objects

                                                        Objects                                                         26/09/13

We started our first lesson with a talk from Andres one of  two Mexican brothers who created SEFT1. SEFT1 is a road and rail going vehicle that was designed to explore towns and villages in Mexico that have been cut off due to the government cutting funding for the railway network. Andres and Ivan spent almost 10 years travelling the 10,000 kilometres of abandoned railway lines, seeing some strange and unusual sights along the way. The photo below is SEFT1 in front of a mining slag heap. The SEFT1 was designed to look like a space ship or time machine because some of the towns and villages have been left behind, they described it as going back in time to a different era.



The photos above are from the SEFT1 web sight. 

                                                                                                                                                 03/10/13

We started this week by looking at a couple of books about photographing food.

We where asked to bring in some edible objects to photograph.
After a brief introduction to studio lighting, where we was shown various lights there, strengths and different types of bulbs and there effects on the subject. We took some portrait photos of Amanda and Richard using two different white balance settings to show the different effects they have between male and female skin. Male skin suited the cooler bluish setting of incandescent white balance and the female skin suited the warmer tones of the direct sunlight white balance setting. We where then put into pairs and had ago at photographing what we had brought in. I chose three figs and some love hart sweets, Shaun my partner brought strawberries and kiwi fruit, here are some of my photos. These are all totally unedited.

                                                                                                                                          10/10/13

We started off this week with a basic light setup of one side light with a reflector on like the one below.

I brought in three sauce bottles in for this project, which I placed on a white Perspex product table.
We were then asked to try different white balance setting to see which looked the best. My camera ended up being set at 3030 kelvin that produced a nice clean white background.
We then moved the light to the back of the table so the light shined through the Perspex and back lit my sauce bottles. After a few shots we decided we needed some light on the front of the bottles so we put a white polystyrene reflector board at each side at about 45% to the product to bounce the light onto the front. Then to try and get more light onto the front we placed two mirrors on friction arms and angled them in until we got a line of light down the front corner of the square bottles.

The photo below was taken with the white balance set to daylight which gave it the warm glow. The rest of the data is f5.6, 1/50sec, ISO 1000 and a focal length of 55mm.

This photo was taken with white balance set at 3030 Kelvin which produced a nice crisp white glow behind the bottles. The rest of the data is f5.6, 1/60sec, ISO 1000, focal length 57mm.

These two images clearly show the difference that the white balance makes.

White Balance.

In photography and image processing, colour balance is the global adjustment of the intensities of the colours (typically red, green, and blue primary colours). An important goal of this adjustment is to render specific colours – particularly neutral colours – correctly; hence, the general method is sometimes called gray balance, neutral balance, or white balance. Colour balance changes the overall mixture of colors in an image and is used for colour correction; generalized versions of colour balance are used to get colours other than neutrals to also appear correct or pleasing.

Image data acquired by sensors – either film or electronic image sensors – must be transformed from the acquired values to new values that are appropriate for colour reproduction or display. Several aspects of the acquisition and display process make such colour correction essential – including the fact that the acquisition sensors do not match the sensors in the human eye, that the properties of the display medium must be accounted for, and that the ambient viewing conditions of the acquisition differ from the display viewing conditions.

The colour balance operations in popular image editing applications usually operate directly on the red, green, and blue channel pixel values, without respect to any colour sensing or reproduction model. In shooting film, colour balance is typically achieved by using colour correction filters over the lights or on the camera lens.

This was shot to show the difference white balance makes.

The lighting used on the two images below where tungsten beauty bulbs.

A fluorescent white balance setting was used that gives the image the cold blue colour.

 They where both shot at f/4, 1/40sec, ISO-400.

This image was shot with a tungsten White balance setting which gives it a warm glow. 

Studio Lighting Techniques. 

A simple reflector can be really useful in a studio lighting setup, especially if you’re only using one light.You use it the same way you would with natural light – to bounce light back onto your subject and fill in any hard shadow areas.

Rembrandt Lighting

This studio lighting technique is ideal for artistic shots with depth.

Position one flash head with a silver brolly at a 45° angle to the model at about six feet high.

This creates a strong, hard, direct light from the side and above. This is called a key light.

To even the lighting, position a reflector on the other side of the model to bounce the light back into the shadow side.

There should be a small triangle of light on the subject’s face – this is referred to as Rembrandt lighting.

Gear needed

■ One flash head ■ One reflector 
■ Two light stands

Clamshell

This studio lighting technique is used to capture every detail with even light.

This studio lighting setup is great for beauty images as the lighting is flat and even.

It’s pretty easy to achieve this effect too – all you need to do is place two softboxes on either side of your subject at the same angle and at an equal distance.

Set the power so it’s the same from each light. Try using a reflector under the face – your model should easily be able to hold this.

This will bounce light up and onto the face.

Gear needed
■ Two flash heads ■ Two 66cm softboxes 
■ One reflector ■ Two light stands.

Backlight

This studio lighting technique is used to add depth and drama with rear lights.

To add drama, use a honeycomb or snoot accessory on one of the lights. This will narrow the beam of light.

We’re going to position this behind the model, pointing back towards the camera so that it lights the back of her head.

