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Jeff Brouws is a self-taught artist. He has been pursuing photography since age 13, where he roamed the railroad and industrial corridors of the South Bay Peninsula. He uses single photographs as subtle narrative and compiling typologies to index the nation's character, he revels in the "readymades" found in many of these environments. Being influenced by the New Topographic Movement, the artists books of Ed Ruscha and also the writings of cultural geographers like J.B. Jackson, Dolores Hayden and John Stilgoe.
Initially engaged with what Walker Evans termed the "historical contemporary" along America's secondary highways beginning in the late 1980s, over the following twenty years Brouws has extended this inquiry into the everyday places occupied by most Americans.

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For my typology I decided to try the similarities between the heads of 12 different wild animals. I have put both the colour version and black and white version as I like the to see both, so you can tell the difference in the effect it brings out.

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Bill Brandt was a British photographer and photojournalist. Born in Germany, Brandt moved to England, where he became known for his images of British society for such magazine as Lilliput and Picture Post, later he made distorted nudes, portraits of famous artists and landscapes. During early schooling in Germany and a stay in Switzerland, during which he took up photography.

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Man Ray was a renowned representative of avant-garde photography in the 20th century and is considered as the pioneer of Surrealist photography. Ray's artistic work is very diverse. Man Ray was the very first artist whose images were more valuable to collectors than his artistic work.

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Anna Atkins was best known for her cyanotypes that she made from the 18th century. English botanical artist, collector and photographer Anna Atkins was the first person to illustrate a book with photographic images. Anna's innovative use of new photographic technologies merged art and science. Although Atkins owned a camera she still preferred to use the technique of the cyanotype.

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During lockdown Glover opened up her studio and began experimenting with photographic techniques requiring minimal resources, even without a camera. Glover began making lumen prints using garden plants and weeds. For them she used old dated photographic paper quickly finding that different papers produced different colour results. Gina Glover then pressed the plants under glass on these papers exposed them to the sun.

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Justin is considered a world expert in pinhole photography and camera obscuras which has taught for over 28 years throughout the world. Most pinhole photos have a wide angle which is useful as by having a longer length would make it harder to photograph and to frame the photo. When taking the photo you need to think about what would be in focus and what would be blurred.

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Stephen Gill likes to test the limits that photography imposes on him. Gill experiments with various unusual techniques in his documentation of the district of Hackney in East London. The technique Stephen Gill is most known for is placing objects in the camera so that they left their traces on the film causing confusion about the scale of the images (Talking to Ants). Gills aim was to encourage the spirit of the place to become trapped in the emulsion like amber creating a series of surreal interventions in the photographs. He physically inserting bits and pieces of detritus inside the camera body before photographing his local surroundings.

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In this photo it shows the very moment a soldier was shot while in the middle of getting his photo taken by Robert Capa. The photo itself was taken at the battle site of Cerro Muriano, but research suggests it was taken in the town of Espejo, about 50 kilometers (30 miles) away in 1936. The subject of the image is the soldier being forced of his feet with the power of the bullet which went through him.

What draws your attention to the photo is the way this soldier looks as though he is gracefully falling but when in reality it would have been a very quick moment from standing to ending up on the ground. Also the way he is just standing in the middle of a field with no protection from people because he thought he was safe from any harm but then in a split second when he agreed to take a photo for Robert Capa he put his guard down and lost his life.

In my opinion I'm not the biggest fan of this photo only because I don't think the story behind the photo is as interesting as other artists. The story behind this photo was just a coincidence that the soldier was shot it wasn't meant to happen Where as Photos like Sally Mann she put a raw meaning behind her photography on all the photos she took intentionally.

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When we went to Birmingham we were set the task of taking images related to certain aspects of photography such as tone, texture, pattern, colour, etc. These are the photos which i believed to have fitted into those categories.

Although, some of the pictures are also from when we entered the IKON Gallery which some of them still fitted into the categories which was needed so I included some of the art works from the gallery as well.

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Firstly, you have to find a shoe box which is fully intact or somewhat usable if you fix it up with tape. Then you have to paint the whole inside in black paint so that the picture comes up clearly when you go to do it. Once it is dry you need to create a shutter on the top of the box on the lid. The shutter should be covering a pin sized hole so you can let only a slight bit of light in because to much light wouldn't work. Once you have done that you need to go in the darkroom and put some tape in the middle of your shoe box so that you can stick the light sensitive paper down onto it so it holds it in place. Once you have put the light sensitive paper down in your box you then need to tape the box shut so that no light can seep through.

Once you have taped up the box so that no light can go through except from the shutter you need to go outside and place your box on the floor facing an object so that something actually comes out clearly onto the paper. Once you have your box in the desired position then you need to lift up the shutter for around 15-20 seconds then shut it again. Once you get back in the darkroom you then need to remove the tape from the box and take out the light sensitive paper so that you can then place it into the same chemicals that you used for the photograms in the same process. Once you have done that you then need to put it in the dryer.

