Places with a Past

on this site: the places and spaces of joel sternfeld

‘The impulse to make a picture of an event which has already happened may seem counter-intuitive, if not impossible. Unlike a painter who may recreate a historical scene, the photographer has no such leeway’ (Albers, 2015)
Joel Sternfeld (1993) Central Park, North of the Obelisk, Behind the Metropolitan Museum of Art, New York from On This Site: Landscape in Memoriam

This is an adaptable session which aims to introduce participants to researching the history of places and spaces and the importance of aesthetics / accompanying text / context in its photographic representation. It encourages in-depth independent research into Joel Sternfeld’s practice and its commparative positioning within wider ideas regarding different ways of photographicically representing place, space and history.

Joel Sternfeld (2001) from Walking the Highline
‘The poet-keeper of the High Line is the photographer Joel Sternfeld. He has been taking pictures of it in all seasons for the year, and he has a gift for seeing light and space and color— romantic possibility of every kind— where a less sensitive observer sees smudge and weed and ruin. He would not just like the High Line to be saved and made into a promenade; he would like the promenade as it exists now to be perpetuated, a piece of New York as it really is’ (Gopnik, 2001)

This Session could be run in conjunction with:

Aims & Outcomes:

  • To undertake research into the history of the local / a specific area
  • To explore the relationship between image and text / caption
  • To visually experiment with the loading of narrative into single / multiple images in sequence and series
  • To understand the difference between literal and ambigous imagery (and thier consequences)
  • To consider the context of viewing such images and how this might impact on thier interpretation
  • Participant Outcome: 5 6×4 digital prints
Ori Gersht (1999-2000) A Train Journey from Cracow to Auschwitz from White Noise
‘Without their subtext, they lose their specificity. The eye passes over the photograph but cannot penetrate it. There is no mental adjustment we can make that will give it clarity, except by recourse to place, circumstance and [ori gersht’s] intention’ (Searle, 2005)

You will need:

  • Digital cameras for all participants (and appropriate memory cards) *This session can also be run using Camera phones or Lumix cameras
  • Card readers
  • Access to computers (or laptops)
  • An Introductory Brief & Presentation for participants to outline the ideas and provide examples
  • Some local examples of places with a past *and preferably some visual representations of them to critique / discuss
  • A booked room to critique participants work (either via a projector (powerpoint with text) or via print)
  • Blue tack to pin the work
  • Costings and Risk Assessments
Richard Misrach (1999) Battleground Point from Desert Cantos
‘Where the document begins and where the aesthetic object begins is really hard to tell. That’s fairly obvious in my work; there doesn’t seem to be an illusion of a straight document’ (richard Misrach in Caponigro, 1998)

Research: the work of joel sternfeld

 

Preparation Work:

  • Research the history of a local / specific area *local libraries, newspapers and people living in the area can help here
  • Ask participants to read Kate Palmer Albers (2015) ‘Joel Sternfeld’s Empty Places available here
  • Ask participants to read Fiona McDonald (2014) ‘Thomas Demand: Making History – with paper’ in BBC Culture available here
  • Ask participants to watch the video On This Site by Joel Sternfeld (2014) available here
  • Ask participants if they have thier own digital cameras and cards
  • Make sure you have access to computers / image editing software
  • Make sure there are enough team members to support participants (never assume thier prior knowledge)
  • Decide whether you will project the work or print it.
  • If you are printing it make sure the Photo Lab are aware and be aware of timekeeping so they have space to print the work.
  • *If you are running this session off campus, make sure there is access to printers (or projectors if you are concentrating on sequencing a narrative only – create a powerpoint and include the text with each photograph)
Catherine Yass (2013) from Decommissioned
‘Catherine Yass photographed the former car showroom and dance studios that used to stand on the JW3 site once they had been decommissioned and emptied. The resulting large-format transparencies were placed around the demolition site – on diggers, under girders, in piles of glass and rubble – and then retrieved some weeks later, after they had been damaged scratched, ripped, and transformed by colour reactions on the emulsion. The images have been placed in the new building in light boxes and are in Yass’ words “small windows into a past and interior world illuminated by imagination and memory’ (outset, 2013)

Presentation Ideas: places with a past

Suggested Session Outline:

to come

Abigail Reynolds (2015) Desert Seeds
‘Making work is a strange and erratic dance of intuition, graft, brute materiality and opportunism. I allow myself to be attracted to certain images, forms and places which then become points to work away from. For me, making work is partly aversion and partly attraction. I enjoy to play with my sense of surroundings and also materiality. I also enjoy the difficulty of sculpture and the challenge of problem solving, which is always present when making anything three dimensional’ (Abigail Reynolds in Aesthetica, 2013)

 

Tell Me A Story (Again)

Knowing Narratives: Into a Sea of Stories

Intertextuality: The accumulation and generation of meaning across texts, where all meanings depend on other meanings. The self conscious citation of one text within another as an expression of enlarged cultural self consciousness’ (Barker, 2008, p.482)
Paula Rego (1989) Baa Baa Black Sheep

 

In this session, participants will explore themes of intertextuality and originality in thier images by constructing images in direct response to another (visual / written) ‘text’. They will consider the levels of ambiguity (or not) of such images and thay are encouraged to undertake in-depth independent research into Tom Hunter’s practice and its positioning within wider ideas regarding the nature of photographic representation and narrative within the constructed image.

