Assignment Four: Real or Fake?

These last few exercises have been an exploration of not just technique, but ethical choices.  They should have helped to clarify your option on the potential for altering content and viewers’ perception in an image, and helped you to define your own stance.  The purpose of this assignment is for you to demonstrate this stance, and the means involve completing a task, which lies in the middle ground of the real-versus-fake argument.

The object is to produce a photographic image to illustrate an imaginary book or magazine cover.  Covers are sales vehicles for their contents, and so often quiet widely interpreted by art directors, illustrators and photographers.  The moral ground is therefore potentially ambiguous.

Decide on a topic to be illustrated.  You could, if it makes this decision easier, take an existing book that you know and devise an alternative photographic cover illustration that will get the theme or story across to a prospective reader, taking a photograph especially for it.

Explore the areas of adjustment and (possibly) manipulation that would make the image successful as a cover.  This might, as just one example, involve shading or extending an area at the top order to give space for the title.  Or you might choose to combine two visual elements (juxtaposition is a frequently used device in this kind of photographic illustration).

Accompany the finished image with a description of the techniques you considered using and finally used, and also your ethical justification.

Send your work to your tutor together with extracts from your learning log or your blog URL.  You must include some prints in your assignment submission.

Let your tutor know how you are progressing with your personal project.  If you have any questions or concerns, now is the time to raise them.

Reflection

Now is the time to take a good hard look at the assessment criteria in the introduction and make sure you judge that your work meets the standards set.  Ask your tutor whether they think you will be ready for assessment at the end of the course and what you need to improve upon.

NB: you can find the details of the assessment criteria at the end of this assignment.

Introduction to the Assignment

I have found the Assignment for Reality and Intervention one of the most difficult to both get my head around and kick-start.  Usually, I sit, read the assignment brief, and take my camera out to mindlessly click away, taking random photos in the hope that I will find something relevant on my memory card.  However, the work I completed for Assignment 3 changed this, as I actually sat, thought about what I wanted to achieve and conducted some research before heading out to take my assignment photographs.  On seeing this change, in her feedback my tutor commented, “finally, you seem to be getting the hang of this, now you need to build on the fundamentals”, so with this in mind, and wanting to show improvement in my work, I have extended research and turned it into a comprehensive assignment.

From the conversation I had with my tutor, I know that the university is looking for innovation and experimentation, and unfortunately I am neither artistic or creative, which is probably why it took me around forty-eight hours to finally cement my theme, and this time scale dose not include all of the other times my mind wandered to this assignment.  Moreover, I was keen to try something a little different this time round, and put into practice all of the ‘skills’ I had learnt during the module.

Assignment Research

Korean Kimchi

Korean Kimchi

Brainstorming with my husband, we came up with lots of different ideas about a subject; as I live in South Korea, perhaps a food inspired magazine cover would work?  Food is a big thing here, as not only do Korean’s use eating as a social event, but they also love to eat, although you would not think so if you saw the size of them.  Subsequently, there are many different foods on offer, some of which are relatively common throughout the world, such as Steak or Italian Pasta dishes, but there are also many different kinds of cuisine, such as Kimchi.

A staple within the Korean diet, Kimchi is made by fermenting lots of different vegetables, herbs and spices together over a period of time, this may sound disgusting, but after a while it actually becomes the natural part of any social gathering.

Korean Pajin

Korean Pajin

Another staple is Pajin, or simply put pancake, which is a melody of vegetables, seafood and sometimes meat, bound together with egg.  Being a walker, this is a common food consumed by hikers; I have eaten many different kinds of Pajin, and it is well know for its restorative properties.

Of course, as you would imagine, there are also many strange foods here too, and although I have never seen dog on the menu (!), I have seen many other items I would not be keen to try such as baby Octopus,

Bondaegi

Bondaegi

Sea Slugs/Snails and Bondaegi.  Bondaegi is a Silk Worm Pupae that is seasoned, boiled and then roasted; you may be offered this ‘delicacy’ a street food or bar snack – no thank you …

I was beginning to come round to the idea of using Korean cuisine as my theme for the assignment, and even spent some time formulating ideas in my sketchbook, but the issue I could not overcome was how to present this as either a book or magazine cover?

