Personal Project - Collecting images Of Abandoned Umbrellas

Times Newspaper

Today (03/04/2008) I have just spoken to Nicole from the Times newspaper. The phone call was to finalise my trip to London and confirm arrangements. Rather than the original plan which was to vist news international at 11am on Monday morning (7th April), I was advised to call a gentleman by the name of Scott at 5pm on sunday evening. The reason for the phone call was to arrange to meet Scott and other photographers at a location in London and I will be assigned my first brief. In preparation for my experience with the Times, I will be purchasing the newspaper so I can look at examples of images that the times may be expecting from me.

What Lies Beneath - By Patrick Sawer

The article below by Patrick Sawer, titled ‘What Lies Beneath’ was taken form the Sunday Telegraph, dated Sunday 30th March 2008. Most artists claim to delve beneath the surface of their subjects. But few have got to the core of our being in quite the way that Nick Veasey has managed.

Using sophisticated X-ray cameras, the photographer has created ghostly images that transform the appearance of people and the world around them. He finds beauty skin deep – producing pictures that range from a dramatic image of skeletal passengers on a bus to the delicate textures of a flower.

Veasey’s studio in maidenhead, Berkshire, is unlike any other artist’s garret. Inside a lead-lined room, he places flowers, insects and objects to be photographed. Larger compositions require industrial X-ray machines. One of his most arresting pictures – of a bus – was taken using a device normally employed by American border police to scan vehicles. But the passenger images are, in fact, of only one man’s body. He X-rayed a single corpse – lent by an undertaker – before scanning the image into his computer and creating multiple images in a variety of poses. He then positioned these inside the image of the bus.

Since their discovery in 1895 by the German physicist Wilhelm Conrad Rontgen, X-rays have revolutionised medicine. Rontgen discovered that waves produced by sending a electric charge through a radioactive source could penetrate objects and reproduce the outline of the denser material hidden below the surface onto film. Veasey uses the same principle to capture the hidden outline of bone, metal or plastic.


Delicate subjects such as flowers and insects require a more sensitive machine, capable of revealing the translucent quality of wings and petals, and the tiny structures within them. The film is turned into a digital file, which Veasey manipulates to create his final picture. Each image can cost tens of thousands of pounds to produce. Veasey, 47, a London born former advertising photographer who hit on the idea of using X-rays while photographing props for a television show, says his work serves to question our obsession with celebrity, image and beauty. “I like to challenge the automatic way in which we react to external physical appearance by highlighting the often surprising inner beauty of things,” he said. His use of the X-ray equipment deployed at airports, official buildings and even schools as a means of tackling crime and terrorism is a reminder that for 21st century man, personal privacy is fast disappearing, In art, as in life, there is no longer any hidden place.

West Yorkshire Joint Services - Response

Bradford Bulls Vs Warrington Wolves - 16th March 2008

On arrival both Phil and I were directed to the media lounge where a buffet was put on and team sheets were handed out. Seen here is the actual team sheet of who was playing on the day.



On the day of the rugby game I was handed the ticket that allowed me to photograph in the press area. With the press pass, this gave me the great oportunity of being able to photograph as the side of the pitch. As a whole my expereince as a photojournalist for the day was an incredible and fun experience.

LONDON DAY TRIP WEDS 23rd APRIL

LONDON DAY TRIP WEDS 23rd APRIL
The trip is to support your final major project in visiting photographic exhibitions at the Hayward Gallery, Photographers Gallery and permanent collections at the Tate Modern, to consider aspects of exhibiting such as context and display. A full itinery for the day will be sent onto you after Easter. Below are some links for you to look at, and exhibitions that we will be visiting.