‘Practitioners of staged photography invent their motifs, freely combining the real and the invented, photography and painting, photography and stage design, weaving historical and mythological references into their works, and do not hestiate for a moment to manipulate reality’ (Kohler, 1995, p.8)
Oscar Rejlander (1857) The Two Ways of Life

This Session could be run in conjunction with:

Anna Gaskell (1998) Hide
‘A text is… a multidimensional space in which a variety of writings, none of them original, blend and clash. The text is a tissue of quotations’ (Barthes 1977, p.146)

Aims & Outcomes:

  • For participants to visually explore the loading of narrative into the single image
  • For participants to understand the difference between literal and ambigous imagery (and thier consequences)
  • For participants to respond photographically to recast / recreate another ‘text’
  • For participants to investigate the relationship between ‘texts’ and consider the notion of originality
  • Participant Take Away Outcome: 1 exhibition quality 10 x 8 print
‘Movies can shape a layer of memory, leading us into a shared past, sometimes false, dreamlike childlike, but a past we’ve all agreed to inhabit’ (Don De Lillo in Lewis, 2014)

You will need:

  • A selection of paintings, fairy stories, photographs, films, nursery rhymes, music video’s etc (a mix of visual and written ‘texts’)
  • Digital cameras for all participants (and appropriate memory cards) *This session can also be run using Camera phones or Lumix cameras
  • Card readers
  • Access to computers (or laptops)
  • Flashguns (or a Studio) to practice lighting techniques
  • An introductory brief & Presentation (below) for participants to outline the ideas and provide examples
  • A booked room to critique participants work (either via a projector or via print)
  • Blue tack to pin the work
  • Costings and Risk Assessments

Research: the work of tom Hunter

Preparation Work:

  • Ask participants to read Helen Simpson (2007) ‘Femme fatale: Angela Carter’s The Bloody Chamber’ in The Guardian, 24th June 2006 available here
  • Ask participants to read / watch interview with Richard Tuschman on Hopper Meditations available via Lens Culture (2013) here
  • Ask participants if they have thier own digital cameras and cards
  • Make sure you have access to computers / image editing software
  • Make sure there are enough team members to support participants (never assume thier prior knowledge)
  • Decide whether you will project the work or print it.
  • If you are printing it make sure the Photo Lab are aware and be aware of timekeeping so they have space to print the work.
  • *If you are running this session off campus, make sure there is access to printers or projectors
Martina Sauter (2011) Treppenhaus

Presentation Ideas: into a sea of stories

Suggested Session Outline:

  • Show participants the trailer for Shrek the Third (2007) (above). Ask them to count and write down every intertextual reference they can see in the clip. Does it matter if we don’t recognise all of them? How does it recast its reference points into a new narrative?
  • Give the Presentation (above). Invite participants to compare the intertextual work with its ‘original’ text. What are the similarities and differences? Is it a straight ‘copy’ or something new and original? How does the new work change or play with this ot create new meanings and narratives? Is it merely a literal / descriptive ‘copy / illustration’ or a more ambiguous image. Do we need to recognise the original source ‘text’?
  • Provide participants with a list of visual / written ‘texts’ (or they can think of thier own). Identify the key elements of the ‘text’: narrative, people, objects, places and motifs etc.
  • Identify how these might be translated in new ways (e.g. a ‘cauldron’ could become a microwave / a ‘princess in distress’ might be female / a ‘forest’ might be a playground / park or garden. How might the ‘text’ be translated in more ambigous ways? (e.g. the absence of people / the ‘feeling’ of the original text / a modern update)
  • Sketch out / brainstorm initial ideas (thinking of props, locations, characters etc)
  • Location lighting or studio induction. How does light colour / black and white / aesthetics influence the scene?
  • Shoot the image individually / in groups
  • Print / Project and critique the images with the original ‘text’ in mind /  on view and considering aspects of originality / description v’s ambiguiy / the construction narrative within the single image / audience respsonse
Thomas Demand (1999) Tunnel (video)

 

So Many Books, So Little Time

Storytelling, selecting & sequencing: The hand-made book

‘The camera may be thought of as comparable to the eye. The difference is that the camera is not more than an eye. It does not think. Any connection with judging, choosing, arranging, including, excluding, and snapping has to be with the photographer’ (Price, 1994, p.4)
Duane Michals (1973) The Bogeyman

 

In this session, participants will explore the sequencing of photographs to create a narrative. They will consider the ambiguity (or not) of images to create a story, as well as it’s relationship with accompanying text. They will produce a simple hand-made book to display the images.

 

 

 

‘Duane Michals has continually rebelled against and expanded the documentary and fine art traditions. At the onset, he baffled critics who knew not what to say of his work, rejecting the notion of the “decisive movement,” the supremacy of the sensational singular image, and the glorification of the perfect print. As an expressionist, rather than going out into the world to collect impressions of the eye, he looked inward to construct the images of his mind, exploring the unseeable themes of life, death, sensuality, and innocence’ (Reznik, 2014)

This Session could be run in conjunction with:

  • Tell Me a Story – (narrative in the single image) post to come (Jeff Wall / Gregory Crewdson)
  • (Don’t) Stop the Frame – (panorama’s) – post to come (Sam Taylor Wood / Fred Cray)
  • On this Site – post to come (Joel Sternfeld / Paul Seawright / Tom Hunter)
  • Tell Me A Story (Again)
  • Fake News?
Jeff Wall (1998-2000) The Flooded Grave
‘Like a poem, which is made up from ‘lines that resemble sentences’ but exceeds the normal way we read sentences, the poetic quality of an image transgresses the indexical truthfulness of a representation’ (Wall & Galassi, 2007, p.337)