Perhaps I could pre-arrange an array of different foods, photograph them individually and then arrange the images on the page, or more obviously, I could select just one food and make this the highlight of my publication, but I just kept asking myself how …

Next, we briefly discussed hiking as my theme.  I do have a love for hiking, but have got out of the habit recently, and after all, how could I represent this hobby without including scenic shots of rolling meadows and mountains, which is not an easy subject to capture from within the city limits.  I did contemplate replicating an image I had taken many years

The Lone Ranger

The Lone Ranger

ago, not long after I had taken up photography as a hobby. I call this shot The Lone Ranger as although the hiker is not a horseman, he looks like a cowboy, somehow lost in translation.  However, this is a summer image, taken at the ‘blue hour’ and now that autumn is upon us, I would not able to get the same atmospherics.  Even thought this is an assignment about post-processing manipulation, I would never manage to get it right, and I do not what to spoil the memory of one of my favourite shots.

Even after all of this deliberation, I had hit a stumbling point, and did not know which way to turn.

As I always do in a crisis, I put on my trainers and went for a walk, this usually clears my head, and helps me realign with my thoughts.  During my walk, an operation to replenish the flowerbeds and grass down by my local river was underway; the work for this included lots of digging, producing lots of lovely overturned dirt.  There had also been a heavy dew overnight, leaving tiny globules of water, twinkling brightly in the grass verges.

Liking what I was seeing, I began to contemplate how I could incorporate these elements

Miniature

Miniature

into the assignment.  This train of thought lead me to an article I had read some months ago, detailing the use of miniature figurines as an images subject. Perhaps I could use either the dirt or the glistening water as a backdrop for a miniature photo-shoot; perhaps I could use a farm or beach scene. At the time of reading the article I thought that this was an area of photography I would never contemplate using.  However, the more I thought of the possible scenario, the more it began to appeal; I could take an image to be used as the background and then a separate image of the figurines, which could then be strategically placed within the frame.

Operation Clean Up

Operation Clean Up

During my walk, I even began thinking of usable titles, such as “Life in Miniature”, “It’s a BIG World” or even “It’s a strange World”.

Ironically, when I returned to my apartment I saw an article called ‘Small World Pictures’ on The Digital Photography School Website, which I subscribe too; perhaps this was a sign that I was finally on the right track.

By now, I had a multitude of ideas running around inside my head, so headed out to scout possible background images:

After what I thought to be a successful scouting mission, I headed to our local arts supply shop to see what I could find to accompany these photographs.  Unfortunately, I soon became very despondent, as there were no suitable figurines for the task, although I did find some small dumper trucks and tractors, which could have been a viable option, but my initial enthusiasm had waned and I left the shop empty handed.

I had one more idea to ponder, which I have decided to use as my theme for the assignment.

During my research surrounding Photoshop, I came across an article in the Magbook,

Assignment Four Research

Assignment Four Research

Photographer’s Guide to Photoshop; actually, it was more of a training exercise giving details on how to master Layers. In this mini-course they show how to create this image of an Invisible Man, which I think is really cleaver, cool and something I would like to have a go at achieving.

As I am still trying to master layers in Photoshop, I will use the video that accompanied the article, and with a little time an effort, I should be able to achieve me goal.  I will also need to think of a suitable background for my image, something not seen before and unique to this character.

Knowing that there is a famous book by H.G. Wells called the Invisible Man, which has been adapted for both the large and small screen many times, my intention is to replicate this book cover, giving it a modern twist.

The Invisible Man

The Invisible Man

Conducting some research on the Internet to seek further inspiration surrounding this piece of literature, I came across many different images, two of which stood out and seemed to be what I was looking for.

I have never read the book by H.G. Wells, and only vaguely remember seeing David McCallum play this role on TV when I was a child.  Therefore, I am not able to pull on first-hand knowledge about this fictional character, but one thing that did seem quiet common, aside from images of a man clad in bandages and sunglasses, was that the character always seems to wears either a Bowler or Trilby hat and dark glasses.