Alexander Rodchenko (1891-1956) an important Russian photographer is showing at the Hayward. To find out more visit: www.haywardgallery.org.uk/

There is a display of contemporary Columbian Photographers at the Photographers Gallery. To find out more visit: www.photonet.org.uk/

And there are the permanent and temporary collections of art at Tate Modern: www.tate.org.uk/

Live Brief

Photojournalism

From: philauty_photography@hotmail.co.uk
To: stuart.duffy@bradfordbulls.co.uk
Subject: RE: sport photography authorisation
Date: Thu, 28 Feb 2008 14:29:58 +0000

Thanks for your prompt response. It’s much appreciated. The 16th of March at 3pm will be great for both of us.
Regards
Phil and Adam

From: stuart.duffy@bradfordbulls.co.uk
To: philauty_photography@hotmail.co.uk
Subject: RE: sport photography authorisation
Date: Thu, 28 Feb 2008 14:21:17 +0000

Hi Phil
That would be OK. Our next game is against Warrington Wolves on Sunday 16th March at 3.00pm. If you wish to come let me know and I will arrange things at this end

Regards

Stuart Duffy
Media, PR & Football Manager
Bradford Bulls RLFC
Grattan Stadium
Odsal
Bradford
BD6 1BS

-----Original Message-----
From: Philip Auty [mailto:philauty_photography@hotmail.co.uk]
Sent: Thursday, February 28, 2008 2:14 PM
To: info@bradfordbulls.co.uk
Subject: sport photography authorisation
Dear Katie Baxter

We are currently studying a Foundation Degree in Photography at Leeds
College of Art and Design and we are writing to request permission to photograph inside the Grattan Stadium at one of your next home games. Being a college student and gaining experience is a challenge and with your permission, documenting sporting activities would be a great opportunity to add a new dimension to our portfolio. I appreciate your acknowledgement and we hope to hear from you soon.

Kind Regards

Mr Philip Auty & Mr Adam Denson

Magazines Of Interest

Work Experience

Learn to work

At school, work experience is an obligatory part of the National Curriculum. At college, many courses include placements. Course tutors will often expect prospective students to gain some work experience before starting their courses and might include this in their criteria for shortlisting applicants for interview.

People looking to change career can use work experience to test out alternatives to their current employment.

Types of work experience

• Internships: An intern will often work in an actual job or a specific project lasting several months. Internships are usually postgraduate and paid.

• Sandwich courses: These are commonly four-year degrees in which the student spends the whole of the third year working in a paid job related to their studies.

• Job shadowing: This involves overlooking someone as they go about their work. Most often this will just be a day or two in which you would accompany the individual who would explain what they were doing and may give you the chance to have a go at some of the activities.

• Work placements: These are the most common form of work experience. They are sometimes paid and could be anything from a few days to several weeks, though they are mostly unpaid and last two to three weeks. You will usually have a specific role to undertake under supervision.

How do I get work experience?

Many broadcasters, newspapers, magazines and online media offer work experience. Use the internet to search for companies and check out their websites to see if they advertise placements. If you cannot find any information on their site, then call them and ask if they have a scheme, what the requirements are and how you go about applying. If you are at school or college, your career service or tutor may have suggestions.

The BBC offers a wide range of work placements. In journalism, work experience is available in radio, television and interactive, both in network programming and in regional and local newsrooms. The minimum age for BBC work experience is 14 years, though most require you to be over 18. Placements are unpaid and last for a maximum of four weeks.

A good way to find out about work experience is through media organisations (like Skillset, the NUJ or the British Film Institute). Go along to seminars and talks - they are always a good opportunity to network and speak to people who might be able to suggest companies and contacts.

Another good route in is to use specialist knowledge - especially if you are a career-changer. Whilst you are lacking in the experience that you hope a placement will give you, capitalise on the expertise you already have. For example, if you work in finance and are thinking about going into journalism, try targeting a financial magazine.

Making your application stand out

Demand for work experience is high. At the BBC, we receive 25,000 applications each year. Remember that perseverance is one of the top skills required in journalism. So be determined. Plan ahead – approach companies three-to-four months before you would like to be on the placement.

It is crucial that you give your application the time it deserves. Some companies will require an application form to be completed. If you are making a speculative approach, you will need a CV with a covering letter. Think about all the reasons why you want a placement. Tell them:

• what your ambitions are;
• why you want to work in their industry and for their company;
• what you hope to gain from the placement;
• what you can offer them.

