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I have submitted my shape and form images to The Next Great Fashion Image Makers Photo Vogue competition. I thought this would be amazing opportunity for me to send my work to photo vogue it is a dream of mine just to get recognised or for my work to be seen by industry professionals who have contact with Vogue. It would be incredible for my work to feature/be published in the vogue magazine

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This year, PhotoVogue has become a global project that engages the entire network of Condé Nast worldwide. Our global network allows artists to have their work published or commissioned by our brands across all 32 markets and commercial partners. It will also generate more worldwide events, talks, exhibitions, and portfolio reviews to promote creativity and encourage diversity in image-making.

PhotoVogue's mission is to champion talent, reach into historically excluded communities, and improve visual literacy while promoting a more just, ethical, and inclusive world. And today we are thrilled to launch our first Global Open Call, endorsed by all our Vogue s worldwide.

There are 26 editions of Vogue worldwide, each with their distinct aesthetic and style, all united in pursuing excellence while creating timeless fashion images. Respecting this diversity and working toward a common goal is how Vogue secured a pioneering role in visual communication. We are looking for artists who express themselves with photography, video, or both; everyone 18 years old and over can apply.

The submissions will be evaluated by Condé Nast staff from all over the world, along with experts from the broader international visual community. With judges from as many different backgrounds as possible, PhotoVogue will build an inclusive, diverse vision with space for every kind of visual aesthetic, from realist to fantastic. Not only will all Vogue s publish a portfolio of the best submissions (online and/or in print), but some artists will also be selected to collaborate for an editorial; the most celebrated submissions will be included in the main exhibition at the PhotoVogue Festival 2022 in Milan.

PhotoVogue has helped launch the careers of numerous artists through showcasing their work in Vogue Italia. Many of these featured artists, including Kennedi Carter, Camila Falquez, Nadine Ijewere, Mous Lamrabat, and Sonia Szóstak, went on to secure Vogue cover shoots across the world. Now that we are engaging all the editions of Vogue globally, the possibilities to feature artists from different backgrounds, countries, and aesthetics have multiplied. You could be one of the new voices that will shape not only our brand identity, but our culture as well.

With this open call we are looking for visions that push the boundaries of the current fashion landscape. We want to highlight the next generation of socially conscious fashion image-makers and artists who are a driving force for change and whose work can engage in a dialogue with different genres, from documentary to art. We seek artists who are able to tackle issues relating to social justice and sustainability in powerful, vibrant images and films. Fashion has become a shared language and one of the primary tools to build identity and Vogue, through its photography and stories, has always tackled its intersection with sociopolitical issues by raising questions, embracing innovation, and even influencing change. We are committed to paving the way for the new generation of fashion image-makers, and we'd love for you to join us.
How to submit:
We are looking for artists who express themselves with photography, video, or both, and everyone can apply: The only requirement is to be at least 18 years old.

Every applicant will be able to submit a maximum of 10 fashion images from one project and up to three fashion videos or a multimedia project made with photos and videos.

Both unpublished work or photos/videos taken for an already published editorial are allowed. It can be a project with a documentary slant or closer to escapism. The open call will run on Picter from April 4 until June 25 and submitting will be completely free of charge. There are no limits to creativity; the important thing is that the project expresses your vision of fashion and your unique point of view.

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Are You the Next Great Image Maker? Submit Your Photos to PhotoVogue Today

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This year, PhotoVogue has become a global project that engages the entire network of Condé Nast worldwide. Our global network allows artists to have their work published or commissioned by our brands across all 32 markets and commercial partners. It will also generate more worldwide events, talks, exhibitions, and portfolio reviews to promote creativity and encourage diversity in image-making.

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Personal Project: Lighting Workshop with Andy

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Personal Project: Lighting Workshop with Andy

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Every week/other week I have set up to have technical sessions with Andy the BCU technicians. As I am eager to learn studio lighting as part of this module. I realistically want to come away from this university having a deeper understanding on lighting and that I could work as a lighting assistant. So far I have been around the studio with Andy he has shown me equipment.

MY TASKS FROM ANDY THIS WEEK:
- LEARN APERTURE STOPS OFF BY HEART
F- f2 f2.8 f4 f5.6 f8 f11 f16 f20 f22
ISO- 100, 200, 400, 800, 1600, 3200, 3200, 6400
- WHAT IS FLASH SYNC SPEED?
- CHOOSE 3 IMAGES THAT I CAN TALK ABOUT WHAT ISO, APERTURE, SHUTTER SPEED

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Tim Walker Handle with Care shoot Inspiration and Research 

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Tim Walker Handle with Care shoot Inspiration and Research 

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Images Chosen to submit into competitions 

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Images Chosen to submit into competitions 

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To see clearly what images i thought were my best I played them out on a table going through what ones looked good together and if they flowed well

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LIGHTING PERSONAL PROJECT : Aperture chart and ISO charts 

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LIGHTING PERSONAL PROJECT : Aperture chart and ISO charts 

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I am using these charts to help me learn the camera settings off by heart. In by doing this and seeing it as a picture diagram it is easier for me to learn as I am a visual and tactile learner. This is more useful then just having someone explaining camera settings to me.

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I looked on youtube for inspiration as my idea for this didactic project is to create and teach my peers how to make a small set. As I have a big interest in set design in photography and enjoy 3d.
I also thought teaching this would be a fun way of learning instead of learning something to technical. I used to be a Summer school art department teacher and I was head of arts and crafts and taught 2 to 5 year olds easy crafts that they could then take home with them. With that experience under my belt I hope I can make it equally as fun when teaching adult peers on my course.

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-NOTE
- ASK ROB ABOUT ENTERING THIS AWARD
I think this Genesis imaging company award could be good for me to do for my networking practice as well be great having industry supporting my ideas/images and also get professional feed back for my images
Below is the award i'll be looking at.

"We also support Postgraduate students with our Genesis Postgraduate Award. This is comprised of full production of one individual’s degree show using our range of services (up to the value of £2000). Alongside 12 months mentoring and support, promotion via our newsletter and social media channels and invites to industry events and exhibitions."

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Aware of the fragile state of student's bank accounts and the need to foster new creative talent, Genesis Imaging is proud to offer all students 20% discount across all of our professional photographic services.

Most importantly, we invest time - we know from years of working with students that while a discount helps, sometimes you also need a bit of advice. At Genesis, we're happy for you to talk your projects through with the people who will be working on them - from our creative retouchers to our framers, and all of the team in-between.

Lectures, Portfolio Reviews, Tours and Placements

We regularly work with schools, colleges and universities to deliver lectures, portfolio reviews, workshops and tours of our premises in Fulham. We can accommodate group tours for up to 20 people - please contact us for more information and to arrange your visit.

We also offer work experience and apprenticeship placements for students across London and beyond - please contact us for more information if you'd like to be involved and learn more about our creative, professional operation here at Genesis.

Student Photographic Bursary Awards

Genesis is proud to support Nottingham Trent university final year students by offering three bursary awards; two of £500 to assist in the production of students degree show work and one to assist with an exhibition one year after graduation. This support is something that we have offered for the past five years as part of our commitment to the next generation of creative professionals.

We also support Postgraduate students with our Genesis Postgraduate Award. This is comprised of full production of one individual's degree show using our range of services (up to the value of £2000). Alongside 12 months mentoring and support, promotion via our newsletter and social media channels and invites to industry events and exhibitions.

Graduate Discount

Just because you've graduated doesn't mean that you suddenly don't need support. Our graduate discount provides a continued 20% discount across all of our professional photographic services for a year after you graduate, with 10% discount for the year that follows. This is valid for undergraduate and postgraduate courses undertaken on a full or part-time basis. And it's not just for photography degrees! We work with creative practitioners who have done a wide range of courses, so we believe that our student and graduate discount should support this diversity too.

In addition to this discount, our commitment to the next generation of creative practitioners includes time because our experience has shown us that sometimes you also need a bit of advice. At Genesis, we're happy for you to talk your projects through with the people who will be working on them - from our creative retouchers to our framers, and all of the team in-between.

To take advantage of our Graduate Discount, please sign up using the form below.

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Aware of the fragile state of student's bank accounts and the need to foster new creative talent, Genesis Imaging is proud to offer all students 20% discount across all of our professional photographic services. Most importantly, we invest time - we know from years of working with students that while a discount helps, sometimes you also need a bit of advice.

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For this Didactic I would love for to create a life size set design. And for each of my students to design there own set in a studio space and make them selves part of it.
But that will take long period of time and also facility space that we don't have have.
But Watching this youtube video has given me the idea of how I could create a set design in using the space of shoebox. The shoe box will be used as a set design maquette. Finding shoebox's is first on my materials list I need for my workshop as this will be the body of my workshop. I will then start thinking about theme and what way I will construct my workshop.

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Making Coloured Shadow Puppets I Activities for Children

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BCU- FANCY A CHANCE TO SHOWCASE YOUR WORK

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BCU- FANCY A CHANCE TO SHOWCASE YOUR WORK

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I found this on the wall the second floor of the photography department I feel this would be a great way of getting my photography out there especially at BCU and getting myself known for my photography work at the uni.

I have sent images to this competition

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https://padlet.com/helenlang1/qjxtasn2x99iurle
Click this link to see my Networking sources for CPP module! sketchbook provides more details of my networking

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This PDF is photographs and written work about photographers that I admired from the Photo London Festival. Especially Photographers who I felt added shape and form into there work.

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Before creating any photoshoots I like to create mini vissual maquettes. I do this as I love to be creative, making things but also I feel it is so much better then just drawing my photoshoot ideas (also I am not the best when it comes to drawing) so to get my ideas across I create maquettes its a 3d visual. You can get more of a feel with how materials work in a particular space and practice in real how I would like want my photoshoot to look.

