Creative Thinking encourages photographers and fine artists to explore a range of different disciplines as a means of enhancing their primary artistic goals, by mixing it up, living a little dangerously, and waving goodbye to entrenched attitudes.
Rezensionen / Stimmen
Good to have this text in a survey course where ideas are possible and we try to determine what we consider good design in the fine art world. The examples will work beautifully for this class. * Nicole Stager, Lebanon Valley College, USA * I am always glad to find books that explore the possibilities of experimental photography. I have enjoyed this book and will be using it. * Bernadette Stanley, Rotherham College of Arts & Technology, UK * I really like the book. It is well designed and informative... the examples are great and the content is good. * Scott Thorp, SCAD, USA *
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Sprache
Verlagsort
Verlagsgruppe
Illustrationen
Maße
Höhe: 300 mm
Breite: 220 mm
ISBN-13
978-2-940373-29-1 (9782940373291)
Copyright in bibliographic data and cover images is held by Nielsen Book Services Limited or by the publishers or by their respective licensors: all rights reserved.
Schweitzer Klassifikation
Jeremy Webb is a photographer and tutor with over 25 years' experience. He has travelled extensively, shooting stock for agencies. He joined a team of cruise ship photographers based in Florida; and was an expedition photographer with an environmental charity in Tanzania. He has appeared in numerous published portfolios and websites.
Autor*in
Independent practitioner and scholar, UK
Introduction. How to get the most out of this book. What is creative vision?: Who are you?; Early experiences; What are you trying to say?; Some creative strategies; Mission impossible - what makes a 'good' photograph?; A quick resume of film photography techniques; Summary. Mixing film with digital: Adopting a fresh approach; Break the rules; Alternative lighting techniques; Experimental formats; Focusing/de-focusing; Using artists' materials and using materials artistically; Creative use of the darkroom process; Creative use of Photoshop software; Summary. Cameraless Photo-Art: Photograms; Photocopiers; Scanning objects, textures and backgrounds; Image transfers; Printing through; Printing slides and colour negatives as black-and-white prints; Computer as camera - the art of screengrabs; Summary. Montage: Montage and design; Traditional techniques; Digital techniques; Montage and multiple exposure; Summary. Distressing films and papers: Staining; Burning; Bleaching; Rough handling of materials; Scratching; Sanding; Natural decay over time; Action of sunlight on photographs; Summary. Specialist films and processing: Infrared; Ultraviolet; High-speed film; Polaroid; Deliberate colour casts; Cross-processing; Deliberate reticulation; Toning; Out-of-date films and papers; Pinhole photography; Junk shop and toy cameras; Summary. The inner world: Abstracts; Light as a subject; Getting the most from light; Summary: fact or fabrication. The outer world: Series and sequences; Found objects and documentary projects; Light painting; Developing themes; Don't think, just shoot; A sense of place; Summary. Extending traditional genres and styles: Appropriated images; The nude; Still life; Portraiture; Landscape; Self-portraiture; Summary. Innovative presentation of work: Raised prints and block-mounting; backlit prints; Liquid light; Large scale prints; Cubes, postcards and vending machines; Summary. Conclusion. Appendix: Glossary; Photographer's contact details; Recommended reading; Websites and other resources; Acknowledgements.
