Modelling for Digital Flows promotional shoot of the Watersports society

Taking part as a model for the Coventry University watersports society promotional shoot; was beneficial as I could observe from the other side of the camera. I also talked to the photographer of Digital Flow Alex Rawson ( prior to the shoot, to understand how other photographs plan and organize their photo-shoots.

by Digital Flow (click to see link)

by Digital Flow (click to see link)


Photographer for Zivile Steniukynaite’s underwater performance

Photographer for Zivile Steniukynaite’s underwater performance:

“So basically, I was doing it for my uni, but now I am developing it further for Severn Trent commission. The performance is about: the death, mourning, struggle, illusion. I lost my dad this autumn and he drown, that is why I am doing it under the water ”

Zivile Steniukynaite


Zivile’s photographic ideas for her performance (photographed by Jenny Stonely):



Photography by Jenny Stonely

Photography by Jenny Stonely

My photographic ideas for underwater performance (photographed by Jenny Stonely):



Photography by Jenny Stonely

Photography by Jenny Stonely

To get the images and video that Zivile Steniukynaite required for her commission I worked cohesively as part of a team. I was taking the photographs from underwater, whereas others from the team took photographs from above and used GoPro cameras to film the performance from under the water. It was great to get an experience like this, and to work together as a team and share ideas. I enjoyed the fact that it wasn’t my project, but I was working to Zivile Steniukynaite’s brief, this meant that I had to understand what she wanted first before I started to shoot. I thoroughly enjoyed taking the underwater shots as they were challenging, it was a new environment to be in whilst taking photographs. I feel that the skills that I have taken from this photo shoot will help me professionally, as they have taught me how to work cohesively as well as how to adapt to new environments that I may be taking photographs in, in the future. In my first letter to self, (, I said that I would like to try underwater photography, this has now happened, and I plan to do this again in the future. I would like to work on my own ideas and create my own underwater creation for my photography portfolio. I am proud of the work I produced, having spoken to Zivile Steniukynaite and the others on the team, we all agree that the photographs and videos produced, work well together and successfully demonstrate Zivile Steniukynaite performance and her ideas.

Assisting “Digital Flow”

Assisting Digital Flow:

Assisting Digital Flow

Assisting Digital Flow

2013-05-18 17.34.40

Through my networking I got the opportunity to assist a “Digital Flow” photographer Henry Ho. I was presented with an opportunity to practice my portable lighting skills, for this shoot we used speed lights and a soft box. I was comfortable understanding what the photographer wanted as I had just completed my “Working with Light”  module. This gave me the professional experience that I will require in the future when assisting other photographers, I now understand what this job entails. I enjoyed working together with Henry Ho as my creative thoughts worked well with his technical skills.

Task 5



Task 5

In 250-300 words, revisit your Easter holiday research homework and discuss if and how your understanding of light has changed during this module. In an additional, but separate 250-300 words, critically reflect on how your practice has developed during this module.

Your final writing for task 5 needs to evidenced on your archived blog and handed in as part of your final submission for 152MC on May 21 at 4pm, along with a coversheet (NB coversheets can be downloaded from the 152MC moodle homepage).

If you fail to hand in this task as part of your assessment, your grade will be affected. If your work is deemed of a low standard you will have an opportunity to resubmit your work. In which case CM will discuss this with you directly, NB submissions are capped at 40%. If you are unable to meet the deadline you can apply for an extension via the administration department. CU you has a strict policy on hand in dates, extensions are only given in extenuating circumstances and will need to be supported by 3rd party evidence.
Please see Clare Jeffs in reception if you need to apply for an extension. ”

Easter Holiday Research – Critical Reflection:

At the beginning of this module “Working with Light” we were set an Easter task to collect images with interesting uses of light. This research lead me to see how creative light can be, and how a photographer can use light to be imaginative in their own work. We were also set a task to make a pinhole camera, which looks at the basics of photography, this was useful as we could see how light works to create a photograph. This meant that I now had the ability to see where technology has lead us and how much control we have over the lighting of our images now, for example Tim Walkers image from my easter task ( or this image of the car headlights and break lights swirling in and out of the town (

