Writing about Photography.
Photography is a visual medium and as photographers we express ourselves with the images we make. The thought processes during this work, before we shoot, during the shoot and later in post production can be from the most simplistic to the most profound but generally stay within the subconscious. Having chosen the camera over the typewriter a decision was made to suit our abilities and aspirations. When we look at the photographs made by others we ask ourselves questions and build to a position where we gain something from the experience. Putting that response into words in an orderly fashion is the crux of this first section. The initial work of captions is often the stating of the obvious and has to be achieved within set guidelines, depending upon the audience. Writing about photography and photographs is always going to have an element of subjectivity although a structure is necessary and the audience's potential knowledge of the subject needs to be taken into account. Writing academically has a more structured approach with guidelines on research and writing style and I have found the research carried out so far to be interesting and inspiring. A trait however is to go off at a tangent and read outside of my immediate needs and as a result get behind with the prescribed work. This was particularly so with the analysis of London Street 1951, Robert Frank. Frank was a name I knew but until this research I had not realised the genius of his work and I am spending more of my time with London/Wales and the ITV The South Bank Show film made prior to his 2004 exhibition at Tate Modern.
As an introductory essay Understanding a Photograph, John Berger was not the easiest piece to get to grips with. I knew nothing of Berger at the outset and found the various films on YouTube (particularly his TV series Ways of Seeing) a useful introduction into the world of this curious (fascinating) man. He is better know in literary circles as an author, art critic and poet. His analysis and critique of various photographic work is contained in a relatively new book Understanding the Photograph, 2013. At first I was quite hostile towards him and I think most photographers faced with a non photographer offering such controversial opinions feel the same. Thereafter I began to mellow and surprisingly enough I now find myself agreeing with much of what he says. Time (his essay was written in 1972) has proven him wrong on a few issues but generally speaking his consensus that photography is not fine art will always bear a degree of truth.
To be able to write and analyse photographs and essays on photography is not easy. I have read many texts on how to achieve this and there is one underlying "must have" and that is the time spent on research. The British Journal of Photography and Source magazine are an excellent resource of essays on contemporary photography and I spend more time now reading these and following up introductions they make to new photographers. The single most overwhelming issue I have to overcome when writing about (or just thinking about) photography is to put aside any preconceived ideas and opinions that I may have which are personal and without a cogent argument. I then need to make sure my research is carried out sympathetically and carefully, without bias and detailed enough for the work in progress.
It is difficult to know to what extent any of this is having on my own photography. I take fewer "pretty" pictures and spend time on work based on abstract ideas, much of which never sees the light of day. The act of writing about photography is adding to my subconscious reaction to photographs and photography and it would be wrong to say that I work differently due to a single learning moment but I have changed as a photographer during this (level 2) process.
Showing posts with label Exercises Part One. Show all posts
Showing posts with label Exercises Part One. Show all posts
Saturday, 22 February 2014
Friday, 21 February 2014
Exercise - Analyse an Essay
Understanding a Photograph, 1972 - John Berger
After my initial reading of this essay I decided there was a need to understand more about John Berger and who was influencing him. In the introduction to the book Understanding a Photograph, 2013 the editor Geoff Dyer explains that Berger is heavily influenced by Sontag's On Photography and how Barthes is"the only living critic and theorist of literature and language whom I, as a writer, recognises". All three had been influenced by Walter Benjamin's A Small History of Photography, 1931.
An essay written in 1972 and influenced by such eminent writers and theorists as Sontag, Barthes and Benjamin will to some extent be out of date in 2014 when compared to contemporary thinking and practices, especially around the work of museums and their curators.
Analyse the various paragraphs, in one sentence.
1.Photography, in the view of most people is not Fine Art and those that argue otherwise do so academically.
2.Few museums have space for photography and therefore only a small number of photographs are preserved in isolation away from the public.
3.Art (Painting, Sculpture) cannot survive and not become valuable as property, whereby it gives protection to the owner.
4.Photographs cannot be art as they have no rarity, they are not unique and as they are not valuable as property they cannot be considered.
5.Photography is a record of what the photographer wants to record and is a human choice.
6.The photograph has a message and the photographer's decisions during its making render it memorable or banal.
7.Composition when considered in photography is different to composition in painting and fine art because painting is an art of arrangement.
8.A photograph relies upon the viewer to have some knowledge and understand its meaning.
9.The photographers only choice is to photograph when not what, thus determining absence versus presence.
