Assignment Three: Monochrome

While the technique of altering colour sliders in order to adjust the tones as they appear in black-and-white will play an important part in this assignment, more fundamental is the different creative effect of a monochrome image.  During the course of the previous three exercises, you should have had the opportunity to consider what makes a good subject and picture conditions for black-and-white, and what different image sensibilities you should bring to the photography.

For this assignment, choose a theme or subject that you will conceive, shoot and process in black-and-white, attempting to bring out the monochrome image qualities of form, tonal contrast and texture, perhaps also experimenting with key.  To accompany the final images, which should number between about 5-10 (discuss this with your tutor), write an account of why you chose this particular theme or subject, what you set out to achieve from the point of view of black-and-white imagery, and to what extent you feel you have succeeded.

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.

If you haven’t already done so, discuss your ideas for your personal project (Part Five) with your tutor now so that the can decide how best to support you.


Don’t forget to look at the assessment criteria in the introduction before you proceed.  Access the work you have produced against these criteria and make notes in your learning log.  Send your work to your tutor, together with your sketchbook and learning log.

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

Introduction to the Assignment

Over these past few weeks, I have really enjoyed working in monochrome and feel that I have found a medium I would like to pursue more in the future.  Black-and-white photographs have always appealed to me, but I have never taken the time to really study the subject, or to find out more about working with this kind of imagery, it is, after all, a tricky thing to get right and much thought and deliberation is needed before embarking on a monochrome project.

By now, I think everyone knows that I usually rush my assignments, this I put down to my lack of pre-planning, and it is normal for me to run out of time and struggle to meet my tutor’s proposed deadline.  This time, surprisingly, things have been a little different.  I have managed the coursework with relative ease, probably due to my fascination with the subject, and although I did request an extension due to a sudden, unexpected trip to Norway, it looks very likely that I will make my allotted submission date (give or take a few days!), without the usual fuss and turmoil.

The assignment brief

For this assignment I though it time for me to knuckle down and make a real effort with my work, so instead of my usual ‘snap-it-and-see’ attitude, I wanted my work to have a genuine theme and not just a subject I like to take photos of!

Over these past few weeks, I have lived and breathed monochrome; almost every scene I see I wonder how it would be represented in tone over colour and all of my photos have been taken with my camera set to convert each to black-and-white on the LCD screen.  During this time, I had come to realise that most architecture converts well into monochrome, so my initial though was to use architecture as my assignment theme. However, after some lateral thinking and discussions with fellow students, it became apparent that this was too broad a title to use, and I needed to narrow it down a little.

Continuing along the architectural theme, I then thought about buildings of grandeur, or more specifically churches and cathedrals.

St. Paul's Cathedral, London Julie Harding

St. Paul’s Cathedral, London
Julie Harding

During a recent trip to London, I had taken this photograph of St. Pauls Cathedral, which I really liked, as the structure and its surrounding scene had converted well into black-and-white.  However, once again, and upon further reflection, this subject could also translate to being too broad, and logistically it could be difficult to find the right structures along with perfect shooting conditions.  One of the best features in the image of St. Paul’s is the sky, and the weather, especially during an English summer, is an unpredictable part of all photography.

I know that time was on my side for this assignment, but without an infinite timeline, I still had a deadline in place that needed meeting.

My thoughts then centred on people, thinking that perhaps I could include group photos, or more specifically photos that would work well together around a theme.  My initial

Children at Play Julie Harding

Children at Play
Julie Harding

thoughts here came under the title of family, or more specifically ‘Children at Play’; I love to take photos of my great-nephew and I have captured many images of him during the first year of his life, in fact, he has been the subject of all the personal projects conducted during my time studying with the OCA.  Although, when thinking about this theme logically, major issues could occur, especially surrounding the inclusion of other children in the photos, as permissions and sign-off would be needed by all those included in the images – a headache I have yet to address, so this subject has been put on the back burner for now.  (By the way, I did get permission from those included in this photo).

I was beginning to worry that I would not be able to find a suitable theme for my work, when an unexpected trip to Norway presented itself, perhaps I could work this to my advantage and find what I was looking for in foreign climes.

With this in mind, I set about doing some research; my husband had visited the small town of Kongsberg in Norway, our destination, many times and suggested that I look into using the local silver mine as the subject for my assignment.  Not knowing what to expect, I headed to the Internet, where I found some interesting images, and ones I could easily turn around and replicate in my own unique way.