This is a great way to add drama and depth to a photo, and it also creates a sense of separation from the background.

Of course, you need to make sure the backlight isn’t visible in the shot.

Gear needed
■ Two flash heads ■ One 66cm softbox 
■ One reflector ■ One honeycomb.

Rim lighting

This studio lighting technique is used to create an exciting style with good definition.

Place both lights slightly behind the subject, pointing back towards the camera. This setup requires some tweaking and can work really well with nudes as it helps define body shape.

You’ll need to watch out for lens flare, though, as the lights are pointing back towards the camera. A set of ‘barn doors’, a lens hood or a shield can help prevent this.

An assistant who can hold a carefully positioned reflector is useful – this will help fill in those areas of deep shadow.

Gear needed

■ Two flash heads ■ One reflector

Tips on Studio Lighting

Tip 1
The shutter speed you choose is less significant in a studio setup but obviously needs to be fast enough to avoid any camera shake. However, you also need to be careful not to set a shutter speed faster than the camera’s specified sync speed – on most cameras this is usually either 1/200 sec or 1/250 sec. Go any faster and you’ll have horrible black stripes across your images.

Tip 2
The power of flash is measured in Watt-seconds. Each of the heads we’re using is 400Ws, which approximates a guide number of 64. This is fine for regular portrait work.

Tip 3
Switch your camera to manual and use the histogram and LCD to assess the exposure and effect of the lights. Use the dials to change the power of the lights and the aperture to alter the exposure.

Tip 4
A sync cable or a wireless trigger is needed to connect your camera with the lights so that when you press the shutter, the lights fire at the same time. Some wireless triggers (which can be bought on eBay for £15, $25) are so cheap now that they’re the best option, especially as many popular DSLRs don’t have the PC socket you need in order to use a more traditional sync cable.

Digital Camera World

Reflective Glass.

Reflective glass, rock star perfume bottle contact sheet, showing how I experimented with different coloured gels, mirrors and light positions. I started with an LED light panel placed vertically on a product table with a mirror in front horizontally and the bottle stood on it. I also tried putting different coloured gels in front of the LED panel. I experimented with using a second LED panel layed flat in front of the upright panel to create an L shape.

     

This is my shot for reflective glass. I shot it in the studio on a product table with an LED light to the left a mirror front left and a Bowens flash head with softbox front right. My camera was set at f/9, 1/50 sec, ISO-200 with a 50mm prime lens in manual mode. Post production processes in Lightroom I added +12 clarity, -12 black clipping, +64 white clipping, +60 highlights. The image is sharp, crisp and clean the catch light is quite large and strong due to the LED pan head used. The side of the Jack Daniels bottle fades softly almost like a shadow. The fibres of the paper on the Piri- Piri bottle add some texture to an otherwise hard and shiny almost clinical image. The angle and the close up view of the bottles give’s the image a slightly abstract appearance.

Macro.

Macro photography (or photomacrography or macrography, and sometimes macrophotography), invented by Fritz Goro, is extreme close-up photography, usually of very small subjects, in which the size of the subject in the photograph is greater than life size (though macrophotography technically refers to the art of making very large photographs). By some definitions, a macro photograph is one in which the size of the subject on the negative or image sensor is life size or greater.^[6]However in other uses it refers to a finished photograph of a subject at greater than life size.

The ratio of the subject size on the film plane (or sensor plane) to the actual subject size is known as the reproduction ratio. Likewise, a macro lens is classically a lens capable of reproduction ratios greater than 1:1, although it often refers to any lens with a large reproduction ratio, despite rarely exceeding 1:1.

Apart from technical photography and film-based processes, where the size of the image on the negative or image sensor is the subject of discussion, the finished print or on-screen image more commonly lends a photograph its macro status. For example, when producing a 6×4 inch (15×10 cm) print using 135 format film or sensor, a life-size result is possible with a lens having only a 1:4 reproduction ratio.

Reproduction ratios much greater than 1:1 are considered to be photomicrography, often achieved with digital microscope(photomicrography should not be confused with microphotography, the art of making very small photographs, such as for microforms).

Due to advances in sensor technology, today’s small-sensor digital cameras can rival the macro capabilities of a DSLR with a “true” macro lens, despite having a lower reproduction ratio, making macro photography more widely accessible at a lower cost. In the digital age, a "true" macro photograph can be more practically defined as a photograph with a vertical subject height of 24 mm or less.

This is the image I’ve chosen for my macro shot it was taken at f/1.4, 1/400 sec, ISO-100 with a 50mm prime lens in manual mode on my settee using an industrial flood lamp and a macro tube. The focus is on the base of the stem, the large aperture of f/1.4 takes the rest of the image out of focus very quickly. The green flecks and creases of the pumpkin provide leading lines to the centre where dark brown of the stem creates a contrast from the orange glow.

This week we went for a walk to two shops in Whally Range, we were instructed to buy piece of fruit or veg we would like to photograph. I chose two strange but different veg type things. We then went to the Manchester sweet shop (Blackburn) were 7 of us put a pound each towards an assorted box of sweets. We then headed back to the studio were we had a go at photographing the things we bought using natural light only. Here are some of my results.