Therefore, to bring this tale into the modern day, I intend on using a baseball cap, more common these days than the Bowler, although I will be keeping the sunglasses, as not only will they help to outline my mans face, but they are also cool in any era.

The Invisible Man

The Invisible Man

Next, I will need to contemplate my background, which has to be interesting and modern or perhaps even abstract; the intention of changing the background is to give the image a fresh look and a new take on the previous artworks.

The main attraction of these images is that the Invisible Man is see-through, so the background of the image will be seen through the missing body parts that are invisible (!).  I therefore think that this detail needs to be interesting, but not too overpowering to take attention away from the main portion of the image, which is of course the Invisible Man.

A fellow member of an Internet photography group I belong too posted an image he took of some smoke, which really caught my eye. This is similar to images I took for Assignment 2, where I captured the smoke from some dry ice.  This kind of work appeals to me, and now that I am learning new skills in Photoshop, the possibilities for these kinds of images are endless.

Smoke Trail

Smoke Trail

I feel that something like this could work as the background for my image, but I will need to play around with both the smoke and the post-processing in order to get the balance right.

Finally, I will need to investigate typeset and common layouts and fonts used in book publishing, which I will do once the work gets underway.  The Internet is such a great source of material for me (well for anyone really, if you know what you are looking for), and once I know that I can achieve what I want in this assignment, the Internet will be my first port of call.

Equipment Used

For this assignment, I used the following photographic equipment:

  • Nikon D800
  • Nikkor 50 mm Portrait Lens
  • Tripod
  • Portable light box

And the following software applications:

  • Adobe Camera RAW for Nikon
  • Adobe Photoshop

I am not really sure why I decided to use a 50 mm Portrait Lens for this assignment, but as I started out taking close up images of a baseball cap and glasses, it seemed like the right lens to choose.  In addition, by using this lens throughout the assignment, I have captured the images at the same size, with the same pixel count, therefore making it easier to amalgamate images in Photoshop.  I also used the exact same camera settings in each image these being:

Shutter Speed 1/30; Aperture f1.4; Focal Length 50 mm; ISO 100;

Auto White Balance; Spot Metering

Assignment

As this assignment requires just one piece of work be produced and details of how this was achieved.  I am therefore going to work in reverse, showing the finished product below, and following it with the details of the processes I undertook to achieve my goal.

Final Book Cover

Final Book Cover

The Invisible Man

First, I started with my ‘Invisible Man’.  Wanting to bring this book cover into the 21st Century, I decided that a baseball cap would be a good representation of this era, and in order to represent the face, without showing any facial features, I chose to use sunglasses. Even though we see this element often, I feel that keeping the glasses holds a link to the original work without compromising the modern element to the image.

I took quiet a few images during the initial photo shoot, and decided on the following eight as my final selection:

Contact Sheet

Contact Sheet

My original plan was to use image two from this sheet, but on further deliberation, I decided on a different shot (shown here), as I thought this would be easier to work with, as the cap and glasses were at a better angle.

Final Choice of Cap & Glasses

Final Choice of Cap & Glasses

The first thing I did with my image was open it in Adobe Camera RAW to adjust both the highlights and dark areas, I then proceeded into Photoshop to carry out the main body of work.

Using the quick selection tool, I made a rough outline around the edge of the cap.  Refining the edges next, I selected a white background in view mode, set the edge detection radius to 5%, and smoothed the edges to 10%.  In order to sharpen the outline of the image, I set the contrast to 50% and finally selected the output to New Layer with Layer Mask.

After this work was complete, I carried out the same actions to the glasses, saving them as a separate layer, so that I could work on each item separately, which proved to be a good call on my part.

Now that I had isolated the two items from my image, I set about the task of tidying up the edges in order to make them crisp, clean, and ready for merging with the background.

