Author: jenniemeadows

Categories
Uncategorized

AGM62 1-1 Tutorial 16 December 2020

On the last week before the Winter Break, a 1-1 Tutorial was scheduled. This gave myself and Åsa 30 minutes to give a short introduction on my progress from last tutorial. We could then continue together to unpack further and discuss potential ways to develop and strengthen the work.

So I could give Åsa a clearer sense of what I had carried out since 25 November, I collated a collection of images and thoughts and presented them via this post.

jenniemeadowsma.photo.blog/2020/12/16/agm62-thoughts-on-feedback-and-actions/

The following is a brief outline of what is needed to take things forward.

  • Scope of the Technique
  • Seriality
  • Isolating portraits
  • Diversify work
  • Consider traditional portaits
  • Create Bodies of Work using different techniques
  • Consider Black & White over colour – gives a timeless-ness to each image

With regards to actual images, this is the one that caught Åsa’s eye.

The other one that Åsa remarked on was this image – it looks like twins. I think of this one as ‘two people dancing’.

Categories
AGM62 Photography Research Project Stage 1 Posts

AGM62 Thoughts on Feedback and Actions

In light of the Group Tutorial held on 25 November, I knew I had to restructure and refocus my current approach.

To paraphrase our tutor, Åsa:

The essence of this module is for me to absorb myself in the intent of practice-based research. To make progress in the module, and as a photographer in general, it is key for me to value and appreciate the practice of ‘making’.

Directions

  • Return & Return
  • EXPLORE*

*Appropriately, of course

At this stage of the project, I will:

  • Take a more explorative approach to my way of working
  • Continue making
  • Reflect on what works – and what doesn’t
  • Focus on formulating then using a particular technique and work flow
  • Strengthen the concept
  • Extend and develop my use of equipment, specifically:
    • Tripod
    • Speedlight Flash
    • Filters
    • Experimenting with Depth of Field (making the tree stand out from its environment)

Questions to Ask

During this project, I will also ask myself:

  • What is my photographic practice?
  • What will I show?
  • How will I show?
  • How will I talk about it?
  • What are the parameters of my inquiry?
  • How do I want to develop particular photographic techniques?

My Actions

The action I took first was to take a ‘step back’ in light of the directions and questions above. It was up to me to make the inquiry of what I am actually doing, process my answers then take action.

Thoughts

When I looked at the images I’d created so far, I was very happy with the progress I had made technically. I was now taking a different approach to tree photography compared to the one I used in the AGM60 Research & Experimentation module. What was missing at this stage in the images was the element that made them distinctly ‘Jennie Meadows’. I also felt that I wasn’t being ‘creative’. Editing and experimenting with images digitally is integral to my work. Why not now?

Inquiry Into Process

My first reaction to this advice was to think about my own inquiry. At the heart of this project lies the question:

How does my use of digital photography relate to my making images of hawthorn trees?

This was sparked by my thoughts about the reciprocal relationship between photographer, equipment and subject. Coming from a purely digital background, I am well-versed in using this technology to produce images. I know how to take, process and print ‘photographs’, having learnt and used these procedures over the last six years. With four out of the six in my class using analogue photography, I was beginning to see first hand the major differences in how the technology affects all aspects of the making process.

This inquiry was also sparked by looking at other photographer’s work based on trees. For example, within the book Into The Woods, the majority of the images have been produced using analogue and are gelatin silver prints. I had been making my images then converting them into Black & White. Why? I had got caught into a mind rut, where this seemed to be the thing to do. What I hadn’t realised is that this is just an option for this project and can be achieved using digital technology. However, when the camera I’m using has been made to capture colour and detail in spectacular fashion, I should be making the most of it.

Subject Matter – Why Hawthorn Trees?

Ancient Trees are being recorded on an inventory and they have asked for photographs of these trees. I chose to focus on finding and photographing hawthorn trees that feature characteristics that would define them as ‘ancient’. These include:

  • Major trunk cavities or progressive hollowing
  • Decay holes
  • Physical damage to trunk
  • Bark loss
  • Large quantities of dead wood in the canopy
  • Crevices in the bark, under branches or on the root plate, sheltered from direct rainfall
  • Fungal fruiting bodies (from heart rotting species)
  • A high number of interdependent wildlife species
  • Epiphytic plants (including mistletoe)

In addition, the tree may have:

  • A pollard form or show indications of past management
  • Cultural or historic value
  • Been part of a historic boundary, hedgerow (pre enclosures) or on a woodbank
  • A prominent position in the landscape

Size

  • Hawthorn can grow up to 2.5m plus in girth.
  • Record all hawthorn more than 1.5m.
  • Consider recording all hawthorn with any ancient characteristics more than 1.25m.
  • It’s important to rely on characteristics rather than size, which is an unreliable indication of age.

I am not recording these trees as purely documentary, but will be using an artistic approach using digital technology.

With regards to location, hawthorns are (and have been) connected with Bushy Park ecologically, historically and culturally. By focusing on a particular area in which the trees are present gives constructive limits to this project.

Up to 4 December, the project has been about finding suitable hawthorns to include and making ‘literal’ images. I have then been using various digital photographic equipment, exploring the potential ways in which these trees can be recorded in this way.

What Works?

  • 5:4 aspect ratio (changes focal length from 85mm to 93mm in 35mm)
  • 1:1 aspect ratio (changes focal length from 85mm to 110mm in 35mm)
  • Horizon along bottom quarter horizontal line
    • Aiming for this brings the tree line (bottom branches) to the lower third line (check)
  • Early-morning light
  • Late afternoon light (depending on angle of shot and tree)
  • Side lighting
  • Diffused light (slight cloud cover)
  • Tree in centre of composition
  • Tree taken from low angle
  • Tree in focus
  • Background out of focus
  • Enough sky for the tree to ‘breathe’
  • Soft sky details
  • Lighter at top of image

What Can Be Improved On?

  • General composition
  • Straight horizon in camera (saves on post-production editing)
  • Capturing trees in the optimum light conditions to show the details being recorded
  • Foreground focus and details

What Doesn’t Work?