You can find more information about the history of these mines in my sketchbook or by looking at the webpages included in the bibliography below.

As I studied these images and read about the silver mines in Kongsberg, it became my intention to use this location as my theme for the assignment.  In doing so, I would have the opportunity to use locations both outside of the attraction as well as areas inside the mines themselves.  This would also be a great opportunity to practice various types of photography and in turn, the various types of image manipulation we have looked at during this segment of the Processing the Image module.

As the mine is very old, its inauguration dates back to 1623 when the ‘Kings Mine’ was initially excavated, I thought it might be interesting to include some very grainy, black-and-white images, similar to some I had found during my research, taken of the workers and workings within the tunnels.  How I achieved these effects and the manipulation used, will be presented against each image in the assignment.

Upon confirmation of my theme, it was time for some additional research.  I therefore revisited literature from FREEMAN and LANGFORD, and flicked through back issues of Digital Camera Magazine and other photography publications.  At the airport, I happened

Moody Landscape Annon

Moody Landscape

across a magazine dedicated to Black and White photography, which I purchased for the plane journey ahead of me.  It was in this book that I discovered an image I really wanted to try and hoped the situation would arise so that if it worked, I could include it my assignment.  This image was a landscape shot that included a moody river cascading over rocks into a pool below.

In my mind, this is a classy looking photo and builds on my joy of photographing waterfalls, by capturing their movement as a flowing, blurry mass.

Unfortunately, my location for this assignment’s shoot did not allow me to capture any images of this nature, but I did manage to try my hand at a similar shot, which can be found under the ‘Images I have taken’ tab of my learning log.

Equipment used

For this assignment, I used the following photographic equipment:

  • Nikon D800
  • Nikkor 28-300 mm Telephoto Lens
  • HOYA PRO1 Digital Filter – Circular PL

For this assignment, as each image has received some form of manipulation, in Appendix I, I have included the original black-and-white shot as seen before any alterations were made.  This is so that comparisons can easily be made between the original and final image.


As my assignment had a specific theme, I wanted to tell the story of our day at the silver mine in such a way, that it could perhaps detail the journey of a typical working day for the miners.

Image One: Mine Entrance

Here we can see the entrance to the mineshaft.    This building was constructed in 1782 and the entrance is the starting point of the train’s 2.3 km journey into the King’s Mine.

This is the first building you see when entering the site and although it is nestled in the trees, it is quiet prominent within the landscape.

Mine Entrance Shutter Speed 1/1250; Aperture f3.5; Focal Length 28mm; ISO 100; Matrix Metering; Auto White Balance

Mine Entrance
Shutter Speed 1/1250; Aperture f3.5; Focal Length 28mm; ISO 100; Matrix Metering; Auto White Balance

Originally, a very bright building of red wood and white brick, the high Norwegian sun, beating directly onto the façade has created some good deep shadows within the texture of the building and the wooden stairs to the left of the structure.

The white cloud in the top right of the frame balances well against the white brick in the bottom half of the image; it is just unfortunate that I could not capture a train emerging from the tunnel entrance, as this would have really made the shot.

Changes to this image include; the eradication of dust spots and imperfections in the sky.  In the black-and-white application, I increased the blue channel from 20 to 40, and the cyan channel from 60 to 100.  Doing so has lighted the sky, bringing a little more detail into the trees, while darkening the shadows throughout.

For me, the best parts of this shot are the contradictions between the curves and the straight lines. I also like the rough texture of the stairs, which look old and decrepit. I tried to straighten this image slightly, but it did not look right and made the image off balance in some way.

If I could change one thing about this image, I would have liked a little more ‘room’ on either side of the frame, as here there is a slight claustrophobic feeling to the shot.

Image Two: Mine Train

Here we have a photo of the train that takes visitors down into the King’s Mine.  This is a bright yellow metal engine carriage, that tows twelve green metal carriages / boxes through the mine entrance and down into the tunnel.

Instead of taking a straightforward photo of the train, I bent down low, so that I was on a level with the tracks.  The upward angle of the shot makes the carriages appear bigger than they actually are.