Cap & Glasses

Cap & Glasses

I did this with the erase application and took much care and deliberation over getting this exactly right.  I found that using a large brush with harder edges worked well in eliminating most of the information, while a small brush (about 6-pixels) with a soft edge tackled the finer details around the cap and glasses.  Once I was happy with the detail of both layers, I converted the overall image to black & white.

Even though I was happy with this work, I needed to make a few minor adjustments to make things look more realistic.  First, I address the baseball cap, where I removed the logo, and as some of the texture detail was missing, added this to the top and back of the garment.  Using the clone stamp on the layer containing the cap, I was able to move around the surface, cloning the details, making it appear crisper and more realistic.

Then I moved onto the glasses, which proved a little more difficult as there were quiet a few reflections in the mirrored surface, which I wanted to maintain, but not as prominently as in the original image.  It took me a while to realise that all I need to do was play around with the exposure and add a slight s-curve, which gave me the look I was trying to achieve.

Next, I faced my biggest challenge to date, how to make the cap and glasses look as though they were occupied without showing the outline detail of the model.

As I mentioned earlier, during my research, I watch a tutorial giving advise on how to achieve the effect I am working towards; in the video, the tutor added additional layers to his photograph, making it seem as though someone was in the image, even though there was not.  In order to achieve the same effect, I needed to add an under-rim to the cap, and the missing details from the sunglasses.

Cap Rim

Cap Rim

For the cap, using the same camera settings as for the original photo-shoot, I took some images of its underside so that I could place this into the image I was beginning to build.  Again, using the quick selection tool, I selected the cap, refined the edges and saved the details as a New Layer with Layer Mask.  Then, using the erase tool I tidied the edges a little more ready for the amalgamation.  I then dragged the new layer into my image.

Final Cap

Final Cap

As first, this was not a perfect fit, so I played around with the size and angle of the layer making sure that it looked right and then when I was happy, cemented the details in place.  Next, I reduced the opacity so that I could see both layers, and then set about the task of erasing the information I did not want to see.  Finally, again using a combination of brush size and hardness I tidied up the edges and added shadow within the brim.

Now for the glasses.

Even though I took my original image of the hat and glasses together, I was never 100% happy with the glasses.  When I took the original images, I had a model wear the glasses, so some of the detail was missing, such as the nosepieces and the arms that rest over the ears.  I therefore decided to take a new set of images (minus the model), with the intention of copying and pasting the missing data into my work, but once I had uploaded the photos, I could see that it would be easier to just replace the glasses completely.

Alternate Glasses

Alternate Glasses

To do this I conducted the same processes as before. I opened the image in Adobe Camera RAW and customised the white balance temperature to 2550°K.  The original image was orange in colour, and when trying the pre-set white balance options, I was unable to achieve the hue I was looking for, but changing the Kelvin temperature has enabled me to achieve the effect I was looking for.  Opening my image in Photoshop, next I lassoed the details I wanted, refined the selection and saved the new glasses to a new adjustment layer.  After importing the layer into my working document, I laid the information over the original layer, arranged the new details so that the glasses were the same size, then set about the task of deleting the pixel information I no longer needed.  Once done, I converted the information to black and white, bringing everything inline.

Now I had my Invisible Man …

Final Cap & Glasses

Final Cap & Glasses

 

It has taken me much longer than I expected to reach this point in the assignment, okay, so I have not worked on this task constantly, but a lot of work, time and effort has been expelled to get me to this halfway point, and the details of how I got here can be seen in my layer workflow.

Layers Workflow

Layers Workflow

Even though it has been hard work, so far, I have enjoyed doing this assignment and feel completely at ease with manipulating my work in Photoshop.  The reason for this, I know that the work is specific to the assignment and not being carried out on an image that I intend to pass off as ‘an original’.

The next part of this book cover is designing the background for my invisible man.  I feel that an interesting or abstract shot would work well, but I must be careful not to go overboard and take the highlight away from my invisible man.

As mentioned, during my research I found an image of some smoke that I really liked and now it is a case of replicating this in my own way, so that it works well with the man.

The Background

As I keep saying, I want the background of my image to be interesting, but not too overbearing so that it takes the highlight away from the main subject of this book cover.