Detail your skills, interests and experience. Be enthusiastic. Demonstrate your knowledge of their programme, paper or magazine. Make it clear that you have done lots of research. Tailor your CV, letter or form - do not just copy and paste the same one for every placement. The more applications you make, the more likely it is that you will successfully gain a place.

Making the most of your placement

Once you are offered work experience, make the most of it. Be clear about all the details – the location, dates and times, who is responsible for you, what to wear, whether or not you are paid (and if you are, what paperwork you need to take with you, such as a P45) and whether expenses are available. You may need to sign a contract (usually covering confidentiality, intellectual property and copyright). Employers should have suitable insurance, but do ask. Take responsibility for your own health and safety and follow instructions from the person supervising you.

Set goals for your placement. Ask if you can have a mentor - someone who will help you, give you feedback and share his or her knowledge. Your supervisor will probably fill this role. Go through your goals with your supervisor or mentor.

Maintain a log or a diary. Use this to record what you do, what skills you use and what you learn. If you are at college, maintaining a log will usually be a course requirement, but it is useful to do this anyway and it will help you build your CV.

Contribute your ideas. What you get out of your experience depends on what you put in. Remember, they are giving you an opportunity, their time and resources – so respect it. Do not act bored. Every job has its mundane tasks. If you do not understand something, ask. If you are not enjoying your placement or you are experiencing any sort of problem, then speak with your supervisor or mentor.

Ask lots of questions and for advice. Ask people how they got into the industry and what work experience they did. Journalism requires building and developing contacts, so start now.

If you are at school or college, then ask advice on making the most of your placement. They have probably placed other students with the same company before.

Alternative work experience

As we have said, work experience is usually unpaid. It is also a time commitment and might require travelling or staying somewhere away from where you normally live. Consider what you can afford. If you are already working and looking to change career, it might be very hard for you to spend a couple of weeks away from work on a placement.

Do not despair - there are plenty of ways to gain experience. If you work in a company and want to experience a different role or department, then ask if it is possible to 'shadow' someone by spending a day or two with them to get a feel for what they do.

You can gain valuable experience in hospital or student radio and television. The Hospital Broadcasting Association can help you find your nearest service, or contact your local college and see if they run a station. Community radio programmes often need people to help in the evenings or weekend. Get involved in school, college, charity or voluntary organisation magazines and websites. Sports commentary is a good way to gain experience; with so many local games, radio stations are often pleased to hear from people with knowledge of a local team.

Do not underestimate the long-term value and experience any of these will give you. If you cannot find anything, then maybe you could develop your own website. Most local colleges offer courses in basic website design to get you started.

After your placement

It is best to ask for feedback throughout your placement. At the end, ask your supervisor or mentor to read your diary and add comments. What have you learnt? What skills have you used? What weaknesses have you identified? This is a learning experience, so realising what you need to go and learn about is crucial. If you are published or broadcast, keep a copy of your work. Always keep printed copies of web work in case it is not archived.

And once you have left - stay in touch. That is the best way to find out about future opportunities, as well as building your crucial contacts’ book. It could always lead to further work experience - or even a job.

http://www.journalism.co.uk/7/articles/51460.php

Leeds (Another View)

Response From Source

hi,
thanks for your submission I will look through all submissions by 8th Feb and will email again then after I make a selection of those to meet with.
best,
John
--
John Duncan
Editor
Source Magazine
PO Box 352 Belfast BT1 2WB
www.source.ie
phone 028 90 329691

Source Journal

The six images are from a series I produced based on locations linked to scenes of crime; murder and attacks in and around West Yorkshire. After much consideration I decided to focus my attention on crimes committed in the mid seventies and early eighties by Peter Sutcliffe. At the time of producing the images, it was important that the project remained factual and as a photographer I decided to approach the subject with caution. Throughout the project I was always considering how I wanted my images to be seen and I wanted to avoid any upset to the victims families. It has been questioned why I decided to document such a morbid subject and in response I felt the project was about documenting the locations and not Peter Sutcliffe. The images help inform the viewer what the victim must have gone through when facing the Yorkshire Ripper and understand also a sense of loneliness, helplessness and vulnerability .The idea of incorporating the text was to emphasise these feelings.