During Easter when I was researching these images I took for granted the setups of the light, I didn’t consider how these creations were made. I saw the effect on the image and considered my emotional response to the work, rather than the hard work and deliberation over the lighting that the photographer had to consider and pre-visualise. When I look at an image now I no longer take the lighting for granted, I realise that the photographer made these decisions and considered how they would affect the image. It is important for photographers to pre-visualise and know what their photograph will look like before they have even taken it. The photographer should know what they want an image to look like and to be able to set up the lighting to reach this desired affect, for example when taking this image the photographer would have planned to take a silhouette (

The images I looked at over Easter still interest me in their use of light. I would like to develop my skills and work towards creating lots of different lighting scenarios, like I looked at in my Easter research, I would particularly like to re-create the lighting in Tim Walkers photograph ( I have a broader and deeper understanding of light along with its limitations and its abilities to create. By applying lighting concepts to professional photographers work I now have a deeper understanding of the main concepts of lighting and its creativity.


152MC Module – Critical Reflection:


This term we were set small tasks rather than larger assignments; I personally found this more of a challenge at first as I found it hard to manage my time. I prefer longer larger assignments, which I can spend time developing, rather than having to think about many different tasks at once. However I pushed through and developed on my professional practice skills.

Task 1 was to create a manual on lighting and pinhole photography, this was helpful as I could write my notes up and create a video and a booklet. This resource that I have made will help me in the future whenever I am pre-visualising my lighting for an image.( For further information see

Task 2 was a pinhole camera task; we had to photograph a non-space devoid of human presence. I challenged myself on this task, and decided on indoor images, this was harder as there was less ambient light, which meant I would have to use a longer exposure. I am proud of the final set; the final outcome has a narrative and the images work together well.( For further information see

Task 3 was to take a portrait and object shots to show someone’s personality. I challenged the representation of a portrait; the silhouettes add mystery to the images, I illustrated personality through the objects instead. I looked at Yohji Yamamoto Red Bustle by Nick Knight for inspiration, as I wanted to create similar silhouette lighting.( For further information see

Task 4 was to enter a photography competition by Severn Water; I enjoyed working from a brief, as I had to understand what style of imagery they wanted submitted. On the day of the trip the weather was bad so I found it difficult to take aesthetically pleasing images. However I persevered and faced the challenge, I am now extremely pleased with my entry.( for further information see

These tasks have developed my organization, research and planning skills; they have also helped my communication with models, and strengthened my lighting and shooting skills. I now pre-visualise and think about my photography more, as I realise that it will save time, and create better imagery if I do this. One piece of advice I took from Michael Collins lecture was to ‘look, feel then think’, I have taken this on board and now take time to take in my surroundings and see what effect I can create from them. All these skills have helped me grow as a photographer and work in a professional manner.


Task 4


“152MC 2012/13

Task 4

Applying the knowledge already gained in the class workshops and previous tasks you are required to follow a pre-defined competition brief for Severn Trent Water. Details at
You will need to follow the link to familiarise yourself with the terms and conditions of the competition and note the submission details and final submission date of May 31st.
Completing this task with demonstrate you have achieved the editorial skills to follow a set brief.

The class will be visiting one of the local Severn Trent reservoirs on May 14. You can revisit the site or another Severn Trent water site at another point to improve on your initial shoot if you wish to.

You will need to submit at least two images to the competition (by the competition deadline) and 2 – 5 images for the final assessed submission (Your assessed submission can be in a digital format) for 152MC by May 21 at 4pm, along with a coversheet (NB coversheets can be downloaded from the 152MC moodle homepage) together with your archived blog.

Failure to submit your work to the competition and for your assessment will affect your final mark. If your work is deemed of a low standard you will have an opportunity to resubmit your work. In which case CM will discuss this with you directly, NB submissions are capped at 40%.

If you are unable to meet the deadline, you can apply for an extension via the administration department. CU you has a strict policy on hand in dates, extensions are only given in extenuating circumstances and will need to be supported by 3rd party evidence.

Please see Clare Jeffs in reception if you need to apply for an extension. ”

“Severn Trent Water Visitor Site calendar photography competition

1. Terms of entry

Entry to the competition is free. Starting date for entries is 4 March 2013. Closing date for

entries for inclusion in the Severn Trent Water (STW) 2014 calendar is 31St May 2013.