Making a maquette is also great for when explaining a shoot, in my case I showed my assistants who would work with me on this shoot (Shape and form ) these images so they had a clear understanding the materials (balloons) I wanted to use and how they look on a studio cove space.

*Maquettes possibly idea for didactic module*

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documentation of spheres, taken at different angles, here i took the image from a lower angle in hope to create a large scale factor of the reflective balls , making them look like they are bigger then they initially are.

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https://www.youtube.com/watch?v=gRwI-cnXQwg

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David Hockney Turandot Maquette Set design 

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David Hockney Turandot Maquette Set design 

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After Looking at Andy Hockney set design for the Turandot Opera. It influenced me to think more about the design and theame aspect that I wanted to create for my maquette didactic workshop.
In the way the Hockney used shapes in this set design and used colour, I also wanted to bring using shapes and colour into this didactic workshop of mine. I have a interest for 3d shapes and I have always brought the element of shape into my photography work.

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Stage Design for Turandot : Works | David Hockney

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Official Works by David Hockney including exhibitions, resources and contact information.

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My submission to the University Competition 

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My submission to the University Competition 

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Set Model | Anthony Ward | V&A Explore The Collections

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Victoria and Albert Museum: Explore the Collections

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On display at V&A South Kensington

Theatre & Performance, Room 104

Anthony Ward is one of the leading stage designers of his generation. His work includes theatre, opera and ballet and has long associations with directors such as Phyllida Lloyd, Adrian Noble, and Richard Eyre. The Chichester Festival Theatre production of Sweeney Todd starred Michael Ball and Imelda Staunton, and its success guaranteed a transfer into London's Adelphi Theatre in 2012. The production ran for six months and garnered three Olivier Awards: for Best Musical revival and for Ball and Staunton in the Best Actor and Actress categories.

Ward's set design comprises of a post-industrial Victorian factory, complete with rusting ladders and walkways. In the centre of the stage, is the ubiquitous barber and pie shop, with the red barber's chair on top, from which Sweeney's victims descend before being baked in pies by his partner in crime, Mrs. Lovett.

About the set, Michael Billington wrote in The Guardian 'Anthony Ward's design, with its circular gallery filled with gaping windows, evokes the seething activity of a dilapidated, working-class London. But, while providing a portrait of a society that is more early-20th century than mid-Victorian, there is an intense focus on individuals'.

Categories

Object Type

Materials and Techniques

Watercolour, gouache, metal, foam-board, card and wood

Brief Description

Set model for the musical Sweeney Todd: The Demon Barber of Fleet Street, designed by Anthony Ward (2011)

Music and lyrics by Stephen Sondheim, book by Christopher Bond.

Chichester Festival Theatre and Adelphi Theatre, London 2013.

Physical Description

Model of an open stage, surrounded by a metal balcony with a spiral staircase at the left and a metal staircase at the right. In the centre of the model is a raised square platform with a red barber's chair on the top. There are hanging metallic lamps towards the rear of the model. At the back of the model are a series of grills, behind one of the the grills is a large black oven and other industrial machines and pipes. Towards the rear left of the model is a baker's counter. The upper section of the model is surrounded by a series of small windows suggesting an industrial factory.

Dimensions

Height: 48cm

Width: 80cm

Depth: 70cm

Credit line

Summary

Anthony Ward is one of the leading stage designers of his generation. His work includes theatre, opera and ballet and has long associations with directors such as Phyllida Lloyd, Adrian Noble, and Richard Eyre. The Chichester Festival Theatre production of Sweeney Todd starred Michael Ball and Imelda Staunton, and its success guaranteed a transfer into London's Adelphi Theatre in 2012. The production ran for six months and garnered three Olivier Awards: for Best Musical revival and for Ball and Staunton in the Best Actor and Actress categories.

Ward's set design comprises of a post-industrial Victorian factory, complete with rusting ladders and walkways. In the centre of the stage, is the ubiquitous barber and pie shop, with the red barber's chair on top, from which Sweeney's victims descend before being baked in pies by his partner in crime, Mrs. Lovett.

About the set, Michael Billington wrote in The Guardian 'Anthony Ward's design, with its circular gallery filled with gaping windows, evokes the seething activity of a dilapidated, working-class London. But, while providing a portrait of a society that is more early-20th century than mid-Victorian, there is an intense focus on individuals'.

Collection

Accession Number

About this object record

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Set Model | Anthony Ward | V&A Explore The Collections

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On display at V&A South Kensington Theatre & Performance, Room 104 Anthony Ward is one of the leading stage designers of his generation. His work includes theatre, opera and ballet and has long associations with directors such as Phyllida Lloyd, Adrian Noble, and Richard Eyre.

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david-lachapelle

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The dazzling lights of David LaChapelle's hyper-realistic photographs, glinting from neon and metallic and shimmering objects, send a hazy glow into the dark background; a magical aura that conjures up memories of fairground rides and bonfire nights and hot breath misting up the air in front of you. The photographer's images are no less magical really; they draw you in, bedazzled and bewildered, like a ditzy moth drawn to a lamp, and then surprise you by being even more brilliant than you realised at first.

Although they appear to be fantastically lit-up images of power stations and industrial plants, David's images are actually intricate miniatures, made from plastic straws and egg cartons, drinks bottles and pegs. There's an element of Where's Wally?, trying to work out what everything is actually made of, hunting out the aluminium cans and yoghurt pots. Even more crazily, they were shot on location in the rainforests of Maui and the coastlines of California, as shown in the artist's latest monograph, Landscape.

Splashed across double-page spreads in this massive book, images from two surreal series - Gas Station and Refineries - are interspersed with making-of pictures which turn everything topsy turvy, revealing how what seems massive is actually minute and vice versa. The vision of the human-sized dolls' house feels like something straight out of a Wes Anderson film, with bonkers scenarios being played out in every room. Truly mind-boggling.

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David LaChapelle's mind boggling sets of tiny miniatures, photographed in a jungle

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The dazzling lights of David LaChapelle's hyper-realistic photographs, glinting from neon and metallic and shimmering objects, send a hazy glow into the dark background; a magical aura that conjures up memories of fairground rides and bonfire nights and hot breath misting up the air in front of you.

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(more explained in sketchbook) For my CPP project I have been looking at shape and form.  For this project I wanted to collaborate with a fashion designer. I got in contact with a designer Emily Rose a graduate through Instagram, who's garments fitted perfectly with the research I'd previously done on designers who used circular forms in there garments. Here is a video I took of my model on a spinning table wearing Emily's circular dress and hat. I thought it be quite cool for me to get my model on a turn table and I could play/edit the video bringing in my red balloons into it. I also wanted to experiment with movement and didn't  just want to restrict this project just to photography. (more in sketchbook)

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I wanted to get into the studio and experiment with creating  shape
- This shoot I found very challenging as I was working in a new environment the bcu studios. I didn't have a lighting assistant's that I had on my previous shoot With Emily Rose garments. So I was having to change/move the lights as well as be photographer and be a stylist.

But this was good practice for me to collaborate with new people from my course, Emily Taylor a photographer who I used as my model and  Huixuan Li who has had previous work experience in styling. Helped me style the garments on Emily. I was just eager to get in the studio and get familiar with the BCU studios

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Circular dress and circle hat turn table video

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Circular dress and circle hat turn table video

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documentation of spheres: 1 single sphere gives of a fisheye effect

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When shooting portraits, whether of people or animals, your subject should be the main focus of the picture and the best way to achieve this is to use a wider aperture. This will keep your subject sharp, while blurring out any distractions in the background.

Keep in mind that a smaller f/ number means a wider aperture and the wider the aperture, the more dramatic this effect will be. Some lenses can go as low as f/1.2, but even apertures of f/5.6 can do the trick. REMEBER THIS!

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At Bob Books we are dedicated to supporting photographers. From offering a Whether you've just purchased your first DSLR and want to learn the basics or are looking for simple ways to update your existing photography skills, the following tips should help you build a strong foundation. Keep in mind, however, that photography is an art you'll never really be 'done' learning. The best way to keep improving is to practice often, make mistakes and be open to learning from others, whether they're well-established photographers or newcomers to the craft. 15% professionals discount to our logo-free software, amateur and established photographers can be rest assured that we are here to help them with their next project from client photo books to professional portfolios.

1. Learn to hold your camera properly

3. Understand the exposure triangle

Although it can seem a bit daunting at first, the exposure triangle simply refers to the three most important elements of exposure; ISO, aperture and shutter speed. When you're shooting in manual mode, you'll need to be able to balance all three of these things in order to get sharp, well-lit photos.

ISO: ISO controls the camera's sensitivity to light. A low ISO setting means the camera will be less sensitive to light, while a higher ISO means it will be more sensitive to light. An ISO setting of 100 to 200 is usually ideal when shooting outdoors during the day, but when shooting in low light situations, such as indoors or at night, a higher ISO of 400 to 800 or higher might be necessary.

Aperture: Aperture is the opening in your lens and controls how much light gets through to the camera's sensor. A wider aperture (indicated by a lower f-number) lets more light through, while a narrow aperture (indicated by a higher f-number) lets less light through. A wide aperture is great when you want to isolate your subject, but when you want the whole scene to be in focus, such as with group shots, you'll need to use a narrow aperture.

Shutter speed: Shutter speed controls how long the shutter stays open when you take a picture. The longer the shutter stays open, the more light gets through to the camera's sensor. A fast shutter speed is good for freezing action, while a longer shutter speed will blur motion. Read more about understanding shutter speeds on our blog.