10.Photography is a moment in time, recorded in isolation while a painting is made over time and has a different language.
11.A photograph is an image of isolation, recording a moment and is valuable for what is not shown as for what is.
12. There is value in a photograph if it portrays truth, a decision however that remains with the viewer.
13. The message within a photograph may be more complex than first attributed.
14. Photography, due to its truth is powerful when used as a weapon.
What is Berger's Argument ?
He is arguing that photography is not fine art because as an object it is not unique. He believes it to be a means of recording a moment in time and as such is devoid of artistic arrangement.
John Berger is well known for his socio-political stance. How is this reflected in the argument that he presents in this essay ?
Berger is an artist, author, art critic, poet and self confessed Marxist. He argues quite strongly that photography is not art but as a weapon in an ideological struggle that can be used for and against us. In 1972 he wrote that photography was not in museums and therefore had not been preserved in isolation away from the masses. If photography were to held in museums it would be hidden. This is not correct and in 2014 photography is in museums and being seen and witnessed by the masses.
Are you convinced by Berger's Argument ?
As an ideological piece of work there is much of Berger that is still relevant despite the 40 or so years that have passed. The world of museums and their curators have moved away from his thinking and most collect and display photography as fine art although the commercial gallery is more often interested in the value of the work rather than its artistic integrity. As a photographer I do not feel violated when photography is not seen as art, so in that respect I agree with Berger and I abstain from the argument when amongst artist from the more established disciplines. Its lack of uniqueness and rarity is an overwhelming argument one would think. However the value of sales of photographs has risen into six figure sums which displays an appetite amongst collectors for this medium.
What is your opinion of Berger's writing style ?
Berger writes in an academic style and that initially made it difficult to understand. I was often wondering if there were just too many words but after reading this essay and others in Understanding a Photograph 2013 I begin to understand his argument not only at a superficial level (the words) but within the words there is more of Berger. From an initial skepticism I am prepared to read more from this highly respected artist and writer.
After my initial reading of this essay I decided there was a need to understand more about John Berger and who was influencing him. In the introduction to the book Understanding a Photograph, 2013 the editor Geoff Dyer explains that Berger is heavily influenced by Sontag's On Photography and how Barthes is"the only living critic and theorist of literature and language whom I, as a writer, recognises". All three had been influenced by Walter Benjamin's A Small History of Photography, 1931.
An essay written in 1972 and influenced by such eminent writers and theorists as Sontag, Barthes and Benjamin will to some extent be out of date in 2014 when compared to contemporary thinking and practices, especially around the work of museums and their curators.
Analyse the various paragraphs, in one sentence.
1.Photography, in the view of most people is not Fine Art and those that argue otherwise do so academically.
2.Few museums have space for photography and therefore only a small number of photographs are preserved in isolation away from the public.
3.Art (Painting, Sculpture) cannot survive and not become valuable as property, whereby it gives protection to the owner.
4.Photographs cannot be art as they have no rarity, they are not unique and as they are not valuable as property they cannot be considered.
5.Photography is a record of what the photographer wants to record and is a human choice.
6.The photograph has a message and the photographer's decisions during its making render it memorable or banal.
7.Composition when considered in photography is different to composition in painting and fine art because painting is an art of arrangement.
8.A photograph relies upon the viewer to have some knowledge and understand its meaning.
9.The photographers only choice is to photograph when not what, thus determining absence versus presence.
10.Photography is a moment in time, recorded in isolation while a painting is made over time and has a different language.
11.A photograph is an image of isolation, recording a moment and is valuable for what is not shown as for what is.
12. There is value in a photograph if it portrays truth, a decision however that remains with the viewer.
13. The message within a photograph may be more complex than first attributed.
14. Photography, due to its truth is powerful when used as a weapon.
What is Berger's Argument ?
He is arguing that photography is not fine art because as an object it is not unique. He believes it to be a means of recording a moment in time and as such is devoid of artistic arrangement.
John Berger is well known for his socio-political stance. How is this reflected in the argument that he presents in this essay ?
Berger is an artist, author, art critic, poet and self confessed Marxist. He argues quite strongly that photography is not art but as a weapon in an ideological struggle that can be used for and against us. In 1972 he wrote that photography was not in museums and therefore had not been preserved in isolation away from the masses. If photography were to held in museums it would be hidden. This is not correct and in 2014 photography is in museums and being seen and witnessed by the masses.
Are you convinced by Berger's Argument ?