Entries will not be considered after this date.

It is the responsibility of each entrant to ensure that they have read and abided by the

Competition Rules set out below.

By submitting an entry, each entrant agrees to the Competition Rules and Digital guidelines,

and warrants that their entry complies with STW’s requirements.

Any entry found not to comply with the Competition Rules will be disqualified. In such

instances, any prizes will be forfeited.

The decision of STW on all matters relating to the Competition is final and binding. No

discussion or correspondence will be entered into.

2. Who can enter?

The Competition is open to anyone, including those involved in its organisation or employees

of STW.

STW cannot be held responsible for emails that do not arrive due to an entrant’s email

security settings or restrictions placed by their Internet service provider. Entrants must

ensure that their computer or other electronic device accepts emails from

3. What to enter

Each entrant may submit a maximum of five (5) images into the Competition. Photos must

have been taken at a STW Visitor Site. A list of sites can be found at

Photography subjects can include, but are not limited to:

 Animals in their environment

 Animal portraits

 Plant life and vegetation

 Landscapes

 Waterscapes

Photos may be submitted in either full colour or black and white.

As photos will be taken whilst on a STW site, the photographer must not attempt to gain

access to restricted areas nor place him/herself in danger, in an attempt to gain a particular


Freshness, originality, creativity and innovation are at the core of the Competition and should

be reflected in all images that are submitted.

If you plan to enter an image that has been taken before the starting date of the Competition,

it should not have been taken more that twelve (12) months previously.

Entries must be digital files, emailed to An entry form must

be sent for each photograph submitted. Please write STW Calendar 2014 Competition in the

subject box.

Images can be submitted as JPEGs, TIFFs or equivalent and must be saved at a file size of

no more than 5mb. Entrants must be able to supply the RAW file, original JPEG or original

file for any image short-listed upon request.

Images must be sufficiently high resolution to be printed, without loss of quality, to A3

exhibition standard. As a guideline, your camera will need to be 6MP+.

Minor digital adjustments are allowed, such as levels, curves, contrast, colour, saturation

and sharpening. However, the image must still be a faithful representation of the original

scene. Composite and multiple exposures are NOT allowed, nor the adding or removing of

subjects into or from the image.

It is the responsibility of the entrant to ensure consent to the image being entered into the

competition, is obtained from any person whose identity can be determined from the image.

STW will not be held responsible for reproducing any photograph that has been taken

without consent of those involved. Proof of consent should be sent to STW at the time of


4. What NOT to enter

 Staged or posed images of your family.

 Images of family pets or farm animals or cultivated plants.

 Images of restrained animals

 Images of animal models or any other animals being exploited for profit

 Images of captive animals

 Images created using live bait.

 Images that have been placed within any national or international competition at the time

of entry.

5. Ethical Standards

Any breach of the below Ethical Standards will also constitute a breach of the Competition


Entrants must be mindful of the welfare of animals and safe-guarding the environment and

ensure that they do not do anything to injure or cause distress to any animals or destroy their

habitat in an attempt to secure an image.

Entrants are responsible for ensuring full compliance with any national legislation, for

example in the case of protected species, securing any relevant permits which may be

required, and should be available upon request by STW.

Caption information supplied must be complete, true and accurate.

If STW suspects that an image has been achieved through the use of cruel or unethical

practices, the entry will be disqualified and STW reserve the right to report the entrant to the

applicable authorities.

6. Judging the competition

STW will appoint a Jury comprising a Chairman of the Judges and the Judges. The Jury will

include representatives of STW as well as photographic and creative experts independent of


The Jury will be required to agree to terms of conduct consistent with ensuring the spirit of

the Competition is maintained throughout.

Judging will comprise three (3) rounds of critical evaluation and will take place between 1

June 2013 and 15 June 2013.

All entries will be judged so that the Jury and Judges do not know the identity of the person

taking the image.