Mine Train Shutter Speed 1/160; Aperture f3.5; Focal Length 28mm; ISO 100; Matrix Metering; Auto White Balance

Mine Train
Shutter Speed 1/160; Aperture f3.5; Focal Length 28mm; ISO 100; Matrix Metering; Auto White Balance

Again, a very bright and colourful image, so I was not sure how it would translate into tones over colour.  I think the dappled light from the trees and the texture of the ground has helped with the transition.  In hindsight, I would have liked the background to be more out of focus, so using a longer focal length and taking a step back would have been preferable.

The original black-and-white image was a little washed out, so the following processes were applied in Photoshop; in camera RAW I recovered the highlights on the train, then conducted a slight crop to bring the carriage onto the left third of the frame.  There were a few dust spots in the sky, which I lost using the spot healing tool then set about playing with the colour sliders.

First I moved the green slider from 40 down to 30, this brought more definition into the trees and darkened the writing on the carriage.  Then I moved the blue slider down from 20 to 0 and the cyan slider down from 60 to 50, which brought definition to the sky and highlighted the wisps of white cloud that were not evident in the original conversion.

I much prefer the final image to the original black-and-white shot I started out with, but there is quiet a large expanse of lifeless sky in the frame and although ‘less is more’ imaging seems to be popular at the moment, it probably does not work well here.

Image Three: The Train Shed

Here we have the shed that houses the trains while the mines are shut during the winter months.

From the appearance of this building, it did not look like it had been used for some time, which I thought would work in my favour as in colour it already looked run down.  Using the lines of the train track to lead the viewer into the frame and the solid structure of the building full of lines and shapes, the composition of the shot works well for a monochrome image.

The Train Shed Shutter Speed 1/250; Aperture f3.8; Focal Length 34mm; ISO 100; Matrix Metering; Auto White Balance

The Train Shed
Shutter Speed 1/250; Aperture f3.8; Focal Length 34mm; ISO 100; Matrix Metering; Auto White Balance

Even so, I wanted to make things pop just a little more, so the following changes were made; first I straightened the line above the door, which pulled everything slightly to the

The Train Shed - Colour Original Julie Harding

The Train Shed – Colour Original
Julie Harding

right of the frame.  Doing this meant a slight crop was needed to realign everything and to loose the vignette in the upper corners.  To darken the shadows I decreased the red slider from 40 to 30 and the green slider from 40 to 25, and to inject a little more life into the sky I decreased the blue slider from 20 to 0.

I really do not think there is anything I would change about the composition of the photo.

The low angle makes you feel as though you are in a vehicle travelling along the train track and the tones make the building and surrounding area look old and neglected, which was the way I felt at the time of taking the photo.

This scene looks much better in black-and-white over colour; the original RAW image is here for comparison.

Image Four: Tunnel I

Having travelled on the train down into the tunnels, we then started our tour of the facility, which was very interesting and informative.  Whilst down there in the dark, I began to think about how it must have been for those early pioneers and what the conditions would have been like for the workers; we were lucky that with the onset of technology, electricity and subsequently lights were introduced to the 10 km plus network of tunnels, but before this happened the only form of light would have been by candle – quiet an unnerving thought.

As we walked, an eerie light was cast onto the tunnel walls, creating fascinating shapes and shadows within this catacomb.  The lights were well placed along the dusty floor and when looking back some interesting images began to form in my mind.

Tunnel I Shutter Speed 1/15; Aperture f3.8; Focal Length 32mm; ISO 4000; Matrix Metering; Auto White Balance

Tunnel I
Shutter Speed 1/15; Aperture f3.8; Focal Length 32mm; ISO 4000; Matrix Metering; Auto White Balance

One of the first images I took when looking back was this one.  I like the way the slower shutter speed has captured a twinkling effect in the light and the way that you can see the twists and bends of the tunnel wall, which have been highlighted by the strategically placed light.  Using a very high ISO during my shoot inside has lead to an increased amount of noise in my images, but I am happy with this as it gives the photo the feeling that it was taken many years ago, using old black-and-white film over digital.

I really liked the feeling of the original photo, so made very subtle changes for the assignment; first I recovered the highlights, which were found mostly in the light and the arches closest to this source.  As the image is quiet dark, I also needed to recover some of the lowlights too.  To tidy things up a little I made a slight crop at the bottom of the shot, taking away some of the dead space in the foreground; doing this also brought the bend of the walkway into the centre of the frame.  I added a green photo filter to the image, which seemed to brighten things up a little, but also dulled the centre of the light source in the left of the frame.