Mark Seliger

He currently lives and works in New York City, and is under contract to Conde Nast Publications, where he has shot numerous covers for GQ and Vanity Fair. Prior to this, Mark was the Chief Photographer for Rolling Stone, where he shot over 100 covers. Current editorial clients include Vanity Fair, GQ, Vogue Hommes, Interview and British ELLE.

Mark has published several books- In My Stairwell (2005), Lenny Kravitz/ Mark Seliger, Physignomy and When They Came to Take My Father- voices of the Holocaust. Mark has appeared in several other books including: Crazy Sexy Cool, Brad Pitt, Images of Rock-N-Roll, Garcia and Cobain, Rolling Stone the Complete Covers 1967-1997. He has won several awards (see partial list below or download complete list).

www.markseliger.com

David Burnett

My Holga

I decided to go around Leeds and take various pictures from my own Holga. The sqaure frame, the blur around the edge of the picture from the plastic lens and the vignetting created are some of the main features of the features I like. I have decided to use the holga as one of the cameras I will be using for my college project. (Documentary and Location). Have a look and see what you think. All three prints were created using an F8 setting on the enlarger and I exposed the paper for approx 5 seconds. AS you can see for yourself the blur and vignetting is evident. The outcome form using the Holga adds atmosphere and this work in hand with my own project of murder scens.

The Holga Camera

David Burnett is a photojournalist with more than 4 decades of experience covering the news and tempo of our age. (The above image is from a recent TIME Magazine story on the crisis with Boys.)This site includes pictures from many of the major events, and considerably lesser ones of the last 35 years. In a recent issue of American Photo magazine Burnett was named one of the "100 Most Important People in Photography." Here on this site are images of war, politics, the famous, the infamous, and the Unfamous. The MEASURES of TIME sections are the images from the exhibit now touring the country. Pictures from his recent article in the National Geographic (August 2006 issue) on the post-Katrina effects along the Gulf Coast are being shown at the George Eastman House in Rochester, and at the Cabildo Museum in New Orleans. His feature story on Orlando was in the March 2007 National Geographic. See the American Photo May/June (2007) issue for a story on David's work in the new Clarkson/Nat. Geographic book on Arlington National Cemetary. There is also a very good website. Fine art prints (from 11x14 to 40x60) are available, and individually priced. You may email for information. This site will evolve with time. So, come see one photographer's view of Our World for the last 4 decades. You can also see opinions and attitude on our Blogsite: Were Just Sayin


Somewhere in China is a factory that turns out one of the most laughably awful excuses for a camera I've ever seen. In fact, to call this thing a camera at all is to exaggerate. Replica of a camera might be better. Parody of a camera better still.

 This thing is a molded plastic box with a fixed shutter (well actually a coiled spring attached to a piece of metal that blinks), a lens (sort of) and a hole to sight through. That's it. No prism, no auto-focus, no motor drive. No glass, actually. The lens is plastic.

The Holga camera is the current incarnation of a line of cheap toys that began years ago with a similarly made camera called the Diana. It costs about $15 and though it looks like a cheap 35mm camera, it takes medium-format (120mm) film.

 What is amazing about this camera is that it takes pictures at all. What is even more amazing is that, given the right conditions, it can produce pictures that are simply wonderful.

A few years ago, Tom Kochel, a commercial and fine-art shooter, displayed at one of Washington's finest photography galleries a set of prints he had made on his old Diana camera. It was not an April Fool's gag, either. Kochel's work, at the Jones Troyer Fitzpatrick Gallery, was gorgeous. And just recently, Craig Sterling, a fine-art photographer whose black-and-white prints go for big bucks, had me over to take a look at his most recent work, made not with the Hasselblad he usually totes, but with the Holga he carried around during his honeymoon in Italy. More gorgeous work.