Aims & Outcomes:

  • For participants to visually explore the nature of constructing images and sequencing them to portray a narrative through 6 images
  • For participants to understand the difference between literal and ambigous imagery (and thier consequences)
  • For participants to explore the relationship between image and text.
  • Participant Take Away Outcome: A handmade book with 6 sequenced images
Tom Hunter (2000) The Way Home from Life and Death in Hackney

You will need:

  • Digital cameras for all participants (and appropriate memory cards) *This session can also be run using Camera phones or Lumix cameras
  • Card readers
  • Access to computers (or laptops)
  • A3 / A4 card or paper *Make sure you print the photograhs at the appropriate size to fit each page
  • Scissors, Bone Folder etc
  • An Introductory Brief & Presentation for participants to outline the ideas and provide examples
  • Some song lyrics, poems, stories *Participants can also write thier own stories e.g. remembering a dream etc
  • *If there are time constraints – you could also work in groups (with Image 1 and Image 6 being provided in pre-made books – what is the narrative in the middle? (produce 4 images to ‘complete’ the story). Here, still demonstrate how to make the book (particularly useful with younger participants)
  • A booked room to critique participants work (either via a projector (powerpoint with text) or via print)
  • Blue tack to pin the work
  • Costings and Risk Assessments
‘The caption permits me to focus not only my gaze, but also my understanding’ (Barthes, 1977, p.39)

Preparation Work:

  • Practice making books yourself and decide which size you will print the photographs
  • Ask participants to read David Seidner (1987) ‘Intverview with Duane Micheals’ in BOMB Magazine, 1st July 1987 available here
  • Ask participants to watch the video Presenting The Day-to-Day Life of Albert Hastings by Kaylynn Deveney (2011) available here
  • Ask participants if they have thier own digital cameras and cards
  • Make sure you have access to computers / image editing software
  • Make sure there are enough team members to support participants (never assume thier prior knowledge)
  • Decide whether you will project the work or print it.
  • If you are printing it make sure the Photo Lab are aware and be aware of timekeeping so they have space to print the work.
  • *If you are running this session off campus, make sure there is access to printers (or projectors if you are concentrating on sequencing a narrative only – create a powerpoint and include the text with each photograph)
Christopher Stewart (2002) from Insecurity

Suggested Session Outline: see Teresa williams’s website here

 

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Photo + Graphy = Light + Writing

/fəʊtəˌGrɑːf/: drawing with light

Sir John Herschel phrased the term ‘photo-graphy’ in 1839 in his Royal Society paper on photography (1839),  it is based on the Greek φῶς (phos), meaning ‘light’ and γραφή (graphê), meaning ‘drawing / writing’ – together meaning ‘drawing with light’ (in Schaaf, 2013)
Pablo Picasso / Gjon Mili (1949) from Light Drawings

 

In this session participants will produce images using light painting techniques / artifical light sources in order to explore the idea of the constructed image, the dependence of the photographic process on light and time, as well as further consolidating learning of photographic exposure / shutter speeds and the representation of time and motion

 

 

 

 

‘if I should ever seriously photograph, it would be…the flux of things. I wanted then, and still do, to express the ‘thing’ as part of total flow’ (Morgan in Morgan & margolis, 1980)

This Session could be run in conjunction with:

Barbara Morgan (1940) Pure Energy and Neurotic Man

Aims & Outcomes:

  • For participants to visually explore the nature of photographic seeing and constructing images using light
  • For participants to understand how exposure and shutter speeds can influence the image
  • Participant Take Away Outcome: At least 3 different light writing photographs
Matthew Murray (2012-2018) from Saddleworth

You will need:

  • Digital Camera with a manual exposure setting
  • Tripods
  • A darkened room / studio or shoot outside at dusk / night
  • A selection of movable light sources (e.g. torches, phones, glo-sticks, maglights, fairy lights, flashguns, bicycle lights etc) *if you are outside, car headlights can also illuminate a space
  • Shutter release (for self portraits etc)
  • Card readers
  • Access to computers (or laptops)
  • An introductory brief & Presentation (below) for participants to outline the ideas and provide examples
  • A booked room to critique participants work (either via a projector or via print)
  • Blue tack to pin the work
  • Costings and Risk Assessment
Man Ray (1935) Self Portrait from Space Writing

 

While the signature was of course apparent to [Man Ray], the photograph remained for many years an “abstract image” to others. The discovery of this inscription is both a revelation and a resolution. Now, seven decades after he made his own game of Hide-and-Seek, we can finally look back at Man Ray and say: “There you are!” (Carey, 2011)

preparation Work:

