Project 4: Depth of Field

 Deep Depth of Field

Phil Morgan

Shallow Depth of Field

Stephan Vanfleteren

Adam McVay

Project 3: Motion

Slow Motion

Mario De Biasi

Denis Olivier

Denis Olivier

I think that the above image is more expressive because it adds more mystery to the piece and has more room for interpretation, I feel like I have to look at it longer.

Freeze Motion

Anton Surkov

Panning

Rachel Hogue

Project 2: Angles, Elements, and Filters

Leading Lines

La Mo

Kobi Refaeli

Frame-Within-a-Frame

Rule of Thirds

Project 1: Camera-Less Photography Part 2 (Final Pieces)

Watercolored Cyanotypes

Project 1: Camera-Less Photography Part 1

Trials

magazine fotogram and tone reversal

magazine fotogram

pinhole camera (rose bush)

fotogram and tone reversal

cyanotype using transparency and plant (later watercolored)

In-Progress Works

watercolor cyanotype

cyanotype

anthotypes using red roses

extra anthotype mixture experiment

Project 1: Old Process New Artist

Francis Schanberger (red rose petals)

Jalo Porkkala

Clive Tilley

http://www.alternativephotography.com/wp/processes/anthotypes/anthotypes-making-print-using-plants

Step-by-step anthotyping

The anthotype process is made up of three steps. Making emulsion, preparing the canvas and printing. Before you start, cover your work surfaces. Put on your rubber gloves, an apron or an old shirt, cover the work area with old newspapers and you’re ready to go. Plant pigments can stain your work surface blue, red or green and turn your hands rainbow colored.

1Making emulsion – Grind, mash or mix the plant
An anthotype emulsion can be made from a large number of plants. There are plenty of plants to choose from.

Pestle and mortar or mixer?
Using the mortar for petals is more economical, since a print can be produced using only one or two flowers. Using the mixer will require petals from a dozen flowers to make pulp. If the plants, leaves or berries are too dry, dilute them a little.

Diluters

Different diluters that can be used – with various result of course! My preferred choice is a few drops of alcohol.

• Tap water
• Purified water (Deionized water)
• Denatured alcohol
• Cheap vodka
• Lighter fuel
• Paraffin oil
• Olive oil
• Rapeseed oil

A pestle and mortar is good to use for anthotypes when you only have a few petals at hand.

Using pestle and mortar


Advantages

• Needs only a few petals to make a print
• Therapeutic
• Strengthens arms
• Quick and easy to clean

Disadvantages

• Peel does not get into the mix, but is strained away
• Your hands may blister

Using a blender or mixer requires large quantities of petals. It's better when using leaves and plants that are hard to grind by hand.

Using a blender


Advantages

• Fast when making large batches
• Includes pigments from the peel of berries

Disadvantages

• Noisy
• A lot of petals needed
• Takes time to clean

Strain the anthotype emulsion, or you will have bits of peel or petal on your final print. Unless of course this is what you want!

Straining the emulsion

Once the soup is blended or crushed into pulp, strain it though a cheesecloth, a piece of cotton rag or a coffee filter. Once all the liquid has drained through, use a teaspoon to squeeze the excess liquid out, and then discard the pulp left in the filter. Make sure you wash the cloth thoroughly between different emulsions, or the emulsions may get “contaminated”, or use a new filter each time you strain.

2Preparing the canvasAny paper that will hold the emulsion can be used. Since it will be out in the sun for a few days or even weeks, it is best to start with a sturdy paper. Try a medium or heavy weight watercolor paper before you start experimenting with other base supports. Once you are feeling more confident you can try coating and printing on any material that will hold the emulsion. Just remember that it will be exposed in the sun for quite a long time, so it shouldn’t be too fragile.
Always work in a dimly lit area, since any exposure to sunlight will destroy the color of the emulsion. Prepare a drying area in the dark before you start coating.

