of Allison's sketchbook pages can be viewed in our publication: Outstanding High School Sketchbooks.

These sketchbook pages are from an OCR GCSE Art and Design project by Annie Richardson, Hall Park Academy, UK. These pages show composition experiments in the style of Matthieu Bourel, developing and refining ideas towards the final piece. Annie gained A* (100%) for GCSE Art.

Need more art sketchbook ideas?

This article is part of a series showcasing and celebrating outstanding sketchbooks by students, artists and designers. You may also be interested in viewing our other sketchbook resources:

This sketchbook collection is continually updated. Please bookmark this page so that you can return to it when needed! If you would like to submit your own sketchbook page for inclusion, please contact us. 🙂

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Art Sketchbook Ideas: Creative Examples to Inspire Students

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Looking for art sketchbook ideas? This article showcases excellent high school sketchbooks - inspiration for the student and teacher.

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Objectives - To find influence and ideas that feed into your own plans and practice

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Objectives - To find influence and ideas that feed into your own plans and practice

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Research should be ongoing throughout your project, not just limited to the beginning. Keep sourcing ideas and inspiration from the world around you. The broader the range of research, the better!

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Induction: Lumens/Fundamentals
Week 1:Pinholes/Fundamentals
Week 2: Photograms
Week 3:Photomontage
Week 4: Studio Portraits/The Creative Industries
Week 5: Idea Generating/Project Proposals/Shooting film
Week 6:  Film developing/Darkroom printing/working on own project
Week 7: working on own project
Study leave: SHOOTING/catching up
Week 8: working on own project/refining
Week 9: printing for frame/evaluation
Week 10:Assessment/Work Experience Week

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You must consider how you want your work to be displayed?
What materials do you need?
what size?
what are time/skill/cost factors?

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considering the theme of the project and what you would like to explore further come up with at 3 ideas -think about the materials, techniques and processes, along with artists/photographers that influence.

this could be digital or hand mindmap

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Find out some history of the photomontages. Make sure you reference the website/book you get your information from.

Select 2 artists/photographers from the presentation, further research about their work using Photomontage

Chose 2 images from each to analysis (use handout on Padlet)

Plan 2 Photomontages for the theme My Ordinary World
1 digital/1 handmade

Evaluate your process on creating the Photomontages

· What did you do? And Why?
· What went well? And Why?
· What could you improve? How?
· Include health and safety

Remember to use technical language/use handouts

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What is a pinhole camera?

Find out some history of the pinhole camera. Make sure you reference the website/book you get your information from.

Select 2 photographers from the presentation, further research about their work with Pinhole photography.

Chose 2 images from each to analysis (use handout on Padlet)

Evaluate your process in making/taking pinholes

materials, techniques and processes

Record exposure time

What did you do? And Why?

What went well? And Why?

What could you improve? How?

What did you do differently second time?

Include health and safety

Remember to use technical language

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Photography Darkroom Health and Safety Sheet

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​
What is the creative process journey from idea to outcome? ​
• What actions are there within the creative process? ​
• How do practitioners use the creative process and how can their own influences affect this? ​
• What sectors exist within the creative industries? ​
• What specialist roles exist within the creative industries? ​
• What transferable skills are necessary within the creative industries and how do they impact on intent and ​
purpose? ​
• Which aspects are you most interested in and drawn to within the creative industries? ​
• What specific purposes need to be understood within the creative process? ​
• What intentions need to be considered during the creative process? ​
• To what extent do ethical design and social responsibility apply within the creative industries?

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Layers for Beginners | Photoshop CC Tutorial

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One-step-at-a-time - goal achieving cartoon doodle video

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We want to change the way that the world takes and shares pictures by embedding a culture of ethics in photography.
We are dedicated to promoting ethical literacy across the photography industry. We do this by offering a wide range of educational opportunities in photography ethics, including workshops, events, online courses, and free multimedia content.

When we talk about photography ethics, we are talking about applying concepts like responsibility, power, and dignity to how we we take and share photographs. Everyone will answer ethical questions in their own way, based on their own life experience, personal judgments, and photographic vision. Ethics are fluid, contextual, and subjective. That is why we do not give photographers a checklist of ethical guidelines.

Instead, we teach ethical literacy. Ethical literacy is about having the skills to make sound ethical decisions. These skills include things like critical thinking, situational awareness, and cultural sensitivity. We help photographers to develop skills to think critically about ethics in their work and the language to define their own ethical practice.

It is extremely difficult to make ethical decisions in the moment, and often these decisions have to happen in a split second. We present examples and raise questions so that photographers are better prepared to face ethical dilemmas when they occur.

Experience of working through difficult ethical considerations gives photographers tangible tools to be more effective in their work. It helps photographers to build relationships, to communicate effectively, and to gain access to communities in a socially responsible way. It also prevents photographers from unknowingly breaching national or international laws and ethical norms about privacy and confidentiality, consent, and child protection.

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Dedicated to raising awareness about the ethics of taking and sharing photographs.

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WHAT ON EARTH brings together a selection of works exploring how the environmental and sustainability crisis we face today can be both encountered and addressed through non-representational and medium-forward forms.

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Complete Lighting accessories handout

Further research High/Low Key Lighting

Create a Pinterest/Mood board of Inspirational images
Analysis the images discussing technical/processes

Plan a shoot using High/Low lighting-you must use the planning sheet and create a lighting diagram

Work in small groups to create 9-18 portraits
Upload and create a Contact sheet using Lightroom

Evaluate your shoot
· What did you do? And Why?
· What went well? And Why?
· What could you improve? How?
· Include health and safety

Remember to use technical language/use handouts

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check out my blog for lots of lovely workshops and inspiration

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'The cyanotype process was invented by Sir John Herschel in 1842 and came from his discovery of the light sensitivity of iron salts. A sheet of paper was brushed with iron salt solutions and dried in the dark. The object to be reproduced - a plant specimen, a drawing or a negative - was then placed on the sheet in direct sunlight. After about 15 minutes a white impression of the subject formed on a blue background. The paper was then washed in water where oxidation produced the brilliant blue - or cyan - that gave the process its name.' V&A

From Atkins (1799-1871), to Susan Derges (1955-) and Megan Riepenhoff the cyanotype process has been used to document and record the environment from the Victorian to today. Using simple UV processes to either record botanica, create large scale collages using both analogue and digital, or simply to create abstract patterns from the sea, waves and rain.

One of my favourite exhibitions and book is Shadow Catchers: Camera-less Photography by Martin Barnes. It is full of experimental techniques by contemporary artists who extend on the creative possibilities of making a photograph image without the use of a camera. The exhibition was held at the V&A the team who curate have a great understanding for the artists work, context and the audience. The rooms were lit in low lighting, with dark walls which added to the sense of being inside a camera obscure. I was greatly inspired by this exhibition, it led me to explore beyond the camera and drew me back to the darkroom.

Below are some of my favourite artists/photographers who use cyanotype to record/represent nature and the environment. Atkins used the process to record plant specimens, Derges uses a combination of the process, with photograms and digital manipulation to create large scale bell jars, Riepenhoff uses water to react to the cyanotype coated papers, and Middleton uses digital negatives of microscope plankton for her typology, like Atkins.

Looking at the work of these artists it is not difficult to see why they have used such a simple and sustainable process. The rich blue colour represents both the sea and the sky, but also has connotations of peace, stability and faith. These are all very important in the realisation of the effect mankind is having on the environment, and how we must change our ways in order to look after the planet for the future.

Cyanotype is made up of two simple solutions.

Potassium ferricyanide and Ferric ammonium citrate (green) are mixed with water separately.

The two solutions are then blended together in equal parts.

Cyanotypes can be printed on paper, textiles, ceramics, wood and even glass

Coat paper in low-level tungsten light using a sponge or brush

Dry in a dark place, such as a cupboard or darkroom

Using a clip frame (or cardboard, glass/Perspex and clips), place objects on the paper, then glass/Perspex.

I typically make a test strip (like in the darkroom with b&w printing) to check the exposure. This can be 2 mins to 10 mins depending on the strength of the sun/clouds/time of year/day

I look for a dark blue/green change in the colour of the cyanotype

Once exposed, rinse in cold water for at least 5 minutes and until the water runs clear.

To brighten highlights and more fully develop the blue image, bathe the cyanotype print with a weak solution of 3% hydrogen peroxide

After remove print and wash in plain water again for 20 minutes

Now dry, prints will not reach their full density until they are dry (usually overnight)

Once dry flatten with large books

I mostly work directly with nature using sunshine as my light source. A bright sunny day will provide the best results, however even on a cloudy day there is enough UV to make a print. The best time to expose cyanotypes outside in the UK, is from March to September; the hours each side of mid-day work the best.

its important to experiment by printing on different papers, such as old book pages, maps, coloured paper, patterned wallpapers, or double expose unsuccessful prints. You can also use fabric with natural fibres, stones, and a wide variety of uses. Many of these techniques can be found on Facebook or Instagram with people all over the world sharing ideas

You can change the colour of a cyanotype, using common household items such as tea, coffee, bicarbonate, etc... This must be done at least 24 hours after drying the print.