4. Wide aperture is best for portraits

When shooting portraits, whether of people or animals, your subject should be the main focus of the picture and the best way to achieve this is to use a wider aperture. This will keep your subject sharp, while blurring out any distractions in the background.

Keep in mind that a smaller f/ number means a wider aperture and the wider the aperture, the more dramatic this effect will be. Some lenses can go as low as f/1.2, but even apertures of f/5.6 can do the trick. To better understand how the aperture affects your images, switch to Aperture Priority Mode (Av or A) and try taking some shots with different apertures. If you want to get some tips and inspiration about taking portraits, head over to our interviews with photographers Reme Campos, Sian Davey and Samir Hussein.

5. Narrow aperture is best for landscapes

Landscape photographs require a different approach, because everything from the rocks in the foreground to the mountains in the background should be sharply in focus. So any time you're shooting a scene where you want everything to be fully in focus, you should select a narrow aperture rather than a wide one.

A larger f/ number means a narrower aperture, so go towards f/22 or higher, depending on what your lens allows. Again, using Aperture Priority Mode (Av or A) will allow you to experiment with different apertures without having to worry about adjusting the shutter speed each time. Take a look at our beginners guide to depth of field for more hints and tips.

6. Learn to use Aperture Priority and Shutter Priority modes

7. Don't be afraid to raise the ISO

8. Make a habit of checking the ISO before you start shooting

9. Be careful with your on-camera flash

10. Learn to adjust white balance

11. Learn to read the histogram

Although you probably glance at your camera's LCD screen to see if you've correctly exposed an image, this isn't a reliable way to assess exposure as images may appear brighter or darker on the screen than they really are. The best way to accurately check exposure at the time of shooting is to use your camera's histogram, which is the little graph that shows up next to your images.

Learning to interpret the histogram will take some time and practice, but the brief explanation of it is that it gives you information about the tonal range present in your image. The left side of the graph represents the blacks or shadows and the right side represents the whites or highlights.

If the graph is skewed to the right, your image may be overexposed and you'll have lost a lot of detail in the lighter areas of the photo. If it's skewed to the left, it's likely underexposed and will be too dark. For a more in-depth explanation of the histogram, check out Digital Camera World's histogram cheat sheets.

12. Play with perspective

13. Understand the rule of thirds

The rule of thirds is based on the idea that pictures are generally more interesting and well balanced when they aren't centred. Imagine a grid placed over your images with two vertical lines and two horizontal lines that divide the picture into nine equal sections.

If you were following the rule of thirds, rather than positioning your subject or the important elements of a scene at the centre of the photo, you'd place them along one of the four lines, or at the points where the lines intersect. Some cameras even have a grid option you can turn on, which can be useful if you're still learning to compose your images.

Of course, photography is all about creativity and personal expression, so you may sometimes choose to break this rule and place the points of interest elsewhere in your photo. This is absolutely fine, but before you start breaking this rule, it's important that you understand it and are in the habit of consciously thinking about the points of interest and where you want to place them. We also have a list of compositional techniques to improve your photography, find out more.

14. Eyes should always be in focus

15. Pay attention to the background

Generally speaking, the background should be as simple and clutter free as possible so that it doesn't pull the viewer's attention away from the main subject of the photo. Muted colours and plain patterns tend to work well, because you don't want viewers to end up being more interested in the colourful building or church tower in the background than your model.

Fixing a distracting background can be as simple as moving your subject or changing your angle, but if that doesn't work, it may be possible to obscure it by using a wider aperture and getting in as close to your subject as possible. Whenever you can, though, try to keep the background neutral, especially if you're placing your subject off to the side of the photograph and the background is very visible. Find out some more tips with our guide to minimalist photography.

If you want to get sharp photos in low light without raising the ISO too much, a tripod is an essential accessory. It will also allow you to experiment with long exposure photography, where you leave the shutter open for seconds or even minutes at a time, which can make for some amazing effects when photographing things like cityscapes or rivers and waterfalls.

When purchasing your first tripod, there are a few things to consider such as weight, stability and height. Weight is important because you'll be carrying the tripod around with you and don't want anything too heavy, but it also needs to be stable enough to support your camera and the lenses you plan to use. You can hear more about what we recommend for upgrading your photography gear with our blog.

17. Shoot in the early morning and evening

18. Invest in some good photo editing software

It's important to realise that every photographer, no matter how experienced or talented, gets some mediocre shots. The reason that their portfolios are so impressive, however, is that they only display their best work; they don't bore you with ten photos of a nearly identical scene.

So if you want your work to stand out when sharing your photos on Facebook, Instagram or photo sharing sites, try to narrow it down to just a couple of very good photos from each shoot. You may have shot hundreds of photos at your friend's birthday party or your son's football match, but by displaying all of them, you're obscuring the five or ten really great shots that you got.

Have a look at our guide to creating your own portfolio, and read our interview with photographer Felix Rome on creating a powerful photo series.

20. Learn from your mistakes

We have a wide range of photography interviews and guides to suit any type of photographer. Want to learn more about our professional portfolios and all year round discount? Then have a look at our professionals page.

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Bob Books - 20 Essential Photography Tips for Beginners

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At Bob Books we are dedicated to supporting photographers. From offering a Whether you've just purchased your first DSLR and want to learn the basics or are looking for simple ways to update your existing photography skills, the following tips should help you build a strong foundation.

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Notes to self
Possible idea shadow silhouette set design -
- think of what material would need?
-could this be made in 20 minutes?
- would adult audience find something like this fun?

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How to Make a Quick and Simple Shadow Puppet Theatre// Kids English Theatre

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https://samuel-thomas.com/design-process-of-a-white-card-maquette/

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Design Process of: A White Card Maquette

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Overall, I'm really happy with the model. It definitely helped me when it came to brief 2 "Amelia", in designing the graphics for the flat. It's a decent example of a white card maquette used for filmmaking and I'm quite proud of it for a single week's work.

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How to Show an Accurate Sense of Scale in Photography

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This article was good source of research for my diadactic project. As it stated the points of how to show sense of scale in photography in a clear way.

I am wanting my workshop to be based around scale and perspective and composition through photography by making a small set maquette and using small 3d card geometric shapes as my set design.

I want my student to take photos of their maquettes at different angles playing and creating different scale, perspective and composition within there maquette.

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Subscribe Below to Download the Article Immediately

You can also select your interests for free access to our premium training:

We look at life with two eyes and our cameras record things through a single lens. This makes it difficult to represent a sense of scale in photography in an accurate way.

Here are a few ideas to help you show sense of scale in your photographs.

How to Show Scale in Photography

Depending on your intention, you may or may not want to give an indication of the scale of what's in your picture.

Sometimes it's fun to give an illusion of the size of elements in photos being bigger or smaller than they are. This is called forced perspective.

Most often you will probably want your pictures to show things the way they are. To do this, keep in mind these three things:

Each of these three things works in conjunction with the other two. They either provide a realistic sense of scale or warp it.

Attach a standard lens, show relationship between things (including a recognisable reference element), and consider your point of view. In doing these things you are more likely to show a realistic sense of scale in your photographs.

Opt for a wide or telephoto lens, isolate elements and find a creative position from which to take your photograph. Doing this can distort perspective.

Let's take a look at each of these three conditions that work together to influence how we perceive scale in a two-dimensional image.

How Your Point of View Influences Scale in Photography

Your point of view is something you need to consider when you want to show scale in your photography.

Our brain calculates what we see. It references it to what we've seen in the past. This is how we recognise things and know instinctively how big they are.

If you're far away, a tall building or tree may not appear very big when you photograph it. Standing at the base of the same building or tree with your camera pointing up at it, the photo will give a very different impression of its size.

Similarly, mountains might appear small from a distance. Sometimes when you are close to a mountain you cannot photograph it. It'll be obscured by the foothills no matter how big it is.

If you're above the mountain, in a plane or helicopter, looking down at it your photographs will not give any clues as to the size of the mountain.

You may be torn between taking photos close up or standing further back. Closer up you can make a more dramatic looking photo. But it may not provide accurate visual information about the scale of what's in the picture.

Standing further back you will more likely make photos that show the scale better. But they might not be as dramatic.

The easy solution is to take two or more photos to illustrate the scene. You can display or share the two images side by side to show how the scene appears and the way you saw it creatively.

You must be very deliberate about where you take your photos from. This is one of the most important considerations. Your point of view has a huge impact on your resulting photograph. Not solely for scale photography, but with every photograph you take.

How Perspective Affects Scale Perception

A very low or very high perspective will often influence our perception of scale in photographs.

Lying on the ground and photographing small objects can make them look larger than they are.

Being up above something and looking directly down at it will make the object appear smaller.

People nearly always stand to take photos. This produces a very normal perspective. It's how we see the world most commonly.

Best Lenses for Showing Accurate Scale in Photos

Whether you use a zoom or prefer prime lenses, your choice of focal length will affect the sense of scale in your images.

Pushing to extremes, super wide or super telephoto, you will see a warped sense of scale in your photographs.

These types of lenses provide a different perspective than what we are used to seeing.

Standard Lenses

A standard lens, not too wide and not too long, will most often provide you with an accurate sense of scale in your photos.

The technical definition of standard lenses is one where the focal length is about the same measurement across the diagonal of the digital sensor or film.

On a full frame camera this would be 43mm. A 35mm or 50mm lens usually the closest prime lenses. On a sensor with a crop factor of 1.5, this would be a 30mm lens.

50mm lenses are often considered a normal lens on a full frame camera, but this lens actually captures a narrower field than what we see with our eyes. Using a zoom lens at 43mm allows you to photograph more accurately with a 'normal' focal length.