  • Dark silhouette of tree
  • Prominent clouds (use of polarising filter)
  • Vignette effect of clouds (dark at top of image)
  • Sharp light

Still Unsure About…

Black & White vs Colour

Colour

  • Shows details
  • Shows colour of light
  • Shows difference between ‘dormant’ tree and green mistletoe

Black & White

  • Mimics traditional analogue images of trees (adds to nostalgic and ‘undated’ appearance

What Needs to Be Explored Further

  • Composition lines – trees in background
  • Best lens – 85mm? 35mm?
  • Best F number (F2.5 for F1.8 lens – 35mm and 85mm)
  • 24mm-70mm is F4 – can it blur the background enough?
  • Use of tripod
  • Use of monitor
  • Use of Speedlight

New Directions?

  • Long exposure
    • Smooth out sky?
    • Shows passing of time?
    • Or will it just blur things?
  • Trees and time:
    • Interval timer shoot or time lapse?
    • Trees ‘move’ – a photograph doesn’t depict this
    • Trees are ‘evidence of time’
    • How do trees experience time?
    • Long exposure/vs snapshot (AGM61 essay Visions of the Temporal Metropolis: Exploring Photography, Time and the City)
    • jenniemeadowsma.photo.blog/2020/01/28/agm63-contemporary-debates-final-essay/
  • Compound shots
    • James Balog
    • Noel Myles
    • Terry Evans
  • Painting on prints
    • Tacita Dean
  • Night photography (long exposure)
    • Beth Moon – Diamond Nights
    • My previous work
  • Same tree, different editing effects (digital)
  • Abstraction of a total tree in multiple images?
  • Infrared Filter vs. editing to create same effect
  • Viewpoint
    • Am I looking AT the tree or FROM the tree?
  • A return to multiple exposure?
  • Winter – the environment and light will change

Last updated 16 December 2020.

Hawthorns

Misty

Compound

Multiple

Abstract

References

Barnes, M. 2019. Into The Woods. London: Thames & Hudson.

Categories
AGM62 Photography Research Project Stage 1 Posts

AGM62 Beth Moon Ancient Trees 15 December 2020

While researching images of ancient trees, I came across the work of Beth Moon who has spent many years photographing ancient trees in the UK, USA, Europe, Asia and Africa. So I could appreciate the photographs further, I acquired a copy of Moon’s book Ancient Trees: Portraits of Time. This book features all of the images in this collection, additional information about the individual trees and their locations, plus essays by Todd Forrest and Steven Brown (will be reading these later in the day).

Portraits of Time

Time is the shape of an old oak as the winds caress and sculpt the bark, defining hardship and beauty. Time is the trunk that splits apart in great age to accommodate the tempest. Evidence of time is revealed in the furrowed bark of an ancient tree, gnarled, crooked, and beautiful.

Portraits of Change.

Portraits of Survival.

Portraits of Time.

I’d like to keep a clear picture, so if a tree is destroyed by storm, disease, greed, or lack of concern, I will have a record of its power and beauty for those who were not able to make the journey. I photograph these trees because I know words alone are not enough, and I want their stories to live on. I photograph these trees because they may not be here tomorrow.

(Moon, B. 2020)

What I did observe is that Moon has paired ‘front’ and ‘back’ views of the same tree together.

I had seen this after I had paired these ‘front’ and ‘back’ images of the same tree on 14 December.

There is also a similarity in composition between Moon’s image on the left and my image from 24 November on the right.

Diamond Nights

When looking at Moon’s website, I came across this collection of long-exposure images that capture the stars. This also marked Moon’s move from analogue to digital due to the nature of this photography.

“As night falls over the Makgadikgadi Pans, giant trees stand starkly against the horizon. Leafless branches reach for the light. On the opposite side of the sky, Earth’s shadow is rising. True wildness manifests itself in the form of curling black branches in November, silhouetted against an indigo sky.

Time exposures blend the boundaries between the visible and the invisible. There is a middle zone where splendor comes into being, where two different realities mingle and blur. If magic exists anywhere, it is here.

Our relationship to the wild has always played an important role in my work. This series was inspired by two fascinating, scientific studies that connect tree growth with celestial movement and astral cycles.

Researchers from the University of Edinburgh have shown that trees grow faster when high levels of cosmic radiation reach the earth’s surface, concluding that cosmic radiation impacts tree growth even more than annual temperature or rainfall. Secondly, renowned researcher, Lawrence Edwards, found that tree buds changed shape and size rhythmically, in regular cycles all through winter, directly correlating to the moon and planets.

David Milarch, founder of the Archangel Ancient Tree Archive, has said, “Trees are solar collectors. I believe energies inside the earth are transmuted and transmitted into the cosmos by the trees, so the trees are like antennas, senders, and receivers of earth energies and stellar energies.”

This work marked the transition not only from film to digital capture but also from black-and-white to color. Up until this point the majority of my work was done with a medium format film camera, but the long exposure time needed to photograph at night was not possible with film. Evolving digital technology has produced cameras with features that accommodate these conditions such as lower noise option levels and higher ISO settings.

I used a wide-angle lens and an ISO of 3200 to 6400. Exposures up to thirty seconds allowed enough light to enter the lens without noticeable star movement. Each location required considerable experimentation and different lighting techniques.“

(Moon, B. 2020)

References

Beth Moon. 2020. Artist Statement | Portraits Of Time | Beth Moon. [online] Available at: <https://bethmoon.com/portraits-of-time/artist-statement/&gt; [Accessed 15 December 2020].

Beth Moon. 2020. Beth Moon Photography. [online] Available at: <https://bethmoon.com/&gt; [Accessed 15 December 2020].

Beth Moon. 2020. Artist Statement | Portraits Of Time | Beth Moon. [online] Available at: <https://bethmoon.com/portraits-of-time/artist-statement/&gt; [Accessed 15 December 2020].

Rosenberg, D., 2020. A Gorgeous Look At Some Of The Oldest Trees On Earth. [online] Slate Magazine. Available at: <https://slate.com/culture/2015/01/beth-moon-ancient-trees-portraits-of-time-is-a-14-year-project-of-some-of-the-oldest-trees-on-earth-photos.html&gt; [Accessed 15 December 2020].

Moon, B., 2014. Ancient Trees – Portraits Of Time. New York & London: Abbeville Press Publishers.

Categories
AGM62 Photography Research Project Stage 1 Posts

AGM62 Bushy Park 14 December 2020

As I was still waiting for the prints to arrive and feeling a bit restless, I took a walk in Bushy Park. My main aim for the visit was to clear my head. The second was to try a few things out.