Twelve (12) winning photographs will be chosen in total, with one (1) of those photos being

selected as the overall winner of the grand prize. Winning entrants will be informed by 21

June 2013 by email. If you do not hear from STW by this date then your entry has not been


7. Competition prizes

Entrants who have, in the opinion of the Jury, submitted a winning photograph, will be

notified in June 2013 and will be invited to attend a special Awards Ceremony at Severn

Trent Centre, Coventry, where the winners will receive their prizes.

The prize package will include:

 £200 Amazon vouchers

 Ten (10) copies of the final printed calendar

 Their photo to be showcased by STW.

The grand prize will consist of a weekend break at a Forest Holidays site (or similar). The

holiday must be taken by 31 December 2013, excluding school holidays and bank holidays.

8. Publicity

All entrants agree that if their entry is awarded, they will participate in related publicity and

consent to the use of their name and likeness for the purposes of advertising, promotion and

publicity of the Competition and Exhibition without additional compensation.

9. Copyright and reproduction

Each entry must be the original work of the entrant and must not infringe the rights of any

other party.

Each entrant must either be the sole owner of the copyright or have secured the written

permission of the copyright owner to enter the image into the Competition and grants STW

the rights detailed below.

The copyright in all images submitted to the Competition will remain with the copyright holder

who will be credited in accordance with the Competition’s guidelines (e.g. ©photographer’s


By entering the Competition, each entrant grants to STW a non-exclusive irrevocable licence

to reproduce, publish and communicate to the public by any means and exhibit their

awarded image(s) and copies of their awarded image(s) in all media throughout the world in

relation to the Competition and the Exhibition including but not limited to all use in the

context of:

 Judging the Competition

 Display in the Awards Ceremony

 Display in the Exhibition

 Inclusion in the calendar and/or similar

 Inclusion within the STW’s Websites, including within interactive elements associated

with the Competition and/or Exhibition available for viewing or download from the STW’s


 Inclusion in promotional, press and marketing materials associated with STW’s Visitor

Sites, the Competition and/or the Exhibition

 Inclusion in merchandising associated with the Competition and/or the Exhibition

In some of the circumstances above, commercial opportunities may exist for awarded

photographers to benefit from the use of their image: where a commercial benefit is likely to

arise, permission will be sought in advance, and terms and conditions will be agreed.

Winning images may be used by STW for a maximum period of eighteen (18) months from

announcements and thereafter may keep the awarded images within an archive (electronic

or otherwise) for a further period of five (5) years, after which permission will be sought from

the photographers should STW wish to further use their images.

10. Liability

Proof of electronic submission is not proof of receipt by STW.

STW regret that they cannot accept liability for any loss or damage of any image entered into

the Competition howsoever caused nor for any other loss or damage resulting there from.

STW regret that they cannot accept liability for the misuse of images and/or failure of any

third party to comply with the Competition’s Rules.

Non-winning digital images entered into the Competition will be retained and archived for the

purpose of future reference to the Competition.

11. Data protection

The personal data of entrants will be managed by STW in accordance with the principles of

the Data Protection Act 1998.

STW will collect personal data about entrants from their registration form and as otherwise

provided in order to administer the Competition and/or all associated activities as outlined


STW will use data collected at registration to contact entrants about future Competitions. It

will not be shared with any other third party.

Entrants may contact STW at any time to update their details and/or preferences regarding

permitted use of their personal data. If you wish to change your contact details, please


12. Charitable Donation

All profits made from the sale of the calendars will be donated to our chosen charity


13. Organiser’s Details

Severn Trent Water Ltd

PO Box 5310


CV3 9FJ”

Slideshow of my Favourite Images from the day:

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Images to be assessed and submitted to the competition:





Final Images by Jenny Stonely

Final Images by Jenny Stonely


When I first received the brief  I wasn’t sure what sort of images I would be taking, I tried looking up where we were going however we were only given the details that we would be visiting one of the Severn water areas, there was no details of which one. I enjoyed working to a brief, as I had to understand what style of imagery Severn Water wanted. On the day of the trip the weather was bad so I found it difficult to take aesthetically pleasing images. However I persevered and faced the challenge, I am now extremely pleased with my entry.If I had more time before the deadline I would have revisited on a sunny day, as it would be interesting to see if the images would be better. My images for entry seem to suit the calendar month of April, as they contain the rain; april showers.