  • Plan at least 5 different approaches to drawing with light and make sure you have all materials. Think about;
    • Light Drawing: The light source can be seen by the camera, during a long exposure the artist uses this light source to draw, write or create a design within the frame
    • Kinetic Light Painting; The lights in the scene generally remain stationary while the camera itself is moved about during a long exposure to create color and design within the frame.
    • Light Painting; The artist uses handheld light sources to selectively illuminate parts of a scene during a long exposure photograph.
  • Ask participants to read A History of Light Painting Photography available here
  • Ask participants to think of and draw out some initial ideas for constructing images using light. There are a number of introductory videos to be found online but a good example for beginners is here
  • Ask participants if they have thier own digital cameras and cards
  • Make sure you have access to computers
  • Make sure there are enough team members to support participants (never assume thier prior knowledge)
  • Decide whether you will project the work or print it.
  • If you are printing it (6×4) make sure the Photo Lab are aware and be aware of timekeeping so they have space in the session to print the work.
  • *If you are running this session off campus, make sure there is access to a darkened room, printers or projectors
Dean Chamberlain (1977) Two Polyesthene Bags and a Chaiselonge
‘The viewer is instantly confronted with how frequently we take for granted the light in our everyday lives, not to mention its role in traditional photography. After all, how else would one make a photograph without at least a minimal amount of available light in the environment? One look at [Chamberlains] works and it becomes clear–there are other ways. While Chamberlain paints with light through time and space, the light itself becomes the primary subject matter, shifting the focus from the subject/object to the very element through which the work (and our lives) are revealed’ (Meta Gallery, Toronto, 2008)

presentation ideas: drawing with light

‘Light used in its own right, as in light pictures, gives to photography the wonderful plasticity that paint gives to painting without loss of the unmatched reality of straight photography’ Wynn Bullock (in bullock Family 2019)

lightwriting: activity ideas

You might:
  • Draw a picture
  • Outline a person / object
  • Spin some fairy lights to create an orb
  • Do a double exposure
  • Use flash / torches to light certain aspects of an internal / external scene
  • Write a message / your name
  • Use glo-sticks to create abstractions
  • Use movement (either object or camera) to create abstractions

Suggested Session Outline:

 

 

 

 

Into the Deep Blue Yonder

The Light (and Delight) of the cyanotype

In her preface to Photographs of British Algae, Atkins argued that the ‘beautiful process of cyanotype’ did away with the difficulties involved in making accurate drawings of natural objects, particularly objects as ‘minute as […] the algae and conferva’. However skilled, no draughtsman could hope to match the unprecedented reality-effects produced when images derived from ‘impressions of the plants themselves’ (Castle, 2015)
Anna Atkins (1843) Cyanotypes of British Algae

In this session participants will make cyanotype images from photograms and from acetate negatives in order to consolidate learning of the basics of analogue processes. It also serves as an introduction to the idea of constructed images, the dependence of the photographic process on light and time, as well as basic analogue development principles.

This Session could be run in conjunction with:

Barbara Kasten (1974) Photogenic Painting
‘My work often begins with an exploration of materials, and my initial attraction to photography stemmed from an interest in how the photographic process could provide innovative means to create paintings. The photogram, free from technical restraints and training, offered a direct way to merge a painterly technique with light-sensitive emulsions…The interdependency of shadow and light is the essence of photographic exploration and an inescapable part of the photographic process. I see the play between these two phenomena as basic components of photographic abstraction, with their exchanging roles of solidity and transparency. In my work, shadow transforms the three-dimensional space of my constructions into the two-dimensional surface of the photograph’ (Kasten in tate, 2018)

Aims & Outcomes:

  • For participants to discuss and visually explore the nature of photographic seeing
  • For participants to experience and understand the nature of cyanotype processing
  • Participant Take Away Outcome: At least 3 cyanotypes
Barnaby Irish (2019) from Light Senstitive
‘I find these forms both beautiful and disturbing; they resonate as something familiar, but closer inspection makes them feel false – the depth and shade created by software instead of photons…My work imagines realities and dimensions we can’t yet sense, or only get glimpses of through meditation or psychedelics. I’m aiming for the resonance of something you recognise with the mystery of not knowing what it is.’ (Irish in Elliott Halls, 2019)

You will need:

  • A selection of small objects / materials to make cyanotypes with (participants can also bring / find objects / materials)
  • Some watercolour paper
  • If you are using the sun to expose your cyanotype – a normal photo frame (mask off the glass with electricians tape) / perspex, cardboard, elephant clips will suffice.
  • A Foam brush / measuring materials / trays / gloves / glasses / aprons *re Health & Safety requirements
  • Cyanotype chemicals *available from Silverprint
  • An Introductory brief & Presentation (below) for participants to outline the ideas and provide examples
  • A booked room to critique participants work
  • Blue tack to pin the work
  • Costings and Risk Assessments
  • See also the BBC GSCE Revision Guide here

Preparation Work:

  • Make sure you have all of the required materials (including some objects / acetate negatives)
  • Make sure you have booked the darkrooms if you are working on campus / have chemicals, lights, trays, perspex, etc if off campus and are adhering to Health and Safety requirements
  • Are you going to prepare your cyanotype mix / coated watercolour paper in advance?
  • If you are working with Primary School participants you could ask them to make a montage with some / the objects you have chosen on A4 paper and draw or photograph it. In the sesison / in advance, younger children can also cut out shapes and images from magazines (and mount onto card) as ‘objects’ to make storytelling photograms with.
  • Are you going to produce / ask participants for a negative scan to invert and print onto acetate in advance? *More contrast works better in an acetate negative

Cyanotypes: ideas for Photograms

Angela Chalmers (2018) The Kiss of Peace

Cyanotypes: ideas for making Acetate Negatives

Boris Mikhailov (2006) from At Dusk
How accurate can a picture of the world be, one’s inner village-idiot wonders, if everything we see in it — not just yellowy-greeny-goldy-maroonish-brown seawrack — is recast in alchemical shades of blue? From one angle, the all-blue world of cyanotype is as hallucinatory a domain as the one Alice encounters when she wanders through the looking glass…So, whose algae is more realistic: the photographer’s or the painter’s? (Castle, 2015)

Suggested Session Outline: see josie purcell’s website here

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All I want for Christmas…

tis the season to be jolly: 6 Christmas Themed Photographic activities

Geert Van Kesteren (2004) from Why? Mister, Why?