As an ideological piece of work there is much of Berger that is still relevant despite the 40 or so years that have passed. The world of museums and their curators have moved away from his thinking and most collect and display photography as fine art although the commercial gallery is more often interested in the value of the work rather than its artistic integrity. As a photographer I do not feel violated when photography is not seen as art, so in that respect I agree with Berger and I abstain from the argument when amongst artist from the more established disciplines. Its lack of uniqueness and rarity is an overwhelming argument one would think. However the value of sales of photographs has risen into six figure sums which displays an appetite amongst collectors for this medium.
What is your opinion of Berger's writing style ?
Berger writes in an academic style and that initially made it difficult to understand. I was often wondering if there were just too many words but after reading this essay and others in Understanding a Photograph 2013 I begin to understand his argument not only at a superficial level (the words) but within the words there is more of Berger. From an initial skepticism I am prepared to read more from this highly respected artist and writer.
Thursday, 13 February 2014
Writing Analytically - Exercise - Research and Analyse
Following on from the exercise to analyse one of my own photographs the task now is to write a similar analysis on one of the following photographs.
- Pikes Peak Park, Colorado Springs, Colorado 1970 Robert Adams
- London Street 1951 Robert Frank
- Shell-shocked Soldier, Hue 1968 Don McCullin
- Afghan Girl 1984 Steve McCurry
Monday, 27 January 2014
Writing Analytically - Exercise - Analyse a Photograph
Following on from the introduction and the 10 point check list this exercise requires that one of my own photographs be subjected be tested and analysed. I have taken one from Landscape Assignment 2 - One Acre. Within the assignment set it didn't have a title, but for here I will call it "Marram"
Marram
To achieve some detachment from the image I will write in the 3rd person.
First impression
A minimalist approach using a small monochrome image on a large white mount. Within the frame there is very little except grass and sky, although we know by the grass that the wind is blowing and there are stormy clouds.The content is producing power and energy with an overwhelming feeling of foreboding.The graphic content is prominent.
The genre
It is clearly outdoors and is a landscape image. The 4:3 aspect ratio is not a contemporary format for the genre as one would generally see 3:2 for this type of image. As a result the image has a dated analogue appearance.
The intended use
The intended use is not obvious. It is demonstrating the energy of the wind and the strength of the rough grassland. It could be an illustration for grass but unlikely in monochrome and is more likely to offer something through the symbology of the wind or dark sky. As a single gallery print it would be successful, especially if part of a larger portfolio. It is not a "pretty" image and therefore unlike to be advertising for the coast.
The immediate situation facing the photographer
Although there would appear to be all the time in the world to make the image I can imagine that with the wind and stormy sky there would be only have been a small window of opportunity. Moving grass needs a fast shutter speed and a quick reaction to get the maximum deflection and create the symbolism of energy and to be in context against the dark sky.
Unplanned or Planned
Unplanned but maybe in an organised way ? Unlikely that this individual shot was planned although the location and timing would have been considered to produce work of this genre. A sky with no detail would not have the same impact and therefore I can assume it is at least planned for the time of year and weather.
Technical Details
The image is a tight crop and shows only a small piece of grass so I assume a short telephoto lens. This has the effect of foreshortening the perspective and with a large aperture reducing the depth of field. The result has the grasses in the distance out of focus and allows me to concentrate on the sharper curved grass. A fast shutter speed has frozen the grass with its strong curve.
Style
A typical monochrome image has been used in a style reminiscent of many landscape photographers of the early 20th century and as such is not remarkable, but adequate.
Photographers Intent
A similar issue to The Intended Use above. In this instance the photographer is asking me to look in detail at a small area and by association ask what is surrounding it. The power of the natural elements,the compressed perspective and the intimacy of the cropping achieve this.
Is there sufficient information available.
The image has strong graphic qualities, but little is known about its location other that it is Marram and it is poor weather. In this instance we don't need to know any more as we are being asked to think around the image and develop our own thoughts and conclusions.
Success
It is not illustrative in any way and as such does not need to justify itself in that context. As a conceptual image it is a success as it offers the viewer a number of alternative narratives. It is technically competent with no issues that need resolving although I imagine there are those who would like more contrast rather than the flat tones used.