I had a reoccurring idea to use smoke trails as my background as I feel that this adds a sense of mystery to the shot, and if done well can be quiet abstract.

Setting my camera up on a tripod and adding a remote shutter release to give me more freedom to move around, I set up my portable studio.  Not quiet sure how I was going to achieve my objective, I added a black background to the box and included one portable for ease of management. For the smoke, I used burning cones placed on a plate, and as they do not burn for long, I lit four of them together to see how things would pan out.

I positioned the light lots of different ways in order to pick up the smoke, which was not at all easy and took many trials.  Eventually, I managed to get a few shots I like, which I whittled down to a final six:

Smoke Trails Contact Sheet

Smoke Trails Contact Sheet

As I was looking for interesting detail, I decided on using image two for this project; I liked the crispness of the strands of smoke and the way it petered off to the right.

To make this a clean image, the first thing I accomplished was to delete the detail of the burning cones.  I achieved this with the clone stamp tool; making several passes over the pixels, I managed to erase the cones and show a clean smoke trail.

Original Image of Smoke Trails

Original Image of Smoke Trails

Next using the channel mixer, I played around with the colours; I really like this image, but I knew it would not be right for my book cover as it is too dark, and would hid my man, so I set about making more alteration.

I played with colours, curves, contrast and brightness, just to see what I could accomplish.  To be honest, I can not remember exactly what I did, but once I had found something I really liked, in the filter tab I selected render and chose different clouds, then I selected to add fibres, which gave me a really divers image, which I decided to use as my background.

Final Background

Final Background

Next, I imported my Invisible Man, which was not as easy as I thought it would be and it took me a while to realise that I needed to convert my image to JPEG before I could move it onto my background.  Once done, I was not happy with the way the image looked as the cap and glasses were too dark, making the image look overly false (okay, so I know this is a made up image, but still).  So next, I set about playing with my cap and glasses and tried every blending option to see the effect.  After lots of trial and tribulation I decided on the blend mode Colour Burn, setting the opacity to 84%, I reduced the fill opacity to 95% and hit return – wow, I was happy with the results.

I had had conversations with a few people on whether I should include a shadow for the man, just to give a hint that there should be someone there.  However, I decided against this change, as I just could not seem to get it right; the biggest problem was with the nose and the shape of the glasses; the nose should have cut off part of the lens, but by changing this, the man would not have stayed invisible.  I think the change of colour in the cap works well in hinting that there is someone underneath the garb, especially as it has taken away the hard edges as could be seen with a plain block of black.

Typeface

The final thing I needed to master was the typeface, or more specifically which font would work best for my book cover.

Heading to the Internet, I read a few articles on which font suites which kind of book.  Did you know that specific fonts relay different information to different people, for instance, Friedlander (2011) states that:

If you are writing about a topic considered masculine and aimed at a male audience, does it help you to have an overly embellished or feminine typeface that’s barely readable on your book cover?

Of course, the answer to that question would be no; therefore, as my book would be geared towards a male audience, what typeface should I use?

The article by Friedlander goes on to discuss display fonts over text fonts and how the weight, spacing and set-widths you choose make a vast difference to how your written work is received.  He also outlines which fonts he thinks should be considered for specific types of novel covers, and of the five he discussed, I decided to use ‘League Gothic’; my reason for this, I liked it best over the others suggested.

League Gothic: This sans serif font is very vertical, which is ideal for book titles.  League Gothic would be a great choice for thrillers or business books, and it can be useful if you have very long titles too.

Friedlander (2011)

So, now that I have the right font and font style, I needed to choose my title, tag line and of course author details.

As this is a fictional piece of worked, based on the writings of someone else, I decided to choose the title “The Invisible Man” and as the story is new, but based on past events, the tagline “Where will this adventure lead him next”.  I also wanted to give credit to the original author so “Based on the original novel by H.G. Wells” was also included, and finally, to credit my own work, in the bottom left hand corner “illustrated by: Julie Harding”.  I chose the word illustrated, as although photographs have been used in this cover, they have been manipulated so much that I feel they are now illustrations over photographs.

