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Take a look at the course structure here

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Take a look at the course structure here

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25 Photography Terms All Beginners Need to Know | CreativeLive

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A glossary of common photography terms that will help any beginner photographer get a good understanding of the craft in no time at all.

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On a family holiday in Florence, London-based art director and graphic designer Peter Chadwick was struck by the difference between the brutalist architecture in Italy and that of the UK. "Because of the different climate, it looked cleaner, the concrete," he says.

Brutalismo, Chadwick's new poster series of Italian brutalist architecture, is also influenced by Chermayeff and Geismar's classic Pan Am posters of the 70s, which Chadwick has loved since his boyhood in Middlesbrough. "My dad was a travel agent and I remember seeing those posters in the agency where he worked," he says.

The series is part of a larger project, This Brutal House, which Chadwick launched on Twitter in 2014, celebrating a style he admires but acknowledges is out of favour among today's "faceless" glass and steel towers. But he feels there is still a place for brutalism's "personality and grand gestures". He adds: "I just hope that we keep some of them. I don't know how many will be left in 50 years' time."

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Graphic brutality: posters of Italian brutalist architecture - in pictures

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On a family holiday in Florence, London-based art director and graphic designer Peter Chadwick was struck by the difference between the brutalist architecture in Italy and that of the UK. "Because of the different climate, it looked cleaner, the concrete," he says.

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One of my all time favourite photographers...

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Spotlight Photographer - Hans Eijkelboom 

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Spotlight Photographer - Hans Eijkelboom 

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I'm fascinated by how these photographs capture repetition and so many similarities.

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Works

Hans Eijkelboom
(b. 1949, Arnhem, Netherlands)

The Street & Modern Life, Birmingham, U.K. (2014)
Digital video, color, silent
30 min.
EMST-National Museum of Contemporary Art, Athens

De Drie Communisten (The three Communists, 1975)
Black-and-white photograph
58 × 120 cm
Neue Galerie, Kassel

Photo Notes 1992-2017 (2017)
270 inkjet prints
50 × 60 cm each
Stadtmuseum Kassel, Kassel

For close to a quarter century now, Hans Eijkelboom has been taking to the shopping streets of countless cities around the world (Amsterdam, New York, Paris, Shanghai-and now also Athens and Kassel) to photographically record the dizzying sartorial diversity that is such a defining hallmark of global capitalism-a plethora of visual ("surface") difference that, when viewed from the perspective of an artist interested in discerning patterns, i.e., repetition, inevitably results in a document of arresting sameness.

A number of Eijkelboom's mid-1970s photo projects, such as the aptly titled Identiteiten (Identities, 1973), presaged two defining features of the street photography that he is best known for, and which has preoccupied him since the early 1990s-his programmatic predilection for working in series on the one hand (a matter of form), and an almost exclusive focus on dress code on the other hand (a matter of content).

Eijkelboom, born in Arnhem in 1949, is a member of a generation of Dutch artists who played a key role in the establishment of conceptual photography in Continental Europe. His initial forays into photography had a strong performative bent, and almost exclusively involved one type of autoportraiture or other-"the presentation of self in everyday life," in Erving Goffman's felicitous phrase. These works were clearly informed by the efflorescence of 1970s Dutch performance art, all the while keying into the emerging discourse of post-1960s identity politics-the photo triptych De Drie Communisten (The Three Communists, 1976) presenting the artist dressed up as a Marxist, Leninist, and Maoist respectively, speaks volumes in this regard-though infused with a deadpan sense of humor all too often lacking in subsequent identity-based art practices. (Comedy, in his ongoing encyclopedic project, is a function of the illusion that dress cannot ever guarantee true distinction.)

Although there is an element of distancing in Eijkelboom's work that may lend his project an anthropologizing, exoticizing slant (echoes of Desmond Morris's 1969 The Human Zoo here), his is a deeply humanist practice at heart, and it is no coincidence that his work has often been compared to that of the great chronicler of twentieth-century humanity, August Sander-his work was recently surveyed, fittingly, at the August Sander Archiv in Cologne. It is tempting to characterize Eijkelboom's subjects quite simply as "people of the twenty-first century" in turn, though presented in cool-headed, gridded sequences reminiscent of the work of Bernd and Hilla Becher and other pioneers of conceptual photography: a subject-object balancing act.

-Dieter Roelstraete

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Hans Eijkelboom (b. 1949, Arnhem, Netherlands) The Street & Modern Life, Birmingham, U.K. (2014) Digital video, color, silent 30 min.

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Our archive showcases the work of thousands of talented photographers, working across fashion, fine art, documentary, and everything in between...

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Below are some examples of photography genres you could pursue.

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Which type of photography should I master? That is probably the most challenging decision to make when you are starting your pursuit of photography as a career. When you think of all of the various subjects there are to capture, and all of the different ways to create the image, the field of photography really is dynamic and varied. There is something for everyone in photography, and the types of photography jobs are just as exciting.

We have compiled the most popular 15 genres of photography. Of course, this list is not all-inclusive, since there are many careers made in various niches within our industry. And there are also many careers that are not related directly to photography that require good photographic skills to complete. In today's social media connected world, many workers are taking photographs and sharing their experiences as part of their jobs.
We have also included examples of best portfolio websites built on Pixpa of each type of photography. Create your photography portfolio website on Pixpa in minutes. No coding required. Take a free trial.

Here are the 15 types of photography genres you can pursue as a professional photographer:

#1 - Wedding Photography

The first type of photography job involves weddings and events. Many people go their entire lives and only pay for professional photography once, but nearly everyone hires a photographer for their wedding.

As a job, being a wedding photographer involves an exciting mix of portraiture and event photography in a wide variety of settings and groups. Wedding photography is pretty intense, with an element of getting the best shot you can on the first try and not really getting a second chance in some situations. Wedding photographers have to be quick on their feet, moving around during the reception and ceremony, and there are substantial sales and customer service components to their jobs. They also have to be adaptable, ready to shoot outdoors on a sunny day and indoors for dimly lit receptions and dances. Couples will expect the direction from the photographer for posing shots and settings, so the photographer must be confident and communicate well with the bride and groom.

The great wedding photographers are the ones who love their jobs. Many beginning photographers start shooting weddings because, as they say, "that's where the money is." But this mindset will ultimately lead to a disappointing business model if the photographer's heart isn't in their work.

#2 - Event Photography

In the same vein, event photography is a dynamic and fast-paced way to make a buck with your camera. Whether your beat is corporate events or wild and crazy rock concerts, event photographers work in a variety of settings. Event photography styles often involve a mixture of photojournalistic documentary work and portraiture. Some organizations use their event photos for publicity purposes, while other use party photos as souvenirs or keepsakes.

#3 - Portrait Photography

Portraiture is one of the most common types of photographer that we think of when we consider career options. The kinds of photography that can be included in portraits is astounding. Retail customers seek out portrait photographers for every phase of life: maternity and newborns, school photos, senior photos, and general family photos. Corporate portraits are also commonly needed as employees update their headshots for websites and publicity materials. Furthermore, aspiring and professional models are in constant need of updated portfolios with a catalog of current shots to market themselves for agencies and jobs.

Portrait photography is a great place to start out as a photographer. Building a great portfolio of quality shots can lead to more business. It can often lead to more work for families and weddings as word of mouth marketing does its magic. It can also lead to fashion and product photography gigs.

#4 - Product Photography

More specific than working in advertising, product photography is a great specialization. Think about all of the products you have recently shopped for: everything needs to be photographed. The photos are used for online and print catalogs, as well as for labels and packaging. Most product photography is studio based, with careful control of backgrounds, shadows, and lighting. Studio rentals can be fairly expensive so consider building a home photography studio on a budget.