Conclusion
It is very difficult to be objective about one of your own images. I deliberately choose one from 2 years ago in order to try some detachment. Also an image that was never stunning as a stand alone piece and as a result struggles as an item in its own right. However as I looked at it and developed my thoughts through the 10 points I began to appreciate it and felt comfortable with my comments. It is a discipline that should be adopted with all work, especially when there is a brief and a deliverable. Thinking and writing analytically need not be saved until the end of the process and the 10 point list is a good aide memoir for a continuous critique in any image making situation.
Thursday, 9 January 2014
Project: Writing Analytically
At the heart of every photograph is a message, something is being transmitted to the viewer by way of a visual statement. The variety is endless and will range from the sublime to the ridiculous and at some point a selection will have been be made, whether by the photographer or by an editor / curator to include an image and not others. The selection process will vary and at some point the question will be asked "Has the Brief been met", Did it succeed" "Iwill use this one, not that one because ..." etc ?. The course notes offer some help in reviewing this by way of an initial 10 point check list to bring some structure to how we should think analytically about our own work and then at a later stage the work of others. Prior to working on the next exercise I will run through the list and add some comments.
First Impression
With photography being ubiquitous it is important that the first viewing of an image is striking and captures the viewer. This is the most important of the 10. How difficult this is will depend on where the image is being shown, and to who. In a Gallery with 100 images the competition is less (having overcome the initial barrier of being selected for a gallery) than perhaps a Flickr group showing wildlife images where there are many thousands. Bold colours, striking graphic monochrome with deep blacks may have the edge on a delicately toned image with a reduced gamut or the subtle mid tone greys of a high key monochrome portrait. Similarly how the image attracts the viewer by its content is important. Robert Capa (1913-1954) is quoted as saying "If your pictures aren't good enough, you're not close enough" and that may well be true as a measure of capturing attention. The casual viewer will have a different need from an image than a fine art magazine editor or museum curator. The later will be interested in how the image will meet an academically inspired audience and will be looking for substance over style. The casual viewer will be captured by a first impression as their reference for remembering the work and the photographer.
The Genre
Genre should be obvious. Landscape, architecture, portraits, still life etc. Lines and boundaries are often crossed and sub genres such as environmental portrait have developed. Historic genre in the guise of pictorialism and straight photography were prevalent during the 1920's but the terms are rarely used today in contemporary work.
Intended Use
This should be an easy concept to understand and in some instances such as advertising there can be no doubt. Fine Art work for gallery sales can of course cross the divide and Stock images at an agency can find uses across a wide spectrum.
The Situation Facing the Photographer
Photographers make decisions and being in the right place at the right time is paramount, especially when working in News and Sports coverage. It is essential to anticipate the situation facing you on the street or at sporting event and be thinking ahead.
Planned v Unplanned
Planning is essential (If you fail to plan then you plan to fail) and the degree to which this is carried out will be evident in the final work. In News and Sport it is essential to have researched the topography of where you will be working. Being able to navigate around the subject, gain good lighting etc is all a product of a plan. Planning for a Studio or Location shoot requires a check list and once again it is essential. Knowing you subject and anticipating what is likely to happen enables the photographer to be one step ahead and in position for what may only be a fleeting moment when the right shot can be made.
Note: I have worked as a Planner in the Construction Industry for 30 years, so tend to be quite positive about the subject.
Technical
There are a number of Technical issues that can enhance or degrade the image. The actual craft practice of ensuring correct focus, no dust on the sensor or marks on the film, sharpening etc have to be correct and if not achieved should result in rejecting the image. Choices of technical matters such as format, lens selection, shutter speed etc are needed to be correct to suit the image and its genre. Incompetence should be easy to see, although with some genre the photographer will be deliberately avoiding a "normal" outcome in order to enhance the image. This can be difficult to spot and careful attention should be given to any statement of title where the artist is deliberately using poor technique as a metaphor for an underlying narrative.
Style
Experienced photographers, especially when working in a single genre will develop a style, to the point where the viewer can identify them without attached text. A consideration of Style is subjective and is unlikely to be seen in a single image, but more so from a body of work. The work of Michael Kenna (1953 - )for instance has a distinctive style.
Intent
Without a Statement of Intent it is difficult to judge an image on this alone. Critics and commentators spend a lot of time writing about work referring to an assumed intent, especially of the works of the Masters. The intent is closely linked to use.
Sufficient Information
Information on the image may be available, although more likely not. Images with any journalistic intent should always be captioned and the basic, Who, What, Why, When,Where and How will enhance the user experience and justify the image. The course text suggests that images that have been Photoshopped are worth less creatively, a comment that I don't understand. Photoshop is a creative tool associated with digital imaging and is a replacement for darkroom techniques, all of which are valid if used with care.