These adaptable Christmas themed activities introduce participants to a range of quick and easy ways of engaging with photographic processes and also producing  Christmas cards and decorations.

Using a semiotic apporoach, older participants could also be encouraged to reflect on the representation and advertising of Christmas and (potentially) different readings of these.

*These activities could also be adapted for Easter, Halloween etc.

Coca Cola (1931)

1: The 12 days of Christmas: adaptable

Session overview:
  • Every day – for 12 days – participants will photograph an object / create a scene which they feel relates to a Christmas heading / captiion / song etc.
  • These should be provided in advance (with dates) and participants should concentrate on one ‘caption / quote’ for each day.
  • These can be mixed up amongst a class group / more than one participant can work on the daily ‘caption’ at one time.
  • Participants should independently research the work of Lee Friedlander – Merry Christmas from Lee Friedlander (2011) at the Janet Borden Gallery, NYC.
  • Upload daily to Instagram / Twitter / social media platform
some Example Christmas captions to work from:
    1. All I Want for Christmas
    2. Tis the Season to be Jolly
    3. Silent Night
    4. We Three Kings of Orient are
    5. Down in Yon Forest
    6. The Friendly Beasts
    7. Good King Wenceslas
    8. The Holly and the Ivy
    9. i Wonder as i Wander
    10. O’ Holy Night
    11. Rockin Robin
    12. O’ Christmas Tree
suggested output:  daily (clASS) Instagram 
Additional activity ideas:
  • Run a Christmas Treasure Hunt: Find and photograph a ‘present’ every day for 12 days. Who is it for?
  • Pinhole Christmas: Make a Pinhole Camera:  Expose the scene for 12 days

Research: The Work of Lee Friedlander

THESE Sessions could be adapted from:
Advertising forms a system of meaning… The viewer sees all advertisements as one, or rather sees their rules as applicable to one another and thus part of an interchangeable system’ (Williamson, 1978, p.13)

2: twas the night before chrstmas: Light-writing

Merry Christmas (in Cornish)
Session overview:
  • Participants will ‘light write’ / trace a portrait / object / scene / message which they feel relates to Christmas
  • Practice Light Writing techniques
  • Identify participants choice of approach / subject / message
  • In small groups participants help each other produce thier image
  • Print and make into Christmas cards (using A4 folded card)
suggested output: christmas cards
Light Written Christmas Tree / Portrait
Additional activity ideas:
  • The Travels of Rudolph: Using Google Maps identify locations and make light writing pictures of the best present he is dropping off at this location. Why?
  • Class / Family Message: With one letter per ‘model’ each traces out the letter of the message (e.g. Merry Christmas will need 14 ‘models’ and a photographer) *this can also be done with 1 ‘model’ and stitched together using Photoshop or as a multiple exposure.
THESE Sessions could be adapted from:
‘By the word reading we mean not only the capacity to identify and decode a certain number of signs, but also the subjective capacity to put them into a creative relation between themselves and with other signs’ (Hall, 1999, p.514)

 

3: Rockin’ Robin: Photograms

session overview:
  • Participants will brainstorm and list typical Christmas scenes and objects *use Christmas cards etc for ideas
  • Identify objects that could be ‘transformed’ into the scene though drawing / painting / placing cut outs on the image *Image manipulation software would also work here
  • Print to size and make into small Christmas decorations (using cardboard / wood slices / cup coasters and string)
suggested output: Chrismas decorations
Christmas Tree (Photogram – with awl pierced card for lights / dogded ‘moonlight’)
Additional activity ideas:
  • A Christmas Scene: Using christmas cards, cut out the shapes of different objects and make a ‘new’ photogram / lumen Christmas story
  • Pinhole Christmas: Make a Pinhole camera. Use the resulting images to think of Christmas scenes you could ‘make’ from them by painting / drawing on them.
THESE Sessions could be adapted from:
‘There is one lesson we can learn from photographs: images exist not to be believed, but to be interrogated’ (Grundberg, 1999, p.273)

 

4: Rudolph the Red-Nosed Reindeer (and friends): typologies

session overview:
  • Participants will brainstorm and list small ‘typical’ Christmas objects *use Christmas cards / adverts etc for ideas / a single object could be photographed in different ways
  • Collect the objects
  • Photograph them as neutrally as possible (using a piece black velvet as a backdrop or curved A1 card as an ‘infinity curve’)
  • Print and stick onto card. Make your accordian fold out card (of at least 3 of the objects)
suggested output: christmas accordian card
Additional activity ideas:
  • Christmas Nativity: Find Christmas themed minature models and objects. make a story / nativity and photograph it. What is its story?
  • Christmas Object: Give each participant / group one ‘Christmas’ object. What else could it be used for?
THESE Sessions could be adapted from:
‘Messages are socially produced in particular circumstances and made culturally available as shared explanations of how the world works. In other words, they are ‘ideologies’, explanatory systems of belief’ (Goodwin & Whannel, 2005, p.60)

 