Michael Collins Lecture and workshop

Michael Collins


Started with an old camera shop story

Old stock, Old man, nice man

Photo taken on Coronation day in Tenby

Local picture, group portrait

Let him borrow the glass plate, to make his own copy

Very kind and trusting

Flat bed scanner and scanned it

Looked at it closely

Wasn’t just any group portrait

A load of people turned up, on a special day, all in their best clothes

The details are amazing, even women held up their dogs so they were in the picture too

Presenting themselves to the camera

Photography is a fantastic imprint of life

True photography takes a trust between the model and photographer

Open the lens and take a picture of whats there, about life, and the truth

Family photography

City Scapes:

How cities develop over centuries

SW from Barbican 2009

by Michael Collins (click to see link)

He prints large, so that he can look at the details

The marks made by man over the years

Exploring individual parts of a picture

Always more to look at

More associations

A photograph will take so much more details then you would ever be able to take in at the time

Battersea Power station, Looking southwest over Battersea in London


by Michael Collins (click to see link)

Amazing detail

Before photography, we relied on draftsmen, photography is much cheaper, and far more detailed and accurate


To look around, and see what fascinates you

Take images that fascinate you

This becomes the workers habitat, workers spend longer here than at home

Hockley Factory No.1 2005_0

by Michael Collins ( click to see link)

He likes images that are like a wednesday afternoon, something slightly routine and dull

The ordinary

Factory bellow, sold to Chinese company

Factory worker: could feel his heritage being taken away

-The worker wondered why he didn’t come to photograph the factory, when it was a working factory

-He answered that he respects that he didn’t want the picture made, but please respects that others do, that in the future it will be a good thing that I took this image now

-I respect your wishes, please respect mine too

The after math and the traces that remain afterwards

Rover. Powertrain, Longbridge. 2006_0

by Michael Collins (click to see link)

Brick yard, just outside Bedford:

Misty Winters day

Brickyard triptych (left) 2008

by Michael Collins (click to see link)

Jaguar Factory: (below)

Still foot prints and hand prints, the marks

we cant turn our environment into a machine, we are too messy for that, we leave our traces

Jaguar No.1 2006_2

by Michael Collins (click to see link)

Hoo Peninsula:

Best images taken at low tide, otherwise there would be less on view of the boats

Has been said to be “romantic” imagery

Waited till the winter to take his images

He realised they were very similar to the landscape pictures of the very end of the 18th and beginning of the 19th century

John Constable coming through


by Michael Collins (click to see link)


by Michael Collins (click to see link)


by Michael Collins (click to see link)


by Michael Collins (click to see link)

His friend took his family to a lightning field sculpture in America

“We went to look at art, and ended up looking at life”

He makes his photographs because they interest him

He wants to explore a subject, because he is fascinated himself

Access is always an issue:

That’s why I work with museums and galleries; it gives you some sort of official business to be there. It cost the company money because they need to control and escort you, and they don’t like that.

I particularly like it when there is no issue of access, which is why he likes “who”

Free access

Even cityscapes you have to pay to get to the top of the building

Make the odds work for you, where it’s accessible

Access has to be accessible so that you can work freely without feeling you are being watched over your shoulder

Extremely expensive way to work, with glass slides

Sometimes he takes 1 picture on a visit

You can see formally and compositionally what you’re going to get, you compose before you take anything

A plate camera gives him a terrific sense of engagement

Taking a photograph is an understanding between the photographer and the model

Nearly always the best photographs that are taken are of close friends or family as here is a recognition going on in the picture.

Workshop, 5×4 plate camera, group portrait:

The film slides have to be loaded in the complete darkness. Simply slide the protector out of the tray, place the film inside and replace the protector into the tray.

DSC_0141Set the pose…

Attach the camera to the tripod using the quick release, and check that it is steady.



Loosen the fixing, and lower the bellows, and fasten


Attach lens…




DSC_0104Remove the back…



Make sure that the red dot in the image above is just covered…

and make sure the camera is level…




attach the shutter release…


Cover the photographer and back of the camera with the hood, and use the front wheels to focus the camera…

Make sure the lens is open, using the lever on the front of the camera…

If the camera isn’t level, the focus will be strange, and focus on parts of the image, for example the left but not the right…


Close the shutter. using the lever at the front of the camera..