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To be able to create a positive photogram you need to firstly have already created a negative one because otherwise you won't be able to create one. Firstly, you need to place your negative photogram on top of a new piece of light sensitive paper both shiny sides facing each other. Then place them under the light for 30 seconds instead of 3 for the print to transfer onto the other piece of paper. After the 30 seconds you then need to go through the same process as the negative photogram in all the different chemicals in order to reveal the image.

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For the negative photograms you first go into a darkroom. Then get some objects to place on the light sensitive paper which can be anything such as: Plants, keys, jewellery, Etc. Then you place your light sensitive paper under the machine with the shiny side facing upwards, then you place your objects in the design you want them to come out in once you've done that you click the button on the machine which shines the light on it for 3 seconds. After the 3 seconds you then take the objects of the paper and place it in the developer for a minute and you gently move the tray that its in so that it helps the process. Once the minute is up you then move it into stop chemical tray which then stops it from developing any further than it already has for around 30 seconds. Then place it into the fixer chemical which will then fix the image into staying how it has come out on the paper for about another 30 seconds. Once you have done all of that you then place it into a tray of flowing cold water so that it allows the chemicals on the paper to be rinsed off. You should leave it in the water for a few minutes before taking it out to be put through the dryer.

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This was my best attempt at trying to do pinhole photography. I think next time I need to do it for less time due to it had to much exposure. This was taken with 20 seconds of exposure I think if I did it for about 5-10 seconds it would of come out clearer.

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First you need to find some plants like flowers or leaves in order to get the design you want for you lumen print. Then get your light sensitive paper and place the plants in your desired pattern then, once that's done you leave it in the sunlight for 60 mins for the process to take full affect. Once the 60 mins are up you then need to rinse it in water to get off any bits that may be on it then you need to put it in the fixer for 2 mins to bring out the image on the paper. Then rinse it once more to get the fix of the light sensitive paper.

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In my family the main person who took photos was my grandmother. She would be taking photos of everyone wherever she was and then on the back put who was in the image, the date, time and where the image was taken so she knew the exact moment in the past of photos she had taken.

The first image is my grandmothers parents and her with her siblings which is labelled on the back the Reilly family, Clare in Ireland. Unfortunately, our family was never passed down any of the cameras from different generations so I can't say what cameras took theses photos but all I know is the photos where taken in the 30s, except from the second one.

The second image is a picture of my father and his brother with my grandmother and grandfather. This image was taken also in Clare, Ireland. Although, it was taken a fair amount of years later around 1971.

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In the studio we used the soft box lights to create these negative space images with a the contrast of a shadow in the background. The reason we used the soft box light is so that it gives of a different affect on the shadows.

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Paul Strand was one of the most important photographic pioneers of the twentieth century in America. Strand was known as the so-called 'straight' photographer. Which is a pure photographic style that utilized large format cameras to record, and bring new perspective to ordinary or previously ignored subjects in the name of fine art.

The 'straight' aesthetic proved so persuasive in fact that it was adopted by other luminaries in the photographic circle and the 'straight' ideal formed part of the clarion call for the famous f/64 Group who shared similar ideals with strand, as did a number of other 'straight' photographers in the next several decades.

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In the photo it suggests how kids are growing up very quickly in the modern age due to how fast society is moving forward and they have to try and keep up but, by kids trying to keep up in society it allows their childhood to slip away. This is implied by the image 'Candy Cigarette' which was taken in 1989 near the family's property in Lexington, Virginia.

What the image draws your attention to first is the young girl with a 'cigarette' in her hand, this gives off the impression she thinks she is older than she actually is due to how society has influenced her. The photo looks like it was taken around mid day. In order for Sally Mann to take the photo of her two daughters, she stopped them in the middle of what they were doing and placed a candy cigarette in her hand to create the illusion of a stressed mother with her children (her sister) with her in the pram.

In my opinion, i love the story trying to be told behind the photo. Even though, at the same time I don't think it looks the best on her on her children because it might give them the wrong impression of what the message is about kids their age with a more grown up look.

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In his collection of "sleeping in Mississippi" Alec Soth took this image of a man with his two model planes on his the roof of his home. In the background you can clearly see a woodland which would suggest that his home is in a very secluded part of along the Mississippi River. Soth's photographs have been featured in numerous solo and group exhibitions. In 2016 Soth's Gathered Leaves, an exhibition bringing together his four signature series-Sleeping by the Mississippi, Niagara, Broken Manual and Songbook, traveled to a number of institutions, including The Finnish Museum of Photography in Helsinki.

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Alex Webb is a photographer known for his vibrant and complex colour photographs. Over the past 45 years, Webb ha worked in places as varied as the U.S. -Mexico border, Haiti, Istanbul and most recently, a number of U.S. cities. Working mostly in Latin America and the Caribbean, he credits those cultures with inspiring his interest in colour, when he transitioned from black-and-white photography in 1979.