This is an illustration of how blue Cyanotype prints can be toned to different colours . The top row shows samples that were first bleached with washing soda before toning and the bottom row was not bleached. From left to right they are: no toner, black tea, green tea, instant coffee, Borax, and red wine.

http://www.vam.ac.uk/content/articles/c/camera-less-photography-artists/
​https://www.nhm.ac.uk/discover/anna-atkins-cyanotypes-the-first-book-of-photographs.html
https://www.ingalisamiddleton.com/
​https://www.danzigergallery.com/artists/susan-derges
http://meghannriepenhoff.com/
​https://blog.scienceandmediamuseum.org.uk/introduction-cyanotype-process/
https://www.alternativephotography.com/cyanotype-classic-process/
​https://www.jacquardproducts.com/cyanotype

The Camera Obscura is a natural phenomenon and has a long history. This 'dark chamber' constituted the earliest form of camera, although it did not record a permanent image. In its simplest form it is a small hole (aperture) which light passes through from an object outside into a darkroom. The image appears upside down on the wall opposite the hole The first reference was observed and noted by Aristotle around 330 BC, who was perplexed why through a square hole appeared a circular image. Later in the Middle Ages, Alhazen (Ibn Al-Haytham, is said to have invented the Camera Obscura. It was later used by artists in 16th century for drawing and architecture who would trace an accurate visual reference.
​

The camera obscura consisted of a box or room with a hole on one side in which light from an external source entered and struck a surface within the enclosure, reproducing an exact image of whatever was in view of the hole, upside down, in colour, and in linear perspective

First fixed photo image was made by Niepce (1765-1833) in 1826. He was a French amateur scientist and inventor who, in 1826, had succeeded in securing a picture of the view from his window by using a camera obscura and a pewter plate coated with bitumen.
​
In the summer of 1826, Niépce set up a camera obscura in the window of his upper-story workroom at his country house, in Le Gras. He placed a polished pewter plate coated with bitumen of Judea ( similar to petroleum) and uncapped the lens. After at least eight hours, the plate was removed and the image of the view from the window was visible by washing with a mixture of lavender and white petroleum. The result was a permanent direct positive picture you see here-a one-of-a-kind photograph on pewter.

More detailed information ​ photo-museum.org/niepce-invention-photography

Pinhole photography is very much a back-to-the-basics experience​. Constructing and using the camera will put you in touch with the physics of light and give you an understanding of the mechanics of photography. ​

Since there is no viewfinder, you must compose the shot in your imagination by identifying with the camera, by seeing through its pinhole eye, and by using intuition, curiosity, and a healthy dose of logic. ​

You will soon start to think and feel like the camera and the light it captures

Since a pinhole camera has no lens, it offers a far greater depth of field compared with most traditional cameras, resulting in a dramatic and sometimes stunning sharpness of detail in the foreground and the background.

This self portrait was exposed for 15 secs, it was a bright sunny day in September around 4pm. I used my hand and the grass to keep as still as possible. There is a slight movement as I had to open the shutter. I could have exposed longer to have gained more detail in the arm, or moved out of the direct sun for an even exposure. However, I like the harsh shadows on the face and the slight double exposure as this later adds movement and a sense of time.

There is a range of exposes in this collection, from over exposed (the black ones) and the under exposed (the white ones).

​Influenced by Barry, and by finding lots of large cardboard boxes around the college. I decided to make a large version of the box, with the help of my friend Janet. I used an old dust cap from a DSLR, drilled a hole through the plastic and then attached a brass pinhole.

Then with my trusty helper, we went out to experiment...

This was a 30 min exposure at 4pm on 6th September 2021. it was a bright sunny day, with no cloud. The main subject is well exposed, however there is no details in the sky or foreground. Therefore I need to find a better position for the pinhole, with even lighting. But most importantly, it worked!
*the burnish marks in the bottom of the paper is where the image was not developed evenly. Therefore I need to leave longer in the developer and make sure its fully submerged this was difficult as the paper was too big for the trays.

With my Level 3 students, I went out again, this time in a different location and time of day. 8th September at 10 am. This exposure was for 15 mins, I used a light meter app on my phone to record how long to expose, based on f106 and the ISO of the paper (3). It turned out to be the best of the 3 that we did that day. Not only was is sharp, it was perfectly exposed and the selection of the subject worked extremely well for a pinhole.

Well, I wasn't doing something not right. Thankfully I started to follow a lumen thread on Instagram and up popped Karel Doing ​@phytography_ and basically explains how to do it, what you need and why it happens and he has kindly shared this on his website ​ phytogram.blog/ what an awesome dude-not all photographers share they deepest darkest photo secrets!

so what do you need:

photographic paper or film

plants/flowers

vit c tablet/powder (1 tablet or 1 tablespoon)

soda crystals (2 tablespoons)

1000ml water

salt

kitchen roll

old glass/clip frame

light

1. Get an old plastic container/tray with at least an inch depth, dissolve the vit c and soda crystals in the water.

2. get the plant life and soak in the solution. The plants are ready to use almost instantly but prolonged soaking can help to make sturdy leaves softer and easier to apply. ​petals be more gentle with.

3. Place the leaves on the paper, mind you don't spill the solution on the paper/film, place the glass on top, to secure maximum contact between the plants and the emulsion.

4. Leave full sunlight for speedy and high contrast results and indirect light for slower and less contrasty results.

5. Exposure times can vary between a few seconds, several hours or days depending on the available light.

6. once the paper/film has darkened to a deep brown and staining occurs around the edges, carefully remove the 'plant life' into a strong salt solution as fixer. (1 to 10)

7. Wash the paper/film well.

8. Dry before scanning/photographing

Things I have discovered this week...

its all about the leaf, shape/veins/texture

the longer it is the deeper colours

it needs to be flat and close to the surface

i don't like the FB paper

What I'm going to try next...

cool tone paper

4x5 out of date film

fixing (I tend to just wash/scan and hid the print in an old paper box)

some flowers

Please use the above button to go to this blog post about.....

​Imogen Cunningham (1883-1975 American) began her love for photography, through the inspiration of Gertrude Käsebier's Blessed Art Thou Among Women (1899). At 17, she self-taught herself photography through a mail order course from the American School of Art and Photography in 1901, purchasing her first camera a 4x5 large format. She went on to study chemistry at university in Washington from 1903-1907 where she explored photographic chemistry and took some portraits. Once she had finished her education, she gained employment at portrait studio in Seattle with Edward S Curtis, learning the business and technical side of photography. She also learnt platinum printing and aided Curtis in his book The North American Indian, documenting American Indian tribes.

​In 1909, she went to Germany to working for Technische Hochschule to find cheaper solutions for photographic chemistry, improve the clarity, increase exposure speed, and produce sepia tones. When she returned to America, she met Gertrude Käsebier, Alfred Stieglitz and Alvin Langdon Coburn who at the time were part of the Photo-Secession, an American photographic movement that wanted photography to be accepted as a fine art.

From 1909 until 1917 she had a successful studio in Seattle and won awards for her portraiture and pictorial work. She also exhibited in museums and was published in magazines, while also marrying Roi Partridge, an artist and raising 3 children. During this time, her photography was soft focused, explored light and shadows along with themes inspired by art.

During her life, she also worked for Vanity Fair taking portraits for the magazine, turned to street and landscape photography, and also worked as a teacher and mentor and wrote a manifesto called Photography as a Profession for Women. She won several awards, exhibited internationally, and her oeuvre is published in countless books for her inventive and inspired photographs. Her love and passion for photography continued until the day she died at the age of 93. She was never truly recognised for her work while she was alive, due to the era women were never really regarded as the same as men. She stated 'I'm the most neglected photographer of my time'[1] but thankfully during the 1960s and '70s, at the height of the women's liberation movement, many recognised her important contributions and her influence on women photographers continues today.
[1]https://www.telegraph.co.uk/photography/what-to-see/imogen-cunninghamim-neglected-photographer-time/

This black and white portrait of Minor White is one of many and shows his relaxed and comfortable body language due to the friendship between to the two photographers. They were both acquainted with each other, from as far back as 1930's when she first took his portrait for Vanity Fair and through a teaching position at the faculty of the California School of Fine Arts in San Francisco during the 1940's. This photo was taken in 1960, at the time White was a lecturer at Rochester Institute of Technology. He was also the co-founder of the prominent photography magazine Aperture.

She used a Rolliflex camera which had a waist viewfinder this enabled her to create sympathetic portraits, gaining a bond between sitter and photographer. The framing is central, using the rule of thirds, makes the eye contact direct to the viewer, as if he is looking straight at you. His face and body have an air of confidence, and sense of comfort in himself, this can be seen from the relaxed body position, slight smile and dishevelled clothing and hair. It is as if she has just taken the photograph in his office, after he has been marking some papers or putting together the editorial of the magazine.

This portrait is exceedingly unlike her early work of Cunningham, there is no soft focus or painterly qualities seen by the Photo-Secession movement but 'pure' photography of the modern f/64 group. She has used a sharp focused aperture and natural light from the window only falling on the subject. The background it in complete darkness, allowing us to only pay attention to the subject and his face. This keeps the images as natural as the eye can see, which was an important characteristic for the /64 group.

This image could have just been taken for personal use by Cunningham, or it could have been a profile photograph for White, either way it meets the requirements of a portrait as it truly represents the person.

I chose this image for a few reasons the first, is due to the eye contact between the subject and the sitter, this shows a convincing connection and allures me into the photograph. The second is how the sitter is undisturbed in front of camera, therefore capturing the personality of the subject. The final motive is the use of soft natural light that adds tone and contrast to the subject's face and clothing highlighting his features with all its textures and lines.