 These photographers approached the Diana/Holga from different perspectives. Kochel, whose work usually includes annual report and similar photography, was looking for a camera that was the antithesis of the medium- and large-format gear (and accompanying elaborate lighting setups) that he used in the studio and on location. As he put it, "I was solving technical problems all the time and getting away from `taking pictures.' "

Sterling, whose landscapes and cityscapes call to mind the work of Ansel Adams and Brett Weston, wanted to see what would happen if he did not, for once, produce a negative that was tack sharp from edge to edge. He consciously sought to make a creative tool out of the Holga's abysmally poor optics. Of the numerous images he produced in Italy, his photograph of the Arch of Septimius Severus in Rome perhaps best illustrates what a lousy camera in talented hands can do. The massive and much photographed triumphal arch looms in Sterling's picture in a somber panorama, the edges of the print going to a feathery blur, only the center remaining in focus. Obviously, using a Holga or a Diana sometimes takes more than skill. It takes patience and luck. Patience because the camera is anything but light tight. In fact, the first thing any Holga veteran will tell you is to load your camera in darkness then tape it shut with black tape, the better to seal up the light leaks.

Incidentally, what few technical specs there are these: a fixed shutter speed of (about) 1/100th of a second and a fixed aperture of f/5.6 (sort of). Both Sterling and Kochel used Tri-X, a good workhorse film with plenty of latitude.

The bottom line for both these photographers was that when you use a camera with such limitations, all that really matters is your eye and your brain. This is the camera to use with abandon, allowing serendipity and impulse to hold sway.
Frank Van Riper

www.holgamods.com

Below are examples of images that have been taken using a Holga.

The Genius Of Photography

Three weeks ago I began watching the Genius Of Photography on BBC Four. The six part series looks at various influential photographers such as Henri Cartier Bresson, Robert Capa, Richard Billingham, Martin Parr, Dorothea Lange and many more. To date I have found the programme truly inspiring and in particular, week three’s instalment, titled Right Time, Right Place.

Right Time, Right Place questions how good photography is at making sense of what it records? Is 'getting in close' always better than standing back? And just how decisive are the moments that photographers risk their necks to capture?

Right Time, Right Place examines how photographs of D-Day, the Holocaust and Hiroshima raises questions about history as seen through the viewfinder.

http://www.bbc.co.uk/photography/genius/programmes.shtml

Robert Knoth

Photographer Robert Knoth and reporter Antoinette De Jong have documented the impact of nuclear radiation in the four regions of Mayak, Semipalatinsk, Chernobyl and Tomsk-7 since spring 1999.

www.pixelpress.org/chernobyl

Neil Leifer

Taken from www.neilleifer.com

NEIL LEIFER became a professional photographer while still in his teens. Beginning in 1960 as a freelancer, his pictures began regularly appearing in every major national magazine, including the Saturday Evening Post, Look, LIFE, Newsweek, Time and, most often, Sports Illustrated.

In August 1972, Leifer became a staff photographer for Sports Illustrated . He left Sports Illustrated in February 1978 and became a staff photographer for Time magazine. In 1988 he was made a contributing photographer at LIFE magazine and spent the next two years dividing his time between Time and LIFE magazines. Leifer left Time, Inc. in 1990. By that time, his photographs had appeared on more than 200 Sports Illustrated, Time and People covers, the most covers ever published of one photographer's work in Time, Inc. history.

Leifer has published 9 books, 4 of which have been collections of his sports photographs. His 1978 Abrams book, "Sports", has been hailed by many as the best of its kind ever. His newest book "The Best of Leifer"; a collection of over forty years of his sports and non-sports pictures is being published by Abbeville Press in September 2001.

Leifer has traveled all over the world on sports assignments. He has photographed 15 Olympic Games (7 winter and 8 summer), 4 World Soccer Cups, 15 Kentucky Derbies, countless World Series games, the first 10 Superbowls and every important heavyweight title fight since Floyd Patterson beat Ingemar Johansson to regain the title in 1960. He has photographed his favorite subject, Muhammad Ali, on almost 60 different occasions fights and more than 20 photo sessions.

While Neil Leifer now devotes almost 100% of his time to producing and directing films, there is a very good chance that you'll spot him ringside, camera in hand, at any big heavyweight championship bout. "It is the one sport I still love shooting."