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Bresson is widely considered one of the leading artistic forces of the 20th century. When Bresson went to Africa to hunt antelope and boar in 1931, when he made his return because it didn't interest him, it did however spark an interest for photography. He began experimenting with a simple brownie he'd received as a gift, taking new pictures of the world around him. For the rest of his life, in fact, Cartier Bresson's approach to photography would remain much the same. He made clear his disdain for the augmented image, one that had been enhanced by artificial light, dark room effects, even cropping.

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Saul Leiter's interest in art began in his late teens, and although he was encouraged to become a Rabbi like his father, he left theology school and moved to New York to pursue painting at age 23. When Leiter befriended Pousette-Dart and W. Eugene Smith it expanded his interest into photography. By the 1950s, he began to work in colour as well, compiling an extensive and significant body of work during the medium's infancy. By Saul Leiter using subdued colour this made his work quality stand out among the work of his contemporaries.
His first exhibition of colour photography was held in the 1950s at the Artist's Club, which is a meeting place for many of the Abstract Expressionist painters of that time.

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Primary colours are any of a group of colours from which all other colours can be obtained by mixing.

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Tertiary colors are created when a primary color is mixed with a secondary color. Examples of tertiary colors are blue-green, red-orange and yellow-green.

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Analogous colours are groups of three colours that are next to each other on the colour wheel, such as blue, blue-green, and green, your blue-green mix should be an even mix of the two for a balanced look. They usually match well and create comfortable designs.

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Complementary colours are pairs of colours that contrast with each other more than any other colour, and when placed side-by-side make each other look brighter

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John Baldessari was an American conceptual artist known for his work featuring found photography and appropriated images. Initially he started out as a painter, Baldessari then began to incorporate texts and photography into his canvases in the mid-1960s. In 1970 John Baldessari began working in printmaking, film, video, installation, sculpture and photography. Baldessari created thousands of works which demonstrated how he to take photographs wrong. For example the image above is one of his pieces of work called 'WRONG' this image is a perfect example of how you shouldn't take a photo. In the image the composition is wrong, as well as the placement of where the subject is isn't right as it looks like a tree is growing out the top of his head.

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For my final I am going to take my inspiration from Henri Cartier-Bresson and how he takes his photographs in a decisive moment style where he does very little planning to how, where or who he is going to take photos of.

I am planning on taking my photos in black and white so I can enhance the shadows around my main subject. The image I am hoping to capture is a mid action shot of someone boxing but I’m not going to take a specific action as it is in the style of Cartier-Bresson which will be a decisive moment photo.

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We were also told to take photos in the style of a few artist which base their pieces of photography on Statues similar to the ones I have taken photos of. The images I have taken were to try and replicate the ones that they had taken.
In my opinion I personally found it a bit difficult to take these images because firstly it was very hard to actually find statues as they aren't everywhere also the lighting isn't on all of them since they were around a building and the building would shade some of them and then not the others and it was hard to get a decent and detailed photo when its very dark and there isn't any light to shine on the statue bringing out a more clear shot of it.

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I will be taking the inspiration from Henri Cartier-Bresson for the decisive moment and the black and white style of the images I take but I will be basing it around trying to capture a decent shot of someone boxing.

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The way I have edited my image is I have enhanced he vibrancy and contrast in the image and made the background black and white.

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I have used the inspiration of Henri Cartier-Bresson by the style of his decisive moment and having the motion of some of the image slightly blurred, also I took the idea of making the image black and white from him as well.

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To practice different exposures I set up my camera on a tripod and got my dog to lay down in front of my camera.

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The Tungsten Light is a setting on my camera which will capture an image but changes the tone of it to a cool/warmth look. For example I took some pictures with this setting I have included one of my favorite images from the ones I took to show what changes are made to the image.

Then to show the difference with this setting in natural light compared to artificial lighting i went inside and took some photos of a mannequin, which due to the artificial lighting made it come out in a warmth tone. Whereas, the image above has been taken in natural lighting making the image come out in a cool tone.

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For the flash on the white colour balance setting I went inside and used artificial light in order to get a warm tone out of the image but also darken it. I changed my ISO to 100, aperture to F6.3 and my shutter speed to 1/60.

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For this image I used the daylight setting on the white balance, which enhanced the areas of the image which have sunlight on them and then dulled out the more shaded areas of the image.

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On this image I used the shade setting which seems to enhance the darkness the part of the image which is shaded and not have any changes to the light part of the image.

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To create a contact sheet first you have to go onto photoshop and click create new, then go to file down to automate, then click contact sheet. Once you have done that  you need to click files and then make sure the photos you want are in a folder so that when you go to files you can select the one with your photos in. Then once you have done that a preferred layout for it is 5 columns by 6 rows meaning you can have 30 photos on each sheet. Once you have done all that click ok and wait for all the photos to load onto the sheet.

If you want to save it as a photo instead of saving it as a photoshop project when you go to save it you need to change it to a jpeg.