The next time, I shoot a series of portraits, I will use the same techniques, B&W film, and twin lens camera. Using the waist viewfinder stops the intrusion of the camera into front of the face, allowing the subject and photographer to converse and gain a relaxed pose. I will also use natural light from a window to achieve the same soft diffused lighting on the subject with dark background.

References
Howardgreenberg.com. 2021. Minor White - Artists - Howard Greenberg Gallery. [online] Available at: <http://www.howardgreenberg.com/artists/minor-white> [Accessed 30 January 2021].
Imogen Cunningham Trust. 2021. Imogen Cunningham Trust. [online] Available at: <https://www.imogencunningham.com/> [Accessed 01 February 2021].
International Center of Photography. 2021. Imogen Cunningham. [online] Available at: <https://www.icp.org/browse/archive/constituents/imogen-cunningham?all/all/all/all/0> [Accessed 30 January 2021].
Meltzer, S., 2013. A Woman's Eye: How Imogen Cunningham broke through gender barriers to help redefine modern photography. [online] Imaging-resource.com. Available at: <https://www.imaging-resource.com/news/2013/08/23/womans-eye-how-photographer-imogen-cunningham-broke-through-gender-barriers> [Accessed 30 January 2021].
Mutualart.com. 2021. Cunningham Imogen | Minor White (Circa 1960) | MutualArt. [online] Available at: <https://www.mutualart.com/Artwork/Minor-White/E57391777FA09BB3> [Accessed 30 January 2021].
Tate. 2021. The Photo-Secession - Art Term | Tate. [online] Available at: <https://www.tate.org.uk/art/art-terms/t/photo-secession> [Accessed 01 February 2021].

When analysing a photograph you must be able to both speak and write about the work of others. This not only helps you understand the work, but also inspire your own.
In this blog there are a series questions to support your research, you don't need to use all just what is relevant

Descriptions should remain objective, discussing what can be seen without drawing conclusions.
SUBJECT MATTER, what is the main subject of the work?

Portrait

Fashion

Landscape / Cityscape / Seascape

Still life/Product

Figurative / Nude

Food

THEMES, what themes are evident in the work? ( some examples)

The environment

Religion

Social Commentary

Beauty

Movement

Conflict

Pastimes

Events

Relationships (real or 'constructed')

Emotional states

Non-objective (no reference (Joy, Fear, Anxiety) to anything real thing)

PLACEMENT, describe what is happening in the photo and where the subjects/elements in the work are situated?

Foreground

Middleground

Background

Right-hand side

Centre

Left-hand side

Top Right/Left

Bottom Right/Left

STYLE and REPRESENTATION, consider how the subject is represented.

Straight Photography

Semi-Abstract

Abstract

Non-Representational

Style or movement (Pictorialism, Photomontage, Conceptual, Pop, Surrealism etc...)

Is the Photograph...

recording/ documenting an event?

capturing images in nature?

reflecting an artistic idea?

photographing something beautiful?

attempting to get a reaction from the viewer?

commenting on an issue?

expressing a feeling?

exploring the elements/ principles of design? - creating something beautiful?

a narrative (telling a story)?

Considering the Meaning of a Photographic work is often complex. Personal reactions / responses are often a valid way of interpreting Meaning in photographic works. However, meaning can also be derived from an intimate knowledge of the artist/ photographer (and their work) gained through research and an understanding of the photographic in both historical and contemporary contexts.

ALL PHOTOGRAPHS AND ARTWORKS HAVE MANY LAYERS OF MEANING

MEANING IS NEVER FIXED. IT CAN SHIFT AND CHANGE FOR DIFFERENT PEOPLE IN DIFFERENT TIMES AND PLACES

SUBJECTIVE, STRUCTURAL, CULTURAL AND POST-MODERN INTERPRETIVE FRAMEWORKS HELP US UNDERSTAND THE MANY LAYERS OF MEANING IN A PHOTOGRAPH.

When interpreting a photograph in a postmodern context or through the postmodern frame, we are concerned with how the work borrows or appropriates previously existing images either throughout history or contemporary culture.

HOW / WHY HAS THE ARTIST BORROWED FROM OR REFERRED TO ANOTHER ARTWORK / IMAGE IN TIME?

WHAT HAS THE ARTIST CHANGED? HOW HAS THE ARTIST CHANGED IT?

Evaluating a photograph implies making a value judgment about the work. Judgment can be based on personal opinion, but more informed judgments will take into consideration:

Technical Proficiency

Utilisation/ Manipulation of the Elements and Principles of Design

Communication of Message / Meaning.

Intention of the Artist / Photographer

When evaluating a photographic work you may ask:

What do you like / dislike about the photograph? Why / Why not?

Is there a strong sense of composition?

Have the Elements and Principles of Design been used successfully? How?

Is the work successful / unsuccessful in communicating the artists intentions/ meanings?

How is this done; subtly? overtly?

Is the meaning clear and obvious /subtle or sustained?

How well has the artist used Materials, Equipment and Processes (analogue/digital)?

Do you like the work? Why/ Why not

Over the past few weeks, I have been teaching the students pinhole, photograms and chemigrams. As usual I have greatly enjoyed watching the students explore and experiment in the darkroom using light and chemicals to create a varied range of images. The wonder and amazement of their faces as an image appears in the bath of developer will never tire even after the nearly 20 years of teaching!

I recently used Coggle, an online mindmap tool to generate ideas. It was quite easy to use and the way you can embed videos and urls for further research and reinforce where they came from, is extremely useful.

I really hope I get the time to explore some of these processes...

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Redscale film was probably discovered by accident, most likely when someone loaded a large format sheet film into the dark slide the wrong way around. Meaning that you expose through the emulsion, so...

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In small groups,

create a Mindmap of types of resources to use for research

Categorise Primary and Secondary

From this create own Mindmap either using digital or hand.

What is the value of research within the creative process and for the creative practitioner?

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Structure writing

Use notes and attachments to quickly create a structure for an article or a writing assignment, then create a document outline and continue editing in your favourite writing tool

Create storyboards

Use a frictionless planning canvas to capture and organise your thoughts, and then put them into a powerful storyboard to turn a hierarchy of ideas into a sequence of slides.

Post to social media

MindMup Atlas automatically adds images and contextual information to ensure that your maps show up nicely on Twitter, Facebook, Google+, LinkedIn and Pinterest.

Plan and manage projects

Add measurements to map nodes to automatically calculate cost, completion and other important factors. Manage project progress easily with icons and priorities.

Collaborate easily

Maps saved to MindMup Cloud support concurrent editing for teams and classrooms, enabling you to instantly see updates made to your map by other users.

Attach documents

Add longer text, videos and spreadsheets to your maps. MindMup for Google Drive also allows you to link to other project documents on Google Drive easily.

Add images

Quickly add images and icons to your maps to provide context and illustrations.

Administer easily

Administrators can easily control sharing settings for the entire organisation. MindMup also integrates with Office365 and Google authentication for easy account management.

MindMup Cloud

Free users can create public maps up to 100 KB and save them up to six months. No account or registration needed.

Gold users can create private maps, share and edit concurrently.
Create a new map Open an existing map

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Free online mind mapping. The most productive online mind map canvas on the Web. Supports Freemind mindmap import/export. Easy mindmapping software.

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Exposure
• Under = too light=needs more time
• Over = too dark=less time
• Correct = balance of light and dark
Aperture =opening for the light
Out of focus/blurry=keep steady

Black and white photographic paper (ISO 3)
Uneven development=not developed long enough
Fingerprints=wet hands

Darkroom
• Develop:1.5 mins
• Stop : 1 min
• Fix: 5 min
• Wash :5 min

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What is a Photogram?

Find out some history of the photograms. Make sure you reference the website/book you get your information from.

Select 2 photographers from the presentation, further research about their work using Photograms

Chose 2 images from each to analysis (use handout on Padlet)

Evaluate your process on creating photograms

· Record exposure time
· What did you do? And Why?
· What went well? And Why?
· What could you improve? How?
· What did you do differently second time?
· Include health and safety

Remember to use technical language

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Use these questions to help structure your reflections

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When the world saw the very first photographs, the idea of being able to capture the world as we see it took off rapidly. In a relatively short period of time, film photography evolved from black and white to color photography. From there, it made motion pictures possible, allowing us to see the world from our couches at home. When the first digital camera was invented, little did the inventors know that it would later revolutionize the world of photography and media in general. Today, billions of images are captured and shared between people and the number of image recording devices is growing at a rapid, unstoppable rate. There are cameras literally everywhere - in our mobile phones, homes, computers, cars, and even in wearables like eyeglasses and watches. We trust these devices to give us a glimpse of reality, documented moments of time that we can go back to and review. And yet with the fast growth, ease of access, and use of image and video manipulation tools, we have been seeing more footage that can twist reality: whether we are looking at popular magazine covers, Internet sites or news media, the imagery we see is getting harder and harder to trust, since it is being altered, faked or staged. Media turned out to be a powerful tool to influence and manipulate people, which brings up the question and the importance of ethics in photography. Should photography only be allowed to display reality, or is it acceptable to alter images for presentation purposes? And if manipulation is acceptable, what are its limits, if any? These are very hard questions to answer, but with some common sense, we can create a set of ethical rules and guidelines that should help photographers in determining what's acceptable and what's not.