So there you have it, these are the processes and procedures I followed to create my imaginary book cover for “The Invisible Man”.

Final Book Cover

Final Book Cover

Assessment Criteria

As part of the assignment, we are required to assess our progress against a set of criteria points, the full details of which can be found in the appendices below.  Not the easiest thing to do, but when looking at the four points, I feel that I am managing to achieve my goals much better now than before.

  • Demonstration of Technical and Visual Skills materials, techniques, observational skills, visual awareness, design and compositional skills

My technical ability during this module has increased tenfold.  At the beginning of the module my knowledge of post-processing and software packages such as Photoshop was very limited, but now I am feeling much more confident in this area.  Even though actual photography skills have been limited during this module, my personal projects and extracurricular activities have produced some interesting images, and I have proved that by observing the work of others I have been able to formulate my own opinions and recreate images in my own unique way.  In this section of my assessment criteria for the last assignment, I commented that I was trying to replicate images that appeal to me, and for this module and more specifically this assignment I have embraced this and turned around the work of others to make it my own.

I continue to find myself thinking more about an image before I take a photograph and am happy to take one step over or change my vantage point, just to get an image that looks right, or even looks a little different to the norm.

  • Quality of Outcome content, application of knowledge, presentation of work in a coherent manner, discernment, conceptualisation of thoughts, communication of ideas

My learning log continues to fill with the knowledge I am gaining surrounding photography, although it does seem to lack my musings and conceptualisation of thoughts from this module.  Even though I have made numerous comments on my thoughts surrounding the subject of this module, general writings seem to have taken a bit of a backburner this time round.  I think the reason for this is that the module has been very technical, and my mind has been filled more with keystrokes and applications and not so much with the beauty of the world around me.

I am pleased with the coherence of my learning log and the way that it flows within the screen.  It is good to have all of my work showcased over the internet in an easy to find catalogue, I also think that the tags and categories make it easy for visitors to find what they are looking for.

The sketchbook I keep is really used for holding details of exhibitions I visit, with odd photos that appeal to me, although I have been using it to jot down ideas for this last assignment, which is handy as all of the information is together in one place and easy to find.  I would love to think that I could put something in this book every week, but most of the research I do is Internet based and not always readily available to cut and paste into this log.

  • Demonstration of Creativity imagination, experimentation, invention, development of personal voice

For both this module and assignment, I have demonstrated the biggest leap in imagination and creativity to date.  I still find it a little difficult to think outside of the box, but as I continue to look at the work of others, I am finding it a little easier to replicate their work in my own way.  During some of the personal projects undertaken over the past few months, I have played around with length of exposure, low light and monochrome, so yes, I think that I am beginning to demonstrate more creativity in my photography.

  • Context reflection, research, critical thinking (learning log)

Still a sticking point, but I am beginning to get the hang of reading about the history of photography and I have been delving into literature that is more academic.  It is really hard to look back at photography, as all I want to do is look forward and see the work that others are producing, but I know that understanding the history of anything is the best way to move forward, so this is something I really have to get to grips with.  I still have not opened my copy of Charlotte Cotton’s book The Photograph as Contemporary Art, but I will …

Conclusion:

I have found this module tough, in fact I think it is the hardest module so far on this degree course because I have had to do so much research and learning prior to my completing any of the exercises and tasks.

It has been an interesting few months though and although I am still very passionate about the use of post-processing; my thoughts surrounding this have shifted slightly.  This shift is partly down to the knowledge gained during this module, but also from the actual learning itself.  Moreover, one question that keeps rolling around in my head is why would you want to rely on a programme such as Photoshop to create beautiful images when there is so much work that has go into the process – surly it is better to just go out and take beautiful photos.

I have always been a staunch advocate in pure photography, thinking that the work I produced was pure and that the smallest tweaks and alterations I made did not count as manipulation.  However, even at the point of shooting we are manipulating our work.  Okay, so what we see with our eyes is different to the interpretation our camera makes of a scene, but often we will use a faster shutter speed to enhance a sunrise/set or a different ISO to increase our sensors ability to work under low light conditions, and even this can be seen as manipulation.