Success
Within a frame of reference, the points above being taken into consideration and it being accepted for use an image will be a judged a success. An image being chosen for exhibition may have to undergo an extended selection regime, whereas an image for illustration on a website for one day may not be so exhaustive. The brief is the starting point for measuring success and the ability of those making the selection to be objective is an important combination
First Impression
With photography being ubiquitous it is important that the first viewing of an image is striking and captures the viewer. This is the most important of the 10. How difficult this is will depend on where the image is being shown, and to who. In a Gallery with 100 images the competition is less (having overcome the initial barrier of being selected for a gallery) than perhaps a Flickr group showing wildlife images where there are many thousands. Bold colours, striking graphic monochrome with deep blacks may have the edge on a delicately toned image with a reduced gamut or the subtle mid tone greys of a high key monochrome portrait. Similarly how the image attracts the viewer by its content is important. Robert Capa (1913-1954) is quoted as saying "If your pictures aren't good enough, you're not close enough" and that may well be true as a measure of capturing attention. The casual viewer will have a different need from an image than a fine art magazine editor or museum curator. The later will be interested in how the image will meet an academically inspired audience and will be looking for substance over style. The casual viewer will be captured by a first impression as their reference for remembering the work and the photographer.
The Genre
Genre should be obvious. Landscape, architecture, portraits, still life etc. Lines and boundaries are often crossed and sub genres such as environmental portrait have developed. Historic genre in the guise of pictorialism and straight photography were prevalent during the 1920's but the terms are rarely used today in contemporary work.
Intended Use
This should be an easy concept to understand and in some instances such as advertising there can be no doubt. Fine Art work for gallery sales can of course cross the divide and Stock images at an agency can find uses across a wide spectrum.
The Situation Facing the Photographer
Photographers make decisions and being in the right place at the right time is paramount, especially when working in News and Sports coverage. It is essential to anticipate the situation facing you on the street or at sporting event and be thinking ahead.
Planned v Unplanned
Planning is essential (If you fail to plan then you plan to fail) and the degree to which this is carried out will be evident in the final work. In News and Sport it is essential to have researched the topography of where you will be working. Being able to navigate around the subject, gain good lighting etc is all a product of a plan. Planning for a Studio or Location shoot requires a check list and once again it is essential. Knowing you subject and anticipating what is likely to happen enables the photographer to be one step ahead and in position for what may only be a fleeting moment when the right shot can be made.
Note: I have worked as a Planner in the Construction Industry for 30 years, so tend to be quite positive about the subject.
Technical
There are a number of Technical issues that can enhance or degrade the image. The actual craft practice of ensuring correct focus, no dust on the sensor or marks on the film, sharpening etc have to be correct and if not achieved should result in rejecting the image. Choices of technical matters such as format, lens selection, shutter speed etc are needed to be correct to suit the image and its genre. Incompetence should be easy to see, although with some genre the photographer will be deliberately avoiding a "normal" outcome in order to enhance the image. This can be difficult to spot and careful attention should be given to any statement of title where the artist is deliberately using poor technique as a metaphor for an underlying narrative.
Style
Experienced photographers, especially when working in a single genre will develop a style, to the point where the viewer can identify them without attached text. A consideration of Style is subjective and is unlikely to be seen in a single image, but more so from a body of work. The work of Michael Kenna (1953 - )for instance has a distinctive style.
Intent
Without a Statement of Intent it is difficult to judge an image on this alone. Critics and commentators spend a lot of time writing about work referring to an assumed intent, especially of the works of the Masters. The intent is closely linked to use.
Sufficient Information
Information on the image may be available, although more likely not. Images with any journalistic intent should always be captioned and the basic, Who, What, Why, When,Where and How will enhance the user experience and justify the image. The course text suggests that images that have been Photoshopped are worth less creatively, a comment that I don't understand. Photoshop is a creative tool associated with digital imaging and is a replacement for darkroom techniques, all of which are valid if used with care.
Success
Within a frame of reference, the points above being taken into consideration and it being accepted for use an image will be a judged a success. An image being chosen for exhibition may have to undergo an extended selection regime, whereas an image for illustration on a website for one day may not be so exhaustive. The brief is the starting point for measuring success and the ability of those making the selection to be objective is an important combination
Saturday, 14 December 2013
Exercise Page 18 - Writing a caption.