In this article, I do not want to get into the depth of the discussion of ethics in media, since it is a huge topic on its own and does not belong to a photography site. Instead, I will focus on specific types of photography and the practices we should follow. Please keep in mind that most of the thoughts in this article are based on my opinion and experience. If you disagree with any of them, please state your thoughts in the comments section below in a kind matter, so that we can have a friendly discussion that benefits everyone.

1. Image Theft

With billions of photographs being available so widely all over the Internet, it is not uncommon to see not only individuals but also companies using other people's work for their own benefit. In some cases, theft is loud and clear, with images being used without any permission; and in other cases, images are "borrowed" to be altered and manipulated to create something different. No matter how it is done, theft is still theft and it should not be ever welcomed in any shape or form. How would you feel if someone stole your images that you post in common social media platforms like Instagram, printed them out, and sold them for thousands of dollars without sharing any of the money with you? If you have never heard of Richard Prince, check out his website and his gallery:

Yup, he does exactly that: steals other people's work, prints them, and sells as his own "artwork". One could argue that he "repurposes" some of the images and that may be true in some cases where he significantly transforms an image into something completely different. But even then, he should be requesting permission from the original source first and even after receiving permission, he should clearly state in his artwork that his work was based on someone else's idea or images. The worst part is, that some people (including himself), believe that he is a true artist and he has every right to do what he does. In my books, this guy is nothing more than a thief!

2. Photo Plagiarism

What about situations, where a photographer borrows another photographer's idea and perspective to get a very similar, if not identical shot? Now this one is a topic of endless debates, one capable of sparking huge arguments on both sides of the game. As photographers, we often have our own knowledge, skills, and experiences to create something unique that has never been done before, at least to our knowledge. It could be finding a particular subject, angle, composition, subject placement, or perhaps specific use of colors and tones to create something original. Is it acceptable to re-capture such images, taking inspiration from the original author? And if it is acceptable, should permissions be asked and credit provided? I think the answer depends on a number of factors. If an image is copied exactly one-to-one, using the same angle, perspective, composition, subject, and colors, making it look identical to the source, then it is a clear sign of plagiarism and it should never be welcomed.

However, there are certain exceptions. For example, in landscape photography (covered in detail below), there are situations when one photographer can find and popularize a unique spot where certain angles and shapes work very well. Throughout history, there have been many such images - for example, Ansel Adams made the Snake River overlook very popular at the Grand Teton National Park:

Ansel Adams - The Tetons and the Snake River
Copyright Ansel Adams, Image Source: Wikipedia

And since then, countless images have been taken with a very similar perspective and angle by other photographers. Does it mean that they should be crediting the source every single time? This is a hard question when it comes to ethics because landscapes change all the time and if one photographer does manage to capture an image one way, the chances of capturing another image with exactly the same light, cloud formation, vegetation, and color are fairly slim, even if exactly the same composition is used. In the case of the above photo from Ansel Adams, since he captured the shot at the Grand Tetons, many trees have grown and fallen and even the snake river most likely slightly changed its shape and looks a bit different today. Does it mean that other photographers should not be taking the shot with a similar composition? I don't think so - I believe it is perfectly acceptable for others to capture images of popular spots, provided they are not deliberately trying to make an exact replica of the shot of the original author, with the intent to copy it. Now if someone edited the trees to look exactly like the ones in Ansel Adams' original shot, and turned it into black and white with the same aspect ratio, similar shades, and cloud formations, then it could be considered deliberate plagiarism.

However, landscape photography almost feels like a different beast when it comes to plagiarism. While using the same subject, perspective and composition are often acceptable in landscapes, attempting to do the same thing in other types of photography, such as portraiture and fashion photography, is an inevitable path to plagiarism. For example, if we look at the work of Tyler Shields, we can see many of his images borrowed ideas from other existing works. Take a look at some of the examples:

Left: Tyler Shields, 2015, Right: Irving Penn, 1986
Image Source: Vice.com

In this image, we can clearly see that Tyler Shields attempted to copy the work of Irving Penn, by making a very similar image. The idea is the same, the crop is the same. However, he did change a few patterns, adjusted colors, and made a slightly different image. Does it mean that his work is original? Of course not - it was clearly based on someone else's work. There is nothing original about this piece. And yet Tyler Shields never credited Irving Penn for inspiration in creating this photograph. Let's take a look at a different image of Tyler Shields:

Left: Tyler Shields, 2015, Right: Henry Leutwyler, 2012
Image Source: Vice.com

We can clearly see the pattern of a copycat. Again, the same idea of bruised legs of a ballerina standing straight up and only showing the affected area. One side has a shoe, the other does not. He attempted to make his work appear different and original by swapping the shoe, and having different bandages and bruises, but nevertheless, it is still not an original idea by any means. In this case, if Tyler Shields used Henry Leutwyler's work for inspiration, he should have given him proper credit.

In some cases, images can indeed look very similar by coincidence. And when it does happen, it would be truly a "one-off" case. However, if you look at the many works of Tyler Shields, you will see that the above are not cases of coincidence or sheer luck. He deliberately borrowed other people's ideas and executed them in a similar fashion to make a name for himself.

Sadly, in the world of social media, plagiarism is almost inevitable. Photographers steal ideas from other photographers all the time and some do a very good job at it too, often succeeding more than the original author, as in the case of people like Tyler Shields and Richard Prince. There is nothing ethical about what they do and I would discourage all of our readers from repeating the same mistakes...

3. Photo Manipulation

Let's now expand the topic of ethics in photography to photo manipulation. How much manipulation should be allowed and what are the limits? Photography purists will argue that photographs should never be altered in any way - that they should retain their originality. Some even argue that cropping should be a prohibited practice. On the other side of the extreme, we've got people who take no shame in severely manipulating images, sometimes in order to influence people's minds, and alter their perceptions or their opinions. Is there a sweet middle that satisfies photography ethics? I believe there is, but it is not an easy answer by any means - we need to look at each photography genre in detail, as it is a very complex topic.

3.1. Documentary, News, and Reportage

Today, news outlets rely more than they ever have on images and footage provided by the public. Although the most popular media outlets try to have their own staff provide media, it is not always possible, particularly in areas of conflict and inaccessible war zones. When the public sees such footage, there is an immediate level of trust in what they see. As a result, such content can play a huge role in shaping up public opinion, potentially even influencing their future decisions. Because of the importance and the potential influence of such documentary footage, it is only ethical when such imagery is provided without ANY manipulation whatsoever.

This includes documentary photography, news and reportage of any kind, which in my opinion also includes street photography. When we see images of people, affected or unaffected, we want to believe in what we see. Such images become historical records and we cannot allow them to be manipulated. Take a look at some of the altered images that have appeared in media in the past:

At the time the image was taken, it was probably unacceptable for the Iranian state media to present only three missiles in the air, with one looking like it failed to launch, so the image was altered in Photoshop to make it look like all four rockets took off. In addition, a smaller car seen behind the rocket launching vehicle was also removed from the image to remove the unnecessary distractions.

Here is another image by Brian Walski, which was heavily altered to make a single composite from two different images:

Sadly, Brian Walski thought that it would be a good idea to make a composite image from the two images to "improve composition" and thought it was acceptable for him to make such heavy edits. In some cases, people who practice such manipulations should be persecuted in court, especially if a photograph is used as any form of propaganda to lie about the actual facts.

We can see many examples like the above two all over the world. If you want to see some of the best examples of altered images in history, check out this website by the Bronx Documentary Center - you will find some shocking examples of altered images, some of which were used to manipulate the public.

It is clear that such documentary photography and footage should never be allowed to be manipulated. The good news is that those who get caught often get fired and potentially even jailed for doing it, but I bet there are far more cases where things go by unseen. If photographers destroyed their original images and only left the original footage, they would leave it up to the public to decide whether their work is authentic or not. It is very uncomfortable to think that people would do such things, but sadly, it does happen.

What about cropping images? I believe that cropping should only be allowed, if the cropped out area does not represent area of interest to the viewer and does not change the meaning of the photograph after the fact. This can be tricky to determine, so if there is even a slight doubt that cropping would change the message in any way, then it should be avoided at all costs.

3.2. Portrait and Fashion Photography

Portrait photography, and specifically fashion photography, is without a doubt one of the most Photoshop-influenced genres of photography today. Practically every image you look at today on the cover of every magazine is digitally altered. In some cases, changes are very subtle, but in most cases, people go through complete transformations, making them look drastically different compared to reality. Such retouching changes are so common today, that they are now widely accepted as a "normal" practice to make the model or celebrity look flawless. So where is the fine line between what should be considered ethical and what should not? That's another tough one to answer because there will be people defending both sides heavily.

Personally, I believe that retouching should be acceptable, but with certain restrictions. While adjusting colors & contrast, fixing skin blemishes, removing excessive hair and taking care of wardrobe mishaps should be allowed, altering someone's physique and general appearance should be prohibited. Consider the following photograph of Angelina Jolie:

To me, this is the borderline of what should be allowed. The retoucher removed all skin blemishes from her face and made the skin of the actress look flawlessly smooth, which as we know, is almost never the case. However, facial features do not seem to be drastically altered, as in the below image of Kelly Clarkson:

Here, the retoucher went to the extreme - eyebrows and eyes changed, face shape altered, body shape altered, especially towards the lower body. This is an example of heavy retouching that should not be allowed. This kind of imagery takes us away from reality, making our youth believe that people can look as perfect as they do on magazine covers. These are not the ideals to pursue and this kind of "fake" beauty should not be welcomed by the public.