Having taken a light meter reading, and set the camera to the right settings…

Keeping the camera completely steady (otherwise the photographer will have to refocus), load the films slide tray, and remove the front film cover…


Using the shutter release cable, release the shutter and take the image…

Afterwards replace the film slide cover, making sure to mark it so that you know that side has been used…

Turn the slide over and use the other side…

Afterwards remember to always replace the covers…

You can then take the slides and develop them in the darkroom.

Photographs by Becky Woodall

The whole experience opened my eyes to slide photography, these cameras are extremely difficult to use and get right, however the detail that you can achieve with them is outstanding and worth the time learning.

Task 2: Pinhole


“Using your pinhole cameras, task 2 requires you to investigate photographically, the personality of an open place/space when it is devoid of human presence.

You will have little control of the light with your hand-made (pin hole) camera so you will have to test and learn how it interprets the world. As the pinhole camera is relatively rudimentary equipment, (unless you make a more sophisticated version) this task will help you to achieve the learning outcome of appropriate pre-visualisation skills. Through your tests, you will learn to understand how your vision is transformed into an image and a permanent negative can be created.

Reflect on the personality of place/space you are representingp(it may be a public space where people convene or a more private space) and how it is momentarily transformed when it is populated by certain individuals or groups of people and consider how you can document this ‘non’ space (Auge 95).

Your submitted work must be original to you. Using your acquired printing skills to enhance your assessed task, you will need to submit 2 – 4 final photographic prints which represent the space you are documenting. Remember this task is part of the assessed work for this module so you are advised to spend time building on and improving your initial starting point.

Your finished artefacts and a digital copy (on disk) will need to be submitted as part of your final submission for 152MC on May 21 at 4pm, along with a coversheet (NB coversheets can be downloaded from the 152MC moodle homepage) together with your archived blog.

If you fail to hand in this task as part of your assessment, your grade will be affected. If your work is deemed of a low standard you will have an opportunity to resubmit your work. In which case CM will discuss this with you directly, NB submissions are capped at 40%. If you are unable to meet the deadline you can apply for an extension via the administration department. CU you has a strict policy on hand in dates, extensions are only given in extenuating circumstances and will need to be supported by 3rd party evidence.
Please see Clare Jeffs in reception if you need to apply for an extension.

Auge M (95) Non Spaces, Verso Publishing UK
In which Auge investigates the profound alteration that has resulted from our invasion of non-places. ”

“In an essay and book of the same title, Non-Places: Introduction to an Anthropology of Supermodernity (1995), Marc Augé coined the phrase “non-place” to refer to places of transience that do not hold enough significance to be regarded as “places”. Examples of a non-place would be a motorway, a hotel room, an airport or a supermarket.”



-Human Presence Traces in Forest by Jan Bigas

Human Presence Traces in Forest byJan Bigas

Human Presence Traces in Forest by Jan Bigas

I was interested in this body of work, as it covers , “the personality of an open place/space when it is devoid of human presence”, which is what my brief was also about. Having looked at the work I came up with my own thoughts and ideas on what I could do for my own brief. Instead of looking at human presence in the forest, I wanted to look for the traces and clues of what events have taken place in a “non-space”.


Environmental Art Installations and Drawing:

by Rosie Leventon (click to see link)

by Rosie Leventon (clcik to see link)

I was captured by these installation pieces as they were completely unique to anything I have seen before. I like the physical attribute to her work, in exhibition the viewer would be able to experience the shear size of the work, and fully absorb the situation and experience. After speaking about the Sutton Hoo Burial ship Rosie Leventon said, “even more wonderful than these objects was the negative impression of the ship itself, and that somehow it was more powerful in its absence.” I will use this as a starting point for my own imagery…what leaves behind an impression?

I want to explore how a space can go from being the hub of attention and energy, to being rejected and abandoned, a “non-space”. From the night before the buzz of people, to everyone stepping back and not wanting to tidy up. The bottle of alcohol being so important the night before, to now being nothing, left on the side, its empty now, its no use. The mess; the human traces left behind. A room transformed from the social hub, to an empty space.