Use this to show a true sense of scale in your photographs.

Telephoto Lenses

Longer lenses tend to compress distances in photographs. This gives a distorted impression of how far away from the camera things are and can affect our perception of their size.

Getting far enough away from large things, like tall buildings, long bridges or high mountains can prove challenging. It is not often practical to use a long lens for such types of photography.

Using a long lens can lead to misconceived ideas about the scale of them. Longer lenses tend to isolate, showing less background and surroundings.

This can lead to things appearing larger than they are or leaving their size ambiguous.

Wide Lenses

You need to be careful using wide lenses when you want to display an accurate sense of scale in your photos.

A wide or very wide angle lens is the natural choice for many photographers wanting to show a sense of scale in photography. But using a wide lens and including an element in the foreground can lead to a confused sense of scale.

Whatever is close to you and included in a wide angle composition will appear larger than it is. The wider the lens, the more the distorted sense of scale.

Things that are farther away from you will appear much smaller when you have a wide angle lens on your camera.

Include the Human Element to Portray Scale in Your Photos

Including a person in a photograph is the most reliable way to give a sense of scale.

This is because we instinctively know how big a person is. We can make an easy comparison.

You can use anything that is easy to recognise to provide a sense of scale to your compositions.

Things like trees or animals can vary in size. And might not be as easy to recognise. Whereas an adult human's size is readily perceived.

A clear size reference included in compositions gives our brains the information we need.

This is particularly important when we look at a two-dimensional photo where we have no accurate depth perception.

Conclusion

Scale in photography is an important element. Use it to make your compositions more accurate. Or use it for creative photography with forced perspectives.

The tips in this article will help you show scale in your photos, or radically distort it.

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How to Show an Accurate Sense of Scale in Photography

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Subscribe Below to Download the Article Immediately You can also select your interests for free access to our premium training: We look at life with two eyes and our cameras record things through a single lens. This makes it difficult to represent a sense of scale in photography in an accurate way.

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I was told about this app from the friend who uses this for their professional Insta gram Page and as I'm not good at organising my images she said this would be a perfect app for me to start organising my images and professional manner on my Insta gram page. With this project I am wanting to update my Insta gram and website and my socials so that I can use as portfolio in the future. The app Planoly is a app that ables you to plan, format and schedules your images for instagram. This app allows you to see how your images would look visually on a instagram layout before actually posting them.

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Social Media Planner & Management Tool | PLANOLY

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Our social media planner empowers creators to schedule posts, manage multiple accounts, and organize your content. Make planning easy with PLANOLY.

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I found this workshop with ray quite interesting as I am interested in 3d and eager to learn softwares
In this lesson Rui showed us
- Cinema 4d
-insta 360player.com
- How to create 3d photoshop using a grid from http://vovakurbatov.com/articles/easy-way-to-make-360-vr-designs
-Rui also showed his own work that he created as a reference how far we could take our work ( reference images down below)
- I want to create this 3d Vr designs with my red balloons shape and form shoot.

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Since studying as an architect, and maybe even before, I liked sketching. Before any big project as building, branding or UI, I had to spend some time by drawing on a piece of paper. For me, it was kind of way of synchronizing what I had in my head with what I want to produce.

When I started playing with VR, this habit becomes handy. It's not easy to predict how my idea will feel in 3d, so drawing sketches helped to imagine this space before building it.

Almost two years, I was exploring ways that could help to draw for VR. I came up with the idea to use the equirectangular grid. It helped to bring more or less realistic 360 designs. I got a lot of positive feedback from people that tried to use it.

This research helped me a lot. Some time ago, I had an exercise/personal project " Month of Rebounds." Practically, every day, I was taking some existing idea from Dribbble and explored it more. For some shots, I was taking nice 2d designs and tried to figure out if VR can make them better. To make this in a short time, I used the same grid as for 360 sketches, but it this time in Photoshop. Quite often, people have reached me and asked how I did it, so I decided to make a short tutorial and describe my flow step by step. If you will catch concepts, it becomes pretty simple.

At first, start adding your designs on the artboard, for references use lines on the grid. The vertical grid shows the rotation of users point of view. In the centre is what a user will see in from of him.

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Also, there are two squares, that shows an approximate area of users focus (inside), and what is users full field of view (outside). They help to find scale and position elements in the right position.

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Let's start by drawing a flat widget in the centre of the field of view. If you will keep it without transformation and open in VR, you will notice that the widget is curved.

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For some cases it's okay, but to get the flat surface, you should transform your widget in the opposite direction. To make it, convert all layers into a single, smart object, click Edit -> Transform -> Warp, and make it curved in the opposite direction using lines as guides.

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To draw a flat plane on side, you can do the same transformation using guides on the left and right from a user.

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To get a flat widget in any other direction, use guides in the centre of view to transforming your smart object. And move it the right position later.

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If you want to draw something on the top or the bottom from the user, you should transform it on the full width on the top or the bottom part of the grid.

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The most important is to keep testing how it looks in VR. For every design, I had at least ten tests to get it just right.

Check out the video of my process:

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What's next?

Now you can share your design on platforms that support 360, like Facebook and YouTube. It'll allow community to see your creativity.

There are more ways to open your image. For quick tests, I'm using GoPro VR player.

To get such gif, I use GoPro VR Player to open 360 picture, and just record my screen using Quick Time Player.

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I hope that this short workflow will help you to design better VR experiences. You can download PSD file on Gumroad:

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You can also use any other tool for design. I prefer to use Photoshop because it gives more flexibility in effects and transformations.

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Since studying as an architect, and maybe even before, I liked sketching. Before any big project as building, branding or UI, I had to spend some time by drawing on a piece of paper. For me, it was kind of way of synchronizing what I had in my head with what I want to produce.

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https://studio.support.brightcove.com/general/working-360deg-videos.html
-download the mac version from this page

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In this topic you will learn how to work with 360-degree videos in Video Cloud.

360° videos are video recordings where a view in every direction is recorded at the same time. 360° videos are shot using an omnidirectional camera or a collection of cameras. During playback the viewer has control of the viewing direction like a panorama.

Video Cloud supports uploading and publishing of 360° videos. A sample 360° video is shown below. Once you play the video, you can use your mouse to control the view on the desktop, or the gyroscope if viewing on a mobile device.

For information on browser support and known issues with the 360°/VR video plugin, see the 360º/VR Video Plugin topic.

Recording 360° videos

360° video is typically recorded using either a special rig of multiple cameras or using a dedicated camera that contains multiple camera lenses. The resulting footage is then stitched to form a single video. There are many cameras available to record 360° video. The 360° video in this topic was recorded using a Ricoh Theta S. Brightcove recommends recording your video at a high resolution.

Before you upload

Before you upload a 360° video to Video Cloud, the video file needs to include certain metadata for 360° playback to be enabled. The Spatial Media Metadata Injector application can be used to add metadata to a video file indicating that the file contains 360° video. If the 360° video was recorded on a camera that doesn't automatically add the 360° metadata, follow these steps to add it:

1. Download the 360° Video Metadata app for Mac or Windows.

2. Install and then open the 360° Video Metadata app.

3. Click Open and then select the video file.

4. Click Inject metadata.

5. Enter a name for the new file and then click Save.

The video is now ready to be uploaded to Video Cloud.

Note: For information on creating custom ingest profiles, see
Uploading 360° videos

360° video is filmed to be projected on the interior of a sphere. This means that the visible area of the video in the player is only a fraction of the entire video. The following screenshot gives you a rough idea of this concept. The area inside the red rectangle is what is visible in the player, but it is only a small part of the entire video.

Since only a small part of the video will be in the player at any one time, you want a very high quality rendition to be playing, with no chance of a lower quality rendition appearing. In essence, you are "zooming in" on part of the video and a poor quality rendition would yield a very poor quality viewing experience. When uploading your video, Brightcove recommends creating a custom Dynamic Delivery ingest profile with a single 1080p rendition and at least one audio rendition.
Managing Ingest Profiles. Some care should be taken as mobile devices sometimes have fixed bitrate and resolution limits. Some old mobile devices may fail to play 360° videos higher than 1080p.

Note: For a list of all the video properties, see the Note: The CMS API can also be used to set the
360° video properties

All Video Cloud videos have a set of properties that can be set using Video Cloud Studio or programmatically using the CMS API. Note that not all of the properties are exposed in Video Cloud Studio.
CMS API Video Fields Reference document.
To indicate that a video is a 360° video, use the Media module to edit the video properties and set the Video Projection property to 360°.
projection property to equirectangular. For more information, see Setting 360° Video Properties with the CMS API document.

Note: In order for the 360°/VR plugin to render videos correctly on iOS devices, the
Publishing 360° videos

Brightcove provides several ways you can publish 360° videos:
Note: To use the latest version of the 360°/VR Plugin, you must be using Brightcove Player version 6.13.0 or later. Preload Video Before Playback setting must be set to Yes as part of the player properties. Note: The Field of View (FOV) for 360 videos is 75 degrees.

Publishing 360° videos to web pages

To play 360° videos in a Brightcove Player, the player requires the 360°/VR Video Plugin.

To create a new Brightcove Player with the 360°/VR Video Plugin, follow these steps:

1. Open the Players module.

2. Create a new player.

3. Click the player name to open the player properties.

4. Click Plugins in the left navigation. Note: This plugin is compatible with Brightcove Player version 6.x only.

5. Click Add a Plugin ˇ > Custom Plugin.

6. For the Plugin Name, enter vr.

7. For the JavaScript URL, enter:

//players.brightcove.net/videojs-vr/1/videojs-vr.min.js

8. For the CSS URL, enter:

//players.brightcove.net/videojs-vr/1/videojs-vr.css

9. No Options(JSON) are needed.

10. Click Save and then publish the player.

You can now publish the 360° video using the player that was just created.