Having assisted my wife in photographing weddings, I have come across a number of brides, bridesmaids, and other people, who made special requests to make them look thinner in photographs via Photoshop. Although my wife certainly did experiment with such capabilities and knew very well how to use specific tools such as "Liquify", she found it quite frustrating to agree to such requests. Not only because it is a lot of work, but also because it is just not right - people should not assume that such practices should be commonly acceptable. Over time, she learned how to position the subjects better and capture them at particular angles that made them look slimmer, but she completely stopped heavy digital manipulations that made the person look different than they were in reality.

3.3. Nature Photography

Humans are drawn by the sheer beauty of wild and mysterious nature. Having witnessed it in real life, we know that nature can present itself in vibrant and beautiful colors, especially during those peak golden hours, and at the same time can really impact our moods with those gloomy, cloudy days. So when we immerse ourselves in a photograph with a stunning landscape, we always make the assumption that we see the reality: we want to believe that the photographer was there at that right moment of time to capture the natural beauty. While we can make assumptions about the fake nature of photographs of celebrities in magazines, we practically never make such assumptions about images of nature. Why is that? I have been pondering about this question for a while and I think the answer to the question is quite simple - we want to believe in nature being as beautiful as it is presented to us. We look at nature as something raw, innocent, something that has not been corrupted by humanity.

The moment we are introduced to a nature photograph that clearly looks unrealistic, or worse yet when we discover that a photograph that we perceived as real was in fact not, it leaves us with a feeling of distrust towards the photographer. We feel cheated and faked.

Take a look at the two images below, one straight out of my camera, and one after I slaughtered the hell out of it in Photoshop:

Five years ago I thought that my edit looked "cool and dramatic", although I knew upfront that it looked very fake. Without moisture or cloud formations in the air, the sky could have never been that colorful! And yet at the time, I thought it was a cool effect to use on an image, giving it more of an "artistic" feel. I often make fun of myself with this particular photograph in my workshops, because I want others to see that we all go through the stages of experimentation and it is perfectly OK to try out things. I would never make this image part of my portfolio and would never present it in a gallery because it skews reality and presents nature in its most unrealistic form.

Here is another image that really upset some of our readers when I posted it:

Total Lunar Eclipse Composite

Although it is pretty clear that the image is a composite, people got really upset that I copy-pasted the different phases of the moon to a completely different scene. For this composite, I photographed the moon on its own, then moved to another location after the eclipse was over in order to capture a more attractive foreground, which I later used as a backdrop panorama for the arcing moon. I wrote about what I did to the image in detail in my " how was this picture made " article, where I explained the process in detail, for the purpose of education. The above image is not something I would ever claim as real - in fact, I purposefully made it look fake (the moon never arcs as shown in the image) so that it was clear from the image itself. This is another image that I would never display at a nature gallery because nothing about it represents reality. Sure, the moon phases are real, and the landscape is real, but the two never took place together as shown in the image.

So what kind of editing is ethically acceptable in nature photography? That's the million-dollar question and the can of worms to open! In landscape photography, I consider it acceptable to adjust exposure, colors, shadows, tones, and contrast, to perform selective boosting / dodging and burning, to crop images for better composition, and to perform other adjustments, as long as they don't make the image appear too unrealistic and fake. I am not against HDR photography either - in fact, it can be a great technique to use in order to recover data that cannot be otherwise captured by modern camera sensors, as long as it looks natural at the end (no Grunge HDR please!). I am not against blending techniques to bring out details from different parts of the scene either, as long as they are not overdone. Lastly, I also find it acceptable to remove distracting objects from the scene. Basically, I don't mind most types of editing!

Here is an example of the type of editing that I find acceptable:

In the above case, I cropped the image to get closer to the rock, adjusted the white balance of both the foreground and the sky, added some more color to the clouds, and added a bit more structure to the clouds to make them stand out a bit more. After I was done with the basic edits, I realized that some of the footsteps on the playa left by other photographers looked rather distracting. I used Photoshop's clone stamp tool to remove some of the obvious spots, to keep the scene looking cleaner and not as distracting.

Here is another set of images from Wadi Rum that I captured last year to illustrate the point of what I consider to be acceptable in terms of post-processing:

The changes in the "after" image are a bit more aggressive than in the previous case. Aside from the standard editing steps like boosting contrast and colors, I removed both cars and their tracks from the scene, since they looked too distracting. While I did not make too many changes to the foreground, I did remove a couple of distracting elements there - take a look at the white stone in the foreground, to the bottom left side of the frame. When I was shooting at that particular location, I was literally jumping between rocks in order not to leave any footsteps and really struggled to find an area that provided me a clear composition. As I was taking this photo, I already knew that the stone on the lower left had to go, because it was incomplete and it was pushing too far to the bottom frame. I was able to fit the dark rock on the left, but the white one was too big to fit (you only see a portion of it in the shot). As I went through the image, I also removed some white dots and other imperfections in the sand, since they looked a bit distracting.

Now that you have seen the type of editing I personally consider acceptable, let's talk about the editing practices that I would not recommend. Basically, any kind of composite imagery, especially ones where multiple unrelated images are put together to create a dramatic scene that never actually existed or took place, is something I consider unacceptable. Those photographs, or rather "artworks" do not belong in nature photography or fine art galleries - they have a place of their own. Nothing wrong with such creative photography/composites, as long as it is made obvious by the photographer, either through the image itself or as part of its description. Again, the idea is not to mislead people into believing in something that does not exist.

Another big factor in ethics is our involvement, influence, and impact on nature as we document it. We have written quite a bit about this topic in the past, but sadly, it is something that continues to happen. When I was at the Death Valley National Park just a few weeks back, I saw an interesting scene - a young couple took their car way into the Devil's Cornfield for one stupid reason - to take a selfie. Sadly, people do these kinds of idiotic things all the time, thinking that they are doing something cool, when in fact, they are destroying the landscape for others to see and enjoy in the future. I have personally witnessed people camping at the Race Track playa at Death Valley, and I have seen rocks removed from the playa, with the selfish intent of having unique images that nobody else could have. We have seen Michael Fatali burn up Delicate Arch and a few other spots in Arches and Canyonlands National Parks to capture unique photos at night and not only for himself but also for the workshop groups that he was teaching at the time. And there are many cases like this that we see over and over again, with photographers doing all kinds of damage to landscapes, all with the goal of doing something unique that was not done before. Such acts of vandalism and selfishness are huge problems of our time since we are failing to learn how to share the beauty around us with the current and future generations.

For more information about ethics in nature photography, I would recommend visiting NANPA's website. You will find a wealth of information in regard to ethical practices when shooting in the field.

3.4. Travel Photography

There are many ethical concerns when it comes to travel photography. Unfortunately, there are no set rules or guidelines that apply to all countries, cultures, tribes, groups, and individuals within them. I believe that we as photographers should do prior research about the cultures, religions, and other social norms before making decisions on who or what to photograph. Not abiding by very specific rules provided by government authorities in countries like North Korea could easily land you in jail there, and if you were to photograph people in particular areas of Mexico where they perceive photographs as something that steals their souls, you could easily get in trouble. Local laws, rules, and norms should always be respected and we as photographers hold responsibility for properly representing all other photographers. If some of us sneak in and break the rules, it will surely affect the rest of us.

Take the recent case of a German teenager, who climbed the Great Pyramid of Giza, completely ignoring the Egyptian law that specifically prohibits it. Climbing ancient structures in Egypt is prohibited for a number of reasons. First, it is very unsafe. Over the course of many years, the stone blocks have been eroding and collapsing, and many tourists have died or injured themselves while attempting to climb in the past. Second, those sandstone blocks are not as strong as they seem to be from a distance - imagine what will happen to those pyramids if everyone continues to climb them. There will be nothing left for future generations to see and enjoy.

Andrej Ciesielski illegally climbed the Great Pyramid of Giza, despite local laws that prohibit climbing on ancient structures. The practice of photographing dangling feet with the scenery is commonly practiced among roof toppers, giving scale and making it seem like the photographer is in danger.

People have been vandalizing ancient structures like this for many years and we can clearly see the evidence today. Even on top of Giza, you will find carvings in different languages from people who wanted to leave their own traces of history. What a selfish bunch! I personally have little respect for daredevils like this, who break the law to promote themselves. The same goes for roof toppers, who only do what they do for the act of self-promotion, status, and social media "likes". Most of them have zero respect for laws, regulations, private property, or privacy - they are known to break locks and walk into closed areas.

Aside from the above cases, there are many other ethical factors we have to consider when doing travel photography. Is it permissible to photograph people for money? You have probably seen pictures of fishermen with cormorants in boats, with lamps in their hands, and beautiful distant mountains in the background. Practically every single one of those photos is staged. In fact, there is now a whole army of these fishermen, ready to model in exchange for money. That area of China where the photographs are taken practically has no fish left due to over-fishing and pollution, so the traditional culture of cormorant fishing only exists today for photographic reasons. So is it ethical for us to employ such practices? I cannot answer this question, but one must think about both pros and cons of such actions and how they affect people. It has become common in many parts of the world to pay people in exchange for taking their pictures. In some popular tourist hotspots, people can be offended and even get aggressive, if you snap their photos and forget or refuse to pay them.