The previous day I had been looking at camera settings and using an Atomos Ninja V viewing monitor on the camera. Frustratingly, this monitor is better suited for shooting video rather than stills. However, it will be a useful tool for future projects. It is exceptionally good extracting high-res stills from the video footage recorded using the monitor. As it can record in ProRes RAW, this means the still has more range for colour correction. Something to explore in the future.

My first port of call was the tree I now call “Crazy Larry”. I still can’t get the light quite correctly on this one.

Next I returned to this, as yet, un-named, tree.

I then took a shot from the opposite side.

These are the two images together.

Next, I took close up shots from the same standing position. The thought behind this was to piece the images together in Adobe Photoshop to see if I could create a cohesive compound image.

This was my initial result. Definitely still needs work.

I also wanted to carry out a couple of interval timer shoots with the a hawthorn as the centre piece. The sky was cloudy and the wind was blowing them across at a steady pace, so this could work well.

These following shots were recorded as JPEG Fine files and taken at 3 second intervals. I used the tripod so there wouldn’t be any movement with the camera. The tripod was at quite a low level. In order to work out the composition, I used the Nikon Snap Bridge app on my phone. This was ok, but it seemed I still had to use the camera to set up and activate the interval timer sequence. This is something I should have practiced at home first.

I also tried to set an Adobe Premier file to create a time-lapse. Then I realised it’s been a year since I last did this. Time to return to my notes to jog my memory on the method.

As for the subject of time, this concept in relation to trees was starting to bubble.

Categories
AGM62 Photography Research Project Stage 1 Posts

AGM62 Multiple Reflections 12 December 2020

While waiting for the test prints to arrive from DS Labs, I thought I would try something different. Inspired by the photographic collage technique and methods of Noel Myles, I created the following compound image.

These are images taken in May 2017 when I first started experimenting with interval timer shooting and timelapse photography. The piece is comprised of 24 individual images that I’ve combined using Adobe Photoshop. The subject is the Longford River, which flows through Bushy Park. They were taken on a particular stretch of the river where the sun hits the water at a certain of day, creating the most hypnotising reflections.

This piece was inspired by Myles’ similar obsession to mine of going repeatedly to the same place and taking extreme amounts of images. This is a thread that runs through my own practice and the basis of the majority of my work. I was always criticised by my classmates at Richmond School of Art of ‘taking too many shots’. At the time, I took this a negative aspect, but now I realise it’s how I work.

I also realised that I had tried something similar during the AGM60 Research & Experimentation module.

References

LUMAS. 2020. Noel Myles Fine Art Prints And Photography | LUMAS. [online] Available at: <https://www.lumas.com/artist/noel_myles/&gt; [Accessed 7 December 2020].

Myles, N. Youtube.com. 2020. [online] Available at: <https://www.youtube.com/watch?v=s0XVBoywgWQ&gt; [Accessed 8 December 2020].

Noel Myles – Artist in Residence at ITN. Youtube.com. 2020. [online] Available at: <https://www.youtube.com/watch?v=lDwPiAzWIdo&gt; [Accessed 11 December 2020].

Noel Myles | Reframing Photography. [online] Reframingphotography.com. Available at: <https://www.reframingphotography.com/resources/noel-myles&gt; [Accessed 7 December 2020].

Shaw-Miller, L., 2020. Noel Myles: Joining At The Edge :: September 2012 :: Cassone. [online] Cassone-art.com. Available at: <http://www.cassone-art.com/magazine/article/2012/09/noel-myles-joining-at-the-edge/?psrc=photography-and-media&gt; [Accessed 11 December 2020].

Categories
AGM62 Photography Research Project Stage 1 Posts

AGM62 Print Test 10 December 2020

As the light wasn’t great for experimenting with the camera outside, I selected then uploaded a selection of images for another test print. Also, I had recently colour calibrated my monitor and was keen to see how this would make a difference to the prints.

In addition, I knew I had to have physical images to help with the creative process. There’s only so much you can do on screen.

The following were printed as matte C-Types.

8″ x 8″ Prints

10″ x 8″ Prints

10″ x 5″ Prints

I was also curious to see the images printed on fine art paper. The following was printed on Hahnemuhle Photo Rag 308, also at 8″ x 8″.

To see the difference, I also ordered an 10″ x 8″ print on Hahnemuhle German Etching 310 paper.

All prints were ordered from DS Colour Labs.

Categories
AGM62 Photography Research Project Stage 1 Posts

AGM62 First Experiment 9 December 2020

The challenge I faced with photography was that the instantaneous static viewpoint, provided by the camera’s lens and shutter, didn’t represent the continuous flow of the act of looking. It seemed as if the still photograph had been held back to the level of the dictionary; the single word. It was the visual equivalent of overlooking the potential to link words to convey ideas and meaning. I couldn’t accept the notion of an isolated, decisive moment being capable of encapsulating our experience of life.

(Myles, N. 2020)

With this quote reverberating round my head, it was time to relook at what I was attempting to achieve. It seemed I had spent a lot of time and energy researching trees and how to photograph them in the best way possible. However, this project isn’t about getting the perfect tree image. It’s about practice-based research, which requires EXPERIMENTATION!

When I looked at the images I’d created so far, I was very happy with the progress I had made technically. I was now taking a different approach to tree photography compared to the one I used in the AGM60 Research & Experimentation module. What was missing at this stage in the images was the element that made them distinctly ‘Jennie Meadows’. I also felt that I wasn’t being ‘creative’.

Editing and experimenting with images digitally is integral to my work. Why not now?

The fact that I hadn’t started this process for the current project was strongly sparked by the work and words of Noel Myles. Why should my images be restricted to one view point?

My first experiment involved a Black & White conversion of the following image.

Next, I flipped the image 180 degrees.

I then combined to two images in Adobe Photoshop.

I wasn’t sure about the two images connecting. I thought the middle section may be two distracting. So I also created a version with a small between them. I also tried a third version showing one in Black & White and the other in colour.

Something was starting to evolve. Further experimentation was required. My classmate, Mark, suggested putting the two trees together. I planned to do so later that day.

References

Noel Myles | Reframing Photography. [online] Reframingphotography.com. Available at: <https://www.reframingphotography.com/resources/noel-myles&gt; [Accessed 7 December 2020].