Publishing 360° videos using Brightcove Social

360° videos uploaded to your Video Cloud account can easily be published to your social media accounts using Brightcove Social. Note that when using the Social module to sync a 360° video, the ingest profile used to ingest the video must be configured to save the master file or the video won't sync in 360°. When Video Cloud ingests 360° videos, the 360° metadata isn't retained in the resulting renditions. When syncing a 360° video without a master, the highest quality rendition is used in the sync. As the rendition doesn't include the 360° metadata, YouTube/Facebook won't know it's a 360° video.

For information on publishing videos using Brightcove Social, see Publishing Videos to Social Media Platforms.

Publishing 360° videos using the Brightcove Native Player SDKs

Android and iOS apps built using the Brightcove Player SDKs can play 360° videos. For information on publishing 360° videos with the SDKs, see the Using 360° Videos with the Native SDKs document.

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In this topic you will learn how to work with 360-degree videos in Video Cloud. 360° videos are video recordings where a view in every direction is recorded at the same time. 360° videos are shot using an omnidirectional camera or a collection of cameras.

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This is a factory that Rui created in cinema 4d

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Myself and Diana have decided to collaborate for Contextual creative professional practice module. With my images that I  have taken from my shape and form shoot of Emily roses designs Diana and I are going to work on bringing them into Blender a 3D software and work with creating spherical spheres over or taking the place of my balloons.

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-Make sure you get feedback from your class from you practice workshop didactic
- Film yourself making the set design in a box (put this in the presentation) the students

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Wednesday 23/03/22 - 30/03/22
- After talking to rob saying that teaching isn't my strongest point rob told me to research into youtube on "how to?' How to teach a workshop?" To look into the structure side of teaching.

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Wednesday- 30/03/22
Andrew- likes my concept of making a set design and told me to research of David Hockney set designs for Turandot.

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Reading this article was interesting and made me think of things that I wouldn't of thought of in detail when creating my workshop. I now realise that time is a important aspect to my workshop as I want participants to be fully engaged and aware. I will try and avoid scheduling my workshop in the evening after a workday when everyone is tired and impatient. So I will strategically schedule it to be a morning workshop or early afternoon.

This is something to think about for my workshop

Brainstorming session. At the beginning of my workshop I will Ask my workshop students to shout out as many of ideas that they can think of that relate to SET DESIGN. I will then ask them to evaluate what they have come up with

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Learning how to conduct a workshop is important for educators, business leaders, scientists, and other professionals. A successful workshop provides participants with new skills, information, and a sense of accomplishment. The ideal workshop also provides opportunities for participants to interact and learn actively.

1. Define the workshop objective. Whether you are teaching a skill, delivering information or increasing awareness, outline the goals of your workshop. What do you want your workshop participants to learn? This analysis may result in a list of specific skills you will be teaching, concrete topics you will cover, or simply a feeling you will inspire in your participants. Think carefully about what you want to accomplish and why it is important. Some examples of workshop objectives include:

Learn how to write a persuasive cover letter.

Learn how to break bad news to a patient.

Learn 5 techniques to get a reluctant student to talk in class.

Learn how to create an effective Powerpoint presentation.

2. Decide who your audience is. Will the workshop participants know one another or are they strangers? Will they come in with knowledge about your topic or will they be completely unfamiliar with it? Are they choosing to attend your workshop or is it a requirement for their job training? Answers to all of these questions will affect how you organize your workshop.

For example, if your audience already knows each other, you might be able to launch into group activities very quickly. If they are complete strangers, you might need to schedule extra time for icebreakers and introductions.

3. Recruit 8-15 participants for your workshop. A workshop is not the same as a large lecture. You want your group to be small enough to ask all their questions, practice their skills, and work together. But you also want your workshop to be large enough to keep things interesting. Ideally a workshop will have 8-15 participants.

Sometimes you don't have a choice about your group size. If you have a very large group, find creative ways to make sure the size doesn't become overwhelming. For example, a group of 40 participants could be divided into 5 different break-out groups of 8 participants each. You could also bring in co-facilitators and co-presenters to handle groups that are larger than ideal.

4. Prepare paper handouts. Readings, case studies, lists of key terms, and quizzes are all possible teaching aids you might wish to prepare. It is best if you prepare these handouts well ahead of time. That way you can catch typos or errors. Be sure to use a large, easy-to-read font. Give each document a clear label and date so that your participants will be able to use these handouts in the future.

If you have lengthy readings, consider precirculating these handouts to the group so that they can come in prepared.

If you are handing out numerous documents, consider providing your participants with a folder or binder to keep their papers neat and organized. If you give this workshop often enough, you might even want to compile your materials into a bound book that you give to your attendees.

5. Decide on your group activities. Interaction amongst a group of participants sets a workshop apart from other ways of learning. Brainstorm educational group activities that are suitable to your workshop's objectives. Keep in mind that activities can be done in pairs, small groups, or as a full group. Make sure that you include enough opportunities for every workshop participant to contribute meaningfully to your workshop. Some possible group activities include:

Debates. Break the workshop into two groups and have each group argue for their position.

Think-pair-shares. Ask your participants a discussion question. Have them think about it on their own, discuss their thoughts with a partner, and then share their conclusions with the full group.

Question-and-answer sessions. If you have a lot of information to present, include your attendees in the discussion by allowing them to ask questions about the material. You can answer these questions yourself or ask other workshop participants to answer them.

Role-playing activities. Assign participants roles to play in order to practice the new techniques they are learning.

Brainstorming sessions. Ask your workshop to shout out as many ideas as they can think of. Write them all down on a chalkboard or whiteboard. Then ask your workshop to evaluate what they have come up with.

6. Secure catering. Workshops take a lot of work and energy. Help keep your participants' energy levels up by providing healthy foods and beverages. Ideally the costs of these snacks will be covered through participant registration fees or by the organization that asked you to lead the workshop. You should not have to pay for snacks out-of-pocket.

Try to avoid junk foods. Unhealthy foods might give short bursts of energy but then will cause energy crashes very soon. That will leave your participants bored and tired. Aim for energizing healthy snacks such as fruit, vegetables, hummus, and whole grain breads.

1. Distribute materials. If you have notebooks or other workshop materials to hand out, place them on the tables or chairs in advance to save time during the workshop. Make sure they are in the correct order and that they are clearly labeled. Other materials you might need to set up in your workshop space include:

Snacks and beverages.

Name-tags and markers.

Pens and pencils.

2. Greet participants as they arrive. Arriving early allows you to set up, relax and get to know participants before the start of the workshop. This helps in building relationships with the participants.

1. Introduce yourself and the workshop. Once everyone is seated, you will have to orient them to your workshop. Be sure to tell them your name and what they should call you. Give a few words about why you should be considered an expert in the topic and what got you interested in it. Explain to your participants what the goal of the workshop is and why it is important. It is also a good idea to give a rough outline of how the workshop will be run so that they can be prepared. Try to limit this segment to just a couple of minutes.

Even if your topic is a serious one, consider using humor to lighten the mood and get everyone comfortable with one another.

Explain to your participants what the materials around the room are and what they should do with them. For example, you can ask people to fill out name-tags, grab a cup of coffee, and make sure they have their handouts. If you would rather that your participants not pull out their readings or laptops right away, you can tell them when those materials will be needed.

2. Execute your lesson plan. This is when all of your careful preparations can be put into action. Have your outline in front of you, and try to stick to the outline if you can. Feel free to tell your participants directly what you are doing and why. Your lesson plan doesn't have to be a surprise, and your participants might appreciate being told why you've organized the workshop in the way that you did. For example, you might tell them:

"First we are going to go over our case studies to make sure we understand their nuances. After that, we will divide into small groups to determine an ideal solution to the problem."

"We're going to spend some time learning key terms that will be useful to you as you learn this new computer program. After I explain these terms, we'll take a quiz to make sure we are on the same page. After that, we will open things up for discussion."

"Please introduce yourself to the person sitting next to you. In a few minutes, you will role-play a counselor-student interaction with your partner."

3. Use interactive exercises to reinforce information. Always follow up the delivery of information with the reinforcement of that information through some kind of group activity. Interactive group work is a particularly effective method to teach problem-solving techniques. A workshop is not the same thing as a lecture, and you want to honor the thoughts and opinions of your workshop participants. Let them teach each other at the same time that you are teaching them. For example, you can:

Deliver information in short spurts and then allow participants to ask questions.

Divide participants into groups to complete a task and ask them to report back to the entire group.

Show a video clip and then ask pairs of participants to discuss their reactions.

Provide advice about how to handle a difficult situation and then ask small groups of participants to role-play the scenario.

Have an expert demonstrate a technique and then ask your students to take a collaborative quiz about the technique.

4. Don't talk too much. You do not want to micromanage every stage of the workshop. Your participants might get bored or annoyed.Keep in mind that a workshop is different from a lecture or a typical meeting: it is a format that thrives on interaction, activity, and group work.

5. Conclude the workshop with a summary of what they have learned. Explain everything that your participants have learned over the course of the session. This will help emphasize how far they have come and what new skills they have acquired. Refer explicitly to the objectives you laid out at the beginning of the workshop, and explain how you think the participants have met those objectives. Congratulate your workshop for their hard work and for their new knowledge.

