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  • ABOUT ME
  • LEVEL 1 – CONTEXT & NARRATIVE
    • C & N EXERCISES
      • C & N PART 1 EXERCISES
        • EYEWITNESSES?
        • EXERCISE – STREET PHOTOGRAPHY
        • SECTARIAN MURDER
        • Sarah Pickering – Public Order
        • EXERCISE – THE MANIPULATED IMAGE
        • “THE REAL AND THE DIGITAL”
      • C & N PART 2 EXERCISES
        • THE DAD PROJECT / COUNTRY DOCTOR
        • THE VISUAL DEPICTION OF A POEM
        • PHOTOGRAPHING THE UNSEEN – EXERCISE
      • C & N PART 3 EXERCISES
        • PART 3 PUTTING YOURSELF IN THE PICTURE – MY DIARY
        • AUTOBIOGRAPHICAL SELF-PORTRAITURE
        • MASQUERADES
        • EXERCISE – MASQUERADES
      • C & N PART 4 EXERCISES
      • C & N PART 5 EXERCISES
    • C & N ASSIGNMENTS
      • ASSIGNMENT 1
        • THOUGHTS ON ASSIGNMENT 1
        • C&N ASSIGNMENT 1
        • SELF ASSESSMENT OF ASSIGNMENT 1
        • FEEDBACK RECEIVED – ASSIGNMENT 1
        • ASSIGNMENT 1 – RESPONSE TO FORMATIVE FEEDBACK
      • ASSIGNMENT 2
        • PHOTOGRAPHING THE UNSEEN Preparatory work for Assignment 2
        • ASSIGNMENT 2 – PHOTOGRAPHING THE UNSEEN
        • REFLECTION ON C&N ASSIGNMENT 2
        • ASSIGNMENT 2 – RESPONSE TO FORMATIVE FEEDBACK
    • C & N LEARNING LOG
      • My thoughts on setting out on the Context and Narrative Course
      • THE CAMERA NEVER LIES!
      • In an Alien World
      • STREET PHOTOGRAPHY – SOME THOUGHTS
      • WAYS OF SEEING – JOHN BERGER
      • TO LEAVE OR NOT TO LEAVE – THAT IS THE QUESTION
      • TO LEAVE OR NOT – FURTHER THOUGHTS
      • MACRO PHOTOGRAPHY
      • RELAY IN CONTEMPORARY PHOTOGRAPHIC PRACTICE
      • POSTMODERN NARRATIVE
      • THIS PHOTOGRAPH IS MY PROOF
      • MY LAST POST
      • MY LAST POST REVISITED
      • CHANGING PERCEPTIONS
      • THE IMPORTANCE OF NARRATIVE AND PERSONAL CONNECTION IN PHOTOGRAPHY
      • MOVING ON AND OUT
    • C & N STUDY COURSES
  • MY IMAGES
  • WILDLIFE IMAGES
  • ANIMALS IN CAPTIVITY
  • PHOTOGRAPHERS THAT INSPIRE ME
  • WILD PEMBROKESHIRE – JANUARY 2018
  • ITEMS FOR SALE
  • TAoP EXERCISES
  • TAoP ASSIGNMENTS
  • TAOP LEARNING LOG
  • TAoP STUDY COURSES
  • THINGS TO REMEMBER
  • PHOTOGRAPHERS
  • INTRODUCTION – FOCUS
  • TAoP PART 1 EXERCISES
  • TAoP PART 2 EXERCISES
  • TAoP PART 3 EXERCISES
  • TAoP PART 4 EXERCISES
  • TAoP PART 5 EXERCISES
  • THE FRAME – FITTING THE FRAME TO THE SUBJECT
  • OBJECT IN DIFFERENT POSITIONS IN THE FRAME
  • THE FRAME – A SEQUENCE OF COMPOSITION
  • FOCAL LENGTHS
  • DIVIDING THE FRAME
  • FRAME SHAPES AND SIZES
  • THE FRAME – CROPPING
  • PART 2 – ELEMENTS OF DESIGN PROJECT – POINTS
  • PART 2 ELEMENTS OF DESIGN PROJECT – LINES
  • PART TWO. PROJECT – USING LINES IN COMPOSITION
  • PART 2 PROJECT – SHAPES
  • PART 2 PROJECT – RHYTHM AND PATTERN
  • PART 3 CONTROL THE STRENGTH OF A COLOUR
  • PART 4 LIGHT – JUDGING COLOUR TEMPERATURE PART 1
  • PART 4 LIGHT – JUDGING COLOUR TEMPERATURE PART 2
  • PART 3 – EXERCISE PRIMARY AND SECONDARY COLOURS
  • PART 3 EXERCISE – COLOUR RELATIONSHIPS
  • PART 3. EXERCISE – COLOURS INTO TONES IN BLACK & WHITE
  • PART 4 – LIGHT Measuring Exposure
  • PART 4 LIGHT – VARIETY WITH A LOW SUN
  • PART 4 LIGHT – EXERCISE CLOUDY WEATHER AND RAIN
  • PART 4 LIGHT – OUTDOORS AT NIGHT
  • PART 4 – LIGHT. EXERCISE – SOFTENING THE LIGHT
  • PART 4 – LIGHT. EXERCISE – THE LIGHTING ANGLE
  • PART 4 LIGHT – CONTRAST AND SHADOW FILL
  • NARRATIVE – A NARRATIVE PICTURE ESSAY
  • ILLUSTRATION EXERCISE – EVIDENCE OF ACTION
  • PART FIVE. EXERCISE – SYMBOLS
  • PART 5. EXERCISE – JUXTAPOSITION
  • PART 5. ILLUSTRATION EXERCISE – RAIN
  • ASSIGNMENT 1
  • ASSIGNMENT 2
  • ASSIGNMENT 3
  • ASSIGNMENT 4
  • ASSIGNMENT 5
  • INITIAL THOUGHTS – MAY 2014
  • STRUGGLING TO TAKE OFF!
  • 20th June 2014
  • Update to Learning Log – June 19th 2014
  • WHAT MAKES A GOOD PHOTOGRAPH? OR A BAD ONE?
  • 5 QUESTIONS TO ASK TO BECOME A BETTER PHOTOGRAPHER
  • THE PHOTOGRAPH BY GRAHAM CLARKE
  • THE PHOTOGRAPHER’S EYE – MICHAEL FREEMAN
  • TERROR, PHOTOGRAPHY AND PHOTOGRAPHERS’ BLOCK
  • PHOTOGRAPHY – A MYSTICAL MIX OF CURIOSITY AND PERSISTENCE.
  • Photography with Love and Dignity
  • BEHIND THE IMAGE – ANNA FOX AND NATASHA CARUANA
  • RECENT RESOURCE ACQUISITIONS
  • PHOTOGRAPHING MOVEMENT
  • SOME THOUGHTS ON LANDSCAPE PHOTOGRAPHS
  • Photography and the Law
  • PHOTOGRAPHING THE ECLIPSE
  • A REVIEW OF THE COURSE
  • STUDY COURSE – ARTES MUNDI, CARDIFF, 14.11.14
  • James Ravilious exhibition, Barnstaple
  • PHILIP CLARKE – PEMBROKESHIRE PHOTOGRAPHER
  • RICK SMOLLEN – A DAY IN THE LIFE SERIES / TRACKS, ETC.
  • STEVEN REED – LANDSCAPE AND WILDLIFE PHOTOGRAPHER