Categories
AGM62 Photography Research Project Stage 1 Posts

AGM62 Noel Myles 8 December 2020

There are centuries worth of modes of depiction that are not restricted to the single viewpoint, for photographers to inspect.

(Myles, N. 2020)

Figure 1

When investigating Noel Myles’ work further, I realised that there was more than just a passing affinity with my own practice. This was initially sparked by seeing the above image. I had first seen this as a reproduced, fully Black & White palladium print in Into The Woods. When I saw this version that features both colour and Black & White, I knew I had to dig deeper.

My initial findings are logged here:

AGM62 Compound Tree Photography 7 December 2020

In this video, Noel Myles discusses his work shown at the Minories Gallery in 2013.

The following are relevant transcripts and notes taken from this video:

“Single frame photographs don’t really depict our continuum of life and our sense of transition. I don’t feel that the static viewpoint and that fractional moment that might be comitance to the ‘decisive moment’ adequately conveys our experience of being alive. So I started to explore the pulling together of individual single frames taken over an extended period of time from several viewpoints.”

When discussing two composite images of the same tree using different images, Myles says that, by hanging them side-by-side, it shows:

“There is no definitive view, there’s no definitive composition: you can make as many versions and approaches as you like. And the more you look at these two, the more you see the differences.”

Myles continues with a further breakdown of the story behind these images:

“They started life as palladium prints and what I wanted to do at that time was to break away from the rectangle, the rectangular photograph and, even in some cases, break out of the little individual rectangle.”

When looking at this image, Myles focuses on the details on the upper part of the piece to point out how the individual branches have broken the lines further. Myles states ‘why’:

“I was trying very had to break out of this normal rectangular framework.”

Myles then moves onto these three pieces in which the images have been split up.

The reason behind it, Myles explains, is:

“To try to give a nod to the way the eye moves over a subject. Although the world is not broken up in our vision, we concentrate on certain aspects and half ignore what’s surrounding them. This is one of the motivations behind making these images. The other concern was to try to bring the image up to the surface of the paper to try and deny this recessive depth that you get with in most photographs. You sort of look ‘into’ and you look ‘down’ and I wanted to bring the image up to the surface and stay on the surface.”

“I was also very much aware of one my strongest influences and strongest likes and loves was Cezanne’s watercolour paintings where there are just small, discreet areas of colour and pencil and large areas of white, and the white of the paper is the white of the Provencal light. They’re wonderful evocations of this intense light and it’s almost as if what he was just painting, the little bits of colour you would see, are what was going on in the shadows. These (images) refer to that.”

Myles then moves onto another compound image called ‘A Short Film of Rough Water’.

In the same way Myles photographs his trees by returning to the same one multiple times, he took these images of water from the same bridge over the River Stour. This is of another river, which was taken over a relatively short period of two days.

Myles explained that there is a central image, which was taken when the water was at its shallow-most point. This gives a ‘central weight’ to the image. Myels then ‘builds’ two ‘wings’ (one either side) coming out from this central point, a method that he has used in many of his pieces.

With this work, Myles is questioning ‘what constitutes a photograph as depicting landscape and how varied that depiction can be’.

This video ends with showing further examples of Myles’ compound photography work.

To give a deeper understanding, this an extract from Reframing Photography written by the photographer regarding his Still Films series:

The challenge I faced with photography was that the instantaneous static viewpoint, provided by the camera’s lens and shutter, didn’t represent the continuous flow of the act of looking. It seemed as if the still photograph had been held back to the level of the dictionary; the single word. It was the visual equivalent of overlooking the potential to link words to convey ideas and meaning. I couldn’t accept the notion of an isolated, decisive moment being capable of encapsulating our experience of life.

I photograph whatever catches my eye; accumulating this material over hours, days or weeks.   Several visits might be made to the same location. I think of these frames as the components of the photograph, not photographs themselves. The creative part of the process takes place in the studio, away from the camera. I look for formal qualities of line, tone, texture and colour, as well as subject matter, to link the individual units. The composition evolves by adding and removing; searching for harmonious connections. I have worked with both negatives and prints. The negatives were exposed onto a single sheet of platinum and palladium paper. Recently, I have added colour contact prints to earlier palladium photographs; in some cases photographing the same tree a decade later.

It seems to me that photographers have largely adhered to the pictorial conventions that prevailed at the time when photographs were first made permanent. I am surprised that when painters broke away from following renaissance laws of perspective at the end of the 19th century, photographers didn’t go with them. It makes no sense to say photography liberated painters to explore new modes of depiction. It is worth noting the first exhibition of Cezanne’s watercolours in America, was held in Stieglitz’s own gallery, ’291’ in 1911 but seemed to have had little influence on photographers. There are centuries worth of modes of depiction that are not restricted to the single viewpoint, for photographers to inspect.  

Perhaps it’s true that good photographs are made, not shot, taken or captured. The task for photographers is to transcend the mirrored anecdote to reveal significance in our surroundings that makes us pause for thought. Perhaps it’s always been this way. I think of my own work as exploring the territory between still photography and moving image, hence the umbrella title ‘Still Films’. My reference points are within painting, not photography. I find constant stimulus in Cezanne’s watercolours, Cubism, Romanesque art and Rothko’s painting.

At the time of writing, I was still processing the information I had discovered. I knew I would have to let it simmer, reread it then see what would result.

After posting this entry, I came across the following video featuring Myles and the collage piece he created while Artist in Residence at ITN.

Images

Figure 1: Noel Myles, Still Film of an Oak at Wormingford No 7, 2011

Figure 2: Montagne Sainte Victoire 1905-6 Paul Cezanne 1839-1906 Bequeathed by Sir Hugh Walpole 1941

Figure 3: Still Life with Water Jug c.1892-3 Paul C?zanne 1839-1906 Bequeathed by C. Frank Stoop 1933

References

Shaw-Miller, L., 2020. Noel Myles: Joining At The Edge :: September 2012 :: Cassone. [online] Cassone-art.com. Available at: <http://www.cassone-art.com/magazine/article/2012/09/noel-myles-joining-at-the-edge/?psrc=photography-and-media&gt; [Accessed 11 December 2020].

Myles, N. Youtube.com. 2020. [online] Available at: <https://www.youtube.com/watch?v=s0XVBoywgWQ&gt; [Accessed 8 December 2020].