1. Get feedback immediately after the session. Design an evaluation form that your participants can fill out in the last few minutes of the workshop. Be sure that you leave them with enough time to comment and consider your questions carefully. Immediate feedback not only will help you improve your workshop but will also help reinforce the learning your participants have undertaken.Good questions to ask include:

What is the stated objective of this workshop? Did the workshop meet its stated objective?

What activities helped your learning the most? The least?

Was the workshop an appropriate length?

What workshop materials (handouts, readings, quizzes, etc.) were the most useful? Which ones were the least useful?

How have you learned or grown from this workshop?

How do you think your colleagues have learned or grown?

How would you change this workshop in the future? Any suggestions for improvements?

Are there any topics that you would like to take a workshop on?

2. Follow up with the participants a few days or weeks later. Ask workshop attendees if you may contact them in the future for their input. Some people need time to reflect back on their workshop experiences. Following up with workshop participants several days or weeks later might reveal new insights. You can ask additional questions such as:

How well have you retained the information you learned in the workshop?

Do you still find yourself thinking about the workshop?

How has the workshop helped you at work? Were there ways it could have helped you more?

What materials have you found useful since the workshop? What materials have you thrown away or forgotten about?

3. Schedule a follow-up workshop if necessary. If enough participants are interested in more advanced versions of your workshop, consider scheduling a Part 2. In the follow-up workshop, you can address more of their questions, dig more deeply into the topic, or engage in more advanced versions of the techniques taught in Part 1. Be sure that your follow-up workshop is not too repetitive and that it is suitable for more advanced attendees.

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wikiHow is a "wiki," similar to Wikipedia, which means that many of our articles are co-written by multiple authors. To create this article, 16 people, some anonymous, worked to edit and improve it over time. This article has been viewed 308,081 times.

Updated: February 1, 2021

To conduct a workshop, begin by scheduling it for when people are most alert and engaged, like in the morning or early afternoon. Next, publicize the event by passing out flyers or contacting local businesses. Aim to recruit 8-15 people to participate in your workshop so the group is manageable. Then, plan activities such as debates and brainstorming sessions, but make sure to leave time for breaks in between. For tips on how to follow up with attendees after your workshop is over, keep reading!

Thanks to all authors for creating a page that has been read 308,081 times.

"I was looking for an expert to answer my queries about this topic. wikiHow is better than an expert, giving me more input than I needed and answering questions I wouldn't even have thought of. Expanded my awareness to a lot more than I needed. Thank you!" ..." more

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Download Article Download Article Learning how to conduct a workshop is important for educators, business leaders, scientists, and other professionals. A successful workshop provides participants with new skills, information, and a sense of accomplishment. The ideal workshop also provides opportunities for participants to interact and learn actively. Define the workshop objective.

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My Image (Helen Lang 2022) Shape and Form

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 The Images I chose to Work with for Diana's and my collaboration (Photography X 3D Animation)

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 The Images I chose to Work with for Diana's and my collaboration (Photography X 3D Animation)

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I thought these images would be good starting point to use for our collaborative project. I picked one image with red balloons and one image without red balloons just with a model on a white background. Diana and I have this idea that we create a ball spinning above my models head in the image (keeping it simple) that is just my model. For the image with my model posing with the balloons we are going to create a overlayed spinning ball on on top of one of the red balloons

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Thursday March 31st -  Workshop in Capture 1 software and using different light  Modifiers 

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Thursday March 31st -  Workshop in Capture 1 software and using different light  Modifiers 

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With this workshop Andy started talking me through capture1 software on the computer in the studio. This is a software that allows you to see your images in real time when you are shooting in the studio, this is done with connecting your tethering cable to your laptop and from your laptop you connect a HDMI cable to the big calibrated monitor screen, this allows you to see you to see images at a bigger scale. Andy showed me that your actually able to control our camera settings by using capture1. Andy explained you first go to up to File - start new session and then Name your session.  This is what you should set up on capture1 before each shoot, it will create files and save your images into a file for you that you can then take away on a hardrive (never delete the weird data looking file).

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learning capture1 and how I would set it up if I was a assistant to a photographer 

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learning capture1 and how I would set it up if I was a assistant to a photographer 

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Explanation of my studio workshop with softbox modifiers.

The next part of the workshop was for me to get farmiliar with the lighting softbox modifiers in the studio.  Andy got me to set up my camera with capture1 then got me to arrange  2 different camera positions on the cove one being a portrait close up shot then the other camera positions was a wide portrait shot. I then took photos of Andy with my light pointed at a 45' degree angle on the left of him and went through the different size modifiers first starting with 2x3 size softbox shooting Andy in the 2 different shooting positions (portrait close up and portrait wide) we then used the soft grid on the 2x3 softbox and then I carried on changing the size of softbox modifiers (still using my 2 portrait postions) 1x4 softbox to then, 3x4 softbox, then 5ft Octo then 1x1,3 softbox.

At the end of workijng with each softbox modifier we went through the images that I took and discussed how when lighting a subject with diffrent soft boxes can change the   lighting on the model sometimes it only ever so slightly softer looking.

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- First, Diana put the image of the model with the balloons into the blender. When bringing the image into blender we realised that it changed the colour of my original image. It also changed the skin colour on my model, and her skin became much fairer. I do not want the colour of my model’s skin to be altered and we need to work out how to address this and prevent it from happening.

- Also, when working on my balloons, and trying to make them spin on blender, we realised that although the blend spinning tool was on and the balloons were spinning, we were not able to see this, as the lighting on the sphere wasn't changing.

NOTES : We would need to change the direction of light in blender, so that you would be able to see when the sphere was moving.

-We also played with putting textures on the spheres (that represent my balloons) and experimented turning the reflection layer on the spheres and seeing what would change. As that would be the only way that you could see my spheres spinning on the screen ( because my balloons are a sphere shape and only has one spherical face to it, so of course you’re not going to be able to see the spinning sphere in motion)

to it and of course you are not going to be able to see the spinning ball in motion)

- The next thing for me and DIana to think about is positioning lights onto my spheres in blender

NOTES: Ask Rai as he is our 3d lecturer tutor.

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talk about here we need to change the lighting set so the balls looks more realistic

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Talking through modifiers with Andy

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My reason for choosing 3d shapes (cubes, pyramids, tetrahedron) for the theme of the set design in the didactic  was to 1 bring over my interest of 3d shapes into this module and 2 to keep the theme of the set really simple. (I originally thought that the students should bring in magazines and use cut outs from the magazine to form their own theame and set). But I am glad that I gave the students all the same materials (3d shapes and a shoebox ) to work with but then they could be free in using it in there own way of design aspect
Also in using 3d shapes as the theme for the set design It would allow the students to think and be more experimental when it came to designing and stacking shapes on one and other, e.g putting a cube on top of one of the faces of a tetrahedron and balancing a pyrymid on top of the cube. This could create fun way of showing scale.

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creating the shoe box to look like a white cove/ plain space, using paper 

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To create these 3d shapes for my didactic, I looked up 3d model nets where I was able to find all different shapes that you could download and use for free. I printed out a couple of cube, pyramids and tetrahedrons to see if they fit in a shoebox and how many could I work with. I also brought these nets into photoshop and scaled down the size and printed and made them to see what they would look like in comparison to the bigger shapes. I found making these small net shapes incredibly difficult and fiddly so I decided jus to stick to the bigger shapes (image example above)

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Planning Materials and Ideas that I got from Research

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Planning Materials and Ideas that I got from Research

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Being interested in set design and also that I find it to be useful for me creating small maquettes when it comes to my photography. Im wanting to have set design as part of my didactic After researching up on how I could go about making set design on a smaller scale and be a fun activity. I was able to find youtube videos of a women using a box and creating a stage set design it. It was useful to see the materials in which she used to create the set design this gave me a good starting point for what materials i need to consider brining to my workshop, eg glue, scissors etc.
This video gave me the idea for my didactic to use a shoebox as a space to design our maquette set design in.

I want to bring in the element of the students being part of the set design, being the subject within there set design.
I got an image of my self and made 3 different measurement 1.5, 3, and 5 inches and started playing around with my 'mini me' cut out and different shapes in the shoe box. playing with different scales perspectives. I will get my students to create a mini me of them selves at these measurements.

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Mini Me cut out 1.5, 3, and 5 inches

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Making/Creating my Materials for Workshop

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Making/Creating my Materials for Workshop

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I was originally going to getting the students to make shapes from the nets as part of the workshop. But with tutorials and discussions with my peers they said for me to focus of the photography aspect of the workshop, so i made the decision that i would create all the shapes for the students to use, Instead of having the shapes all white I thought it be fun and add contrast if I made the shapes 3 diffrent colours, this did turn into a very a very long process for me cutting and sticking and getting all the materials ready for my workshop.

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Experimenting with my different size Mini me's against my colourful 3d shapes
practising creating forced perspective and creating scale between my mini me and my 3d shapes

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Technical teaching STEP by STEP instruction 

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Technical teaching STEP by STEP instruction 

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I thought it be helpful and beneficial that from my lesson I created a step by step instructions for my Didactic workshop "Playing with Scale, Perspective and composition

Using shoebox maquette".
As I know from a student perspective I can find it hard sometimes keeping up with a presentation and lessons. I understand that english may not be students first language and some students find it hard to read (dyslexic like me) and to keep up with taking in to much information all at once is really difficult.
So with my powerpoint presentation explaining what we will be doing in the workshop, I will also be giving out easy step instructions on paper so that people can know to go at their own pace.

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Evaluation students understanding of my workshop 

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Evaluation students understanding of my workshop 

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I am glad I brought in my own materials
for example
as I knew Isabel may of found it hard to follow in the instructions that I asked for the group to do prior of the workshop (which was a print out a posed cut out of them selves in the measurements 1.5, 3, 5 inches) Once I sat with Isabell and explained the concept, went through the step by step instructions, demonstrated how to do the workshop over a couple times it was more clear for her.
She then started experimenting more using her mini me cut and experimented putting the shapes on the ceiling of the shoebox

Sonal and Jasmine understood the workshop and started creates sets and taking images. I also gave out a step by step instructions so that they could work at there own pace so that I could help when they needed but also had a go by to list instructions so that i was able to help Isabell.

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Once that I felt they had done the task taking photos with there mini me (as said on the step by step instructions). I brought out small lenses that you could attach to your camera phone one lens being a fisheye so they could play with altering the scale and perspective of the image. I also brought in colour gels so that they could experiment with bringing colour into there images. I felt it was good to tie in fisheye lenses into this workshop as I have also used fisheye lens in my CPP module and love the way that a fisheye lens distorts perspective in images.

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It was good that I planned to have my workshop in the morning, where I feel was the best time of day for someone to learn. In planning having a early workshop 10am I knew that the university wouldn't be so busy and I would get a room space that worked for my workshop.

I feel for my workshop it was vital that I had a presentation at the beginning explaining what scale, perspective, composition and what a maquette is and and why is it usefull. I used images on each of the slides to show examples of scale, perspective, composition and what is a maquette. I feel its very important to have images beside written information when presenting and learning.

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Theses pages of research below were useful pages for me when researching up on understanding composition, scale and perspecive in photography and how I can bring in facts from this research into my didactic presentation. As for my didactic teaching I also want to add the aspect of photography in to the lesson and for my students to understand the elements of what to think about when taking a image.

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This is Chapter 2 of our multi-part tutorial, Composition in Photography, which teaches you how to compose photos that are as effective as possible. In this part of the guide, I'll define composition and explain why it's such a powerful tool for taking better photos.

NIKON D800E + 105mm f/2.8 @ 105mm, ISO 100, 1/640, f/3.5

The Definition of Composition

Each time you take a photo, you end up making conscious decisions about what items to include or exclude. You also decide how to arrange the objects that are in your frame. So, what is composition? It is simply the arrangement of the elements in your photo.

I know that plenty of people have more complex definitions of composition, but it strikes me that they're only making things more confusing. In the end, everything you hear about composition boils down to the arrangement of the elements in your photo - and how that arrangement makes a photo succeed or fail.

Of course, capturing a good composition is far from easy. But that's all the more reason to keep things simple when you can. If you're struggling on where to even start when composing a photo, think back to the basics. Your photo has things in it; your job is to arrange them.

NIKON D7000 + 24mm f/1.4 @ 24mm, ISO 100, 1/1600, f/1.4

The Strongest Way of Seeing

The next question is how to arrange the elements in your photo effectively - and the answer is to arrange them in a way that brings out meaning.

For example, imagine the following photography: A shadow is a line that leads to a vase of flowers; the vase is the same color as a clock on the wall; the hands on the clock point back to the shadow.

Doesn't that sound like a deliberate photo? With just two tools - lines and colors - the photographer in this hypothetical case has managed to thread together different objects and give them more meaning.

One of my favorite quotes about photography is that good composition is "the strongest way of seeing." Who said that? None other than Edward Weston, among the best photographers of all time and a master of composition.

Putting "the strongest way of seeing" into practice isn't easy, but I believe it all comes down to emotion. Think of it like this: Your composition should complement your subject. If you're photographing an intense, apocalyptic storm cloud overhead, feel free to arrange an intense, apocalyptic composition! Get their emotions on the same page.

If you're not sure how to capture an intense composition, don't worry. First off, this guide is 90% about answering that exact question. But second, it's all surprisingly intuitive. In this particular example with the storm, an intense composition might be one where the horizon is along the bottom edge of the photo and the sky is filled with sharp, dramatic lines - things like that. You might go so far as to boost contrast in post-processing to make the effect even stronger.

Ultimately, I find it helpful to have the same two questions going through my head when I'm taking a photo: "What emotions are my subjects giving off? And how can I arrange my composition to give off those same emotions?"

NIKON D7000 + 24mm f/1.4 @ 24mm, ISO 360, 1/50, f/1.4

Your composition also determines the path of a viewer's eye through the photo. Even though you can't know the exact path a viewer's eye is going to take, you can nudge things one way or another.

Do you want your viewer to pay more attention to the mountains in the background of an image? Look for lines in the foreground or sky that point toward them. Or, wait until the light at sunset shines on the mountain peaks with brilliant color. Do what you can to make the mountains a destination for your viewer's attention.

I always find it interesting how our eyes flow through a photo subconsciously. For instance, we intuitively follow along the path of lines in an image, especially straight lines. Even more than that, we spend substantial time looking at subjects and jumping from each important subject in the photo to the next. (An "important subject in the photo" would be something like a person's face or an area of high sharpness and contrast.)

I'm not just inventing these ideas out of thin air. Take a look at this detailed study that tracked how people's eyes flowed through different works of classic art, and even compared how their eyes flowed after rearranging one or two elements. If you take the time to click on that study, you'll see something that I find especially interesting: Even a small rearrangement almost always had cascading effects. For example, cropping out the dark, left-hand edge of a Rembrandt painting led people to spend more time looking at a wall in the background on the opposite side of the painting.

This is the power of composition. By changing the arrangement of some elements here and there, you change the photo's entire structure - and therefore how a viewer's eye flows through the image.

NIKON D7000 + 17-55mm f/2.8 @ 55mm, ISO 640, 1/10, f/2.8

Photographers tend to forget that they have tremendous control over the size and placement of the different objects in an image. And no, I'm not talking about moving around your subject in Photoshop after the fact. I'm not even talking about moving things around in a studio where you have full control over your photo.

Instead, any time you're taking pictures, simply changing your camera position and focal length can have huge effects on the composition you get. Do you want a tree that's bigger than a mountain? Done. Just walk up close and use a wide angle lens.

NIKON D800E + 20mm f/1.8 @ 20mm, ISO 100, 1/4, f/16.0
Wide angle, standing up close.

Do you want an imposing mountain and a smaller tree? That's just as easy. Stand back and use a telephoto.

NIKON D800E + 70-200mm f/4 @ 70mm, ISO 100, 0.6 seconds, f/16.0
Telephoto, standing farther back. (This is the same tree.)

So often, I see photographers set up their tripod at eye level and never move it at all. They'll do 100% of their composition by loosening the ballhead on the tripod, pointing the camera around, and then locking the ballhead when they're satisfied.

I won't say this method is doomed to give you bad photos, but it's missing out on a huge part of composition! If your tripod stays in the same spot, you won't be able to change the relative sizes or relative positions of the subjects you're capturing. That's a lot of creative tools down the drain.

So, as you read through the rest of this guide, I recommend reminding yourself of something from time to time: You have extraordinary control over a photo's composition... and, therefore, a photo's emotions. Use

Now that you have an idea of what composition is and why it's so powerful, it's time to look at the specific tools at your disposal to help compose better photos. So, click below to go to Chapter 3: Elements of Composition.

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Read this beginner article on what defines composition and what it means in photography, as part of our detailed guide.

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https://photographyicon.com/scale/

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Icon Photography School | Photography Classes Online

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(Photographer unknown. If you know who took this get in touch so we can give credit where it's due!)

This photograph of two men standing at the bottom of a very large ship in a dry dock is a really stunning example of scale in photography. Using scale in photography is very important because as humans our minds figure out the size of our surrounding world in various ways. Of course your brain knows the size of a human and in this case that means that is one HUGE ship!

Scale gives the person looking at your photograph a frame of reference. Scale is often an under-utilized technique in photography. In fact many beginners in photography will even go so far as to remove people from a landscape photo thinking people in the image detract from the view. When in fact having people in your landscape photos can often be great! For example look at how much better this image is because there is a person in the foreground:

photo by steved

Be aware your brain can and will play tricks on you:

In fact this caused problems for astronauts on the moon! Here on Earth, distant objects are obscured by the atmosphere, and we use that to mentally estimate distances. That makes things a little tricky on the moon because there is no air! An object can be very far away on the Moon and still razor sharp to the eye. You can't tell if a boulder is a meter across and 50 meters away, or 10 meters across and 10 miles away!

To give you an example this watch the rock the start of this video. Try to guess the size of the rock at the start of the video. Then watch until the end and see if your original guess was indeed correct.

Here is another fantastic example of scale in photography:

(Photographer unknown. If you know who took this get in touch so we can give credit where it's due! Image via Imgur)

Scale is a great technique to improve your images and shouldn't be overlooked. You can even have fun with it like this. As humans we need scaled to know how large and small the surround world is. In photography it helps us to enjoy the image instead of adding mental work to figure out the size of various elements.

Here is another video about scale (and polarizing filters)

Now go forth and take some great photographs with scale!

Update here is another great ship photo.

Finally, check out these great examples of scale in landscape photography in Iceland.

Here is a video that uses scale nicely:

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Learn The Importance of Scale In Photography | Icon Photography School

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(Photographer unknown. If you know who took this get in touch so we can give credit where it's due!) This photograph of two men standing at the bottom of a very large ship in a dry dock is a really stunning example of scale in photography.

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This is Chapter 2 of our multi-part tutorial, Composition in Photography, which teaches you how to compose photos that are as effective as possible. In this part of the guide, I'll define composition and explain why it's such a powerful tool for taking better photos.

NIKON D800E + 105mm f/2.8 @ 105mm, ISO 100, 1/640, f/3.5

The Definition of Composition

Each time you take a photo, you end up making conscious decisions about what items to include or exclude. You also decide how to arrange the objects that are in your frame. So, what is composition? It is simply the arrangement of the elements in your photo.

I know that plenty of people have more complex definitions of composition, but it strikes me that they're only making things more confusing. In the end, everything you hear about composition boils down to the arrangement of the elements in your photo - and how that arrangement makes a photo succeed or fail.

Of course, capturing a good composition is far from easy. But that's all the more reason to keep things simple when you can. If you're struggling on where to even start when composing a photo, think back to the basics. Your photo has things in it; your job is to arrange them.

NIKON D7000 + 24mm f/1.4 @ 24mm, ISO 100, 1/1600, f/1.4

The Strongest Way of Seeing

The next question is how to arrange the elements in your photo effectively - and the answer is to arrange them in a way that brings out meaning.

For example, imagine the following photography: A shadow is a line that leads to a vase of flowers; the vase is the same color as a clock on the wall; the hands on the clock point back to the shadow.

Doesn't that sound like a deliberate photo? With just two tools - lines and colors - the photographer in this hypothetical case has managed to thread together different objects and give them more meaning.

One of my favorite quotes about photography is that good composition is "the strongest way of seeing." Who said that? None other than Edward Weston, among the best photographers of all time and a master of composition.

Putting "the strongest way of seeing" into practice isn't easy, but I believe it all comes down to emotion. Think of it like this: Your composition should complement your subject. If you're photographing an intense, apocalyptic storm cloud overhead, feel free to arrange an intense, apocalyptic composition! Get their emotions on the same page.

If you're not sure how to capture an intense composition, don't worry. First off, this guide is 90% about answering that exact question. But second, it's all surprisingly intuitive. In this particular example with the storm, an intense composition might be one where the horizon is along the bottom edge of the photo and the sky is filled with sharp, dramatic lines - things like that. You might go so far as to boost contrast in post-processing to make the effect even stronger.

Ultimately, I find it helpful to have the same two questions going through my head when I'm taking a photo: "What emotions are my subjects giving off? And how can I arrange my composition to give off those same emotions?"

NIKON D7000 + 24mm f/1.4 @ 24mm, ISO 360, 1/50, f/1.4

Your composition also determines the path of a viewer's eye through the photo. Even though you can't know the exact path a viewer's eye is going to take, you can nudge things one way or another.

Do you want your viewer to pay more attention to the mountains in the background of an image? Look for lines in the foreground or sky that point toward them. Or, wait until the light at sunset shines on the mountain peaks with brilliant color. Do what you can to make the mountains a destination for your viewer's attention.

I always find it interesting how our eyes flow through a photo subconsciously. For instance, we intuitively follow along the path of lines in an image, especially straight lines. Even more than that, we spend substantial time looking at subjects and jumping from each important subject in the photo to the next. (An "important subject in the photo" would be something like a person's face or an area of high sharpness and contrast.)

I'm not just inventing these ideas out of thin air. Take a look at this detailed study that tracked how people's eyes flowed through different works of classic art, and even compared how their eyes flowed after rearranging one or two elements. If you take the time to click on that study, you'll see something that I find especially interesting: Even a small rearrangement almost always had cascading effects. For example, cropping out the dark, left-hand edge of a Rembrandt painting led people to spend more time looking at a wall in the background on the opposite side of the painting.

This is the power of composition. By changing the arrangement of some elements here and there, you change the photo's entire structure - and therefore how a viewer's eye flows through the image.

NIKON D7000 + 17-55mm f/2.8 @ 55mm, ISO 640, 1/10, f/2.8

Photographers tend to forget that they have tremendous control over the size and placement of the different objects in an image. And no, I'm not talking about moving around your subject in Photoshop after the fact. I'm not even talking about moving things around in a studio where you have full control over your photo.

Instead, any time you're taking pictures, simply changing your camera position and focal length can have huge effects on the composition you get. Do you want a tree that's bigger than a mountain? Done. Just walk up close and use a wide angle lens.

NIKON D800E + 20mm f/1.8 @ 20mm, ISO 100, 1/4, f/16.0
Wide angle, standing up close.

Do you want an imposing mountain and a smaller tree? That's just as easy. Stand back and use a telephoto.

NIKON D800E + 70-200mm f/4 @ 70mm, ISO 100, 0.6 seconds, f/16.0
Telephoto, standing farther back. (This is the same tree.)

So often, I see photographers set up their tripod at eye level and never move it at all. They'll do 100% of their composition by loosening the ballhead on the tripod, pointing the camera around, and then locking the ballhead when they're satisfied.

I won't say this method is doomed to give you bad photos, but it's missing out on a huge part of composition! If your tripod stays in the same spot, you won't be able to change the relative sizes or relative positions of the subjects you're capturing. That's a lot of creative tools down the drain.

So, as you read through the rest of this guide, I recommend reminding yourself of something from time to time: You have extraordinary control over a photo's composition... and, therefore, a photo's emotions. Use

Now that you have an idea of what composition is and why it's so powerful, it's time to look at the specific tools at your disposal to help compose better photos. So, click below to go to Chapter 3: Elements of Composition.

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Read this beginner article on what defines composition and what it means in photography, as part of our detailed guide.

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How I presented my presentation, I also kept this tasks page of my presentation  on the board while doing the workshop so my students could refer back to it.

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Explaining the task giving examples before the students create their own shoe box maquette 

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In isabells workshop we learnt about how to create a pixelated icon, using photoshop. Isabell gave a well pressented presentation on artist who create art using the technique pixels. Isabell presented what we had to do on photoshop to create this icon going through each step. My icon  I chose to draw was coffee cup to (above is my pixel icon). I have not done anything using related to this workshop before so it was interesting to learning something new.

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Sonal Didactic Workshop- Design Princebles for layout and compostions 

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Sonal Didactic Workshop- Design Princebles for layout and compostions 

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This was a really interesting workshop where we learnt the the importance of how to structure a design on a page and the elements you need to consider when thinking about design eg a advert page.

Sonals presentation was really clear and had good examples of work/research backing up the elements of design.

I had never realised how much thought goes into when designing a page like a advert. And all the diffrent elements to concider like

Focal point (where the eye goes first on the page)

Hierarchy (is how your arange the most  important information design on a page)

Proximity ( grouping certain elements together on a page)

Negative space( the space around the image/design (to let the design breath)

Repetition ( meaning the pattern that happens throughout the page ( creating a link between your designs on the page)

The workshop that Sonal gave us was to make our own page using a particular word I was given Proximity so I had to create a page that referd to proximity where I had to group relative information and compose it together on a page

that we were given  made us think more in

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My work of understanding  Proximity in design 

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My work of understanding  Proximity in design 

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Jasmine didactic I found interesting and learnt new skill on binding a book. I didn't realised how fiddly it was to bind a book. It was interesting to see how book binding was done in the traditional way as I have never really thought about how a book is made and put together. I was great to learn that with not many tools like ( hole punch, ruler, folding, needle and string) you could create some quite amazing a little book.
I was happy with the outcome of my bound book that I made. It took me a while to understand the way of sewing the book together but once I got the hang of it it was easier to understand.I feel i could defiantly take the skill of book binding into my own practice with possibly creating a zine with my images.

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https://www.photoawards.com/enter-the-ipa-oneshot-photo-contest-color/

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Art Thread - Photography Compition partnered with Gucci 

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Art Thread - Photography Compition partnered with Gucci 

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This competition would be good for me to enter my work of Shape and form.

https://www.artsthread.com/events/globaldesigngraduateshow/?utm_campaign=skedlink&utm_medium=button&utm_source=skedlink

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My Arts thread link Submitted Shape and form images for GLOBAL DESIGN GRADUATE SHOW 2022

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My Arts thread link Submitted Shape and form images for GLOBAL DESIGN GRADUATE SHOW 2022

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As this module on professional practice includes networking and gaining experience in entering competitions, I looked into appropriate competition opportunities and I found this ArtsThread website through Instagram. It is a creative space where you can upload all different creative projects on and connect with industry creatives. I have submitted my work on shape and form to the GLOBAL DESIGN GRADUATE SHOW 2022 (clicking on this link you can see my images submitted and summery description of my work)

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First Name: Helen

Last Name: Lang

Specialisms: Photography / Fashion Photography / Creative Direction

Sectors: Visual Comms/Moving Image / Fashion/Textiles/Accessories / Visual Comms/Moving Image

My Location: London, United Kingdom

University / College: Birmingham City University

Course / Program Title: Visual Communication

Website: Click To See Website

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First Name: Helen Last Name: Lang Specialisms: Photography / Fashion Photography / Creative Direction Sectors: Visual Comms/Moving Image / Fashion/Textiles/Accessories / Visual Comms/Moving Image My Location: London, United Kingdom University / College: Birmingham City University Course / Program Title: Visual Communication Website: Click To See Website

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https://www.prixvirginia.com/participate/?lang=en
Only women Photographers competition

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Sian Davey, 2016 winner

Awarded every two years since 2012, The Prix Virginia is the first photography prize exclusively reserved for a woman photographer, regardless of her age or nationality. The work submitted must never have yet been exhibited in France and must not be the result of an editorial assignment or advertisement commission.

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Sian Davey, 2016 winner Awarded every two years since 2012, The Prix Virginia is the first photography prize exclusively reserved for a woman photographer, regardless of her age or nationality. The work submitted must never have yet been exhibited in France and must not be the result of an editorial assignment or advertisement commission.

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12 images contact sheet Andy first workshop-1

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12 images contact sheet Andy first workshop-2

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Creating shapes with petticoats in the studio

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Refer to sketchbook for written explanation for this shoot