I think the penny finally dropped when we worked through the monochrome exercises, I read a comment stating that converting an image to black and white, for others to see the world as a series of tones, texture and contrasts can be classed by some as a manipulation. For me black and white photography always held an aura of mystery and class, but it is still a manipulation.

The exercises and the assignment for Reality and Intervention really opened my eyes to how easy and effective post-processing can be.  Some of the processes we used are processes I use on a regular basis without any cause for concern, but now I am not so sure and my validation that my photography is pure does not ring true.  As soon as we start playing around with the pixels in a RAW, unprocessed data file, we are manipulating our images; to remove that speck of dust or change the white balance to make our images look more succinct, we are manipulating our images.  However, up to a point I think that is okay, as in some cases we can justify this as a rectification of an error caused by our camera’s inability to capture the ‘moment’.   Nevertheless, when we start making changes to the way people look or deleting items that make an image look untidy or less pleasing, then I have issues.  Everyone does it, I have even done it, but my biggest problem is when photographers try to pass these changes off as genuine.  That is when it is wrong as not only can this put pressure on society to look better or be different, but it also shows a false sense of fact “wow, lets go to … the scenery there is fabulous …” all thanks to the manipulated images they saw.

For this assignment, I specifically chose a theme that needed lots of post-processing manipulation and could therefore not be passed as genuine.  Don’t get me wrong, I think that Photoshop and its ability to change and alter things is great, I had fun doing this assignment and was truly amazed at how easy the programme is to use (once you get over the frustrations of being a newbie).  However, there is a time and place for this kind of work, yes, my work was extreme, but making subtle changes that are hard to distinguish goes against the grain and it is not fair that good, honest, hardworking photographers are passed over by those who have no ethics in using post-processing as their camera, I mean where is the skill in that?

Appendix II – Assessment Criteria

Here are the Assessment Criteria for this course.  These are central to the assessment process for this course, so if you are going to have your work assessed to gain formal credits, please make sure you take note of these criteria and consider how each of the assignments you complete demonstrates evidence of each criterion.  On completion of each assignment, and before you send your assignment to your tutor, test yourself against the criteria – in other words – do a self assessment, and see how you think you would do.  Note down your findings of each assignment you have completed in your learning log, noting all your perceived strengths and weaknesses, taking into account the criteria every step of the way.  This will be helpful for your tutor to see, as well as helping you prepare for assessment.

Assessment criteria points

  • Demonstration of Technical and Visual Skills materials, techniques, observational skills, visual awareness, design and compositional skills
  • Quality of Outcome content, application of knowledge, presentation of work in a coherent manner, discernment, conceptualisation of thoughts, communication of ideas
  • Demonstration of Creativity imagination, experimentation, invention, development of personal voice
  • Context reflection, research, critical thinking (learning log)

Appendix III – Source:

Reference:

Anon.  (2010) The Invisible Man vs. The Invisible Woman [online image].  Available at: http://hollywoodhatesme.wordpress.com/2010/07/13/the-invisible-man-vs-the-invisible-woman/ [Accessed 16 October 2013].

Erin-T.  (2008) Miniature [online image].  Available at: http://gentlepurespace.com/blog/archives/6-photography-galleries-of-railroad-miniatures-in-real-world [Accessed 15 October 2013].

Friedlander, J.  (2011) 5 Great Fonts for Book Covers [online article].  Available at: http://www.thebookdesigner.com/2011/08/5-great-fonts-for-book-covers/ [Accessed 23 October 2013].

George, C.  (n.d.) A Photographer’s Guide to Photoshop [collection of images].  Bath: Future Publishing Limited

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Bibliography:

Friedlander, J.  (2011) 5 Great Fonts for Book Covers [online article].  Available at: http://www.thebookdesigner.com/2011/08/5-great-fonts-for-book-covers/ [Accessed 23 October 2013].

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