What about asking for permission before taking pictures? This applies to all kinds of portrait photography, especially street photography. Is it acceptable to take pictures of people without asking their permission, especially if the goal is to profit from the sale of such images?

If one explores the inner world of travel photography, there are a lot of dark stories to tell and hear. I once heard a horror story of photographers paying children to pose naked in front of a camera (picture young monks showing their private parts), again, for the sole purpose of capturing something unique nobody has previously photographed. I felt disgusted and saddened to hear of such stories.

3.5. Drone Photography

In the past few years, drone photography has been really taking off. Photographers and videographers are using drones to capture unique footage from angles and distances that are impossible to capture otherwise. While the idea of drone photography (see our detailed tutorial) sounds appealing to many, it does bring up a few, rather serious concerns.

Drone photography is something very new and largely unregulated. Although after a number of cases of drones posing threat to passenger and government aircraft, falling into protected areas (remember the guy who crashed a drone into the Grand Prismatic Spring in Yellowstone?) or crashing into buildings, the Federal Aviation Administration of the USA made it mandatory to register drones. Aside from basic guidelines, there are still no specific laws or rules in regard to how drones should be operated. This has been creating a huge problem for everyone because people are making all kinds of assumptions about what they can and cannot do. Nothing is said about flying over private property, privacy concerns, and recording footage of people or their property. Things are getting even more complex overseas, where governments and people never had concerns about aircraft flying over their heads and now they find themselves in dire need of protecting their landmarks and secure zones from tourists operating drones.

Nikon Coolpix A @ 18.5mm, ISO 360, 1/1000, f/2.8
Seyðisfjörður, East Iceland. Photo Copyright Spencer Cox

Sadly, many owners operate their drones without much practice, crashing them into government and private properties. Since drones cost a lot of money, they often end up breaking into closed areas and trespassing in order to retrieve them, causing all kinds of aggravation from the public.

There are many ethical concerns with drone photography and I believe that this subject should be explored in detail, as it will become more important with the growing popularity of drone photography.

4. The Ethics of Photography Competitions

Photo competitions historically have had a rather odd set of rules, often disallowing any kind of post-processing on images. Some do not allow any retouching, while others allow very slight changes involving color and contrast adjustments and perhaps some cropping. While I disagree with "no editing" rules of competitions and believe that some editing to images should be allowed, I would certainly disagree with rules allowing any kind of editing and photo manipulations. Once you go into the "free for all" zone, photo competitions can quickly lose their appeal. There are some real Photoshop wizards out there, who will make stunning-looking images from images that others would consider below average. A little bit of imagination and Photoshop drawing skills can really bring something that never existed or took place into life. That's not to say that such composites and artwork should not be allowed at all, but those should be judged separately on their own, away from photography competitions.

Consider the recent case of Chai Yu Wei, a photographer from Singapore, who not only borrowed another photographer's idea to capture a ladder leading up to the sky but also had the guts to insert an airplane into the center of the image before submitting it to a competition hosted by Nikon. Sadly, when asked, he even claimed that he was lucky to capture the plane like that. It did not take much time for other photographers to discover that the photo was a fake:

Nikon ended up removing the photo from its Facebook page and apologizing for selecting the photo as the winner, and the photographer issued an apology as well. However, this particular case will serve as another reminder of why photo manipulations like this should not be allowed. Chai Yu Wei wanted others to believe that he was at the right moment and at the right place to capture a photo of a plane passing by right through the center of the leading composition, something that obviously never took place.

The same ethical guidelines apply to wildlife photography competitions as well. We have seen a case where the photographer José Luis Rodriguez captured a photo of a wolf jumping over a fence, stating that the image portrayed a real wild wolf that was hunting a farmer's livestock:

José Luis Rodriguez staged a tame wolf to jump over a fence and submitted the image to a wildlife competition. He won a prestigious award, which was later recalled by judges.

It turned out that the wolf was in fact not wild and the photographer basically staged a tame wolf to jump over the fence, while he captured it with flash at night. While this particular image was not a composite and was not edited as the previous image, it has a huge ethical problem - lying about an animal being wild, when it is not. If photographers are allowed to stage tame animals for wildlife competitions, then there is no point in photographing wild animals at all: one could capture stunning images of domesticated and tame animals, with some beautiful backgrounds.

5. The Ethics of Feeding Wildlife

There are cases where some wildlife photographers might get upset with other photographers, who might not necessarily use a tame or a domesticated animal as in the case above, but might feed a wild animal in order to capture unique shots. Many wildlife photographers practice such feeding procedures and take no guilt in doing that - some of them are quite open about it as well. Whether it is setting up bird feeders in the backyard, or putting mice in fields for those awesome shots of predators flying towards the camera, the question of whether those acts are ethical or not come up all the time between wildlife photographers. I will leave this one up for discussion: Do you think it is acceptable for photographers to feed wildlife to capture unique shots? Are there cases when such practices should be allowed?

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When the world saw the very first photographs, the idea of being able to capture the world as we see it took off rapidly. In a relatively short period of time, film photography evolved from black and white to color photography. From there, it made motion pictures possible, allowing us to see the world from our couches at home.

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In this episode, we talk with Hannah Fletcher about how to develop a more sustainable photographic practice. She discusses the issue of sustainability within analogue and digital processes. Hannah explains the need she identified for a wider conversation around sustainability within photography and how this led her to found The Sustainable Darkroom. She explains her relationship with science and why it is so important for photographers to consider themselves within the broader ecosystem of photography and all the industries photography is connected to.
What you'll find inside:

"I suddenly just thought, what if actually some of these plants could absorb the silver from waste photographic fixer and use it in a positive way? Like actually what if there's something more going on here that I could explore and somehow create more of a holistic ecosystem within photography?" (4:18)

Hannah discusses the main issues of sustainability within analogue photography , including: the amount and type of water used, the use of bovine gelatine, waste chemistry disposal, and the use of plastic. (7:18)

Hannah discusses the main issues of sustainability within digital photography, including: the ethics of your camera's manufacturer, the mining of minerals and materials for your camera, disposal of your old camera, and the storage of digital photographs. (12:27)

"In 2019 I founded an initiative called The Sustainable Darkroom which is basically a kind of platform and research and learning initiative to support other practitioners in finding their own more environmentally friendly approach to working with analogue photography." (16:26)

"I knew that I needed collective knowledge and the help of scientists and experts, which is why I kind of thought I need to make something that is going to bring together lots of people to really work in this way of activism and community resilience. Because I really believe that these forms of actions are some of the most powerful ways that we can move forward in society." (18:51)

"I think we need to be open to possibilities for new understandings and new visual languages within our photography because that's the only way that we can really move forward." (23:40)

"None of these ideas that I'm putting forward are solutions to working completely environmentally friendly. None of them are perfect. None of them are solutions yet. But I believe that just making an informed decision, knowing what materials you're using, where it came from, why you're using it, why it makes sense for your practise, being able to justify it. I believe that this is one of the most powerful things that we can do as a society, is to inform ourselves and make conscious decisions." (26:06)

"If we are thinking about the whole ecosystem of photography, it relies on so many other industries to exist. And I think we need to not think of ourselves as an individual photographer existing on our own." (30:12)

Hannah explains her relationship and approach to science (32:00)

What does photo ethics mean to Hannah?
"I think ethics encompasses everything that we do. And I don't think it should be thought of as something separate from photography, you know, it should just be completely intertwined in a way. And ethics isn't this thing which kind of sits, you know, on a podium over there. It's like within everything. It's within the ecosystem. It's within, you know, the camera that you're holding, and it's within the scene that you're photographing, and it's within the chemistries that you're developing in. And I think it's just really about having a complete awareness of how those materials came to be and your relationship with them and a consciousness of that. That you have kind of like done your research, if you like, and you can justify why you're using that camera and why you're taking the image you can... I think if we're more conscious beings then we don't have to think about it so much because it will always be there within the way that we work and the way we approach our practise and our kind of just wider lifestyle." (35:18)
Links

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Hannah Fletcher: On working sustainably - Photography Ethics Centre

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In this episode, we talk with Hannah Fletcher about how to develop a more sustainable photographic practice. She discusses the issue of sustainability within analogue and digital processes. Hannah explains the need she identified for a wider conversation around sustainability within photography and

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Photography lighting diagrams made easy with this online tool: use the drop down menus, select objects, drag them, rotate them, change their layers then export your diagram to JPEG or save its URL.

v3 beta is now public with iPad support, it includes ability to add notes.

Your donation is greatly appreciated.

A minimum donation of $10 USD is asked for each commercial project (except the use on a photographer website, blog or gallery). For more detail please contact me .

The Online Lighting Diagram Creator is a personal project that requires a lot of resources to be developed and maintained. But I believe in the strength of a community when everyone contributes to the knowledge of the group that is why I want to make this tool available free of charge to all non-commercial projects.

If you use the OLDC and are happy with it, I'd love if you would consider donating. Donations help keep the updates coming, pay for hosting, and help pay for the time spent maintaining and improving the tool. Donations are entirely voluntary but are greatly appreciated.

Known issues :

You can now export to JPEG and generate a URL that allows you to bookmark your diagram.

The tool have some display problem on IE6 due IE's PNG bug, but the JPEG export should work fine. Firefox's bug with moving objects by dragging them is solved by adding a "move" icon, dragging it will make FireFox not sticking the object when the mouse button is released.