Product photography covers a lot of ground. Food photography is a specialized niche, and restaurants need to advertise their meals and create their menus. Jewelry is another favorite type of product photography since this requires the perfect balance of light and preparation. While some product shoots might involve models, many times you will be working solo in a studio doing still life photographs of small objects.

#5 - Fine Art Photography

Of all of the types of photography, this is the one with no rules. Fine art photographers create art. They display their work in galleries and at art shows, and generally, they sell a finished, framed print product to their customers. Fine art photography can be of any subject at all, but landscape and portrait artists are probably the most common. Fine art images are about capturing emotional responses and communicating with the audience.

#6 - Fashion Photography

Fashion photography is one of the more glamorous and more difficult to enter photography jobs. From cover shots of the top fashion magazines to documenting the latest styles and trends on the runway, fashion photographers work in the design districts of New York, Paris, and Milan. Runway shoots require an element of documentary photography, while posed shoots on location demand one-on-one work with the model.

Catalog and magazine shoots might also occur on location, from tropical beaches to subway. In this style of glamour photography, the look of the photographs is everything. Lighting must be perfect. This is a job that is also focused on the model, so a majority of the photographers time is spent posing and directing models and scenes to get the look desired from the publication.

Fashion shoots are all about teamwork, and they are done by a group of people. The photographer is just one cog in the wheel. Stylists, wardrobe specialists, makeup artists, art directors, and others make up a team that keeps the shoot on track and make the magic happen.

#7 - Architectural Photography

While many find taking pictures of buildings to be a fun hobby, many specialized photographers make careers out of it. Employed by architectural agencies or working as freelancers, these photographers capture the essence of buildings from inception to completion. Details captured include the exteriors and interiors, and subtle details that make the building's design unique. Architectural photography requires some special techniques and equipment to minimize distortion and perspective problems that become apparent on a building's many right angles.

A subdivision is real estate photography. Realtors always need excellent photographs, especially in today's market where many customers view many properties online before deciding to go see them. High-quality architectural pictures are difficult to get right, and realtors will pay for professional photos especially in the high-end market.

#8 - Travel Photography

Do you love to travel? Would you like to get paid for it? Who doesn't? Travel photography allows you to do just that while having fun with your camera in dynamic settings. Travel photography blends many different types of photography into one. On one trip you might want to focus on the people and the lifestyles present in a place, while also capturing the landscapes and the natural world in which it's located. Macro details and wildlife photography might be included too. Be it on the beaches of Bali or the ice fields of Antartica, the job of a travel photographer is to transport their audience to that place without them having to leave home.

#9 - Advertising or Lifestyle Photography

Everywhere we go we are surrounded by photography. Photography is on billboards, street signs, magazine ads, even in our pockets on our smartphones. Captivating photography makes the advertising world tick, and photography has never been more in demand than it is right now.

Advertising photography can include a range of subjects, like street photography, lifestyle photography, fashion photography, or product photography. Advertising photographers can work as freelancers, selling images on a project-by-project basis, or they might work directly for major ad agencies. Either way, this is a dynamic field where you may be shooting for a print ads campaign one day and shooting internet ads the next, always with a new subject.

#10 - Photojournalism

Whether it be in war zones, political rallies, natural disasters, or community celebrations, photojournalists cover breaking news. Newspapers, magazines, and online publications are all in need of still photographs to help tell their stories. Photojournalism is one of the documentary types of photography, and the goal of a photojournalist is to document the events as they unfold. While there may be some portraiture, the majority of work is done candidly and as unobtrusively as possible. The photos tell a story of events that are happening all over the world.

#11 - Pet Photography

If your perfect subject is a furry friend, then pet photography might be for you. This is a growing sector and is very similar in working conditions and type of styles to portraiture; only your subjects may require treats when they are good. If you love animals, then there is no better job as a photographer. Pet photography involves a fun mix of studio sessions and outdoor, on-location shoots. With connections to your local pet daycare facilities and dog show circuits, you can build your business fairly quickly. A great way to start out is to volunteer your time to your local pound, taking pictures of the animals and helping them find their forever homes.

#12 - Sports Photography

If you love sports, then being a sports photographer is a great gig. From the sidelines, sports photographers use quick cameras and long lenses to zoom in on the action and capture the winning shots. Photos wind up in publicity materials for teams, in advertising and marketing, and in the news media online and in print.

#13 - Aerial Photography

A burgeoning field of photography born from modern technology is the aerial photographer. Sure, aerial images have been around as long as manned flight and cameras have been. But today, unmanned aerial vehicles aerial vehicles, also called drones, are making aerials within the realm of all photographers. In the US and most countries, commercial drone pilots must be licensed. The process is relatively simple and usually requires only a written exam. Aerial photography is now used for everything from architectural and real estate photography to weddings and events. The unique perspective given by drones can't be beaten for uniqueness and beauty.

#14 - Scientific or Specialty Photography

Many fields rely on great photography for publications, training materials, and record keeping. Many scientific and medical research companies employ photographers to document new findings and discoveries.

Many other industries rely on photos to conduct surveys and studies. For example, in Florida, aerial wildlife studies are routinely performed to study the numbers of manatees and birds living in remote areas. Many insurance companies rely on photographers to inspect homes and buildings, sending their photographic findings to the company to document damage or condition.

These are just a few examples of the specialized fields that use photography regularly. With open eyes and ears, working photographers can find remarkable jobs working with governments and private companies all over the world.

#15 - Stock Photography

If all of these types of photography jobs sounded good to you, you might make a great stock photographer. Stock photographers sell the rights to use their images through catalogs. They can work as a freelancer, but more often than not photographers allow agencies to handle their sales. Stock sales usually don't pay very much per use, but the goal of a successful stock photographer is to have an extensive catalog of images that sell often. As a result, once the photos are uploaded and being sold, they provide a source of on-going passive income.

The advantage of selling stock photos is that you can sell any type of image you want. These images are used by major ad agencies and small websites. Whether you like to shoot sunsets, people, kids, pets, or wildlife, you can probably sell your images as stock. Once the photos are captured, a lot of time is spent cataloging and keywording images to ensure that customers can find them.

Conclusion

It's almost impossible to compile a list of all of the different types of photography that you can earn money from. For your photography career, it can be difficult choosing which path to take. Many photographers try out many paths in their career until they find the one that suits them best. The most successful photographers work in a niche, something that they specialize in that few others do. The possibilities are endless, and finding your niche is half the fun. So, which kinds of photography would you like to master?

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15 types of photography genres to pursue as a professional photographer

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Which type of photography should I master? That is probably the most challenging decision to make when you are starting your pursuit of photography as a career. When you think of all of the various subjects there are to capture, and all of the different ways to create the image, the field of photography really is dynamic and varied.

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There are loads of guides to this on Pinterest and google, but this is a great

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If you've never heard of a zine, fret not, you're in the right place. I've made a bunch of zines and contributed to friends' zines and, chances are, you may have made one too even if you didn't know that's what they were called. Whether you're just starting out or are a seasoned creator, zines are a great way to publish your own art, poems, writing, musings, and anything else you want to express-without needing anyone else's permission to do so.

I hope this guide will empower and inspire you to share your ideas with the world in the form of a zine.

Ideating: Coming up with a great zine idea
A very brief history of the zine
Before there was stan twitter there was the fanzine, created originally by sci-fi enthusiasts of the early twentieth century who used the medium as a forum for dialogue, free from corporate editors or publishers. That same do-it-yourself ethos is what drew punks of the late twentieth century to embrace fanzines as a complement to their music, and as a means to challenge mainstream ideologies. In the '80s and '90s, zines became a centerpiece of movements like Queercore and Riot Grrrl. While the latter of these was critiqued for being primarily white and heteronormative, overall, these movements used zines to subvert dominant and patriarchal ideologies through the sharing of lived experiences. At the core of the zine-making ethos are subversion, freedom of thought, and a DIY attitude.

