Website evaluations

www.joeyl.com

Joey Lawrence's website gives us an insight into the world of commercial photography.

The site is set out in a very simple and modern style with 3 main sections. On the left hand site of the main page you have links to his commercial, personal and video work. On the other side its more about information of Joey, there is also a tutorial section where you can get video 'tips and tricks' from him.

This site is a great interest as it closely relates to my projects concept, with Joey L first breaking into the commercial industry at only 16 years old with no academic achievements in photography he is fast becoming very well known in america and around the world.

Joeys work ethic and strong will, along with his creative flair and passion for photography has made him a very successful photographer at just 19 years old.

www.kirstinprisk.com

“Stay focused and let instinct takeover because that’s what photography is, its an instinct, the rest is relatively easy just press a button”

Kirstin’s work provides me with an insight to contemporary wedding photography and a great deal of inspiration.

His site is organised into different categories e.g. case studies, blog’s, portfolio, weddings and contact information, each one of them showing off the different skills and versatility of his work.

I came across this site through a friend of mine who knows kirstin and recommended I take a look at his site. His story was what interested and also inspired me, knowing that he has done the same course as I am and that his passion for photography has led him to be a quite successful photographer in Cornwall. His images are so original and unique, every time I look at his web site it makes me want to pick up my camera, start shooting and make a living out of my passion.

Kirstin Prisk; A written evaluation

Kirstin Prisk; A written evaluation

Kirstin Prisk has established himself as one of the most respected and highly rated photographers in and around the southwest and Cornwall, with his original and contemporary approach to wedding and commercial photography.

In 1975 Kirstin was born in Cambourne, Cornwall. Cornwall is very well known for its surf and wave culture, this led to kirstin spending the ages 14 to 26 surfing with not much care for anything else, including school. He left school at the age of 16 with no academic achievements and wanted to focus all his attention to surfing. During this time he was fortunate to have the support from surf giant Quicksilver which enabled him to travel the world and follow his passion of surfing. At the age of 26 he realised that he was growing up and had nothing to fall back on. Around this time camera phones were released and were all the range, this fascinated him to the point that he became very passionate about image making.

This passion for image making led him to enrol on a course at Truro College, Cornwall. He studied HND Photography and digital imaging and then followed this course onto the University of Plymouth to complete his honours degree achieving 2:1. For Kirstin’s final major project he created an online magazine ‘600 mm’. The concept behind the magazine was to create a career-launching platform in which to show his wide range of skill sets. The magazine caught the attention of media critics and received over 100,000 individual visitors and eventually receiving an award. Along side the magazine Kirstin spent six months planning and writing a dissertation on modern and contemporary wedding photography that really reflects in his work today. If you ever browse through Kirstins work you really get a sense of originality with his fast, loose and documentarian style approach. This ability enables him to stay on top of this very competitive market and produce very aesthetically pleasing images. However his work isn’t always based around weddings, with an ever-growing client list with big names such as Nike and Rip Curl he seems to be able to adapt and produce high-end commercial images.

His Dominant, original and forever growing progression in his work is why Kirstin is thriving and a head of his game in this small market of photography in Cornwall. His enthusiasm and passion for his chosen medium should be an inspiration to any young, up and coming photographer not just in Cornwall but anywhere around the world.

Timelines

Timeline Of Canons EOS DSLR Range

The Significant and technical innovation and aesthetic development of photography

• 1827 - Joseph Niepce creates first photographic image by using a method called Heliograph or sun writing.
• 1839 - Louis Daguerre creates and invents the method of fixing images, also known as the daguerreotype, which is a method of fixing, one of a kind photographs to glass plates.
• 1841 – Meanwhile In England, a photographer named William Fox Talbot created another type of fixing images called the calotype. This processing is very unique because its what we still use today, the negative to positive processing. Another added benefit to this invention is that photographs can be reproduced
• 1851 – The wet plate process was created which entailed added gelatine mixed with silver halides to glass plates, which improved exposure time to around 2-3 seconds. This is also known as the collodion process invented by Fredrick Scott Archer.
• 1861 – The first colour image was produced by James Clerk Maxwell.
• 1888 – Kodak Roll film was invented.
• 20^th Century
• 1900 – ‘Brownie’ The first mass marketed camera
• 1926 – The first 35mm Camera invented by Leica called ‘Lietz’
• 1927 – General Electrics invent the first modern flash bulb
• 1933 – Henri Cartier Bresson Decides to move from painting to photography.
• 1936 – Development of Kodacrome the first multi-layered colour film
• 1947 – Magnum Agency was founded by Henri Cartier – Bresson, David Seymour and Robert Capa
• 1968 – First Image of earth from the moon.
• 1978 – Konica introduces the first point and shoot, auto focus camera to appeal to the mass market.

• 1988 – Canon demonstrates first digital camera
• 1990 – adobe Photoshop is released.
• 
  
  21^st Century – Camera phone released.
  
  
  

Domestic Object

Domestic object in situ

Still life shot of a domestic object

Brief presentation: J.Moons, Reflective and experimental work also P Redman's good essay writing: A Social sciences guide.

This book is more like a handbook and acts as an essential guide to understanding and using reflective and experimental learning, whether it be for personal or professional development.

It takes a new view on this learning technique by locating them with an overall theoretical framework for learning. As well as the theory, this handbook gives and providdes making these ideas of learning practical with tools and photocopiable resources which can then be brought into classroom practice.

Its content is split into 3 parts

Part 1

A generic view of learning, and this part has 4 different chapters.

Part 2

exploring reflective and experimental learning and that has 5 chapters.

Part 3

Working with reflective and experimental learning.

Overview

A handbook is a general text that combines theory and practical information. The theory in this book is in the first half and the general aim of this is to consider reflective

and experiential learning as forms of generic learning. This approach is, as far as I know, new. In the literature of reflective and experiential learning, both forms of

learning are discussed in relation to their own literature rather than in relation to more generalized views of learning. Reflective learning is reviewed against other

literature on reflection, reflective practice and so on – and the same is true of experiential learning. It is timely to relate them to the processes of learning in general and

to question their somewhat ‘specialized’ status.

Having laid a basis for a generic view of learning in Chapter 1, the next three chapters elaborate on aspects of the generic view that have particular relevance to

reflective and experiential learning. These three aspects are described as manners of framing learning. They cover the development of conceptions of knowledge

(Chapter 2), the role of emotion in learning (Chapter 3) and the approach adopted to learning by a learner (Chapter 4).

Chapter 5 follows the development of the view of generic learning but taking stock, looking back over the generic view of learning and forward to deal with one

defining issue for both reflective and experiential learning – that they do not rely on a formal taught curriculum. In this context, we explore the idea of mediation in

learning, providing some critical views of the often simplistic manner in which the notion of mediation is interpreted. The following chapters are concerned with the

elucidation of reflective and

experiential learning as forms of learning in themselves and then in relation to the generic view of learning (Chapter 6), then to each other. Reflective learning is often

involved in experiential learning, but they do not coincide completely. The view of reflective learning in this book is a development of that in my earlier books and

materials. Chapter 7 is a further stage of development of this material in relation to the ‘depth’ dimension of reflection. The view of experiential learning is developed in

a brief literature review in Chapter 8 while Chapter 9 draws together the material on reflective and experiential learning.

Chapters 10, 11 and 12 present the more practical part of the book. The subject matter of these chapters has been developed in response to issues that have arisen

in formal educational circumstances as tutors have instituted reflective and experiential learning within curricula. Chapter 10 deals with the difficulties that are often faced

when reflective learning is introduced either on its own or as an element in experiential learning. It refers to a range of resources and exercises that can be used to

facilitate reflective learning, some of which are in the Resources section at the end of the book. Chapter 11 also discusses an issue in reflective and experiential learning,

it concerns assesssment. The final chapter provides additional ideas, resources, techniques and exercises that are designed to exploit reflective and experiential learning,

usually in formal educational situations (Chapter 12). Chapters 10 and 12 include some substantial exercises. Some of the materials are included in the Resources

section that follows. Since the Resources section includes material that may need to be directly copied for use with students, copyright is waived in this section and the

materials may be photocopied freely.

Finally, a Glossary of the terms that have emerged in the early chapters in this book is provided, followed by an extensive Bibliography.

Bibliography

Andresen, L., Boud, D. and Cohen, R. (2000) ‘Experience-based learning’, in Understanding Adult Education and Training, Sydney: Allen and Unwin, pp. 225–39.

Angelo, T. and Cross, K. (1990) Classroom Assessment Techniques,San Francisco: Jossey-Bass.

Ashton-Warner, S. (1985a) Spinster, London: Virago.

Ashton-Warner, S. (1985b) Teacher, London: Virago.

Atkins, S. and Murphy, K. (1993) ‘Reflection: a review of the literature’,Journal of Advanced Nursing, 18, 1188–92.

Atkinson, T. and Claxton, G. (2002) The Intuitive Practitioner, Milton Keynes: Open University Press.

Ausubel, D. (1960) ‘The use of advance organisers in the learning and retention of meaningful verbal material’, Journal of Educational Psychology, 51, 267–72.

Ausubel, D. and Robinson, F. (1969) School Learning, London: Holt, Rhinehart and Winston.

Bannister, D. and Fransella, F. (1974) Inquiring Man, Harmondsworth: Penguin.

Barnett, R. (1997) Higher Education: A Critical Business, Milton Keynes: SRHE/Open University Press.

Barnett, R. (1999) ‘Learning to work and working to learn’, in D.Boud and J.Garrick (eds) Understanding Learning at Work, London: Routledge.

Baxter Magolda, M. (1992) Knowing and Reasoning in College Students: Gender-related Patterns in Students, Intellectual Development, San Francisco: Jossey-

Bass.

Baxter Magolda, M. (1994) ‘Post-college experiences and epistemology’, Review of Higher Education, 18 (1), 25–44.

Baxter Magolda, M. (1996) ‘Epistemological development in graduate and professional education’, Review of Higher Education, 19 (3), 283–304.

Beard, C. and Wilson, J. (2002) The Power of Experiential Learning,London: Kogan Page.

Beaty, E., Dall’Alba, G. and Marton, F. (1997) ‘The personal experience of learners in higher education: changing views and enduring perspectives’, in A.Sutherland (ed.)

Adult Learning: A Reader, London: Kogan Page.

Good Essay Writing: A Social Sciences Guide - Peter Redman.

This book approaches guides and techniques which can help everyone write good essays.

This is the Third Edition of indispensable guides built on the success of the previous editions, offering fully updated and expanded advice, in an even more accessible format. Good Essay Writing provides answers to the key questions which face students when preparing essays: What do tutors look for when marking essays? What kind of skills will be needed at different course levels? How can inadvertent plagiarism be avoided? What are the protocols for referencing?

Good Essay Writing also helps students on how to approach different types of essay questions and provides detailed guidelines on the various ways of supporting and sustaining key arguments, addresses common worries and provides extensive use of worked examples including complete essays which are fully analysed and discussed. To further aid the student all of the key points are encapsulated in easy to digest summaries.

Contents

1) Introduction.

1.1 - How to use this guide.

1.2 - Will the guide tell me 'everything' about essay writing?

1.3 - Where to go for further help.

2) What tutors look for when marking essays.

2.1 - Marking schemes - Criteria related to grade bands.

2.2 - Writing skills - 'Introductory', 'Intermediate" and 'Advanced' essays.

3) What is a social science essay?

3.1 - The structure of a basic social science essay.

3.2 - What is distinctive about a social science essay?

3.2 - Three golden rules for writing a social science essay.

4) Matching the answer to the question.

4.1 - Answering advocacy questions.

4.2 - Answering evaluation questions.

4.3 - Answering compare and contrast questions.

5) Stages of writing from preparation to final version

5.1 - Use the feedback and guidance notes.

5.2 - Read the question.

5.3 - Identify and organize the relevant material.

5.4 - First draft to final version.

6) Writing introductions

6.1 - Longer or 'full' introductions.

6.2 - Basic short introductions.

6.3 - When do you write the introduction?

7) Writing the main section

7.1 - Structuring your argument.

7.2 - Using evidence to support your argument.

7.3 - Adding weight to your argument.

7.4 - Communicating your argument.

8) Writing conclusions

8.1 - What a conclusion should aim to do.

8.2 - What a conclusion should contain.

9) Referencing

9.1 - Why are references need?

9.2 - What should be referenced?

9.3 - Basic principles.

9.4 - Compiling your references.

10) Some common worries

10.1 - Plagiarism.

10.2 - Writing too much.

10.3 - Using the 'I' word to much.

10.4 - Using your own experience.

10.5 - Presentation, spelling and grammar.

11) Examples of student essays

Essay 1

Essay 2

12) Concluding Remarks

Appendix A : What to do when your essay comes back - Maggie Coats

Appendix B : Process and command words in essay questions - Sue Cole and Pauline Harris.

A brief presentation:

I have decided to add another brief synopsis to the blog as I felt the other two didnt have much relevence to photography. I was browsing through the Aperture magazine when I came across this book. 'Between the eyes' and its content is about essays on photography and politics and here is a synopsis on the book its self.

David Levi Strauss is a writer whose visual and intellectual sensibilities are both acute and expansive. His trenchant writings on photography and photographers have been collected for this volume from a broad range of magazines, including Aperture,Artforum, and the Nation.

In Between the Eyes: Essays on Photography and Politics, Strauss tackles subjects ranging from “Photography and Propaganda” to the imagery of dreams; from Sebastião Salgado’s epic social documents to the deeply personal photographic revelations of Francesca Woodman. The timely issue of photographic legitimacy is addressed in the essay “Photography and Belief,” and in “The Highest Degree of Illusion,” Strauss discusses the media frenzy surrounding the events of September 11.

David Levi Strauss is a writer and critic in New York. His previous publications include Between Dog and Wolf: Essays on Art & Politics, and The Legacy of Land mines.

Facts and figures

The Photography Website

www.photographywebsite.co.uk

This website mainly focuses on technical equipment and materials for commercial photography. It is also where you can find all the equipment i used in the shoots.

There is a fantastic section of this website called photographic directory and under that hyperlink you can browse how many model agencies there are in the U.K. The link then takes you to a list of 61 different regions that you can choose from. If I pick the nearest big city to me, Plymouth , Its only has one modeling agency, but if I choose a bigger city such as London there are 23 agencies. This is a very important tool to photographers as getting hold of models can sometimes be a nightmare and by choosing this method you can contact agencies direct to hire models.

Another brilliant link on this page is the SLR manufacturers section. There are eleven manufacturers listed, Canon, Fuji, Kodak, Leica, Mamiya, Nikon, Olympus, Pentax, Samsung, Sigma and Sony. Once you have chosen a manufacturer you can then see how many cameras they currently have in their range. I used a Canon 30D in my location shoot, so if i pick Canon from the list, you will see that the have a range of 14 cameras.