On IE8, be sure to click on the Compatibility button next to the URL field at the top of the browser. This will reload the page and allow you to move the various camera/flash/bg icons onto the worksheet (John Matthieu).

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Online Lighting Diagram Creator for photographers

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Online Lighting Diagram Creator for photographers

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You must follow and evidence each stage to achieve all criteria.

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Who is your audience?

Were would your work be placed in the real world?-link to influences

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Coggle is online software for creating and sharing mindmaps and flowcharts. It works online in your browser: there's nothing to download or install. Log in to start diagramming!

Whether you're taking notes, brainstorming, planning, or doing something awesomely creative, it is super simple to visualise your ideas with Coggle. Share with as many friends or colleagues as you like. Changes you make will show up instantly in their browser, wherever they are in the world

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The clear way to share complex information. Coggle is a collaborative mind-mapping tool that helps you make sense of complex things. Create unlimited mind maps and easily share them with friends and colleagues.

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Here’s how to use your pinhole box

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Abstract: The Art of Design | Platon: Photography | FULL EPISODE | Netflix

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Weekly planner - to help organise your time and tasks

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Weekly planner - to help organise your time and tasks

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Photographic Garden Symposium | The Sustainable Darkroom

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Photographic Garden Symposium | The Sustainable Darkroom

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Photographic Garden Symposium | The Sustainable Darkroom

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If you want to capture flattering portraits, then you must master lighting. Fortunately, this is pretty easy, thanks to lighting patterns - that is, simple portrait lighting setups you can consistently use for nice-looking images.

In fact, portrait lighting patterns are great for beginners and advanced shooters alike; as an experienced portrait photographer, I use these patterns all the time in my own work.

Below, I share six useful photography lighting techniques that every portrait artist should know. I also include lighting diagrams, so you know exactly how to replicate the pattern in your own studio.

Are you ready to take your portrait shots to the next level? Let's get started.

1. Split lighting

Split lighting looks the way it sounds; it splits the face into equal halves, like this:

Because this half-shadow effect is pretty dramatic, especially when the light is hard, it's often used to create moody shots of musicians and artists.

To achieve split lighting, simply put the light source 90 degrees to the left or right of the subject (you can even move it slightly behind their head). In true split lighting, the only part of the "shadowed" face that should be lit is the eye (as shown in the photo above). Here is the simple split lighting diagram, though note that you can always spruce up a split-lit image with fill lights, rim lights, and background lights:

Also, make sure at least one of your subject's eyes contains a catchlight (a bright spot of light that reflects from the light source). Otherwise, the eyes will appear lifeless, and the entire shot will likely be ruined.

2. Loop lighting

Loop lighting positions a small shadow from the subject's nose across their cheek. Look at the photo below; see how the nose shadow falls slightly to the right of the nostril?

Loop lighting is probably the most common lighting pattern you'll encounter in portrait photography. Why? It's easy to create, plus it flatters most people! That's why some photographers consider it the absolute best lighting for portraits (especially if you're a beginner).

Note that, in loop lighting, the shadow of the nose and the shadow on the cheek do not touch. That's a different lighting pattern, as I discuss in the next section. Instead, keep the shadow small and pointing slightly downward (though don't put the light source too high; otherwise, you'll create odd shadows and lose the essential catchlights). Here's another example, with a soft shadow falling to the right of the viewer:

To create loop lighting, place the light source slightly above eye level and about 30-45 degrees from the camera. The exact angle depends on the person's face, so feel free to turn on your modeling lamp (if your light has one) or take several shots with the strobe positioned in different places. Over time, you'll get better at reading people's faces, and you'll be able to identify the perfect loop-light position from the get-go.

The diagram below models the lighting conditions for the couple image I've shared above:

Note that the black backdrop represents the bank of trees behind the subjects. The sun is coming over the trees, and I've placed a white reflector at camera left to bounce light back into the subjects' faces. In a standard studio setup, you would position a strobe instead of the reflector, though in this situation - with the natural light from the sun - a reflector works just fine!

And remember: Your light should be slightly above the subject's eye level. Beginners mess this one up a lot by putting the light down low and angled upward. That lights the bottom of your subject's nose, and the result isn't so flattering.

3. Rembrandt lighting

Rembrandt lighting gets its name from the 17th-century artist Rembrandt, who used it in his painted portraits. It's identified by a clear triangle of light on the subject's cheek, like this:

Note that the shadow of the nose and the cheek do meet, which creates that little triangle; this is different from loop lighting, where the shadows shouldn't touch. Also note that Rembrandt lighting is more dramatic than loop lighting, so use it for moodier portrait sessions and not for standard family photoshoots.

To create Rembrandt lighting, place the light off to the subject's side, and ask your subject to turn slightly away from the light. The light should be above their head so that the nose shadow falls down toward the cheek. Here's a Rembrandt lighting diagram, with a window instead of a strobe (though you can, of course, use any type of light source):

Not every person's face is ideal for creating Rembrandt lighting. If they have high or prominent cheek bones, it'll probably work - but if they have a small nose or flat nose bridge, it may be difficult to achieve.

Keep in mind that you don't always need to create this pattern exactly; as long as your subject is flattered and you get the mood you're after, then the light is working.

4. Butterfly lighting

Butterfly lighting is named for the butterfly-shaped shadow that is created under the nose, like this:

The result is a very glamorous photo, with shadows under the cheeks and chin, so you'll often find it in fashion magazines and shots of movie stars. It is also flattering for older subjects as it deemphasizes wrinkles, as well as slim-faced subjects (whereas subjects with round, wide faces look better with loop lighting or split lighting).

Butterfly lighting is super simple to create. Just place the light source directly behind the camera and slightly above eye or head level of the subject:

If the shadow under the nose is too strong, you can place a reflector directly under the chin (your subject can hold it, if need be).

This pattern is tough to create using only window light or a reflector. You'll often need a hard light source - such as the sun or a flash - to produce the more defined shadow under the nose.

5. Broad lighting

Technically, broad lighting isn't a portrait lighting pattern; it's a portrait lighting style, which you can use with loop lighting, Rembrandt lighting, or split lighting. However, it's a useful lighting setup that's often grouped with the patterns discussed above, and I definitely recommend you master it.

You get broad lighting when the subject's face is slightly turned away from the camera, and the side of the face turned toward the camera is illuminated by the light, like this:

This type of lighting makes a person's face look broader or wider (hence the broad lighting moniker) and works well when photographing subjects with very slim faces. But most people want to look slimmer, not wider, so this type of lighting would not be appropriate for someone who is heavier or round faced.

To create broad lighting, turn the face away from the light source, as shown in the diagram below. Notice how the side of the face nearer to the camera receives light, while the far side of the face remains in shadow.

6. Short lighting

Short lighting is the opposite of broad lighting; the side of the face turned toward the camera is shrouded in shadow, while the side of the face turned away from the camera is brightened.

It's a useful lighting pattern for darker, moodier, and even low-key portraits. Note that short lighting puts more of the face in shadow, is more sculpting, adds 3D qualities, and is very slimming and flattering for most people.

To create short lighting, ask your subject to turn slightly toward the light source, so that the shadows fall on the side of the face closer to the camera:

Portrait lighting setups: putting it all together

Once you can quickly create each of the different lighting patterns, you can start to learn when to apply them in your portrait sessions. You'll eventually be able to determine the best portrait lighting simply by studying your subject's face. And you'll learn, over time, how different lighting patterns change the mood of the final shot.

Technically, you can create these setups with any type of light: window light, natural light, speedlights, continuous lights, or strobes. But note that it's much easier to change the lighting pattern if you can move the light source, so it pays to begin with a portable studio light.

(Though if you can't move the light source, you can always ask your subject to rotate in relation to the light.)

Portrait photography lighting patterns: final words

Now that you've finished this article, you're well equipped to create beautiful portraits. Simply practice the lighting tips I've shared, learn to quickly form each lighting setup, and you'll be good to go!

Now over to you:
Which of these lighting patterns is your favorite? Which style do you plan to use in your next photoshoot? Share your thoughts in the comments below!

Darlene Hildebrandt

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6 Portrait Lighting Patterns Every Photographer Should Know

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Enhance your portrait photography with these 6 lighting patterns. Capture flattering photos with Rembrandt lighting, loop lighting, and more!

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A Foolish Fire Tutorial :: How to Make a Collage in Photoshop – foolish fire

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History of Pinhole

The Camera Obscura is a natural phenomenon and has a long history. This 'dark chamber' constituted the earliest form of camera, although it did not record a permanent image. In its simplest form it is a small hole (aperture) which light passes through from an object outside into a darkroom. The image appears upside down on the wall opposite the hole The first reference was observed and noted by Aristotle around 330 BC, who was perplexed why through a square hole appeared a circular image. Later in the Middle Ages, Alhazen (Ibn Al-Haytham, is said to have invented the Camera Obscura. It was later used by artists in 16th century for drawing and architecture who would trace an accurate visual reference.
​

The camera obscura consisted of a box or room with a hole on one side in which light from an external source entered and struck a surface within the enclosure, reproducing an exact image of whatever was in view of the hole, upside down, in colour, and in linear perspective

First fixed photo image was made by Niepce (1765-1833) in 1826. He was a French amateur scientist and inventor who, in 1826, had succeeded in securing a picture of the view from his window by using a camera obscura and a pewter plate coated with bitumen.
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In the summer of 1826, Niépce set up a camera obscura in the window of his upper-story workroom at his country house, in Le Gras. He placed a polished pewter plate coated with bitumen of Judea ( similar to petroleum) and uncapped the lens. After at least eight hours, the plate was removed and the image of the view from the window was visible by washing with a mixture of lavender and white petroleum. The result was a permanent direct positive picture you see here-a one-of-a-kind photograph on pewter.