As is the nature of capitalism, corporations increasingly appropriated the practice as time went on; however, even today, zine-making remains a cornerstone for marginalized voices disseminating information and publishing creative work about things they love.
What are zines good for?
Zines tend to be a bricolage of various images, texts, and messages. Here is a list of just a few of the things you can do with the zine format:

Publish sketches, drawings, and mini-comics

Match recipes with whimsical illustrations

Mix words with images and textures

Print lines of poetry

Share a manifesto

...the list goes on

Basically, what you can include in a zine is only limited by your imagination.
What will your zine be about?
If you've never made a zine before, getting started may seem intimidating. But a journey of a thousand miles begins with a single step, and if you're interested in putting your voice out there by publishing your own zine, the first step you must take is deciding on a topic. There is no barrier to entry, so you can really do whatever you want. So, what makes a good zine for YOU to work on? Think about what topics you could you go on and on talking about for hours. Then, let your imagination run wild and see what exciting, novel, or curious ideas you come up with.

To help get your mind moving, here's a cool look at a radical Asian-American zine created by UCLA students in the '60s, and here's a whole archive of other zines. Additionally, ISSUU is a great hub for digital layout inspiration. I also recommend flipping through this issue of F WORD, which is an intersectional feminist zine collective based in Montreal.

As you start conceptualizing your zine, you might want to create a journal for the specific purpose of recording your ideas (for zines, or otherwise). And, if that goes well, maybe you'll want to start keeping a binder that can hold your journal in one of its pockets, as well as magazine clippings, pressed flowers, patterned papers, polaroids, and any other ephemera you might find inspiring.

If digital is more your route, maybe you'll want to organize your inspiration into something like a mood board on Are.na or Pinterest. These practices are a great way to organize your ideas and begin imagining what the stitching-together of your zine will be like.
[Pssst, The Creative Independent also publishes some pretty neat zines, including On making a living as an artist, On dealing with creative anxiety, and On finding your voice.] Working with collaborators
If the topic of your zine is something your friends are passionate about too, you might want to think about getting them involved. Making a zine can be a great collaborative project, since they can be pretty casual and fun; plus, having more people involved brings more creative voices and ideas, and can help you distribute it to a wider audience once it's done. Depending on what you're trying to make, it might make sense to co-create your zine with a friend or two, or perhaps you could put out a call for contributors on social media and open a line there. You can ask for people to submit poems, illustrations, essays, collages, etc.-and you may be surprised to see what people send you.
Licensing
If you do decide to work with other people, just make sure everyone is on the same page on their role as a contributor or collaborator. For example, how will contributors be credited? Will they be compensated? Who will own the rights to the work once it's published in the zine? Communicating openly about these questions before anything goes awry is always a good idea. For more tips on working with other people, see The Creative Independent's guide to joining forces with a creative collaborator.

Along these same lines, as you put your zine together, make sure you only use visuals (or any type of content) that you have the rights to. Google has a tool that makes it really easy to browse through open-licensed content ( learn more here), and the website Creative Commons can also help you find even more neat stuff that's free and clear for you to use.

Creative direction: Giving your zine its own signature feel

Once you have a topic or general plan for your zine, now it's time to clarify and design your little labor of love. How specific can you get in terms of what it will cover, what types of content it will include, and what it will look like? And, overall, what kind of impression do you want to give your reader as they take it all in? Having answers to these questions will help you come up with a creative direction (the way it looks, the way it feels, and what it includes) that can effectively communicate your ideas while also feeling intriguing and cohesive to your readers.

As an example, let's say you want to start a food zine. Maybe you want it to be about a specific cuisine that's a part of your family's history. But now, how will you convey what exactly it is you want to say about that food and its unique story? Think about the ways that different fonts, colors, formats, paper qualities, and visuals will change how your subject is viewed. Will your food zine be the size of a scrapbook, full of old family recipes and family photos? Or, will it be something small you can fit in your apron pocket, with a more minimalistic design? These stylistic choices, no matter how small they may seem, send messages to your reader-so think it all over and imagine a plan that feels exciting and right for your vision.
Designing your zine
Now comes the fun part: getting everything laid out and stylized. Things to think about here are:

What format will your zine take? Do you want it to be able to fit in someone's pocket, or are you looking to make something a bit more substantial? Will it be a folded piece of paper, will it be stapled together, or will you have it printed and bound somewhere? Depending on what you decide, you can download zine templates for software like InDesign and Microsoft Word. Or, if you don't want to go the digital route, you can always assemble your zine using paper and glue/tape, and then scan or photocopy the pages to print more.

How will it look? Spend some time thinking through an overall color palette, font choices, and other design elements that will help the zine strike a particular mood, and feel cohesive. (For more tips on graphic design, I recommend this fun primer).

How will it be edited together? Will it be broken into different sections, or will it all flow together organically? Will it have an introduction, a table of contents, or any other hallmarks of a more traditional publication? Once all your content is written, will you work with an editor to make sure there are no typos?

To give you a sense of how a zine's creative direction can affect the way it looks and feels, below is an example of a non-digital zine spread I made, published by my pals at Deskarga Groupo. It was made using only a single piece of paper ( learn how here). At the time I made it, I was in a funky emotional state, reconciling first-generation pressures to achieve, the desire to be loved and nurtured, struggles with body hair and polycystic ovary syndrome, and feelings of being scrutinized on social media. The emotional nature of the content led me to pursue a low-lift medium (one page seemed doable). And, it felt natural to leave it without color.
Here's another example of a zine spread, by my friend Leo of Deskarga Groupo.
Here's what he said about his zine's topic and format:

" Agua 'Rriba y Agua 'Bajo: When it Rains at the Beach is a collection of 20 photo-collages exploring the cultural landscape of The Dominican Republic accompanied by bilingual word-associative poems. My intention is to reconcile the nostalgia of my formative years living in the island as a child with my anxieties about identity as an adult living in the U.S. The Spanish portion of the title translates directly to 'water above and water below.' An apt metaphor for the suffocating feeling of isolation when stuck between two cultural forces."

Sharing your zine with the world
Printing your zines
If you want to create a bunch of physical copies of your zine, there are several routes you can take. While I've printed my own zines from workplace Xerox machines before, I don't recommend this, for the record (unless you get permission). Instead, you can go to a local printing service, or order copies of your zine from an online printer-both options can be good, so just do your research in advance and make a pros-and-cons list to help yourself decide between the options.

Printing in high volumes can bring the cost per unit down, and so can printing in black and white (versus color). Are you a student? Sometimes universities offer free or discounted rates for student print jobs.

If you don't have the budget to print copies of your zine, you can simply post your zine as a PDF online, and let people print their own copies. Or, you can explore on-demand printing, where people can order copies of your zine online without you needing to lift a finger. Blurb or Lulu could be good options if you decide to go this route.
Distributing your zine
Once you have some physical copies of your zine, now's time to distribute them (if that's what you want to do). Of course, if you have contributors, you'll want to give them a copy (or, better yet, give them a few copies so they can distribute some, too). Depending on how many you print and how widely you want them distributed, there are many routes you can go here. Will you mail them out to your friends, or to people who you'd like to be your friends? Or will you try to sell them in a retail store ( some tips on this here)? Maybe you want to bring them to a zine fair or festival? In the past, I've handed out copies of my zines to friends, but it's also fun to keep some in your bag with the intention of handing a few out to strangers. Zines are a great tool to use in joining or imagining new communities you want to be a part of.