This image is unedited and was shot with natural north facing light which is softer than hard driect south facing sun at f4.5, 1/13sec, ISO 100, 26mm, cloudy white balance, aperture priority mode.

This is the same as above but changed to grey scale on Photoshop.

This image is unedited and was also shot with natural light at f2.8, 1/60sec, ISO 200, 50mm, cloudy white balance, manual mode.

This is the same as above but with the white balance changed to tungsten in Photoshop to give it the bluish tone. I used this image to demonstrate the difference in white balance.  

I have had a go at photographing some veg at home using some industrial floodlights and a fold up reflector silver side up. First I put a black sheet over a dining chair with the reflector over the top and the light on the floor angled up towards the reflector.

Below are some of the results.

Cabbage leaf with peppers

I constructed this set up at home using a dining chair with a black sheet draped over it to block out any external distractions. I then positioned a silver reflector on a 45% angle over the top of the chair and positioned the cabbage leaf on the black sheet with the peppers. I used a 400 watt industrial flood light pointing at the reflector to soften the hard light. I shot in RAW at f1.4, 1/50sec, ISO- 200 with a prime 50mm lens in manual mode. I used a tripod to enable me to shoot at a slower shutter speed but to still have the image sharp while retaining a shallow depth of field.  The black background helps bring out the contrasting colours of the cabbage and peppers.  Additionally the light at the top of the leaf gives a strong contrast to the shadow at the bottom, highlighting the texture of the leaf. The main thing I did in Lightroom was to darken the blacks.

Lightroom Editing. 

This week we did some basic lightroom editing. First we selected an image from the veg shots the week before. We first opened an image pressed W for white balance, selected a neutral area (grey, white, black), cmd, ctrl Z if you wish to undo the white balance. press R+crop tool to crop at an aspect ratio eg: 2x3. We then right clicked on the image to create a virtual copy.
Below are some images Andrew Farington put on the Macs for us to have a go at editing first only using the basic Lightroom tools.

Baked Beanz

Baked beans is a dish containing beans, sometimes baked but, despite the name, usually stewed, in a sauce. Most commercial canned baked beans are made from haricot beans, also known as navy beans – a variety of Phaseolus vulgaris in a sauce. In Ireland and the United Kingdom, a tomato and sugar sauce is most commonly used. They are commonly eaten on toast or as part of a full English breakfast.
In the United States there are multiple styles. Boston baked beans use a sauce prepared with molasses and salt pork, the popularity of which has led to the city being nicknamed "Beantown". Beans in a tomato and brown sugar, sugar or corn syrup sauce are a widely available type throughout the US. Maine and Quebec-style beans often use maple syrup.
Canned baked beans are used as a convenience food, shortening cooking times for a meal, or may be eaten straight from the can, in camping or emergency settings, as they are fully cooked. They are sometimes served with chips, waffles, or the like. I personally like to put Worcestershire sauce and black pepper in with some cheese and cook them low and slow for 15-20 minuets ummmm mushy beans.


The beans presently used to make baked beans are all native to North America and were introduced to Italy in 1528 and to France by 1547. The dish of baked beans is commonly described as having a savoury-sweet flavour and a brownish or reddish tinted white bean once baked, stewed, canned or otherwise cooked. According to alternative traditions, sailors brought cassoulet from the south of France or northern France and the Channel Islands where bean stews were popular. Most probably, a number of regional bean recipes coalesced and cross-fertilised in North America and ultimately gave rise to the baked bean culinary tradition familiar today.
While many recipes today are stewed, traditionally beans were slow baked in a ceramic or cast-iron beanpot. A tradition in Maine, USA, of "bean hole" cooking, may have originated with the native Penobscot people and was later practised in logging camps. A fire would be made in a stone-lined pit, allowed to burn down to hot coals and then a pot with eleven pounds of seasoned beans would be placed in the ashes, covered over with dirt and left to cook overnight or longer. These beans were a staple of Maine's logging camps, being served at every meal.
Canned beans, often with pork, were among the first convenience foods and it is this form that they became exported and popularised by US companies operating in the UK in the early 20th century. The U.S. Food and Drug Administration stated in 1996 that "It has for years been recognised by consumers generally that the designation 'beans with pork,' or 'pork and beans' is the common or usual name for an article of commerce that contains very little pork." This is typically a piece of salt pork to add fat to the dish.

In the UK, Ireland, Hong Kong and Singapore the term baked beans usually refers to tinned beans in a tomato sauce, originally imported from American companies including Heinz as an 'exotic' imported convenience food, quite distinct from the French-style cassoulet largely unknown in Britain at that time. Heinz baked beans were first sold in the UK in 1886 in the upmarket Fortnum & Mason store in London as a foreign delicacy at a high price. Many people now regard baked beans as an integral part of the modern full English breakfast, including beans on toast. Every day 2.3 million British people eat Heinz Baked Beans; 1 million of those people eat them for dinner. Although Heinz Baked Beans continue to be the biggest selling brand, other brands such as Branston Baked Beans, supermarket own brands, and HP baked beans (later purchased by Heinz), are available.

Although they are now a staple food, the store continues the tradition of selling Heinz Beans among its more expensive wares. Baked beans are also considered to be a staple food of students most commonly served on buttered toast, as they are typically easily and quickly prepared, cheap and nutritious.

Freshly cooked from raw ingredients 'baked beans', much closer to their original unprocessed, unindustrialised form are making an appearance on the menus of some Brunch establishments and restaurants.

Heinz brand beans in a can, found in many British kitchens. Heinz is generally acknowledged to be the leading brand very closely followed by Branston Baked Beans which personally I prefer over Heinz.

Below are a couple of images of some of the first Heinz beans cans.

This can was sold at auction for 24USD July 27 2006.

Heinz "Baked Beans" Tin Can. This tiny can measures 3.5" wide and 3" tall. It once held baked beans with pork and tomato sauce. The label displays a lovely foliate pattern and is in good condition; there are several tears near the bottom of the can and it has suffered some soiling from the rusting of the can. The can itself is rusted badly but still fully intact. The label mentions the June 1906 Food and Drug Act, so it dates after this time

In 1967, Heinz launched an advertising campaign with the slogan "Beanz Meanz Heinz". The phrase was created by advertising executive Maurice Drake and went on to become one of the best-known advertising slogans in the United Kingdom. Drake later said the slogan was "written over two pints of beer in The Victoria pub in Mornington Crescent". In 1998, Heinz Baked Beans was voted one of 12 brands that citizens of the United Kingdom think best represents the final 10 years of the millennium

Haricots beans are small dry white beans native to Central America. They are one of the most important legumes cultivated in Europe and North America today. Haricots also grow in other temperate and subtropical areas of the world.

 Here's a recipe to make your own baked beans, although it would be less time consuming and probably a lot cheaper to pop down to the supermarket and buy a tin or ten.

Ingredients

Serves: 6 

• 225 g (8 oz) dried haricot beans, soaked for at least 8 hours
• 1 tbsp sunflower oil
• 5 shallots, finely chopped
• 2 garlic cloves, crushed
• 2 celery sticks, finely chopped
• 1 (400g) tin chopped tomatoes
• 1 (225g) tin chopped tomatoes

• 2 tsp dried mixed herbs
• 500 ml (17 fl oz) dry cider
• 30 g (1 oz) dark muscovado sugar
• 1 tbsp black treacle
• 1 tsp Dijon mustard
• salt and pepper
• sprigs of fresh flat-leaf parsley to garnish

Method

Prep:9hr30min  ›  Cook:3hr30min  ›  Ready in:13hr 

1. Drain the soaked beans and rinse under cold running water. Put them in a saucepan, cover with plenty of fresh cold water and bring to the boil. Boil rapidly for 10 minutes, then reduce the heat and simmer for 50–60 minutes or until tender. Drain well and place in a beanpot or casserole dish.
2. Preheat the oven to 160°C (325°F, gas mark 3). Heat the oil in a saucepan, add the shallots, garlic and celery, and sautéfor about 5 minutes or until softened, stirring occasionally.
3. Stir in all the canned tomatoes with their juice, the dried herbs, cider, and salt and pepper to taste. Cover and bring to the boil, then reduce the heat and simmer for 10 minutes, stirring occasionally.
4. Add the sugar, treacle and mustard to the tomato sauce, and mix well. Pour the sauce over the beans and stir to mix. Cover the beanpot or casserole and bake for 3½ hours, stirring occasionally. Serve the beans hot, garnished with flat-leaf parsley. I personally would blitz the sauce in a liquidiser before pouring over the beans.

Table top setup

This is the image I have chosen for my table top setup. I used this initially for my 20-20 presentation. It was shot in my living room using natural light from the window, my camera settings where f/4, 1/50 sec, ISO-160 with a 50mm prime lens in aperture priority mode. The only post production treatment was -55 shadows, -48 blacks and a slight crop at the bottom with Lightroom. The Legotonbeanvillians add a little diversity to the image making the uninspiring tin of beans a bit more interesting. 

Fork and Plate

We where set a challenge this week and that was to try and replicate a famous photo by Andre Kertesz called Fork and Plate, it looked simple enough but in practice not quite so.

Below is the Andre Kertesz version and then my version.



Maybe I should have another go. His plate is deeper, the fork is further back and on more of an angle, the shadows are darker and it looks like a 1:1 aspect ratio. To be fair when I did my shot I did it from memory and I don't think its to bad of an effort.

Carrying on form last weeks baked bean brief we all did a 20-20 presentation (pecha kucha).

A 20-20 or pecha kucha is a presentation of 20 slide and a talk of 20 seconds about each slide. I am going to try to add the power point for my 20-20 to my blog but not sure if I can.

The Humble Bean.

 

Hi my name is Craig and this is my presentation of the humble bean. Whilst researching for this presentation I noticed that everybody was doing the same thing, so I decided to step outside the box go around the bend to a different place and this is what I came up with.

Here we have the baked bean organica. You can find them deep in the fields of legotonbeanville where country girls toil to bring home the beans for supper. Organic beans are foods that are produced using methods of organic farming – with limited modern synthetic inputs such as synthetic pesticides and chemical fertilizers, though organic pesticides, such as Bt toxin, are still used. Organic foods are also not processed using irradiation, industrial solvents, or chemical food additives. The organic farming movement arose in the 1940s in response to the industrialization of agriculture that became known in the 1960s as the Green Revolution. Organic food production is a heavily regulated industry, distinct from private gardening. Currently, the European Union, the United States, Canada, Japan and many other countries require producers to obtain special certification in order to market food as organic within their borders. In the context of these regulations, organic food is food produced in a way that complies with organic standards set by national governments and international organizations.

Yeah these 2 legotonbeanvillians are full of beans they run up and down that ladder all day long. They get all there energy from all the goodness that baked beans provide. A quarter of a can will provide one of youre 5 a day along with calcium to strengthen your bones they are high in fibre, low in fat and loaded with protein. They are best cooked low n slow for 15 to 20 minuets with woster sauce and black pepper.

Fire, fire. The fiery chilli Heinz beans keep the legotonbeanville fire brigade very busy. Chuck a tin of Heinz chilli beans into a frying pan with some browned of mince heat to the max pour over a baked spud whack on some crumbally lancashire cheese and you’ve got a quick and easy chilli spud. umm fiery cheesy spuds.

Ahhh spicy. Beans with balls those 2 deffonately have balls doing that up there where everyone can see them. Heinz origonaly launch these as beans with balls but a short time after there launch they where changed to the can that you see now, no doubt after they received to many conplaints from people with nothing better to do.

These 2 legotonbeanvillians originate from China and they brought with them curry infused Heinz beans. These would be go well with a potion of chips and large battered sausage, spud pie and chips, and a cod and chips please with salt and vineger. Oh hang on a minuet that’s my list for last nights tea sorry emm lets move on eh.

Looks like the legotonbeanvillians are working very hard collecting all the different beans needed to make this tin of Heinz five beans. They use haricot beans, red kidney beans, pinto beans, borlotti beans and cannellini beans in the same sauce you no and love. So they are genrraly seen as beans for grown ups. That’s  why I dint like them.

Ohh it looks like the little legotonbeanvillians are having a barbeque. They have gatherd a tin of Heinz baked beans in barbecue sauce to share ummm they will go nice with a burger on a bap or a couple of nice big bangers. Heinz Beanz were launched in 1901 as "Heinz Baked Beans" and were produced in the United States until 1928.

Wow something smells strong round here maybe a French person has come to visit legotonbeanville. Ahh its Heinz beans with garlic and herb growing in Franchescas garden. In 1901, Heinz Baked Beans were first sold at the Fortnum & Mason department store in London. After opening its first overseas office in London in 1896, the company opened its first UK factory in Peckham, south London, in 1905.

The little people of legotonbeansville like nothing more than to gorge on Heinz beans with chedder cheese. They put them on toast or on a hot butterd crumpet, they like a bit of crumpet, or if there feeling a bit adventures they will pour them all over a spud or two. Between 1941 and 1948, The Ministry of Food classified Heinz Baked Beans as an "essential food" as part of its wartime rationing system

Woah there that’s a bit saucy. Whats going on here then. Heinz big saucy bangers. In the land of legotonbeansville there is a secluded spot where only intrepid people that are full of beans go for a bit of hot doggin. Beans and bangers what a beautiful combination. heinzs factory in Kitt Green is Europe's largest food factory and turns out more than 1 billion cans every year.

These are some of the more common beans as they can be seen everyday. Tesco is launching a new range of brightly-packaged and brilliantly-priced food under a new brand: ‘Everyday Value’. The range will replace Tesco Value and follows extensive research with customers to understand what they want to see from a value brand today.

Tesco was the first supermarket to launch a Value range back in 1993, the blue-and-white striped brand giving customers a down-to-earth option. Almost 20 years on and an affordable quality range is more relevant than ever.

Wow that’s smart. Smart Price is a range of everyday essentials for you and your family. This includes food as well as household and general products. They promise always to deliver good quality items at the lowest prices, and they do this by never wasting money on unnecessary packaging or advertising. What’s more, they never ever use artificial colours or flavours in there food and make sure that every pack clearly displays nutritional information.

Did you choose these beans what bout you no how abouuuuut you no me neither. Hundreds of thousands of blind taste tests have been carried out by an independent company. Products are blind tested by the public – that's Asda customers as well as customers of other major supermarkets. Products do not become part of the range unless they meet customers' high standards. That way whenever you see 'Chosen By You' you can be confident you are buying great tasting products every time you shop.

Westlers beans and chicken nuggets. This is a rare and not often seen veriaty of beans in legotonbeanville I personally have never seen a chicken in beans before and have never tried them well not yet anyway. Westlers also do canned hot dogs and hamburgers. To me the label on this can looks like it belongs on a can of dog meat.

If you go down into the woods today your in for a big surprise oh my god it’s a massive tin of branston beans. In October 2005, Premier Foods launched Branston Baked Beans. The marketing and promotion of this product was aimed squarely at challenging Heinz's dominance of the UK baked bean market. This marketing included an advert, featuring a Branston Bean Tin explaining how Branston Beans are very "saucy."

Mean while in the forest we have stumbled upon branstonus beanicus and sausageus maximus a full on solid attack at the Heinz version. ." Promotional activities included a 'Great British Bean Poll' where members of the public across the country were invited to blind taste both 'the brand leader' (assumed to be Heinz) and Branston. In the poll, 76% of participants picked Branston over the brand leader.

Here we have quite a large range of beans. In this picture there is 9 different veriaties of Heinz beans with allsorts of stuff stuck in them like balls, bangers, cheese, curry and chille there is 2 veriaties of heinzes main rival Branston beans 1 of which has sausage in, there is 3 supermarket brands 1 of those is the beans organica and then there is 1 from westlers with chicken nuggets in.

Organic haricot bean. Haricot beans are generaly use for the most common beans like Heinz Branston and other supermarket brands. Haricots beans are small dry white beans native to Central America. They are one of the most important legumes cultivated in Europe and North America today. Haricots also grow in other temperate and subtropical areas of the world. Haricot beans are also known as navy beans.

For slide number 20 the legotonbeanvillians have painted a baked bean picture inspired by Andy Warhol. Althogh it dosn’ say Heinz they are evedently Heinz cans. That concloods my presentation hope I hope you found it informative and enjoyable. Ive bean Craig Taylor and I would like to thank you for listening.

Health and safety advice for freelance photographers

It is recognised that the photographic industry is largely made up of organisations employing between one and four persons and the majority of these are self-employed. The 1974 Health and Safety at Work etc. Act places broad responsibilities on employers, employees and the self employed.


Responsibilities

• It is the duty of every employer, so far as is reasonably practicable, to ensure the health, safety and welfare at work of all his employees.
• For employees to take reasonable care for their own safety and that of others.
• For self employed people to conduct themselves in such a way that people not in their employ are not exposed to health and safety risks.

Locations
The following health and safety considerations should be taken into account before, during and after assignments. The following relate to assignments on location:

• the photographer should have current employer and public liability insurance, including cover for people engaged by him on an occasional basis. Remember, these certificates should be securely archived for forty years
• the photographer and his assistant should have motor vehicle insurance which covers their vehicles for business use
• the photographer should have a formal agreement with the customer outlining their requirements
• should carry out a visit to the location to discuss arrangements with the customer, requesting where necessary, permission for access and right to take photographs
• should carry out a risk assessment particular to the areas where the photographer may wish to take photographs
• should ensure that where necessary the location has adequate fire precautions and signage in place
• should consult with the customer, where necessary, of the location on any risk assessment they may have carried out and what actions were required and have these been effectively implemented
• should share with the photographic assistant any health and safety concerns and if necessary the location management
• should ensure that all equipment is maintained and safe to use, especially flash equipment
• should ensure that all employees including those self employed are trained to use equipment safely
• should take precautions to minimise any identified potential problems related to safety affecting the assignment and to any other people at the location.

Risk Assesments
Risk assessments are very important to identify any potential hazards that may be encountered either on the photographer's premises or on location. There are several risk assessments the photographer should undertake in relation to his premises. These include:

• fire precautions
• using display screen equipment (DSE)
• manual handling
• control of substances hazardous to health (COSHH).

Fire precautions relate to having adequate types of fire extinguishers, which must be regularly serviced; displaying escape and emergency signage and ensuring escape routes are free from obstructions.

With the increased use of computers and digital equipment for manipulating images it is essential to consider the people who use display screen equipment (DSE) for long periods of time. It is very important to ensure that the computer, the workstation and the working environment meet current safety regulations, to lessen the possibility of wrist and eye strain.

Most photographers at sometime have to lift reasonably heavy and bulky equipment, such as flash lighting. A risk assessment will highlight the potential damage to the human torso, which may result in long-term absence from work. Manual handling training can help people to store equipment at correct heights and how to lift objects. Also, a risk assessment can indicate where mechanical aids such as trolleys can be of help.

With the advent of digital imaging in the industry, chemicals for processing and printing (wet processing) are not so widely used. There are however certain products used which are hazardous, for example, batteries and printer ink cartridges, along with industrial cleaning substances. These should all be listed as required by COSHH on a risk assessment.

Electrical safety is also very important. All electrical equipment such as flash equipment, kettles, microwaves etc. should be tested (usually referred to as portable appliance testing) at specified intervals. The electrical wiring installation of the photographer's premises also requires testing at specified intervals. A competent person should carry out all testing and records of these tests must be kept.

Location safety mainly resolves around 'trips, slips and hazards'. Each location should be assessed to ascertain hazards and where possible to control these to reduce any injury resulting from an incident, especially to any member of the public. Photographers, their employees and the self employed should work within the framework of the Health and Safety at Work Act, and where reasonably practicable, take steps to ensure the safety of themselves and others around them.

Betty Crocker.

This image was shot in my sister’s kitchen, and the model is my sister in law. I asked her to put her vintage dress and bandanna on and to do her make up in a vintage stile. I placed the Betty Crocker pack on the top and asked her to make out like she was mixing the contents in the bowl. I focused on her eyes and then changed camera position to crop the top of her head to reduce background clutter so the viewer’s eye isn’t distracted from the main focal point. I was working to a brief to create a classic Betty Crocker style set. I shot this image handheld with two industrial flood lights at f/1.8, 1/60 sec, ISO-200.  In post-production treatment I changed it to black and white and adjusted the blacks slightly using Lightroom.



Photography and the Law

  

In general under the law of the United Kingdom one cannot prevent photography of private property from a public place, and in general the right to take photographs on private land upon which permission has been obtained is similarly unrestricted. However, landowners are permitted to impose any conditions they wish upon entry to a property, such as forbidding or restricting photography. Two public locations in the UK, Trafalgar Square andParliament Square, have a specific provision against photography for commercial purposes without the written permission of the Mayor, or the Squares' Management Team and paying a fee, and permission is needed to photograph or film for commercial purposes in the Royal Parks.

Persistent or aggressive photography of a single individual may come under the legal definition of harassment.

It is a criminal offence (contempt) to take a photograph in any court of any person, being a judge of the court or a juror or a witness in or a party to any proceedings before the court, whether civil or criminal, or to publish such a photograph. This includes photographs taken in a court building, or the precincts of the court. Taking a photograph in a court can be seen as a serious offence, leading to a prison sentence. The prohibition on taking photographs in the precincts is vague. It was designed to prevent the undermining of the dignity of the court, through the exploitation of images in low brow 'picture papers'.

Photography of certain subject matter is restricted in the United Kingdom. In particular, the Protection of Children Act 1978 restricts making or possessing pornography of under-18s, or what looks like pornography of under-18s. However, the taking of photographs of children in public spaces is not illegal.

It is an offence under the Counter-Terrorism Act 2008 to publish or communicate a photograph of a constable (not including PCSOs), a member of the armed forces, or a member of the security services, which is of a kind likely to be useful to a person committing or preparing an act of terrorism. There is a defence of acting with a reasonable excuse, however the onus of proof is on the defence, under section 58A of the Terrorism Act 2000. A PCSO cited Section 44 of the Terrorism Act 2000 to prevent a member of the public photographing him. Section 44 actually concerns stop and search powers. However, in January 2010 the stop-and-search powers granted under Section 44 were ruled illegal by the European Court of Human Rights.

Following a prolonged campaign, including a series of demonstrations by photographers dealt with by Police Officers and PCSOs, the Metropolitan Police was forced to issue updated legal advice which now confirms that 'Members of the public and the media do not need a permit to film or photograph in public places and police have no power to stop them filming or photographing incidents or police personnel' and that 'The power to stop and search someone under Section 44 of the Terrorism Act 2000 no longer exists.'

It is also an offence under section 58 of the Terrorism Act 2000 to take a photograph of a kind likely to be useful to a person committing or preparing an act of terrorism, or possessing such a photograph. There is an identical defence of reasonable excuse. This offence (and possibly, but not necessarily the s.58A offence) covers only a photograph as described in s.2(3)(b) of the Terrorism Act 2006. As such, it must be of a kind likely to provide practical assistance to a person committing or preparing an act of terrorism. Whether the photograph in question is such is a matter for a jury, which is not required to look at the surrounding circumstances. The photograph must contain information of such a nature as to raise a reasonable suspicion that it was intended to be used to assist in the preparation or commission of an act of terrorism. It must call for an explanation. A photograph which is innocuous on its face will not fall foul of the provision if the prosecution adduces evidence that it was intended to be used for the purpose of committing or preparing a terrorist act. The defence may prove a reasonable excuse simply by showing that the photograph is possessed for a purpose other than to assist in the commission or preparation of an act of terrorism, even if the purpose of possession is otherwise unlawful.

Copyright

Copyright can subsist in an original photograph, i.e. a recording of light or other radiation on any medium on which an image is produced or from which an image by any means be produced, and which is not part of a film. Whilst photographs are classified as artistic works, the subsistence of copyright does not depend on artistic merit. The owner of the copyright in the photograph is the photographer – the person who creates it, by default. However, where a photograph is taken by an employee in the course of employment, the first owner of the copyright is the employer, unless there is an agreement to the contrary.

Copyright which subsists in a photograph protects not merely the photographer from direct copying of his/her work, but also from indirect copying to reproduce his/her work, where a substantial part of his/her work has been copied.

Copyright in a photograph lasts for 70 years from the end of the year in which the photographer dies. A consequence of this lengthy period of existence of the copyright is that many family photographs which have no market value, but significant emotional value, remain subject to copyright, even when the original photographer cannot be traced (a problem known as copyright orphan), has given up photography, or died. In the absence of a licence, it will be an infringement of copyright in the photographs to copy them. When someone dies the rights will have transferred to someone else, perhaps through testamentary deposition (a will) or by inheritance. If there was no will, or if the photographer has not specified where the rights in the material should go, then the normal rules of inheritance will apply. Scanning old family photographs, without permission, to a digital file for personal use is prima facie an infringement of copyright.

Certain photographs may not be protected by copyright. Section 171(3) of the Copyright, Designs and Patents Act 1988 gives courts jurisdiction to refrain from enforcing the copyright which subsists in works on the grounds of public interest. For example, patent diagrams are held to be in the public domain, and are thus not subject to copyright.

Infringement

Infringement of the copyright which subsists in a photograph can be performed though copying the photograph. This is because the owner of the copyright in the photograph has the exclusive right to copy the photograph. For there to be infringement of the copyright in a photograph, there must be copying of a substantial part of the photograph. A photograph can also be a mechanism of infringement of the copyright which subsists in another work. For example, a photograph which copies a substantial part of an artistic work, such as a sculpture, painting, architectural work (building) or another photograph (without permission) would infringe the copyright which subsists in those works.

However, the subject matter of a photograph is not necessarily subject to an independent copyright. For example, in the Creation Records case, a photographer, attempting to create a photograph for an album cover, set up an elaborate and artificial scene. A photographer from a newspaper covertly photographed the scene and published it in the newspaper. The court held that the newspaper photographer did not infringe the official photographer's copyright. Copyright did not subsist in the scene itself – it was too temporary to be a collage, and could not be categorised as any other form of artistic work.

The protection of photographs in this manner has been criticised on two grounds. Firstly, it is argued that photographs should not be protected as artistic works, but should instead be protected in a manner similar to that of sound recordings and films. In other words, copyright should not protect the subject matter of a photograph as a matter of course as a consequence of a photograph being taken. It is argued that protection of photographs as artistic works is anomalous, in that photography is ultimately a medium of reproduction, rather than creation. As such, it is more similar to a film, or sound recording than a painting or sculpture. Some photographers share this view. For example, Michael Reichmann describes photography as an art of disclosure, as opposed to an art of inclusion. Secondly, it is argued that the protection of photographs as artistic works leads to bizarre results.Subject matter is protected irrespective of the artistic merit of a photograph. The subject matter of a photograph is protected even when it is not deserving of protection. For copyright to subsist in photographs as artistic works, the photographs must be original, since the English test for originality is based on skill, labour and judgment. That said, it is possible that the threshold of originality is very low. Essentially, by this, Arnold is arguing that whilst the subject matter of some photographs may deserve protection, it is inappropriate for the law the presume that the subject matter of all photographs is deserving of protection.

It is possible to say with a high degree of confidence that photographs of three-dimensional objects, including artistic works, will be treated by a court as themselves original artistic works, and as such, will be subject to copyright. It is likely that a photograph (including a scan – digital scanning counts as photography for the purposes of the Copyright Designs and Patents Act 1988) of a two dimensional artistic work, such as another photograph or a painting will also be subject to copyright if a significant amount of skill, labour and judgment went into its creation.

Photography and privacy

A right to privacy exists in the UK law, as a consequence of the incorporation of the European Convention on Human Rights into domestic law through the Human Rights Act 1998. This can result in restrictions on the publication of photography.

Whether this right is caused by horizontal effect of the Human Rights Act 1998 or is judicially created is a matter of some controversy. The right to privacy is protected by Article 8 of the convention. In the context of photography, it stands at odds to the Article 10 right of freedom of expression. As such, courts will consider the public interest in balancing the rights through the legal test of proportionality.

A very limited statutory right to privacy exists in the Copyright Designs and Patents Act 1988. This right is held, for example, by someone who hires a photographer to photograph their wedding. The commissioner, irrespective of any copyright which he does or does not hold in the photograph of a photograph which was commissioned for private and domestic purposes, where copyright subsists in the photograph, has the right not to have copies of the work issued to the public, the work exhibited in public or the work communicated to the public. However, this right will not be infringed if the rightholder gives permission. It will not be infringed if the photograph is incidentally included in an artistic work, film, or broadcast.

Public property

 It is legal to photograph or videotape anything and anyone on any public property. Photographing or videotaping a tourist attraction, whether publicly or privately owned, is generally considered legal, unless explicitly prohibited.

Cool Vodka

I chose to use this shot of a vodka bottle for my pack shot. I had the bottle in the freezer prior to this shoot. I set up my 400w industrial flood light on the floor front right and a reflector disk to the left. I waited to the last minute to get the bottle out of the freezer so the frost wouldn’t melt, so I pre-set my camera to f/22, 0.6 sec, ISO-800 at a focal length of 30mm on 18-55mm kit lens aperture priority mode. I changed it to black and white in Lightroom then adjusted the blacks to remove background clutter and the whites to bring out the bottle. The frost gives the bottle a solid look.

Below is the contact sheet for my final 6 objects images.

People

Introduction to People – Exploring

It is only through the process of exploration, repetition and discarding the obvious, that truly creative images are made.

Your introduction task for the People brief, and your first ‘homework’ to be completed during Reading Week (for hand in Thursday 23rd Jan) is to create a set of 50 images  - of the same person!

Using everything you have learned so far in systems & processes and objects (depth of field, shutter speed, post production, lighting, white balance etc. you are to create an A3 collage of images using the same person as subject matter.

This task is designed to provide an opportunity for you to experiment and develop your own creative style  - i.e. the outcome should not be;

A collection of different outfits/props/environments

You should evidence:

·         A range of focal points

·         Distance from subject

·         Varying angles of shooting position

·         A range of post production techniques

·         Creative use of aperture and shutter speed

You might also consider:

Natural light

Studio light

Shooting through semi transparent materials

Shadows

Bodily form

Imperfections & details

The finished edited images should be presented on an electronic A4 Jpeg as a collage

A free piece of software, which creates collages easily, is below – however feel free to explore and find something which suits your own needs

http://picasa.en.softonic.com

Enjoy!

3.