Looking at this final image, I do not think there is anything I would change about the shot, to me it gives an air of isolation, probably due to there being no one else in the scene.  Does the scene need anything else, I do not think so as the composition leads the viewer through the frame and at every turn there is something new and interesting to see.

Image Five: Tunnel II

In my next tunnel shot, I tried to capture a low-key image.  As before, when looking back into the tunnel there was always something interesting to see and in this image I feel like Alice in Wonderland, as things get smaller and smaller as the tunnel disappears into the distance.

Tunnel II Shutter Speed 1/8; Aperture f3.5; Focal Length 28mm; ISO 4000; Matrix Metering; Auto White Balance

Tunnel II
Shutter Speed 1/8; Aperture f3.5; Focal Length 28mm; ISO 4000; Matrix Metering; Auto White Balance

This image is well composed, and similar to the original photo I found during my search, as the arch in the foreground leads you in to the shot and the lit pathway throughout leads you through, into the back image.  Again, due to the low shutter speed, the lights really twinkle here, although there are a few ‘sun flares’ that I am not really happy about. I decided to straighten the shot a little, as the original had a sense of unbalance, doing this makes the archway appear stronger, as if it is protecting the pathway somehow.

The Evidence of Noise

The Evidence of Noise

I have done very little manipulation to this shot; I recovered the highlights and lowlights by 50% in camera RAW, and conducted a small crop to the left and bottom of the frame.  I really did not feel that anything further was needed.

As with the first tunnel image, I really like the noise in this photo as it has added to the feeling of age that I had originally set out to capture.  The shutter speed was also very slow and far to slow for hand holding the camera, but again I think these slight imperfections add to the ambience of the shot and have enabled me to achieve the mood I was looking for in the images taken inside the tunnel.

Image Six: Old Train Carriage

Moving out of the tunnels and into the main meeting area of the mine, a small exhibition showed old rolling stock, used in the mines before the advent of steam locomotion and electricity.

This image suites the conversion to black-and-white as the original colours (brown wood and stone walls) blended too well together, whereas the tones now present in the monochrome image make things more gritty and appealing.  As I started taking my images for this assignment, I really wanted to showcase how difficult life must have been for those working in the mines and although this set of images look nice in colour, as a collection converted to black-and-white I feel there is a dirtiness that depicts a miners life better.

Old Train Carriage Shutter Speed 1/15; Aperture f4.2; Focal Length 45mm; ISO 4000; Matrix Metering; Auto White Balance

Old Train Carriage
Shutter Speed 1/15; Aperture f4.2; Focal Length 45mm; ISO 4000; Matrix Metering; Auto White Balance

As with most of the photos for this assignment, there really was not much to do in postproduction, again, and due to the brightness of the lights, I have had to recover the highlights and lowlights in the camera RAW application.  I also felt the need for the image to be straightened slightly and for a general crop to be applied, just to bring in a sense of symmetry, which in turn has made the cart look bigger within the frame.  To both lighten and darken the tones, I decreased the red channel from 40 to 30, which dealt with the walls and floor, and the cyan channel from 60 down to 40, which dealt with the cart and walls.  Doing this has also had a dulling effect to the bight highlights on the wood as now they appear as highlights and not burnt out areas within the frame.

It may have been better for me to add someone to this photo, but for me, I always feel uncomfortable staging images, probably because I know they are staged, but I was very intent on capturing the images in my mind, so this thought never entered my head until after the effect.

Image Seven: First Train and Cart

The final image taken inside of the silver mine is of more rolling stock, depicting the move from manpower, as seen in the previous shot, to electric power, seen by the engine to the right of the frame.

The thing that drew me to this image was both the way the light fell on the back of the carriage and the way the light was cast on the faces of the people having their photos taken next too the engine, perhaps a juxtaposition of old and new …

First Train & Cart Shutter Speed 1/30; Aperture f3.8; Focal Length 35mm; ISO 4000; Matrix Metering; Auto White Balance

First Train & Cart
Shutter Speed 1/30; Aperture f3.8; Focal Length 35mm; ISO 4000; Matrix Metering; Auto White Balance

Wanting to make the carriage look bigger, I aligned myself with the back corner of the cart, although in hindsight, I should have used a longer focal length here, just enough to through the background out of focus a little more.  I decided to include the human interest here because of the juxtaposition, but I think this shot would have worked just as well if only the train and carriage were included in the frame.