DAVID GARDNER PHOTOGRAPHY

EXERCISES – C & N

EXERCISE – MASQUERADES

RECREATING A CHILDHOOD MEMORY IN A PHOTOGRAPH This Exercise requires me to recreate a childhood memory in a photograph.  I am asked to think carefully about the memory I choose and how I’ll recreate it.  I am free to approach this task in any way I wish.   The Exercise brief gives me considerable scope […]Read Post ›

MASQUERADES

PART THREE  PROJECT 2  –  MASQUERADES The subjects of this Exercise are two series of photographs by two women artists, Nikki S Lee and Trish Morrissey.   Lee, an American of Korean origin, had aspirations of becoming an actress but, after pressure from her mother, chose instead to train as a photographer and now lives out […]Read Post ›

AUTOBIOGRAPHICAL SELF-PORTRAITURE

EXERCISE  – AUTOBIOGRAPHICAL SELF-PORTRAITURE Project 1 of Part 3 (Putting Yourself in the Picture) is entitled Autobiographical Self-Portraiture and the related Exercise asks me to reflect on the pieces of work discussed in the project and to do some further research of my own.  The artists featured in the work book text are Francesca Woodman, […]Read Post ›

PART 3 PUTTING YOURSELF IN THE PICTURE – MY DIARY

MY DIARY In preparation for Assignment 3 I am asked to keep a diary for at least 2 weeks writing two or three pages about myself and what I have been doing and thinking.  The brief tells me that I can be as specific or poetic as I wish and gives me the option of […]Read Post ›

PHOTOGRAPHING THE UNSEEN – EXERCISE

THREE CASE STUDIES I am asked to look at individual bodies of work created by three Level 3 OCA students each of whom were exploring themes in their work that are not necessarily visible.  All use metaphor to portray their ideas rather than a more straight forward method of representation. The three pieces of work are […]Read Post ›

THE VISUAL DEPICTION OF A POEM

I was looking forward to this exercise!   It asked me to choose a poem that resonated with me and then to interpret it through photographs.  This spoke to me as a wonderful way to awaken my dormant creativity and have some fun. It was getting away from the theory side with its head scratching complexities […]Read Post ›

THE DAD PROJECT / COUNTRY DOCTOR

PART 2 – NARRATIVE    EXERCISE 1 Part 2 of the Context and Narrative course introduces me to two photo essays.  The first  entitled ‘Country Doctor’ was produced in 1948 by W. Eugene Smith, an American photographer from Colorado, who followed a country doctor, Dr Ceriani, and recorded his life at work and relaxation.  The […]Read Post ›

“THE REAL AND THE DIGITAL”

Liz Wells, in her book Photography: A Critical Introduction (4th edition 2009) (*1) wrote a section called ‘The Real and the Digital'(pages 73 – 75).  In it she questions the authenticity and ‘reality’ of photographs in the new age of digital when images can be manipulated and created to a previously unprecedented extent.  For this Exercise […]Read Post ›

EXERCISE – THE MANIPULATED IMAGE

The creation of composite images is now possible through the application of software technology in post-production. This Exercise asks me to use digital software such as Photoshop to create a composite image which visually appears to be a documentary photograph but which could never be. Whilst I have access to both Lightroom and Photoshop and […]Read Post ›

SARAH PICKERING – ‘PUBLIC ORDER’

This Exercise draws my attention to the work of photographer Sarah Pickering and in particular to her series Public Order produced in 2004. Initially, on looking at the first images it appears that the subject is a rather uninteresting and unpopulated English townscape.  The images have a bland and flat appearance and the question that arises […]Read Post ›

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