More detailed information ​ photo-museum.org/niepce-invention-photography

Pinhole photography is very much a back-to-the-basics experience​. Constructing and using the camera will put you in touch with the physics of light and give you an understanding of the mechanics of photography. ​

Since there is no viewfinder, you must compose the shot in your imagination by identifying with the camera, by seeing through its pinhole eye, and by using intuition, curiosity, and a healthy dose of logic. ​

You will soon start to think and feel like the camera and the light it captures

Since a pinhole camera has no lens, it offers a far greater depth of field compared with most traditional cameras, resulting in a dramatic and sometimes stunning sharpness of detail in the foreground and the background.

How to make a Pinhole Box Camera

Results from Box

This self portrait was exposed for 15 secs, it was a bright sunny day in September around 4pm. I used my hand and the grass to keep as still as possible. There is a slight movement as I had to open the shutter. I could have exposed longer to have gained more detail in the arm, or moved out of the direct sun for an even exposure. However, I like the harsh shadows on the face and the slight double exposure as this later adds movement and a sense of time.

Student examples

There is a range of exposes in this collection, from over exposed (the black ones) and the under exposed (the white ones).

further explorations

​Influenced by Barry, and by finding lots of large cardboard boxes around the college. I decided to make a large version of the box, with the help of my friend Janet. I used an old dust cap from a DSLR, drilled a hole through the plastic and then attached a brass pinhole.

Then with my trusty helper, we went out to experiment...

Results

This was a 30 min exposure at 4pm on 6th September 2021. it was a bright sunny day, with no cloud. The main subject is well exposed, however there is no details in the sky or foreground. Therefore I need to find a better position for the pinhole, with even lighting. But most importantly, it worked!
*the burnish marks in the bottom of the paper is where the image was not developed evenly. Therefore I need to leave longer in the developer and make sure its fully submerged this was difficult as the paper was too big for the trays.

With my Level 3 students, I went out again, this time in a different location and time of day. 8th September at 10 am. This exposure was for 15 mins, I used a light meter app on my phone to record how long to expose, based on f106 and the ISO of the paper (3). It turned out to be the best of the 3 that we did that day. Not only was is sharp, it was perfectly exposed and the selection of the subject worked extremely well for a pinhole.

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The Camera Obscura is a natural phenomenon and has a long history. This 'dark chamber' constituted the earliest form of camera, although it did not record a permanent image. In its simplest form...

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Darkroom Photography Techniques : How to Develop 35MM Film

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Which Softbox Works For You? | 8 Lighting Modifiers Explained 

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Which Softbox Works For You? | 8 Lighting Modifiers Explained 

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Which Softbox Works For You? | 8 Lighting Modifiers Explained | FIELD TEST

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When analysing a photograph you must be able to both speak and write about the work of others. This not only helps you understand the work, but also inspire your own.

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When analysing a photograph you must be able to both speak and write about the work of others. This not only helps you understand the work, but also inspire your own.
In this blog there are a series questions to support your research, you don't need to use all just what is relevant

Descriptions should remain objective, discussing what can be seen without drawing conclusions.
SUBJECT MATTER, what is the main subject of the work?

Portrait

Fashion

Landscape / Cityscape / Seascape

Still life/Product

Figurative / Nude

Food

THEMES, what themes are evident in the work? ( some examples)

The environment

Religion

Social Commentary

Beauty

Movement

Conflict

Pastimes

Events

Relationships (real or 'constructed')

Emotional states

Non-objective (no reference (Joy, Fear, Anxiety) to anything real thing)

PLACEMENT, describe what is happening in the photo and where the subjects/elements in the work are situated?

Foreground

Middleground

Background

Right-hand side

Centre

Left-hand side

Top Right/Left

Bottom Right/Left

STYLE and REPRESENTATION, consider how the subject is represented.

Straight Photography

Semi-Abstract

Abstract

Non-Representational

Style or movement (Pictorialism, Photomontage, Conceptual, Pop, Surrealism etc...)

Is the Photograph...Considering the Meaning of a Photographic work is often complex. Personal reactions / responses are often a valid way of interpreting Meaning in photographic works. However, meaning can also be derived from an intimate knowledge of the artist/ photographer (and their work) gained through research and an understanding of the photographic in both historical and contemporary contexts.

ALL PHOTOGRAPHS AND ARTWORKS HAVE MANY LAYERS OF MEANING

MEANING IS NEVER FIXED. IT CAN SHIFT AND CHANGE FOR DIFFERENT PEOPLE IN DIFFERENT TIMES AND PLACES

SUBJECTIVE, STRUCTURAL, CULTURAL AND POST-MODERN INTERPRETIVE FRAMEWORKS HELP US UNDERSTAND THE MANY LAYERS OF MEANING IN A PHOTOGRAPH.

recording/ documenting an event?

capturing images in nature?

reflecting an artistic idea?

photographing something beautiful?

attempting to get a reaction from the viewer?

commenting on an issue?

expressing a feeling?

exploring the elements/ principles of design? - creating something beautiful?

a narrative (telling a story)?

When interpreting a photograph in a postmodern context or through the postmodern frame, we are concerned with how the work borrows or appropriates previously existing images either throughout history or contemporary culture.

HOW / WHY HAS THE ARTIST BORROWED FROM OR REFERRED TO ANOTHER ARTWORK / IMAGE IN TIME?

WHAT HAS THE ARTIST CHANGED? HOW HAS THE ARTIST CHANGED IT?

Evaluating a photograph implies making a value judgment about the work. Judgment can be based on personal opinion, but more informed judgments will take into consideration:

Technical Proficiency

Utilisation/ Manipulation of the Elements and Principles of Design

Communication of Message / Meaning.

Intention of the Artist / Photographer

When evaluating a photographic work you may ask:

What do you like / dislike about the photograph? Why / Why not?

Is there a strong sense of composition?

Have the Elements and Principles of Design been used successfully? How?

Is the work successful / unsuccessful in communicating the artists intentions/ meanings?

How is this done; subtly? overtly?

Is the meaning clear and obvious /subtle or sustained?

How well has the artist used Materials, Equipment and Processes (analogue/digital)?

Do you like the work? Why/ Why not

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When analysing a photograph you must be able to both speak and write about the work of others. This not only helps you understand the work, but also inspire your own. In this blog there are a series questions to support your research, you don't need to use all just what is relevant Descriptions should remain objective , discussing what can be seen without drawing conclusions.

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Every year there are more and more resources becoming available for free public domain or royalty free images! That's great news for digital artists, since it means more amazing photos, illustrations, and ephemera to work with. The majority of the image elements I use in my digital collages and junk journals are from public domain websites and sources; I depend upon them heavily and am always looking for more websites to find things to add to my collection.

Public domain means that the works are no longer held under copyright by any person or corporation, and any individual person can use them for any purpose, including commercial use. Nowadays that basically means anything created before 1924 is now in the public domain (in the United States, at least).

Creative Commons licenses

Many of the websites on this list utilize a Creative Commons license to explain usage rights for their images and scans. Many museums have digitized their copies of art and put them up online, making them free for users to access and download. This has created an interesting question of usage rights! While a painting may be public domain because of its age, a photograph of that painting can still be under copyright. Museums then choose to release that photograph under a specific license which dictates how people can use that photograph.

For instance, an image under a Creative Commons Zero (CC0) license means that the create of that image agrees to "waive all copyrights and related or neighboring rights that you may have in all jurisdictions worldwide, such as your moral rights (to the extent waivable), your publicity or privacy rights, rights you have protecting against unfair competition, and database rights and rights protecting the extraction, dissemination and reuse of data." That means you can use that image any way you'd like, including for commercial usage!

Other Creative Commons licenses may have specific rules about attributing the source of the image, editing the image, re-sharing the image, etc. If you're ever unsure about how you can use a specific image of a public domain work, check the source website's Creative Commons license for details.

Free public domain images for art

2. The British Museum Digital Collection.
This digital collection has a million objects cataloged and includes high quality images of statues, paintings, fabrics, photographs, and other works. There are some curated collections available to browse through, such as the very intriguing "death and memory." Images are only to be used for non-commercial works and are under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) license which places some further restrictions on use. Here's the British Museum's Copyright and Permissions page for more info.
>>> Need more public domain or royalty-free images?
If you found this post helpful, please share it with a friend!

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10 more places to get free images for digital collages - Digital Junk Journals

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(This post contains affiliate links. Read my full disclosure here.) Every year there are more and more resources becoming available for free public domain or royalty free images! That's great news for digital artists, since...Keep Reading

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Free Harvard Referencing Generator [Updated for 2023]

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Generate Harvard references automatically with our fast and free Harvard reference generator. Get correctly formatted references for books, websites, journals and more!

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Making Your First Black & White Darkroom Print

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You MUST reference accurately where you access information, inspiration, artwork and facts. This should be referenced in a bibliography.