Continuing with the aged theme here I added a blue filter to the monochrome conversion as doing so toned down the wood, making it look much older than in the original shot.  Of course, the high ISO has assisted with this look.  As before, I recovered both the highlights and lowlights, and carried out a slight crop to eliminate dead areas within the frame.

At first, I intended to keep the wood of the cart bright, which can be seen in the original image in the appendices below, but as I played around with the filters I really liked the effect received from the blue filter as it has dulled everything down without any loss to the detail.

Image Eight: Changing Direction

Moving back outside now, my next image is of the train, the one we travelled in to and from the mine.

Now that our adventure was over, we can see that the train is back in place, waiting for the next set of passengers to board and venture into the darkness of the tunnels.  Compositionally this is a well-structured image, as we have the curves of the trails set against the square box-cart and the lines of the garage overhead.  The wooden structure is well highlighted here, and although in the colour version the canopy is white, here the angle of light hitting the angles of the wood have cast some good shadows all around the image.

Changing Direction Shutter Speed 1/100; Aperture f4.2; Focal Length 44mm; ISO 100; Matrix Metering; Auto White Balance

Changing Direction
Shutter Speed 1/100; Aperture f4.2; Focal Length 44mm; ISO 100; Matrix Metering; Auto White Balance

Even though it was becoming cloudy, I exposed the original shot with the shadows in mind.  Doing this took away the detail of the sky, but by playing around with the blue and cyan sliders I have been able to bring a little definition back into this part of the frame; I think this manipulation also helped to define areas of the wood as well as the train tracks.  As the box-cart was green, when increasing this slider it darken the boxes defining them more; this has also given the overall image a darker feel, which I prefer over the original.

A small crop has once again brought everything back in line.  As I mentioned in my first image of the assignment, it would have been good to capture the train as it either entered or exited the tunnel, but this was not meant to be and it is an unfortunate omission from the story.

Image Nine: Tea Rooms & Information Centre

During my visit to Norway, I really enjoyed the buildings, especially those made of wood as they were not only colourful, but due to their construction, cast some interesting shapes and shadows in the sun.

Here we can see the ornate tearoom and information centre, such a pretty building and one that converts to black-and-white really well.  This really comes down to the surface of the building, as the sun finds its way into all of the nooks and crannies, which in turn had created lots of interesting detail to capture.  This has been helped further by the sun being at it highest point in the sky.

Tea Rooms & Information Centre Shutter Speed 1/500; Aperture f3.5; Focal Length 32mm; ISO 100; Matrix Metering; Auto White Balance

Tea Rooms & Information Centre
Shutter Speed 1/500; Aperture f3.5; Focal Length 32mm; ISO 100; Matrix Metering; Auto White Balance

Even though the original image is nice, I felt that a little work was needed to make the sky more vivid and to bring some of the detail back into the shadows.  I achieved this by adding a yellow filter, which has highlighted the shadows of the façade, and by decreasing both the blue and cyan slider channels, life has been brought back into the sky.

If you stare at the clouds for long enough, it almost feels as though they are moving, so this image has great depth.

There is not really much else to be done with this photo, I did take a few that had people in the doorway, but this made the frame look cluttered and it took away some of the splendour of the building.  Perhaps a wider angle, taking in more of the building would have made things look a little different, but the main point of focus here is the doorway, so the additional detail would have been pointless.  Maybe an even tighter crop would be better, or perhaps the shot is fine just the way it is.

Image Ten: Extracted Ribbon Silver

To round up our visit to the silver mines of Kongsberg and also to complete this body of work, we visited the local museum where we found some of the original lumps of ribbon silver extracted from these mines – this is in fact what the mines were most famous for during their operations.

Extracted Ribbon Silver Shutter Speed 1/13; Aperture f4.8; Focal Length 68mm; ISO 1000; Matrix Metering; Auto White Balance

Extracted Ribbon Silver
Shutter Speed 1/13; Aperture f4.8; Focal Length 68mm; ISO 1000; Matrix Metering; Auto White Balance

This image, taken through the glass of an exhibition case, was originally a little dull so after the initial crop, I added a gamma correction in the exposure application, which has brightened the ribbons, making some of the individual strands really stand out against each other.

Not really the best shot of the bunch, and compared to the other photos included in this assignment, it is not well composed, but I felt that this should be included here as it finishes the story of our trip to the mines and shows what was extracted by the workers all those years ago.

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

I am finding it easier to observe the work of others now, and as I find my confidence in photography, I am finding my confidence in analysing my likes and dislikes in the works of others.  Technically, I know that I am progressing as I find it easier to read what I want from a scene and translate this into the requirements of my camera.  I am also trying to replicate images that appeal to me, not by taking the exact same shot, but by looking at what I like about an image and trying to apply my own uniqueness to the work.

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

My learning log is coming along nicely, although I find that my sketchbook is taking less prominence in my studies, I am using it more to store hard copies of brochures and exhibition catalogues and to write down any workflow ideas I have.  To my mind, my learning log is coherent and flows well, especially with the introduction of more tags and categories, making it easier to circumnavigate.

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

Imagination and creativity has always been an issue for me, but again as I look at the work of others more and start to understand what I do and do not like, I am finding it easier to be creative and more recently I have been experimenting with filters, shutter speeds and natural light.

  • 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.  I have just purchased a copy of Charlotte Cotton’s The Photograph as Contemporary Art which I intend to look at once this assignment is wrapped up.


I am always a little sceptical about doing assignments; you never know how your work will be received or whether you have fully met the requirements of the brief.  For this assignment I have done things a little differently and really stepped out of my comfort zone, as instead of finding a group of photos and throwing them together in a hope that it all works out, this time I have really thought about what I wanted to achieve and have put lots of work into my research and into the final presentation of my thoughts about the assignment.

My goal here was to document a trip that I took into a silver mine, and I wanted my photos to not only represent my day, but also to represent a feeling that, especially in the mine, the photos could have been taken back when the mine was in operation during 1700 and 1800’s …

I think that my goal has been achieved and I am pleased with my set of images as they are coherent, tell a story and live up to the expectations I voiced at the beginning of my writings.

Over these past weeks, I have really come to appreciate the value of black-and-white photography as not only does it make for nice imagery, but it also assists when telling certain stories.  Not all images are right for conversion, we looked at this during the course, but if you find the right image, strong results can be obtained.

I am really enjoying my journey with Photoshop, and my thoughts about photo manipulation are beginning to change a little, although not to the extent that I rescind my thoughts completely, but our next module looks at manipulation in far more detail, so my current thoughts will be documented then.

Appendix I – Original Black and White Images



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’ve 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:


Carnkie.  (2009) The mine [Online Image].  Available at: {Accessed 14 August 2013].

Clapp, D.  (n.d.) Moody Landscapes [Photograph].  Black and White Photography Made Easy: A Photo Masterclass from the makers of Digital Camera Magazine.  2013 p.32

Norsk Bergverksmuseum.  (n.d.) Kongsberg Silver Mines [Online Image].  Available at: [Accessed 14 August 2013].

Osterlof, A.  (2004) Christian VI. Stoll at Saggrenda [Online Image].  Available at: [Accessed 14 August 2013].


Aditnow, (2009) Kongsberg Silver Mine (Norway) [online].  Aditnow.  Available at: <; [Accessed 14 August 2013].

Freeman, M.  (2011) The Digital SLR Handbook.  Revised 3rd Edition.  East Sussex: The Ilex Press Limited.

Freeman, M,  (2008) Mastering Digital Photography.  East Sussex: The Ilex Press Limited.

Langford, M., et al.  (2011) Langford’s Advanced Photography.  The guide for aspiring photographers.  8th Edition.  Oxford; London.

Norsk Bergverksmuseum, (2013) The Silver Mines: A Mine Train Brings You 2.3KM into the King’s Mine [online].  Available at: <; [Accessed 14 August 2013].

Visit Oslo, (2013) The Silver Mines in Kongsberg [online].  Visit Oslo.  Available at: <; [Accessed 14 August 2013].


4 Responses to Assignment Three: Monochrome

  1. profstoff says:

    Hi Julie, Congratulations on getting another assignment tucked away. There are some good images here and I particular the texture of the brickwork in the Train Shed and the almost hidden light in Tunnel 1. Well done.

  2. Thanks Chris, I am really pleased with the way they have come out, I just hope my tutor likes them …

  3. These are beautiful pictures Julie! I think it is a very convincing assignment.

    • Thanks Stephanie, I loved this assignment and really enjoyed working in monochrome, so much so that I am looking to extend this genre further in the future. I just home my tutor appreciates the images too …

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