When you distribute your zines, it can be cool to include some goodies-like stickers or a handwritten message-inside the pages of your zine. Here's an example of how this could work from my friends at Nickname Zine.
Promoting your zine
As you consider ways to spread the word about your zine, think about using the resources that are already available to you. Your social media pages and personal website could be a great place to start, especially if you plan to publish a digital version online. If your zine is a collaborative work, get your creative partners to promote it on their social media and websites too.

Getting involved in some of the different zine communities that already exist is another way to put yourself, and your zine, out there. Are there forums or Facebook groups you can join to promote your work ( here's a great start)? Just remember that the key word here is community-usually it's frowned upon to simply show up in a community with the sole aim of promoting your own work.

If you plan on creating multiple issues of your zine, it could be worth starting an Instagram or Twitter account where you can interact with your readers and other zinesters. For more tips on promoting your zine, read The Creative Independent's guide to thoughtful promotion.
Trading zines
Trading zines is a popular practice and easy to do if there's a zine or arts community in your area. If there isn't, meeting people and exchanging information online is just as popular. Maybe you want to barter your zine for a poster or some other creative good. A few months ago, I posted about my zine on Instagram Stories asking if anyone wanted me to send them a copy or trade with them, and sure enough, I received a few DMs.

In summary...

Get specific about your topic and be playful. Always be mindful of how you're sourcing your content, and give credit where it's due. There are free online tools that will make your zine-making process easier if you choose to go the digital route. Have fun, get outside of your comfort zone, make bold choices, and connect with other passionate people. There is no wrong or right way to make a zine, so have fun and don't worry too much about making it perfect. If you need a friend along the way, I'm only a tweet away.

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A guide to ideating, publishing, and distributing a DIY zine, written by Rona Akbari and illustrated by Somnath Bhatt.

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Through the art of photography you will explore a variety of subject matter, be taught the foundations of Photography from exposure to composition. With the chance to be experimental, you will be given expert training in latest Photoshop CC digital manipulation skills. Whether you want to be a photographer, film-maker or work as a commercial advertising guru this course gives you skills that can give you that step up the ladder. Really excited to meet the students in our fabulous town centre facilities.

contactus@sixth.trinitymat.org

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Ofsted, 2021

Leaders and governors foster a culture of exceptionally high expectations for students' academic success

Ofsted, 2021

Students enjoy their lessons, which are taught by skilled, enthusiastic and knowledgeable teachers

You're treated as an individual... Everything is geared towards getting you ready for life and the staff really help prepare you for your exams

Ofsted, 2021

Leaders and staff create an exceptionally safe and welcoming culture

Ofsted, 2021

Students participate in an extensive range of activities and projects that develop their confidence and broaden their interests

Ofsted, 2021

There exists an ambitious curriculum that equips students exceptionally well with the knowledge and skills that they need to progress

Ofsted, 2021

Students thrive in the academy's calm and harmonious environment

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Trinity Sixth Form Academy - Outstanding Sixth Form in Halifax

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Ofsted, 2021 Leaders and governors foster a culture of exceptionally high expectations for students' academic success Ofsted, 2021 Students enjoy their lessons, which are taught by skilled, enthusiastic and knowledgeable teachers You're treated as an individual...

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Make a Pinterest board full of your favourite photographers and photographs! This will be a great resource for when you join the art department!

Making a Pinterest board is easy and free!

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Experimental Lighting

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Make a Pinterest board full of your favourite sepia style artwork!

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Make a Pinterest board full of your favourite sepia style artwork!

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A practical task to get you started. Have a go at researching your favourite photo hacks and put your DIY photo hacks into action. Photography is one the best lockdown distractions. So many still life and portrait opportunities in the home.

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Photo Challenge!

Take a picture of yourself and Make it in to a self portrait.

Get creative with your use of background and colour choices.

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Look around where you live, think about what you are seeing and take a picture of something that matters to you. That could be a park, a certain street, family or friends.

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Use Pinterest for your research and create your own board.

Try and search 'A-level Photography' to start with.

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What Is Sepia Tone?Contrary to what many people think, those nostalgic old photos that look brown didn’t turn that color as they aged. The pictures look just as they did when the photographer first admired his handiwork.

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What Is Sepia Tone?Contrary to what many people think, those nostalgic old photos that look brown didn’t turn that color as they aged. The pictures look just as they did when the photographer first admired his handiwork.

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Contrary to what many people think, those nostalgic old photos that look brown didn't turn that color as they aged. The pictures look just as they did when the photographer first admired his handiwork.

That soft brown tint is the result of a chemical process that took place in the darkroom. Its purpose was to prevent fading and prolong a photograph's life and archival value. The beautiful color probably came as a pleasant surprise to the first photographer who tried the process. Stark black and white photographs that sorely lacked emotional appeal were suddenly imbued with warmth and intensity.

We have the inventor of sepia toning to thank for transforming austere, haunting images into vibrant keepsakes. It's a shame that no one is sure who that inventor was.

Where Did Sepia Toning Come From?

There is, quite literally, something fishy about the origins of sepia tone.

Let's start with the word sepia, a Latin derivative of the Greek name for common cuttlefish. Since it belongs to the same family of mollusks as the octopus and squid, the cuttlefish is a close relative. It produces a rich, reddish-brown pigment that comes in handy when a larger sea creature threatens.

Not only was this ink used for writing in ancient Greece, but it was the same drawing ink favored by Leonardo da Vinci, Rembrandt and other old masters.

Interestingly, sepia is edible. It's easy to imagine a hungry photographer whipping up a batch of risotto al nero di seppia, a classic Italian dish. In English, that's rice with cuttlefish ink. Don't knock it until you've tried it.

The first known use of sepia as a toner had nothing to do with photography. Late in the 18th century, Jacob Seydelmann, a German professor and minor artist, found a way to produce a more concentrated form of sepia. He dried it, mixed it with shellac and began using it as a wash to enrich the colors in his paintings.

Who Invented Sepia Toning for Photography?

Seydelmann deserves credit for conceiving the idea of using sepia to enhance paintings, but no one can say with certainty who first thought of using sepia toner in photography in the mid-1850s.

What is certain is that the history of sepia toning is as colorful as the color of sepia itself. Here's a little background:

The oldest surviving photograph, created by the French inventor Nicephore Niepce, dates to the early 1800s. It would have required anywhere from eight hours to several days of exposure to produce. When advances between 1840 and 1850 made it possible to produce photographs in just minutes, the medium took off.

Photo toning was relatively new when Hamilton Lanphere Smith started making a name for himself, but techniques were far from refined, and results were poor. It's a good thing that Smith, a chemist and astronomer from Ohio, also dabbled in photography.

In 1856, just after inventing the largest telescope in the U.S. and dashing off a science textbook, Smith invented and patented a photographic process called melainotype. A rival named Victor Griswold borrowed heavily from Smith to produce a novelty called a ferrotype.

When Griswold patented his invention, he inaccurately named it a tintype; it didn't contain any tin. It would be interesting to know whether Smith, being a chemist, was amused or incensed.

Tintype images were etched on a thin sheet of metal that had been layered with black lacquer. They were durable, and the process of making them was fairly inexpensive. Because the lacquered iron support didn't require drying, subjects could buy their portraits just minutes after they were taken. That accounts for tintypes' popularity at carnivals and fairs, but they also hold a significant place in American history.

Many of Mathew Brady's Civil War images are tintypes, and other pioneering photographers used them to capture the drama of the Old West from their covered wagons. They were ubiquitous during the 1860s and 1870s, and their popularity persisted into the next century even though photograph paper had long been in use.