I want to explore this through motion, the energy of the night before caught in the motion of people moving around. Then the stillness the day after, everything is still, as it is left abandoned, and untouched. The energy lost, the motion of people has left, and we are left with a still abandoned space.


Paper negative, Red xmas tine camera, 1hr30mins exposure, spot lit


Positive, test strip


35 secs enlarger exposure, dodged the centre of the image, and burn the outside, to create a larger black background


2nd bottle still life, other xmas tin, 1hr10mins, not enough light, needed a longer exposure

Exploring motion, and how it can be captured:


Street Phoenix, Red xmas tin, 3 apertures (overlapping images), extremely sunny day, 10 secs exposure


Bottles on desk, surrounding the red xmas tin camera, 3 apertures (overlapping images), roughly 2hrs, spot lit, and moved light source half way through to the other side


This is what happens if you don’t use the glass to hold the prints down in the darkroom, when creating a positive from a negative, No focus


Test strip of correct exposure on enlarger


Exposure of 45secs under enlarger

The still life setups doesn’t show what I wanted to explore in my images. Therefore I am going to try a different setup. I am going to place the camera further back, and take a photograph of the whole “non-space”. I will capture more of the surroundings, rather than just the bottles. The images I have produced above are practices, and will have helped me perfect my technique.

The setup I plan to do now will show the comparison of the space with energy and motion, and then the still abandoned space afterwards. I have pre- visualised that the people in the photograph will appear as a blur, as at a party people move around alot, this will be caught on the long exposure of the pin hole as motion blur, I feel this will create the busy energy I require. The other photographs I will take the morning after will be of low energy, and little motion blur, these images will appear sharper, however the mess will be clearer. Everyone has left, it is a “non-space”, no one wants to clear up, the excitement has been left behind from the night before. The space will have transformed.


Paper negative, positive test strip, image 40 sec exposure on enlarger (2.8 aperture enlarger setting)


Paper negative, positive test strip, positive image 40secs exposure on enlarger (2.8 aperture enlarger setting)

Paper negatives, low light , Under exposed, longer needed for the low light settings, 2hours not long enough

Paper negatives, low light , Under exposed, longer needed for the low light settings, 2hours not long enough

Paper negative, not very clear

Paper negative, not very clear

Paper negative, not very clear

Paper negative, not very clear

Paper negative, appear to be soft focus

Paper negative, appear to be soft focus

Pinhole development:

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Final Piece:



For this task I have challenged myself, by deciding to take indoor images, this was harder as there was less ambient light, which meant I would have to use a longer exposure. I am proud of the final set; the final outcome has a narrative and the images work together well.

In the first image there is an open door, which symbolises people are yet to arrive, this leads on to motion blur in the images, symbolising the energy and life of the party. The last image looks at the stillness left in the morning, the focus on the mess, the space has become a non-space. Everyone has left, only the mess remains. The narrative shows the viewer how the room goes from an empty still space, to becoming hectic and busy. The series works well as it has a clear beginning and end, the last image brings instant calm, everyone has gone. This could also symbolise the levels of alcohol drunk, from a hazy night, to realisation in the morning. There is clarity at the beginning and end, with the three images in the middle telling the rest of the story. Even though the brief stated 2-4 images, I chose to submit a final piece with 5, as taking one of the photographs out would have upset the narrative. I spoke to my tutor about this and explained why; she said that submitting 5 images would be fine.

I can remember having made a pinhole camera at sixth form, and I knew how hard it would be to get a successful image, exposure time is different for each camera. Exposure times are quite difficult to figure out, this takes a lot of time and experimentation, I also used a log book to help me remember what worked and what didn’t. This was a challenge however I persevered. I took it upon myself to make a number of different pinholes, these all worked well in different conditions. I learnt quickly from my log book which to use and when.

I feel that my final piece frames my photographs nicely in a series, however if I had more time I would professionally mount them, in window frames. With the amount of time I had I feel that I demonstrated how I would mount them, however I used card rather than a professional mount board.

Looking back at my final piece I am particularly pleased and think that it illustrates a non-space and the idea of a space with and without human presence.