Noel Myles – Artist in Residence at ITN. Youtube.com. 2020. [online] Available at: <https://www.youtube.com/watch?v=lDwPiAzWIdo&gt; [Accessed 11 December 2020].

Noel Myles | Reframing Photography. [online] Reframingphotography.com. Available at: <https://www.reframingphotography.com/resources/noel-myles&gt; [Accessed 7 December 2020].

Tate. 2020. Paul Cézanne: An Exhibition Of Watercolours – Exhibition At Tate Britain | Tate. [online] Available at: <https://www.tate.org.uk/whats-on/tate-britain/exhibition/paul-cezanne-exhibition-watercolours&gt; [Accessed 9 December 2020].

Tate. 2020. ‘Still Life With Water Jug’, Paul Cézanne, C.1892–3 | Tate. [online] Available at: <http://www.tate.org.uk/art/work/N04725&gt; [Accessed 9 December 2020].

Categories
AGM62 Task 2 Research Dossier Stage 1 Submissions

AGM62 Initial Bibliography and Research Resources

As part of Task 2 for AGM62, I have to produce and submit an initial bibliography and a list of research resources.

The following was submitted as part of Task 2.

Research Dossier Stage 1 Initial Bibliography and Research Resources

Adams, M. 2018. The Wisdom of Trees. London: Head of Zeus Ltd.

Amazon.co.uk. 2020. [online] Available at: <https://www.amazon.co.uk/gp/product/0691178321/ref=ox_sc_act_title_2?smid=A3P5ROKL5A1OLE&psc=1&gt; [Accessed 16 October 2020].

Amazon.co.uk. 2020. [online] Available at: <https://www.amazon.co.uk/Billion-Black-Anthropocenes-None-Forerunners/dp/1517907535/ref=sr_1_1?dchild=1&keywords=Kathryn+Yusoff+%E2%80%93+A+Billion+Black+Anthropocene+or+None&qid=1602839894&sr=8-1> [Accessed 16 October 2020].

Amazon.co.uk. 2020. [online] Available at: <https://www.amazon.co.uk/Ecological-Thought-Timothy-Morton/dp/0674064224/ref=sr_1_fkmr1_1?dchild=1&keywords=tom+morton+%E2%80%93+the+ecological+thought&qid=1602839654&sr=8-1-fkmr1> [Accessed 16 October 2020].

Amazon.co.uk. 2020. [online] Available at: <https://www.amazon.co.uk/Overstory-Shortlisted-Booker-Prize-2018/dp/1784708240/ref=sr_1_1?crid=2XG1SVORFKU12&dchild=1&keywords=the+overstory+richard+powers+paperback&qid=1602840071&sprefix=the+overstory+rich%2Caps%2C148&sr=8-1> [Accessed 16 October 2020].

Amazon.co.uk. 2020. [online] Available at: <https://www.amazon.co.uk/Pandoras-Hope-Reality-Science-Studies/dp/067465336X/ref=sr_1_1?dchild=1&keywords=Bruno+Latour+%E2%80%93+Pandora%E2%80%99s+Hope&qid=1602840680&sr=8-1> [Accessed 16 October 2020].

Amazon.co.uk. 2020. [online]. Available at: https://www.amazon.co.uk/Process-Metaphysics-Mutative-Life-Perspectives/dp/3030430472/ref=sr_1_1?dchild=1&keywords=Wahida+Khandker+%E2%80%93+Process+Metaphysics+and+Mutative+Life&qid=1602840244&quartzVehicle=45-608&replacementKeywords=wahida+khandker+%E2%80%93+process+metaphysics+and+mutative&sr=8-1.

artnet News. 2021. The 1918 Spanish Flu Wreaked Havoc on Nearly Every Country on Earth. So Why Didn’t More Artists Respond to It in Their Work?. [online] Available at: <https://news.artnet.com/art-world/spanish-flu-art-1836843&gt; [Accessed 1 February 2021].

Atgetphotography.com. 2020. Minor White / Biography & Images – Atget Photography.Com / Videos Books & Quotes. [online] Available at: <https://www.atgetphotography.com/The-Photographers/Minor-White.html&gt; [Accessed 26 October 2020].

Ati.woodlandtrust.org.uk. 2020. [online] Available at: <https://ati.woodlandtrust.org.uk/media/1075/fieldwork-guidelines-tips-to-stay-safe.pdf&gt; [Accessed 27 October 2020].

Ati.woodlandtrust.org.uk. 2020. Hawthorn – Ancient Tree Inventory. [online] Available at: <https://ati.woodlandtrust.org.uk/how-to-record/species-guides/hawthorn/&gt; [Accessed 21 October 2020].

Artnet.com. 2020. Minor White | Artnet. [online] Available at: <http://www.artnet.com/artists/minor-white/&gt; [Accessed 16 November 2020].

Balog, J., 2020. Changing Forests: 1998–2004 | James Balog Photography. [online] Jamesbalog.com. Available at: <http://jamesbalog.com/portfolio/changing-forests/&gt; [Accessed 4 December 2020].

Balog, J., 2020. Tips For Environmental Photographers | Nikon. [online] Nikonusa.com. Available at: <https://www.nikonusa.com/en/learn-and-explore/a/tips-and-techniques/tips-for-environmental-photographers.html&gt; [Accessed 2 December 2020].

Balog, J., 2004. Tree: A New Vision of the American Forest. New York, NY: Sterling Publishing Co., Inc.

Barnes, M. 2019. Into The Woods: Trees in Photography. London: Thames & Hudson.

Barrow, E. 2019. Our Future in Nature: Trees, Spirituality and Ecology. Bloomington, IN.: Balboa Press.

Beardsley, A. 2020. A Book of Fifty Drawings. London: Tate Publishing.

Benjamin, W. (2008). The Work of Art in the Age of Mechanical Reproduction. London: Penguin Books.

Beth Moon. 2020. Artist Statement | Portraits Of Time | Beth Moon. [online] Available at: <https://bethmoon.com/portraits-of-time/artist-statement/&gt; [Accessed 15 December 2020].

Beth Moon. 2020. Beth Moon Photography. [online] Available at: <https://bethmoon.com/&gt; [Accessed 15 December 2020].