5: O’ Christmas tree, O’ Christmas tree, how faithful are thy branches: Collage

Diane Arbus (1963) Xmas tree in Living Room, Levittown L.I.
session overview:
  • Participants will find / take a straight photograph of a ‘typical’ Christmas scene *this could be a constructed family portrait
  • Shoot the scene in parts / use Photoshop or a photocopier to enlarge different aspects / areas of the scene
  • Collage these photographs together into a grid or joiner *Scale is an important consideration here
  • Re-photograph and print
Diane Arbus (1963) Xmas tree in Living Room, Levittown L.I. (as collage)
suggested output: christmas print
Additional activity ideas:
  • Dual Christmas: Find a photograph / image of a typical Christmas scene / object and take a photograph to make the ‘another half of the scene’ *This could be expanded to consider scale and additional collage in creating the ‘scene’
  • Merry Christmas from Me: Make a collage of a Christmas scene using found photographs / Christmas cards / objects / or draw a scene on the ground. Using yourself (either photograph yourself or use your shadow etc) position yourself ‘into’ the scene.
THESE Sessions could be adapted from:
‘Advertisments present an abstract world, often a fantastic one, that is situated not in the present, but in an imagined future’ (Sturken & Cartwright, 2009, p.265)

6: The wisemen saw (or did they?): digital / stop motion / moving image

via GIPHY

session overview:
  • Participants will examine / analyse a range of Christmas adverts
  • Using a selection of objects, participants will shoot thier own Christmas advert. Who is it for? What is it’s message?
  • Use Photoshop to add text / logo’s *collage could also be used here
  • Print and critique
Presentation Ideas: Christmas adverts
Project Ideas: Christmas Airlines
suggested output: christmas advert (still or stop motion / moving image)
Additional activity ideas:
  • A (Moving) Merry Christmas: Make a stop motion GIF (telling a story through multiple photographs of objects / quick succession photographs of a narrative). Some instructions on making GIF’s in Photoshop can be found here
  • Once Upon a Time (at Christmas); Devise a Christmas story / use christmas carol lyrics and illustrate this narrative in 6 photographs (individually or as a group) to create a narrative. Make a handmade book and add text.
THESE Sessions could be adapted from:
‘The most significant indexical power of the photograph may not lie in the relation between the photograph and it’s subject, but in the relation between the photograph and it’s beholder, or user’. (Olin, 2002, p.114)

A Walk on The Wild Side

(timed) Travels with a Camera

‘We cannot claim to have really seen anything before having photographed it’ (Zola in Sontag, 1977, p.87)
Todd Hido (2016) from Bright Black World

This session encourages participants to ‘notice’ the world around them, as well as ‘seeing’ it in individual / subjective and  photographic terms. Through a single walk / trip (with timed alarms for photographing) it encourages participants to notice the world around them, explore the role of aesthetics, framing, vantage point and depth of field, and investigate the idea of a more subjective ‘photographic’ voice as the ‘group’ walk / experience of the world is transformed / constructed into an individual and subjective vision.

Photographs substitute for direct encounter; they act as surrogates, mediating that which was seen through the camera viewfinder’ (Wells, 2011, p.6)

This session could be run in conjuction with:

Hamish Fulton (1985) Wind through the Pines

Aims & Outcomes:

  • For participants to notice the world around them in a subjective manner and explore the nature of a ‘photographic’ way of seeing and framing the world. Are you merely photographing? Are you constructing? Are captions / text important?
  • For participants to consider the ‘intent’ of thier work: What are you ‘saying’ about the world around you?
  • For participants to conduct in depth research on the work of Robert Frank and apply these ideas to thier practice
  • Participant Outcome: 5 6×4 digital prints

Research: The Work of Robert Frank

‘Robert Frank…he sucked a sad poem right out of America onto film, taking rank among the tragic poets of the world’ (Jack Kerouac in Petrusich, 2019)
‘Seeing THE AMERICANS in a college bookshop was a stunning, ground-trembling experience for me. But I realized this man’s achievement could not be mined or imitated in any way, because he had already done it, sewn it up and gone home. What I was left with was the vapors of his talent. I had to make my own kind of art’ (Ed Ruscha in Casper, 2019)

You will need:

  • A planned / dedicated walk of a local area (with printed maps)
  • A planned study visit / school trip to a designated location (with printed maps)
  • Timers (egg timers or phone alarms will suffice) for timing of when participants will make thier photographs on the ‘walk’
  • You need to decide whether participants will photograph all at the same time / in small groups / individually
  • Digital cameras for all participants (and appropriate memory cards) *This session can also be run using analogue cameras, Camera phones, Lumix cameras
  • Card readers
  • Access to computers (or laptops)
  • An introductory brief & Presentation (below) for participants to outline the ideas and provide examples
  • A booked room to critique participants work (either via a projector or via print)
  • Blue tack to pin the work
  • Costings and Risk Assessment
Uta Kögelsberger (2007) from Getting Lost

Preparation Work:

  • To design your walk / trip and provide maps. Walk the area yourself in preparation and note the times / any interesting features
  • Create a Google Map of your walk.
  • To identify alarm timings for participants taking photographs (either all together / in small groups / on thier own)
  • Ask participants to read Jelani Cobb (2019) ‘How Robert Frank’s Photographs Helped Define America’ in The New York Times (11th September 2019) available here
  • Ask participants to investigate the nature of the ‘road trip’ and watch the Aperture Foundation video The Open Road: Photography and the American Road Trip (2014) available here
  • Ask participants to independently research the work of Robert Frank
  • Ask participants if they have thier own digital cameras and cards
  • Make sure you have access to computers
  • Make sure there are enough team members to support participants (never assume thier prior knowledge)
  • Decide whether you will project the work or print it.
  • If you are printing it (6×4) make sure the Photo Lab are aware and be aware of timekeeping so they have space to print the work.
  • *If you are running this session off campus, make sure there is access to printers or projectors