The main function of the caption is to enhance the photograph, adding detail such as names, locations and other pertinent information. Captions are also used to tie the photography to the wider text in the book and to reinforce major points brought out elsewhere.
There are five questions that need to be answered, although not on every occasion and depend on the type of publication.
Who ?
What ?
Why ?
When ?
Where ?
How ?
If the photograph accompanies a news story it is essential to write the caption for readers who will not read the main text, in which case as much of the WWWWWH should be covered. The words should not be wasted and phrases such as "is pictured" or "is shown" avoided as the photograph already
serves that purpose.
The version above is suitable for an outdoor magazine and is aimed at walkers and ramblers. It fixes where the photograph was taken, and takes account of an international readership then details the specific location. The reader may be familiar with the location, in which case they will recall their own experiences and there will be those who are making plans to visit the area, in which case the caption and image acts as a marketing tool.
The version above makes no reference to its location and the caption deals specifically with image composition, the colour of the light and the diagonal line of the wall. It is likely that the image would be to illustrate are sizable amount of instructional text associated with an article on landscape photography and the various composition tools that can be employed.
References:
Photojournalism - Photography with a Purpose, Robert L Kerns, Prentice Hall International.
Wednesday, 6 November 2013
Part One - Exercise: Describe a photograph.
On page 16 we are asked to take one of our photographs and fully describe it in a few hundred words. The text should be complete with all factual information from beginning to final delivery. On the We are OCA blog recently I had positioned myself in a debate on monochrome as being less interested in colour so to balance my argument I will use a colour image.
Ashness Bridge - Cumbria
Prior to starting on the degree pathway my photography was overtly commercial and holidays were spent looking for images that would sell or at least stand a chance of being technically correct for stock images at Alamy, a picture stock agency whose only criteria for acceptance is technical excellence. I had been to The Lake District many times in the past and on this occasion we were revisiting some of the well trodden paths and enjoying being a tourist. The road to Watendlath is almost single track and has a small pack horse bridge crossing the stream that runs down to Derwent Water. It is without doubt one of the most photographed vistas and is synonymous with the town of Keswick, Mint Cake and the Northern Lakes. I had never stopped to shoot it before but on this visit I had a new camera so thought why not. The time of year is March, the light was transient with overcast cloud then shafts of bright sunlight. It was fantastic for what I needed and with the 85mm lens, vertical frame (most of my stock is shot portrait for page formating) I moved around with the tripod dodging the three or four others doing the same so I needed patience to exclude them from my shot. 85mm on a full frame DLSR at 100 ISO and the need for full DOF resulted in 1/60 sec at f16. Nikon white balance is very reliable on auto so I saw no need to change from that and I was shooting raw files so any issues of colour casts could be dealt with in post processing. Looking through the unprocessed files now I see there are some taken with the 35mm lens but I have always favoured telephoto lenses for landscape work and this looked better for the composition. I worked at the location for about 30 minutes not varying the viewpoint very much as I knew I wanted the classic Ashness Bridge image, Skiddaw in the background, a hint of Derwent Water and the town of Keswick. The landscape needed scale and when the walkers came along and stopped to look at their map the composition was complete. I knew that all I had done was repeat an image although the light, figures on road etc would be unique.Post Processing for this image was minimal. Capture sharpening applied using the Photokit plugin for Photoshop reduces the softness inherent with the anti alias filter just above the sensor. No cropping as the focal length and viewpoint filled the frame perfectly. The open areas of tone were checked for dust and removal with the clone tool. I cleaned up the image using Selective Colour, paying attention to the white and neutral channels. To make an image "pop" I use 20,60,4 of USM to enhace contrast. There is no output sharpening for Alamy as the client's final output will vary and the USM required for different printing techniques and final size is not known at this stage. An Alamy client bought the image for a whole page illustration in a book with 25,000 print run so the time spent had been worthwhile. It is not fine art but it is an acceptable illustration of a location in Cumbria.
Edit: My tutor has made the remark " When asked to describe a photograph I thought it was a shame that you chose a commercial / technical frame." I agree that it is a commercially driven image, taken with an A4 page in mind and having some dark space at the top where text could be layered. I will add another image in a later posting that is less commercial.
Edit: My tutor has made the remark " When asked to describe a photograph I thought it was a shame that you chose a commercial / technical frame." I agree that it is a commercially driven image, taken with an A4 page in mind and having some dark space at the top where text could be layered. I will add another image in a later posting that is less commercial.
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