Beth Moon. 2020. Artist Statement | Portraits Of Time | Beth Moon. [online] Available at: <https://bethmoon.com/portraits-of-time/artist-statement/&gt; [Accessed 15 December 2020].

Bird, M., 2021. The perception of symmetry – Tate Etc | Tate. [online] Tate. Available at: <https://www.tate.org.uk/tate-etc/issue-1-summer-2004/perception-symmetry&gt; [Accessed 1 February 2021].

Bradford.gov.uk. 2021. [online] Available at: <https://www.bradford.gov.uk/health/health-advice-and-support/coronavirus-covid-19-advice/&gt; [Accessed 15 January 2021].

Calvino. I. 1997. Invisible Cities. London: Vintage.

Campany, D. 2020. On Photographs. London: Thames & Hudson Ltd.

Catherine Edelman Gallery. 2020. Terry Evans. [online] Available at: <https://www.edelmangallery.com/artists/artists/a-f/terry-evans.html&gt; [Accessed 27 October 2020].

Collections.vam.ac.uk. 2020. Fourth Short Film Depicting A Tree, Winter | Myles, Noel | V&A Search The Collections. [online] Available at: <http://collections.vam.ac.uk/item/O178873/fourth-short-film-depicting-a-photograph-myles-noel/&gt; [Accessed 27 November 2020].

Confino, B., 2020. Collage And The Photographic Imagination. [online] International Center of Photography. Available at: <https://www.icp.org/perspective/collage-and-the-photographic-imagination&gt; [Accessed 8 December 2020].

Cox, S. 2020. Complete Guide To Black And White Photography. [online] Photography Life. Available at: <https://photographylife.com/black-and-white-photography&gt; [Accessed 20 November 2020].

Critical Ecologies. 2020. Critical Ecologies. [online] Available at: <https://criticalecologies.gold.ac.uk/&gt; [Accessed 16 October 2020].

Digital Photography School. 2020. Aspect Ratios In Landscape Photography. [online] Available at: <https://digital-photography-school.com/aspect-ratios-in-landscape-photography/&gt; [Accessed 2 December 2020].

Friends of Bushy and Home Park. 2020. [online] Available at: <https://ews-fbhp-dev.expertwebservices.co.uk/history-of-bushy-park/; [Accessed 19 October 2020].

Collections.vam.ac.uk. 2020. Fourth Short Film Depicting A Tree, Winter | Myles, Noel | V&A Search The Collections. [online] Available at: <http://collections.vam.ac.uk/item/O178873/fourth-short-film-depicting-a-photograph-myles-noel/&gt; [Accessed 7 December 2020].

Goldsmiths, University of London. 2020. MA Art & Ecology. [online] Available at: <https://www.gold.ac.uk/pg/ma-art-ecology/&gt; [Accessed 16 October 2020].

GOV.UK. 2021. National Lockdown: Stay At Home. [online] Available at: <https://www.gov.uk/guidance/national-lockdown-stay-at-home?priority-taxon=774cee22-d896-44c1-a611-e3109cce8eae&gt; [Accessed 6 January 2021].

Haskell, D., 2018. The Songs of Trees. New York, New York: Viking Penguin.

Historicengland.org.uk. 2020. Bushy Park, Richmond Upon Thames – 1000281 | Historic England. [online] Available at: <https://historicengland.org.uk/listing/the-list/list-entry/1000281&gt; [Accessed 27 October 2020].

Hockney.com. 2021. Photographic Collages : Photos : Works | David Hockney. [online] Available at: <https://www.hockney.com/index.php/works/photos/photographic-collages&gt; [Accessed 3 February 2021].

IBASHO. 2021. #42 Mukayu – Paul Cupido | 29 October 2020 – 17 January 2021 – Overview. [online] Available at: <https://ibashogallery.com/exhibitions/50-42-mukayu-paul-cupido/overview/&gt; [Accessed 21 December 2020].

IBASHO. 2021. Works – #42 Mukayu – Paul Cupido. [online] Available at: <https://ibashogallery.com/exhibitions/50-42-mukayu-paul-cupido/works/&gt; [Accessed 22 December 2020].

IBASHO. 2021. #42 Mukayu – Paul Cupido. [online] Available at: <https://ibashogallery.com/video/8-42-mukayu-paul-cupido-installation-video/&gt; [Accessed 22 December 2020].

Impelluso, L. 2004. Nature and Its Symbols. Los Angeles, California: Getty Publications.

info@undiscoveredscotland.co.uk, U., 2020. The Clootie Well Feature Page On Undiscovered Scotland. [online] Undiscoveredscotland.co.uk. Available at: <https://www.undiscoveredscotland.co.uk/munlochy/clootiewell/index.html&gt; [Accessed 16 November 2020].

Jackson, J. 2014. A Year in the Life of Bushy Park. London: Unity Print and Publishing Ltd.

Joanna, J., 2020. Joanna Jackson Photography – A Year In The Life Of…. [online] Joannajackson.co.uk. Available at: <https://www.joannajackson.co.uk/&gt; [Accessed 8 December 2020].

Jeanlucbrouard.com. 2020. Freelance Photographer, Brighton, Sussex, UK : Photography By Jean-Luc Brouard : Photography Gallery: Personal. [online] Available at: <https://www.jeanlucbrouard.com/&gt; [Accessed 5 November 2020].

Khandker, W. 2020. Process Metaphysics And Mutative Life. Switzerland: Palgrave Macmillan.

Laan, D. and >, M., 2020. Awesome Tree Photography Made Easy | Take Beautiful Forest Photos. [online] ExpertPhotography. Available at: <https://expertphotography.com/awesome-tree-photography/&gt; [Accessed 7 December 2020].

Laan, D. and >, M., 2020. Fine Art Landscape Photography | Improve Your Creative Photography. [online] ExpertPhotography. Available at: <https://expertphotography.com/fine-art-landscape-photography-tips/&gt; [Accessed 7 December 2020].

La Noir Image. 2020. Creating Better Compositions: Landscape Lessons From Minor White (Premium). [online] Available at: <https://lanoirimage.com/creating-better-compositions-landscape-lessons-from-minor-white/&gt; [Accessed 16 November 2020].

“Landscape”, W., 2020. Want Better Landscape Photos? First Check Your Definition Of “Landscape” | Nikon. [online] Nikonusa.com. Available at: <https://www.nikonusa.com/en/learn-and-explore/a/tips-and-techniques/want-better-landscape-photos-first-check-your-definition-of-landscape.html&gt; [Accessed 2 December 2020].