Dipping the print in the emulsion, rather than coating it on will create a more even coat and a stronger print.

Brushing or dipping?

Two ways of getting the emulsion onto the paper is brushing it on or dipping the paper, both adding different qualities to your final print. Coating with a brush will enable you to leave brush strokes on the paper, adding a handmade quality. Coating by dipping will give you a more even coat.

Exposure of an anthotype print is best done in the sun. It can take a few hours or a few weeks.

3Printing the anthotype
Objects or positives (not negatives, since most of the emulsions tend to lighten when exposed) are placed on the material to make a print. The anthotype is printed in the sun for a few days or several weeks.
The anthotype print develops as the rays of the sun destroys the color of the pigment, bleaching the print.
Each and every emulsion will need a different exposure time. Some emulsions need only a few hours to change color, some a few weeks. Corn poppy (Papaver rhoeas) will produce one of the most sensitive emulsions. Sir John Herschel found that the juice from merrygold and corchorus japonica was the fastest, changing color as rapidly as ten minutes in clear sunshine while Mrs Somerville found the juice from the dark red dahlia to be speedily changing colors.

Photograms made the classic way by placing plant material directly onto the paper, and sandwiching it there during the exposure. From left to right: Red oxeye daisy, Bellflower, Garden Lupin, Potato and Tulip by Malin Fabbri, 2008 and 2010.

The thousands of different plant emulsions will have various colorfastness, and the different strength the sun, depending on your season, weather and geographical location will also matter. One thing that can be said for certain, is that it is a matter of days or weeks, rather than minutes or hours. Patience is required.
No rinsing, fixing or other frills necessary. The print is ready to be hung on a wall and admired. But, be careful the wall the print is hung on is not exposed to the sun, or the darker areas of the print will start to fade too.

Project 12: Stop-Motion Animation

Project 11: Utopia v. Dystopia Silent Films

Project 10:Magazine Mock Up

Project 9:Portraits

Fine Art Portraits

This editing technique I used on this photo was low poly. To do this I first drew a contrasting colored net over the original image in Photoshop. The net was comprised of many triangles that followed the contours of the face and hair. On a layer above the net I traced over the net using the polygonal lasso tool, selected the color present in the majority of the selection using the eyedropper tool, and used the paint bucket to color the entire selection that color.

Commercial Magazine Cover

For this magazine cover I used the net from the low poly. The color of the net reminded me of constellation maps, thus I titled the magazine The Constellation and included articles about horoscopes and star gazing.

This magazine cover is a interpretation on a Time magazine covering how we age. I kept the same iconic look of the magazine with the red border and close-up portrait, while revamping the title.

Project 9: Pre Work

Fine art portraits are just like any other piece of fine art, they are meant to express something important and be beautiful in their own special way. Because of the nature of their subjects, portraits often make some critic of human society or reveal something about the model. Magazine covers can have the same elements in their portraits, but their purpose is to intrigue consumers and get them to buy the magazine.

 I like the difference in age displayed here, as well as the difference in emotion. The use of black and white is very effective at making the photo cohesive and showing the difference between their skin textures.

The reason I chose this photo as an example of a fine art portrait was because of the way this young boy held his kite. It tells of his starvation and poverty, a scrawny arm clutch his one prized possession in front of a desolate backdrop.

One of my favorite portrait subjects are those that show culture. Every portrait reveals a part of the subject, but when their culture is on prominent display, you can see their identity, background, and heritage. National Geographic often has stunning photos of indigenous people and this is why I wanted to include one of their cover portraits in my pre-work. This particular cover caught my eye because of the beautiful pose and excellent bone structure of the model.

This magazine cover taken by Brent Humphreys uses an element of humor to relate to the featured model's personality, and possibly the content that will be seen later in this issue. The text in this cover is at times behind the subject, and at times in front. The wires on Steve Carell's helmet weave in and out of the title of the magazine, giving it a 3D effect.