Presentation Ideas: Travels with a Camera

Suggested Session Outline:

  • Introduce the session / walk and the importance of really looking at the world around them, considering what they are trying to say about the object / scene / person etc and consider scale, composition, angle, vantage point, depth of field, etc
  • Give the presentation Travels with a Camera (or devise your own) to introduce particpants to the idea of photographing on a journey etc.
  • Ask participants to set thier alarms to go off every 5 minutes (if you want them all to photograph from the same point) / provide individual times (if you want them to photograph at different times along the walk)
  • Walk / photograph – give examples of what you might do and again remind participants of visual variety / typology etc.
  • Make a note of location on the map every time you photograph. You might use Google Maps here
  • Upload / edit / print photographs
  • Project the Google Map on the wall (large) and pin up / scan and insert the photographs at the locaitons in with they were taken
  • Critique / discuss
  • Photograph / save the projection of the map with the images on – you could print at 12×16 for each participant.
Mads Gamdrup (2002) from Renunciation

 

Sculpted by Light

The Light (and Delight) of the Photogram

‘I am doing Photograms! I am having such fun. They reveal the most beautiful new world of light & form’ (Hepworth in Bowness, 2013)
Barbara Hepworth (1932-33) Self Portrait Photogram

 

This is a fun session in which participants will make photograms, as well as learn the basics of analogue processes. It also serves as an introduction to the constructed image, the dependence of the photographic process on light and time, as well as basic darkroom development principles.

 

 

 

 

‘A photogram is not a photograph, not really. Sure, it is usually discussed as a subset of photography, and it was born around the same time, from similar chemistry, but is practically and conceptually only remotely related. A photogram is a 1:1 scale negative record of a shadow. It is unique and unpredictable. Photographs tell sweeping, barefaced lies; photograms tell the truth, but only a thin slice of it. the ocean of images that surges and swells around us is mainly photographic; we are awash with manipulated half-truths and shameless fictions’ (Griffin, 2019)

This Session could be run in conjunction with:

Lloyd Godman (1993-94) from Evidence from the Religion of Technology
‘An automatic reproduction by the action of light’ (Niepce (1839) in Trachtenberg, 1980, p.5)
‘It is not an instrument which serves to draw nature but a chemical and physical process which gives her the power to reproduce herself’ (Daguerre (1839) in Trachtenberg, 1980, p.13)
‘By optical and chemical means alone [the image is] impressed by Nature’s hand’ (Talbot (1839) in Wood, 2001, p.192)

Aims & Outcomes:

  • For participants to discuss and visually explore the nature of photographic seeing
  • For participants to experience and understand the nature of darkroom processing
  • Participant Take Away Outcome: At least 3 photograms
Dan Peyton (2015) Forsythia Elegy

You will need:

  • A selection of small objects / materials to make photograms with (participants can also bring / find objects / materials)
  • 10 x 8 inch Ilford Multigrade Paper
  • A Darkroom / Darkroom chemicals
  • *if you are working off-campus you will need a light tight room, chemicals, trays and red lights
  • An introductory brief & Presentation (below) for participants to outline the ideas and provide examples
  • A booked room to critique participants work
  • Blue tack to pin the work
  • * Access to Photocopiers with a scan function / Scanners, Printers etc if you are planning on making digital photograms
  • Costings and Risk Assessments
‘Photography can lie as to the meaning of a thing but never to its existence’ (Barthes, 1980, p.89)
Jochen Lempert (2010) Glow-worm

presentation ideas: The Light (and Delight) of the photogram

Preparation Work:

  • Make sure you have all of the required materials (including some objects)
  • Make sure you have booked the darkrooms if you are working on campus / have chemicals, lights, trays etc if off campus.
  • Set up the enlargers (with carriers / lenses) and easels (9×6) in advance of the session
  • Introduce participants / teachers to darkroom processes / photograms by asking them to watch ‘Making a Photogram’ (2017) for Ilford available here
  • If you are working with Secondary School / College participants to read Jonathan Griffin (2019) ‘Out of the Light / Into the Shadow’ for Tate available here
  • If you are working with Primary School participants you could ask them to make a montage with some / the objects you have chosen on A4 paper and draw or photograph it. In the sesison / in advance, younger children can also cut out shapes and images from magazines (and mount onto card) as ‘objects’ to make storytelling photograms with.
  • You might encourage participants to make digital photograms using a photocopier / scanner. Some useful ideas are available here
‘For the first time an image of the world is formed automatically without the creative intervention of man. The personality of the photographer enters into proceedings only in his selection of the object to be photographed and by way of the purpose he has in mind. Although the final result may reflect something of his personality, this does not play the same role as that of the painter’ (Bazin (1967) in Trachtenberg, 1980, p.241)

Constructing Photograms: objects & Visual ideas

Suggested Session Outline:

Fake News?

reading is believing (or is it?)

‘The caption permits me to focus not only my gaze, but also my understanding’ (Barthes, 1977, p.39)
Dr R.K. Wilson (1934) Loch Ness Monster in The Daily Mail (21st April 1934)

This session aims to introduce participants to Barthes (1977) idea of the caption ‘anchoring’ photographs with meaning and they way we view / understand photographs in relation to such ‘informatory’ text, as well as the context they are viewed in. Using real-life news captions, participants will explore the veracity of the photograph (or not), as well as specifically practicing thier technical skills in construction and story-telling.