Latour, B. 1999. Pandora’s Hope. Cambridge (Mass.): Harvard University Press.

Lowenhaupt Tsing, A. 2017. Mushroom At the End of the World. Woodstock, Oxfordshire: Princeton University Press.

LUMAS. 2020. Noel Myles Fine Art Prints And Photography | LUMAS. [online] Available at: <https://www.lumas.com/artist/noel_myles/&gt; [Accessed 7 December 2020].

Mabille, P. 1938. Mirrors. First Published in Minotaure, no. 11, Spring 1938; reprinted in Pierre Mabille, Messages de l’etranger, Paris: Plasma 1981. In Ades, D., Richardson, M. and Fijałkowski, K. (Eds), 2015. The Surrealism Reader: An Anthology of Ideas. London: Tate Publishing.

Mansurov, N. 2020. Recommended Nikon Z7 Settings. [online] Photography Life. Available at: <https://photographylife.com/recommended-nikon-z7-settings&gt; [Accessed 20 November 2020].

Martineau, P., 2014. Minor White: Manifestations of the Spirit. Los Angeles (Calif.): J. Paul Getty Museum.

Medium. 2020. Can The Photographic Typology Be Defined?. [online] Available at: <https://medium.com/@pdtv/can-the-photographic-typology-be-defined-bfa38d5699f3#:~:text=A%20photographic%20typology%20is%20a,or%20direction%20of%20the%20subject.&gt; [Accessed 16 November 2020].

Michalska, M., Michalska, M., Kaszubowska, J., Profile, G., Michalska, M., Michalska, M. and Bedworth, C., 2021. David Hockney and The Camera: A Composite Polaroid Reality – DailyArtMagazine.com – Art History Stories. [online] DailyArtMagazine.com – Art History Stories. Available at: <https://www.dailyartmagazine.com/david-hockney-photographs/&gt; [Accessed 3 February 2021].

Modes, P., 2020. Personal Touch: The Art Of Z 7 And Z 6 Crop Modes | Nikon. [online] Nikonusa.com. Available at: <https://www.nikonusa.com/en/learn-and-explore/a/tips-and-techniques/personal-touch-the-art-of-z-7-and-z-6-crop-modes.html&gt; [Accessed 2 December 2020].

Moon, B., 2014. Ancient Trees – Portraits Of Time. New York & London: Abbeville Press Publishers.

Morton, T. 2010. The Ecological Thought. USA: First Harvard University Press.

Myles, N. Youtube.com. 2020. [online] Available at: <https://www.youtube.com/watch?v=s0XVBoywgWQ&gt; [Accessed 8 December 2020].

Noel Myles – Artist in Residence at ITN. Youtube.com. 2020. [online] Available at: <https://www.youtube.com/watch?v=lDwPiAzWIdo&gt; [Accessed 11 December 2020].

Noel Myles | Reframing Photography. [online] Reframingphotography.com. Available at: <https://www.reframingphotography.com/resources/noel-myles&gt; [Accessed 7 December 2020].

NRDC. 2020. A Patchwork Of Imagery Hints At The Hidden Complexity Of The American Prairie. [online] Available at: <https://www.nrdc.org/onearth/patchwork-imagery-hints-hidden-complexity-american-prairie&gt; [Accessed 27 October 2020].

Paulcupido.nl. 2021. Paul Cupido. [online] Available at: <https://www.paulcupido.nl/&gt; [Accessed 23 January 2021].

Pointdironie.com. 2020. Le Point D’ironie – N°36 Tacita Dean. [online] Available at: <http://www.pointdironie.com/in/36/dean_en.php&gt; [Accessed 23 November 2020].

Powers, R. 2018. The Overstory. London: Vintage. 

Rackham, O., 2007. Woodlands. London: Collins.

Rhs.org.uk. 2020. Mistletoe. [online] Available at: <https://www.rhs.org.uk/advice/profile?pid=134&gt; [Accessed 18 October 2020].

Riittapaivalainen.com. 2020. Riitta Päiväläinen. [online] Available at: <https://riittapaivalainen.com/htdocs/&gt; [Accessed 26 October 2020].

Roberts, S. 2020. The Weeds And The Wilderness – Simon Roberts. [online] Available at: <https://www.simoncroberts.com/work/the-weeds-and-the-wilderness/&gt; [Accessed 17 November 2020].

Rosenberg, D., 2020. A Gorgeous Look At Some Of The Oldest Trees On Earth. [online] Slate Magazine. Available at: <https://slate.com/culture/2015/01/beth-moon-ancient-trees-portraits-of-time-is-a-14-year-project-of-some-of-the-oldest-trees-on-earth-photos.html&gt; [Accessed 15 December 2020].

Rugoff, R., Among The Trees. (2020). London: Hayward Gallery Publishing.

Savedoff, B. (2010). ‘Documentary Authority and the Art of Photography’ in Walden, S. (ed.) Photography and Philosophy: Essays on the Pencil of Nature. Oxford: Wiley-Blackwell, pp. 111-137.

Shaw-Miller, L., 2020. Noel Myles: Joining At The Edge :: September 2012 :: Cassone. [online] Cassone-art.com. Available at: <http://www.cassone-art.com/magazine/article/2012/09/noel-myles-joining-at-the-edge/?psrc=photography-and-media&gt; [Accessed 11 December 2020].

SlidesMania. 2021. Slidesmania | Free Google Slides Themes And Powerpoint Templates.. [online] Available at: <https://slidesmania.com/&gt; [Accessed 8 January 2021].

Spectrumphoto.co.uk. 2021. Giclée Printing – Spectrum Photographic. [online] Available at: <https://spectrumphoto.co.uk/giclee-prints&gt; [Accessed 8 January 2021].

Stockdale, V. 2020. Riitta Paivalainen – Imaginary Meetings. [online] PhotoBook Journal. Available at: <https://photobookjournal.com/2009/12/31/riitta-paivalainen-imaginary-meetings/&gt; [Accessed 5 November 2020].

Tate. 2020. Aubrey Beardsley – Exhibition Guide | Tate. [online] Available at: <https://www.tate.org.uk/whats-on/tate-britain/exhibition/aubrey-beardsley/exhibition-guide&gt; [Accessed 19 October 2020].

Tate. 2020. ‘Gas Tanks’, Bernd Becher And Hilla Becher, 1965–2009 | Tate. [online] Available at: <https://www.tate.org.uk/art/artworks/bernd-becher-and-hilla-becher-gas-tanks-p81237&gt; [Accessed 16 November 2020].

Tate. 2020. ‘Majesty’, Tacita Dean, 2006 | Tate. [online] Available at: <https://www.tate.org.uk/art/artworks/dean-majesty-t12805&gt; [Accessed 20 October 2020].

Tate. 2020. ‘Montagne Sainte Victoire’, Paul Cézanne, 1905–6 | Tate. [online] Available at: <http://www.tate.org.uk/art/work/N05303&gt; [Accessed 9 December 2020].

Tate. 2020. Paul Cézanne: An Exhibition Of Watercolours – Exhibition At Tate Britain | Tate. [online] Available at: <https://www.tate.org.uk/whats-on/tate-britain/exhibition/paul-cezanne-exhibition-watercolours&gt; [Accessed 9 December 2020].

Tate. 2020. ‘Still Life With Water Jug’, Paul Cézanne, C.1892–3 | Tate. [online] Available at: <http://www.tate.org.uk/art/work/N04725&gt; [Accessed 9 December 2020].

Tate. 2020. ‘Water Towers’, Bernd Becher And Hilla Becher, 1972–2009 | Tate. [online] Available at: <https://www.tate.org.uk/art/artworks/bernd-becher-and-hilla-becher-water-towers-p81238&gt; [Accessed 26 October 2020].

Terry Evans Photography. 2020. [online] Available at: <http://www.terryevansphotography.com/&gt; [Accessed 27 October 2020].

Terry Evans Photography. 2020. [online] Available at: <http://www.terryevansphotography.com/project-statements/ancient-prairieshttp://www.terryevansphotography.com/&gt; [Accessed 27 October 2020].

The awakened eye. 2020. Equivalence: The Perennial Trend. [online] Available at: <https://theawakenedeye.com/pages/equivalence-the-perennial-trend/&gt; [Accessed 16 November 2020].

Thehawthorneffect.com. 2020. Hawthorn | Crataegus | Crataegus Succulenta | Bill Vaughn | Crown Of Thorns | Enclosures | World’s Busiest Tree. [online] Available at: <http://www.thehawthorneffect.com/&gt; [Accessed 17 November 2020].

The Royal Parks. 2020. Monuments In Bushy Park. [online] Available at: <https://www.royalparks.org.uk/media-centre/factsheets-on-the-royal-parks/monuments/monuments-in-bushy-park#memorial&gt; [Accessed 10 November 2020].

The Royal Parks. 2020. Trees. [online] Available at: <https://www.royalparks.org.uk/parks/bushy-park/things-to-see-and-do/flora-and-fauna/trees&gt; [Accessed 18 October 2020].

The University of Brighton. 2020. Epha Roe. [online] Available at: <https://research.brighton.ac.uk/en/persons/epha-roe&gt; [Accessed 16 October 2020].

Tumblr. 2020. Tumblr. [online] Available at: <https://rachelpimmwork.tumblr.com/info&gt; [Accessed 16 October 2020].

UK, N., 2020. Nordic Walking UK | Instructor Training | Nordic Walking Events. [online] Nordicwalking.co.uk. Available at: <https://nordicwalking.co.uk/&gt; [Accessed 30 October 2020].

Vaughn, B. 2015. Hawthorn – The Tree That Has Nourished, Healed, And Inspired Through The Ages. New Haven & London: Yale University Press.

West, P. 2020. An Introduction to Critical Ecology. [online] Available at: <https://www.youtube.com/watch?v=SAWfggb1ezw&gt; [Accessed 16 October 2020].

White, K. & Foster, P. 1997. Bushy Park: Royals, Rangers & Rogues. East Molesey, Surrey: Foundry Press.

White, M. 1963. Equivalence: The Perennial Trend, PSA Journal 29, no. 7 (1963) pp. 17-21.

Whitewall.com. 2021. Photo Print With Shadow Box Frame | Whitewall. [online] Available at: <https://www.whitewall.com/uk/framed-prints/shadow-box-frame?gclid=CjwKCAiAudD_BRBXEiwAudakX_Pv3HgVV8BvllS1pAChhvEwDkNC50-ty862hlvYYQo2dftvSN-eeBoC9_sQAvD_BwE&gt; [Accessed 6 January 2021].

Wolf, J. 2020. Britain’s Trees: A Treasury of Traditions, Superstitions, Remedies, and Literature. London: National Trust Books: An Imprint of Pavilion Books Company Ltd.

Wohlleben, P. 2017. The Hidden Life of Trees. William Collins, London.

Woodland Trust. 2020. [online] Available at: <https://ati.woodlandtrust.org.uk/; [Accessed 20 October 2020].

Zylinska, J., 2017. Nonhuman Photography. Cambridge (Ma): Mit.

Zylinska, J., 2020. Nonhuman Photography. [online] Nonhuman Photography. Available at: <https://www.nonhuman.photography&gt; [Accessed 4 December 2020].

Categories
AGM62 Photography Research Project Stage 1 Posts

AGM62 Typical Images of Bushy Park 8 December 2020

The following is a visual reference that has influenced this current project.

When searching for images of Bushy Park, there is a particular set of attributes that always appears. Lush green space, deer, misty sunrises, waterfowl and waterways, plus (of course) trees.

This collection of features has been diligently captured by photographer Joanna Jackson in her book A Year in the Life of Bushy Park. Through photography, Jackson has chronicled these elements over the year. The book is divided into chapters categorised by the four seasons.

When looking at these images, I noticed Jackson’s use of different aspect ratios, depth of field and combinations of images within the book.

Each image tells its own story of the park from a different perspective. This is what I will do in regard to the hawthorns.

References

Jackson, J. 2014. A Year in the Life of Bushy Park. London: Unity Print and Publishing Ltd.

Joanna, J., 2020. Joanna Jackson Photography – A Year In The Life Of…. [online] Joannajackson.co.uk. Available at: <https://www.joannajackson.co.uk/&gt; [Accessed 8 December 2020].

Design a site like this with WordPress.com
Get started