Experiments with photo toning weren't going so well until Smith made groundbreaking improvements to the process. His techniques were novel enough to be patented. He may very well have been the first to try his hand with sepia, but there is no solid evidence.

In any case, sepia toning became the favored method for developing photographs until the 1920s. By 1930, new technology had made it all but obsolete.

Why Were Old Photographs Sepia Toned?

Pictures toned with sepia turned out to be more aesthetically pleasing, but that wasn't the primary motive for using it. Photographers had been experimenting with several different toners, like gold chloride, selenium and copper, to make their fragile photographs more stable. Some toners had just the opposite effect, and the pictures were ruined.

To understand why sepia became all the rage, you have to know a little about film development. Being a chemistry major helps, but simply put, the captured image is invisible until a chemical developer brings out the light-sensitive silver halides in the film and converts them to metallic silver. Sepia toner converts the metallic silver to a sulfide compound called silver sulfide.

Why is this important to know? The mystery man or woman who first hit on using sepia was most likely someone who suspected or knew that silver sulfide is 50 percent more stable than metallic silver. Sepia slows fading and deterioration and acts as a shield against environmental pollutants. Pictures developed with sepia toner typically last twice as long as pictures developed without it.

Inventing sepia toner does sound right up Smith's alley, but a few experts have theorized that the process was discovered by accident.

Cuttlefish ink is chock-full of sulfuric compounds. An avant-garde photographer could have merely been frustrated by the harsh black and white image of his cuddlesome sweetheart and bathed the developing print in sepia to tone it down. For that matter, he could have accidentally dropped it into a tub of cuttlefish ink that he was saving for another purpose. Maybe he'd planned on having risotto al nero di seppia for lunch.

However it happened, molecular changes took place when the sulfuric ink was introduced to the metallic silver. The result was a sturdier portrait that would last for years to come. The surprisingly lovely rose-brown tone must have delighted the budding photographer.

The Softer Side of Sepia

Although Brady developed many of his Civil War photographs in grayscale, the sepia effect somehow softened the horror in others. The works of Julia Margaret Cameron, a Calcutta-born British photographer, are also fine examples of sepia tone.

Cameron's career in photography spanned just 11 years, but she was astonishingly prolific. Her daughter gave her a camera for her 48th birthday, and she had soon transformed ordinary developing into an art. Her innovations included using soft focus, soft lighting and sepia tone to create a dreamy effect. Some of her photographs of historical figures are the only ones that remain in existence.

Sepia Slideshow

The Enduring Appeal of Sepia Tone

Artificially developed dyes have replaced the organic, undersea version of sepia, but the antiqued look in photography has made a big comeback.

Enthusiasts flock to photo booths where they can dress up as Old West saloon patrons, act silly and leave with what appear to be vintage photographs of themselves. It's not uncommon for modern young brides to request sepia-tinted wedding photos. Grown children preserve family history by having sepia tone pictures of their great-great-grandparents repaired or touched up.

How Is Sepia Tone Created Today?

Although true sepia coloring occurs only through a chemical process, modern photographs can be tinted to replicate the warmth and romance of treasured antique photographs.

The photograph paper is bleached to remove the metallic silver in the emulsion. The print is then immersed in tinted, silver-compound toner until the colors reach the desired intensity. Since different durations in the tint result in hues ranging from soft pastels to deep, rich browns, the possibilities are endless.

That's where we come in.

Heritage Photo Restoration can add your choice of 30 types of toning similar to sepia. We can also help preserve your most precious memories with photo restoration or photo retouching.

Adding sepia toning gives pictures a timeless, sentimental quality, and we're better at it than anyone in town.

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Contrary to what many people think, those nostalgic old photos that look brown didn't turn that color as they aged. The pictures look just as they did when the photographer first admired his handiwork. That soft brown tint is the result of a chemical process that took place in the darkroom.

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Length:

3 or 4 year options

UCAS Code:

W640 (3 Year)
W641 (4 Year)

Optional Diploma Years:

Creative Professional Development (1 year, Level 5 diploma), or Creative Computing (1 year, Level 5 diploma), available between years 2 & 3

Association of Photographers (AOP)

Our Integrated Foundation Year is designed to equip students with the necessary skills, knowledge and confidence to thrive in their chosen degree subject. The course provides a comprehensive introduction to various disciplines, blending critical thinking and creative problem-solving with practical hands-on experience. This year serves as a bridge to undergraduate studies, allowing students to explore their interests within a supportive and inspiring environment, while familiarising themselves with the campus, workshops, and tutors.
Find out more about our Integrated Foundation Year.
The first week of each academic year is called Wayfinding week. It's an opportunity get your bearings, establish new connections and, after your first year at Norwich, re-establish old ones. Your course team will talk you through the year ahead and explain the expectations for the year. We'll help you navigate new encounters and identify areas to focus on as you progress through your course.

An important element of Wayfinding Week is taking part in our annual 'Make it Manifest(o)' project. Your course team will introduce the project in which we'll ask you to consider your hopes and vision of the year ahead at Norwich and work with students in other year groups to bring your ideas to life. The project culminates in a celebratory display of work across the campus. The project will help you to develop your critical creativity through different approaches, concepts, and mediums. You'll encounter diverse perspectives and build friendships and networks within our university community.

Interchange weeks are opportunities to step away from your disciplinary studies and engage in projects, workshops, visits and talks that extend your knowledge and understanding of the world. Whether you learn a new skill or take part in a global challenge project with students from other courses, you will come away with new insights to take back to your course. Interchange is part of the schedule for all Norwich students with sessions held across and beyond the campus led by university staff, visiting lecturers and students.

The first week of each academic year is called Wayfinding week. It's an opportunity get your bearings, establish new connections and, after your first year at Norwich, re-establish old ones. Your course team will talk you through the year ahead and explain the expectations for the year. We'll help you navigate new encounters and identify areas to focus on as you progress through your course.

An important element of Wayfinding Week is taking part in our annual 'Make it Manifest(o)' project. Your course team will introduce the project in which we'll ask you to consider your hopes and vision of the year ahead at Norwich and work with students in other year groups to bring your ideas to life. The project culminates in a celebratory display of work across the campus. The project will help you to develop your critical creativity through different approaches, concepts, and mediums. You'll encounter diverse perspectives and build friendships and networks within our university community.

Interchange weeks are opportunities to step away from your disciplinary studies and engage in projects, workshops, visits and talks that extend your knowledge and understanding of the world. Whether you learn a new skill or take part in a global challenge project with students from other courses, you will come away with new insights to take back to your course. Interchange is part of the schedule for all Norwich students with sessions held across and beyond the campus led by university staff, visiting lecturers and students.

Students have the opportunity to spend a year after the second of their degree (or the third year if studying for a degree with an Integrated Foundation Year) enhancing their employability options through a Level 5 Diploma. They can choose from courses designed to provide:

opportunities to gain industry insight, developing employability skills through a series of supported experiences, expanding professional networks and building confidence in the workplace, or

an introduction to creative computing, building an understanding of how coding skills can be used to advance and complement creative practice.

Find out more about our Level 5 Diplomas.
The first week of each academic year is called Wayfinding week. It's an opportunity get your bearings, establish new connections and, after your first year at Norwich, re-establish old ones. Your course team will talk you through the year ahead and explain the expectations for the year. We'll help you navigate new encounters and identify areas to focus on as you progress through your course.

An important element of Wayfinding Week is taking part in our annual 'Make it Manifest(o)' project. Your course team will introduce the project in which we'll ask you to consider your hopes and vision of the year ahead at Norwich and work with students in other year groups to bring your ideas to life. The project culminates in a celebratory display of work across the campus. The project will help you to develop your critical creativity through different approaches, concepts, and mediums. You'll encounter diverse perspectives and build friendships and networks within our university community.

Interchange weeks are opportunities to step away from your disciplinary studies and engage in projects, workshops, visits and talks that extend your knowledge and understanding of the world. Whether you learn a new skill or take part in a global challenge project with students from other courses, you will come away with new insights to take back to your course. Interchange is part of the schedule for all Norwich students with sessions held across and beyond the campus led by university staff, visiting lecturers and students.

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Photography BA (Hons) | Norwich University of the Arts

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Perfect your skills for a successful photography career on Norwich University of the Arts' BA (Hons) Photography degree course.

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So much to see and learn in this wonderful gallery. Take a look at their website.

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"Riveting, rapturous exploration" (The Guardian) - the first UK retrospective of one of the world's most innovative and influential artists and street photographers.

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Talking about why he loves photography

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Photographers in Focus: Martin Parr - NOWNESS

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In a career spanning over forty years, British photographer Martin Parr has forged a reputation as the great chronicler of modern life. His images—lurid, intimate, and immediately relatable—capture the everyday in all of its visceral strangeness; whether snapping the English working class towelling-down at the beach, or shooting tourists gazing into the Grand Canyon, Parr seems always to be there—an approachable, unthreatening figure (he’s admitted that you need to be “fearless” to do what he does)—camera raised, pacing between the beach towels and ice-cream vans.

In a special edition of Photographers in Focus, commissioned for the launch of Magnum Learn, a new online learning platform for photography and visual storytelling from the world-leading photo cooperative—courses are for beginners and practitioners alike—we get a closer look at Parr's thoughts and process, courtesy of filmmaker Joppe Rog.

As we learn, Parr's early images constituted raw monochrome portraits of working class towns in the North of England, while his later work would leave the terraces in search of the places where people spend their leisure time—whether at suburban dances, neon-lit arcades, or sprawling city parks. If the likes of Ken Loach and Shane Meadows have defined 'kitchen sink drama' in this northern European nation, Parr takes us beyond the sink—and into the country roads and caravan parks that lie beyond, bringing his appreciation for big characters and playfully composed scenes along for the ride.

At a time when working class culture, particularly in the UK, has been eroded by social policies and reviled in the press, Parr finds great solace, humor, and beauty in the country's everyday life—upholding the proud traditions of fish and chips, show jumping, and tea shops, even as these phenomena seem doomed to disappear.

Discover Magnum Learn's first online course, The Art of Street Photography, featuring Martin Parr and others at learn.magnumphotos.com

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BA (Hons) Photography Degree | Leeds Arts University

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From art direction to curating, Leeds Arts University’s Photography degree offers diverse formats and equipment to build a diverse portfolio.

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7 Minute Exhibition Guide!

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This major retrospective is the first Warhol exhibition at Tate Modern for almost 20 years. As well as his iconic pop images of Marilyn Monroe, Coca-Cola and Campbell's soup cans, it includes works never seen before in the UK. Twenty-five works from his Ladies and Gentlemen series - portraits of black and Latinx drag queens and trans women - are shown for the first time in 30 years.

Exhibition Tour

Join curators Gregor Muir and Fiontán Moran as they discuss Warhol through the lens of the immigrant story, his LGBTQI identity and concerns with death and religion.

Popularly radical and radically popular, Warhol was an artist who reimagined what art could be in an age of immense social, political and technological change.

Explore the artist's life and career in these 12 rooms.

ROOM 1: ANDREW WARHOLA

Andy Warhol produced art at a time of immense social, political and technological change. This exhibition examines Warhol's subject matter, his experiments in media and the way he cultivated his public persona. It draws attention to Warhol's personal story and how his view of the world shaped his art.

Born in 1928 in the industrial town of Pittsburgh, Pennsylvania, Andrew Warhola was the third son of Andrej and Julia Warhola. His parents were Carpatho-Rusyn, and had emigrated from Miková, a mountain village in what is now Slovakia. Warhol was brought up Ruthenian Catholic, attending church throughout his life. Religious imagery and the glamour of Hollywood movies interested him from a young age. He would draw with his mother and took art lessons at his local museum. When Warhol's father died in 1942, he left his savings for his youngest child to go to college, where he studied pictorial design. In 1949, at the age of 21, Warhol moved to New York to work as a commercial illustrator. During this time, he permanently dropped the 'a' from his surname. His mother joined him in New York a few years later. She helped with his illustrations and lived with him until shortly before her death in 1972.

As a gay man growing up at a time when sex between men was illegal in the United States, Warhol embraced New York's queer community of designers, poets, dancers and artists. Warhol's first exhibitions in the 1950s featured line drawings of young men. Abstract expressionist art dominated the US art world. Warhol was considered too camp, or what some referred to as 'swish', and overly connected to the commercial world of advertising illustration to be a serious contender. It would take another decade before he found success as an artist

ROOM 2: SLEEP

From the start of his career, Warhol used his intimate personal relationships with people to create new ways of looking at the world. His first serious art film was Sleep, made over several nights in summer and autumn 1963 with a 16mm camera. The film shows 22 close-ups of the poet John Giorno, who was briefly Warhol's lover, as he sleeps in the nude. Warhol was fascinated by the ability of his friends to stay up for days on end while using drugs and wondered whether sleep would soon become obsolete.

Warhol shot around 50 reels of film for Sleep, each one lasting only three minutes. He edited them with Sarah Dalton, who recalled, 'he asked me to edit it, taking out bits where John moved too much - he wanted the movie to be without movement. I protested that I hadn't a clue how to edit, but he fished out an old moviola editing machine, showed me how it operated and so to work I went.' The final version repeats many scenes and lasts over five hours. It is projected in slow motion, giving a dream-like feel.

By documenting a single action with no dramatic narrative, Warhol turned film into something that could be treated like a painting hanging on the wall. John Giorno said that Warhol got round the homophobia of the art world 'by making the movie Sleep into an abstract painting: the body of a man as a field of light and shadow.'

Although he was a successful illustrator, Warhol still wanted to be taken seriously as an artist. Inspired by the new wave of art he saw in New York galleries, in 1960 he started making hand-painted pictures combining advertising imagery with expressive painting. This soon gave way to a clean graphic style now known as Pop Art. Warhol grew up eating watered-down ketchup with salt for soup. His images of consumer items such as Campbell's soup cans are rooted in his experience of an emerging aspirational culture, selling a dream of economic and social progress.

Warhol was eager to speed up the process of replicating his images, so in 1962 he adopted the commercial production technique of screenprinting. He began to use photographs from newspapers and magazines, often depicting traumatic scenes. Screenprinting meant he could reproduce photographs onto canvas multiple times. While the printing process removed the artist's hand, Warhol often allowed his screen to be over or under-inked. This created effects that disrupted the images. The face of film star Marilyn Monroe became almost mask-like, while the emotional impact of the news images in his Death and Disaster series was both emphasised and undermined. Some images, such as Pink Race Riot (Red Race Riot), which depicts peaceful civil rights campaigners being attacked by police, connected his work to broader social struggles and forced viewers to look at the world around them.

Warhol said creating pop art was 'being like a machine', as the process was often machine-like or mechanised. He then said, 'everybody should be a machine', as machines don't discriminate. If we were all machines then 'everybody should like everybody', whatever their gender. Warhol's open and fluid approach to his subject matter, to people, and the relationships between them, spoke to a decade of social change.

ROOM 4: The Factory

An important part of Warhol's fame was built through 'the Factory', which was an experimental art studio and a social space. Warhol set up the first Factory in 1963. After seeing his collaborator and former lover Billy Name's silver apartment, he asked him to cover the Factory with silver paint and foil. It was the setting for the mass production of his paintings and sculptures, and the site of Warhol's new interest in underground film making.

Warhol documented the people who passed through the Factory in his Screen Tests from 1964-6. Intended as film portraits, they emerged out of Warhol's Most Wanted Men series of paintings (on display in room 3). The title refers to the Hollywood convention of filming new faces to test their 'screen presence'. Warhol's subjects were simply left to be themselves. They sat in front of the camera with nothing to do but endure its gaze for the duration of the film reel.

Warhol and his collaborators made more than 500 films between 1963 and 1972. They ignored traditional methods of film making and were often unscripted. The films usually featured his 'superstars', a group of personalities who spent their time at the Factory. By the mid-1960s, the Factory scene had become a form of living artwork, as famous and as controversial as Warhol's paintings. Reflecting on this period, Warhol recalled how his 1965 exhibition in Philadelphia was so crowded the art had to be removed from the walls. He said it had become 'an art opening with no art! We weren't just at the art exhibit. We were the art exhibit.'

ROOM 5: SILVER CLOUDS

In 1965, at the height of his fame as an artist, Warhol announced his retirement from painting in favour of film making. He staged his farewell with an installation in a New York gallery the following year. One room consisted of nothing but wallpaper featuring a fluorescent pink cow. In the other, metallic silver balloons filled with helium floated through the gallery space and could be interacted with by the viewer. Titled Silver Clouds, they continued Warhol's association with silver: in the silver Factory, his silver paintings, and his silver-grey wig.

Warhol described Silver Clouds, made with engineer Billy Klüver, as 'paintings that float'. He wanted to upset conventional thinking about sculpture, specifically the dominance of minimalist art in the New York art scene at the time. This was an art based on order, mathematical precision and industrial materials. Instead, Warhol's installation emphasised fluidity, movement and participation.

In 1968, the avant-garde choreographer Merce Cunningham asked to feature Silver Clouds for a performance of his dance piece RainForest. Warhol suggested that the dancers perform nude. Cunningham did not adopt this idea and asked the artist Jasper Johns to make the costumes instead.

Warhol's Cow Wallpaper is installed in the exhibition café on this floor and in the Tate Kitchen on level 6.

ROOM 6: EXPLODING PLASTIC INEVITABLE (CURRENTLY CLOSED)

Working with members of the Factory, Warhol became interested in combining film with performance and music, expanding the idea of what cinema could be. In 1966 and 1967, he co-organised multimedia shows known as Andy Warhol's Uptight and later as the Exploding Plastic Inevitable or EPI. The shows used new technology that has now become standard practice in live music gigs.

EPI featured musical performances by the Velvet Underground and Nico. Warhol's films and still images were projected on top of each other. Coloured gels and strobe lights overlaid the projections, while Factory superstars, including Gerard Malanga and Mary Woronov danced with whips. The show managed to fascinate and alienate its audience. Velvet Underground singer Lou Reed described it as 'a show by and for freaks'. It went on to tour music venues and college campuses around the US, and reinforced Warhol's association with the counterculture.

Warhol also achieved his first commercial success in film at this time, with the release of The Chelsea Girls in 1966. This follows various 'characters', including 'Pope' Ondine, in and around New York's Chelsea Hotel, and is presented as a double-screen projection. The final section of the film was shot in colour at the Factory and features layers of coloured light projected over Warhol's superstars, which was also used for the EPI shows.

This room was designed by The Andy Warhol Museum, Pittsburgh to give an evocation of the EPI shows.

ROOM 7: THE SHOOTING

As well as being fascinated with new media, Warhol used printed matter as a promotional tool and a space for experimentation. He published magazines, posters, books and designed record covers. At the beginning of 1968, the Factory moved to a new site on Union Square, as the original building was to be demolished. Warhol said the 'silver' period was over, and 'we were into white now'. The new Factory had spaces dedicated to his magazine Interview and his film production.

On 3 June, the writer Valerie Solanas came to the Factory and shot Warhol, damaging his internal organs. Warhol was rushed to hospital and was declared clinically dead, but doctors managed to revive him. Solanas had been part of the Factory scene for a short time. She appeared in Warhol's 1967 film I, A Man and had given Warhol the script for her play Up Your Ass, which was mislaid. She told the police Warhol was stealing her ideas. Her SCUM manifesto called for an end to the male sex and to capitalist society.

The shooting brought increased scrutiny of Warhol's lifestyle and affected his physical and mental health for the rest of his life. He stopped the open-door policy of the Factory. He had trouble eating, had to wear a surgical corset, and became nervous around people he didn't know. Despite the trauma of the event, he agreed to pose for photographer Richard Avedon and once compared the stitches of his chest to a Yves Saint Laurent dress.

ROOM 8: BACK TO WORK

After the shooting, Warhol passed most of his directing on to Paul Morrissey, who had worked on Warhol's films since The Chelsea Girls. His business manager Fred Hughes sourced new portrait commissions from wealthy clients. These helped fund Interview magazine, edited by college graduate Bob Colacello, and ideas for TV shows, produced by Vincent Fremont. Warhol's studio turned from an open social space to one focused on what he called 'business art'. Warhol explained that 'making money is art, and working is art - and good business is the best art.'

Warhol also started a serious personal relationship at this time. Jed Johnson moved in with Warhol in 1968, and they lived together for twelve years. Johnson edited a number of the Warhol-Morrissey films and directed Bad 1977, the final film Warhol produced. Julia Warhola's ill health led to her return to Pittsburgh, and she died in 1972.

Warhol returned to painting in the 1970s with large-scale screen prints featuring a more expressive painting style and new subjects. He began with the Mao series in 1972, and continued exploring iconography with the Hammer and Sickle and Skull series of 1976. Warhol also experimented with other art forms. He vacuumed a gallery carpet as a performance and started his Factory Diaries: videos of life in the Factory and at home, including this tape of his mother Julia.

ROOM 9: LADIES AND GENTLEMEN

In 1975 Warhol produced a new series featuring anonymous Black and Latinx drag queens and trans women. Italian art dealer Luciano Anselmino commissioned the pictures and came up with the theatrical title Ladies and Gentlemen. This title implies Anselmino was less concerned with the lived experience of the models and more interested in the dramatisation of gender. The subjects were recruited via Warhol's friends and from local drag bars and posed for a fee.

Warhol took over 500 photographs of 14 models. A selection of these were enlarged onto silkscreens. The result was a large group of paintings that deviated from the original proposal in favour of an exploration of performance, glamour and personality. In a similar manner to other works he created at the time, Warhol used expressive brushmarks and finger painting to explore the relationship between the silkscreen layer and the painted background. His films featuring the superstars Mario Montez, Holly Woodlawn and Candy Darling show Warhol was interested in depictions of gender expression. However, there are questions around the ethics of this series: he documented a community he was not part of, with the subjects having little agency in how they were depicted or where the works would be shown.

Given the lack of representation of trans people in art, there has been renewed interest in the series and the identity of the sitters. This room features seven of the models across 25 paintings. It includes Marsha 'Pay it no mind' Johnson who was present at the Stonewall Uprising that ushered in the gay and trans rights movements, and Wilhelmina Ross. Both Johnson and Ross performed as part of the drag theatre company 'Hot Peaches', founded by Jimmy Camicia, in off-off-Broadway shows. Little is known about some of the other figures, perhaps a record of the discrimination faced by trans people, especially those of colour.

ROOM 10: EXPOSURES

By the 1970s, Warhol was himself an international celebrity. He was regularly photographed and took photographs at places such as the nightclub Studio 54, alongside public figures such as Grace Jones and Debbie Harry. Warhol famously went out every night, a condition he referred to as his 'social disease'. As well as giving his work publicity, Warhol's exposure enabled him to reinforce his distinctive public identity. Some US art critics dismissed his socialising and lucrative business of producing commissioned portraits for the rich and powerful as 'selling out'. However, such activities also helped finance his more experimental art practices.

These social networks of collaboration and bodily performance found their way into Warhol's new works, which were more explicitly based around the body. His Oxidation series from 1978 used human urine to oxidise metallic paint. The Torso series features male bodies, with some of the models recruited in gay bath houses by friends of Warhol, and brought back to the Factory to pose.

Warhol's experiments with video extended into television projects, co-produced with Vincent Fremont, where he could reach an even larger audience. In 1980, he premiered Andy Warhol's TV on a cable television network. He followed this in 1986 with Andy Warhol's Fifteen Minutes on MTV. It played on the artist's fame, his network of celebrities and his obsession with recording, which he had been doing since the mid 1960s. The programmes followed the format of his Interview magazine by presenting intimate conversations between stars.

ROOM 11: MORTAL COIL

As the 1980s progressed, Warhol's work featured more political and religious imagery. Although it wasn't deliberate, it reflected some of the major concerns of the time, including the Cold War between the US and the USSR and the escalating AIDS epidemic.

Warhol created images of the Statue of Liberty many times. It could be seen as the ultimate celebrity portrait. In Statue of Liberty (Fabis), Warhol laid military camouflage over this well-known symbol of freedom. The statue had personal meaning for Warhol. His family landed at Ellis Island, near to where Liberty stands, when they immigrated to the US. In this version, Warhol used a French biscuit tin lid, designed to commemorate the 100th anniversary of the statue arriving in New York as a gift from France. The Lenin series, created for a German gallery, saw Warhol return to the subject of communism and its most recognisable symbols.

Warhol had always used his own image in his art. In the 1980s, he created what came to be known as his 'fright wig' self-portraits for an exhibition in London. In earlier works, his wig was an integrated part of his appearance. In these pictures, his wig takes on the status of art. In contrast to his early self-portraits where he appeared aloof, in these works his gaunt face and intense expression convey the pain that he routinely suffered from since the shooting.

ROOM 12: THE LAST SUPPER

Faith, death and desire come together in Warhol's Sixty Last Suppers. This large-scale work forms part of a series commissioned in 1986 based on Leonardo da Vinci's Last Supper. This famous mural depicts Jesus the night before his crucifixion with the twelve disciples. A copy of the mural had hung in the Warhola family kitchen. Da Vinci's depiction has been damaged and repaired many times over the centuries. Warhol purposely used a cheap reproduction based on a 19th-century copy for his work. Choosing to copy a copy of the original, Warhol evokes the re-enactment of the Last Supper that takes place during every Mass. It also plays on the authenticity of da Vinci's Last Supper, with Warhol stating: 'It's a good picture... It's something you see all the time. You don't think about it.'

Unlike most of his paintings, Warhol's Last Supper series focuses on a group scene. The repetition of an image showing collective activity between men adds to the work's symbolism. It was created soon after the death of Warhol's former partner Jon Gould from an AIDS-related illness, and at a time when the private lives of gay men were facing the glare of the media. While Warhol was not a queer activist, Sixty Last Suppers could be seen as a moving portrayal of endless loss, reminiscent of 'columbarium', the wall graves found in many cemeteries.

Sixty Last Suppers would turn out to be one of Warhol's final works. After the first exhibition of the series in Milan, he returned to New York where he reluctantly checked in to hospital for gallbladder surgery. While the operation was a success, his long-term ill health led to his heart failing, and Warhol died on 22 February 1987, aged 58.

Andy Warhol is presented in The Eyal Ofer Galleries. This exhibition is in partnership with Bank of America. With additional support from the Andy Warhol Exhibition Supporters Circle, Tate Americas Foundation, Tate International Council, Tate Patrons and Tate Members.

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Read the exhibition guide for Andy Warhol at Tate Modern

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The best research tool for A-level Photography. Start planning your projects already and get ahead. Download the app and create your own boards in order to find your inspiration.

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What about studying Fashion Photography?

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What about studying Fashion Photography?

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BA (Hons) Fashion Photography Degree | Leeds Arts University

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Capture the world of fashion at Leeds Arts University with a BA in Fashion Photography. Develop an experimental approach to image-making.

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Unique and inspiring pieces of art await to be seen by you!

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Unique and inspiring pieces of art await to be seen by you!

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Click the link below to view photographers on Pinterest

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Unlock creativity, learn new skills, and achieve excellence in this course. Guided by industry leaders, it paves the way for a dynamic career in an ever-evolving field.

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'Photography is the serious art of our time. It also happens to be the most accessible and democratic way of making art that has ever been invented.'

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'Photography is the serious art of our time. It also happens to be the most accessible and democratic way of making art that has ever been invented.'

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It has taken me a long time to see this, and you can laugh at me if you like. But here goes.

Photography is the serious art of our time. It also happens to be the most accessible and democratic way of making art that has ever been invented. But first, let's define photography.

A photograph is an image captured on film, paper or - most commonly now - in digital memory. Photography also includes moving images captured on film or video. Moving or still, we all know a photograph is not a pure record of the visual world: it can be edited and transformed in infinite ways.

Moving or still, and however it is taken, whether by pinhole camera or phone, the photographic image is the successor to the great art of the past. It is in pictures by Don McCullin or films by Martin Scorsese that we see the real old master art of our time. Why? Because photography relishes human life. The greatness of art lies in human insight. What matters most is not the oil paints Rembrandt used, but his compassion. Photography is the quickest, most exact tool ever invented to record our lives and deaths - 17th-century painters would have loved it.

An Indian ragpicker in a market in New Delhi. Photograph: Kevin Frayer/AP

Or if David Hockney is right, they did love it. Vermeer almost certainly used a camera obscura to compose his scenes. Hockney believes that Caravaggio and many more artists used a "secret knowledge" of early cameras to perfect their almost hallucinatory understanding of the visual world.

However they did it, they painted the flux and drama of real life. From birth to death, great art is a sequence of moving pictures of the human condition.

Today, photography is the only art that seriously maintains this attention to the stuff that matters. Just look (as the world is looking) at this week's incredible photographs of a family surviving a wild fire in Tasmania. Here is the human creature, vulnerable and heroic.

A doll in the mud after torrential rain in Israel. Photograph: Ariel Schalit/AP

Little of that raw human stuff makes it into the over-refined world of contemporary art, and when it does, it is often because photographic images have been accepted as art. 2012 Turner prize winner Elizabeth Price harrowed London's Tate Britain with images of horror and fear in a work that epitomised the power of photographic art.

But the photography that meets the critieria of the art world is just a tiny sliver of the camera's artistic riches. From news images to the Hubble telescope, Photography is the art of real life - however manipulated. And real life creates true art.

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It has taken me a long time to see this, and you can laugh at me if you like. But here goes. Photography is the serious art of our time. It also happens to be the most accessible and democratic way of making art that has ever been invented.

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Visit our Instagram and see what our students are up to

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Visit our Instagram and see what our students are up to

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@trinitysixthformart

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Visit our Instagram and see what our students are up to

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Visit our Instagram and see what our students are up to

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@trinitysixthformart

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1.Grab a camera or your smart phone and take 10 pictures of things that interest you.This could be outside within nature or at home!

2.The next step is to edit your photographs to have a monochromatic effect (Black and White).

Study the edited images, How has the image changed now it is in black and white? Think about the atmosphere and the narrative created.

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YR12 Curriculum Maps

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YR13 Curriculum Maps