‘Photography’s plausibility has always rested on the uniqueness of its indexical relation to the world it images, a relation that is regarded as fundamental to its operation as a system of representation. For this reason, a photograph of something has long been held to be a proof of that thing’s being, even if not of its truth’ (Batchen, 2002, p.139)

This Session could be run in conjunction with:

John Baldessari (1973) from The Meaning of Various News Photos to Ed Henderson
‘In the Photograph, the power of authentication exceeds the power of representation’ Barthes, 1980, p.89)

Aims & Outcomes:

  • For participants to explore the construction of photographs in response to real-life captions
  • For participants to consider the reality of the photograph (or not) and how our understanding may be led by caption / title / headlines and the context we consume them in
  • Participant Outcome: 3 (edited) final 6×4 digital prints
‘What is true of photographs is true of the world seen photographically’ (Sontag, 1977, p.79)
Donald Trump (2016) I Love Hispanics Twitter post

You Will Need:

  • Digital cameras for all participants (and appropriate memory cards) *This session can also be run using Camera phones or Lumix cameras
  • Card readers
  • Access to computers (or laptops)
  • A selection of real life news photographs (for participants to write captions). You can devise your own or there are some useful examples and questions here
  • A selection of real-life captions (for participants to make photographs)
  • An introductory brief & Presentation (below) for participants to outline the ideas and provide examples
  • A booked room to critique participants work (either via a projector or via print)
  • Blue tack to pin the work
  • Costings and Risk Assessments
Joan Fontcuberta (2001) from Sirens

‘Various theories are being considered that would explain its exceptionally well preserved state. The arched posture of the spine and the fact that the front limbs are close together and the cranium side-on reveal that this hydropithicus was buried rapidly while it slept, which would also explain why the bones have not broken up, despite the disappearance of the soft parts (muscles, ligaments etc). The cause of death and subsequent covering up of the skeleton could be an underwater landslide’ (Fontcuberta in Cotton, 2004, p.202)

Caption ideas:

*You can also make your own using news stories, Twitter etc / or you might ask participants to find / bring them and swap with a partner.

  • Woman Finds Hat in a Tree (Harrogate Advertiser)
  • Yellow Object Spotted in the Sky (Metro Herald)
  • Anger at Recycling Banks Removal (Falmouth Packet)
  • Cows Lose thier Jobs as Milk Prices Drop (The Balitmore Sun)
  • Day of the Triffids gets real as horrific sheep-eating plant grows in Truro (Cornwall Live)

Presentation ideas: Is reading leading?

Preparation Work:

  • Ask participants to read Sandra Phillips (2017) ‘A History of the Evidence’ in The Paris Review, 3rd May 2017 available here
  • Ask participants to watch the video Joan Fontcuberta Stranger than Fiction (2014) available here
  • Ask participants if they have thier own digital cameras and cards
  • Make sure you have access to computers / image editing software
  • Make sure there are enough team members to support participants (never assume thier prior knowledge)
  • Decide whether you will project the work or print it.
  • If you are printing it make sure the Photo Lab are aware and be aware of timekeeping so they have space to print the work.
  • *If you are running this session off campus, make sure there is access to printers or projectors
René Magritte (1929) The Treachery of Images

suggested session outline:

Neutral Vision (s)

Typologies & Types: Faces, Spaces, Places

‘Throughout the modern era, photography has been enlisted to classify the world and its people. Driven by a belief in the scientific objectivity of photographic evidence, the logics utilized to classify photographs-in groups and categories or sequences of identically organized images-also shape our visual consciousness’ (Baker, 2015)
Sophie Calle (1981) from The Hotel

This is an adaptable session which encourages participants to consider a potential neutrality and objectivity of photographic vision. Through the construction of a typology, it encourages participants to also think about the nature of comparative and investigative viewing (whether the subject matter is face, places or spaces).

 

‘I am an eye. A mechanical eye. I, the machine, show you a world the way only I can see it. My way leads towards a fresh perception of the world. Thus, I explain in a new way the world unknown to you’ (Vertov in Berger, 1972, p.17)

This Session could be run in conjunction with:

Andy Warhol (1962) Campbell’s Soup Cans

Aims & Outcomes:

  • For participants to explore the aesthetic implications of a ‘neutral’ view. Can photographs ever be objective?
  • For participants to visually consider how typologies work. Do they encourage investigative viewing? Can they transform the banal?
  • Participant Outcome: 4 (edited) 6×4 digital prints per approach (Faces / Spaces / Places)
‘For the first time an image of the world is formed automatically without the creative intervention of man. The personality of the photographer enters into proceedings only in his selection of the object to be photographed and by way of the purpose he has in mind’
(Bazin (1967) in Trachtenberg, 1980, p.241)
Jochen Lempert (1993-2016) The Skins of Alca impennis

You will need:

  • Digital cameras for all participants (and appropriate memory cards) *This session can also be run using Camera phones or Lumix cameras
  • Card readers
  • Access to computers (or laptops)
  • An introductory brief & presentation for participants to outline the ideas and provide examples
  • A booked room to critique participants work (either via a projector or via print)
  • Blue tack to pin the work
  • Costings and Risk Assessments
Bernd & Hilla Becher (1966-1997) from Winding Towers

 

‘This is a requiem for a lost world and shows that, through the passing of time, even that which was once considered purely functional and even ugly, can attain beauty when seen through the eyes of the most attentive photographers’ (O’Hagan, 2014)

 

 

Presentation ideas: constructing typologies:

Faces:
Spaces:
places: