PHO705: A Reflection on Colour Correction

Colour correction suddenly became important as printing, which had been going swimmingly well, went wrong overnight a week before the 1 May 2020 hand in. I mentioned elsewhere the saying “leave yourself enough time for contingencies”. Well the contingency was needed as I had to allow time to recalibrate the system and sort out a technical printing issue. Gladly these issues were fixed.

A Year Later at April 2021

A year on and this subject unexpectedly crawled to a conclusion: Talking to print consultants at the highly recommended A2i expressions group it was clear that instead of making all of my own ICC profiles with the Datacolor SpyderPrint I should sort out access to the extensive range of paper manufacturers profiles. On a mac computer these were a) never installed fully and never even identified b) were in a hidden Library c) wrapped up as a package and so very much not present. I discovered the packages in an Epson Library folder, opened them (there were four) and copied each list of ICC profiles to the system colorsync folder. I’d like to think this was all an act of genius but in fact the issue was described and solved in an Adobe support article from 2018. This is what came to the rescue:

https://community.adobe.com/t5/color-management/printer-profiles-missing-for-epson-sc-p800/m-p/10870908#M3033

Immediately I had all of the Epson paper options available in Lightroom and Photoshop and in fact I’m now softproofing in both apps and doing screen and paper simulations in Photoshop and very encouragingly my eye can detect the nuances of colour correction which before was done by hard proofing.

A further wrinkle in the Epson printer driver setup was found on reverting to Lightroom Advanced B&W where only a limited generic set of paper profiles was present. I thought this had all been sorted out but no. It turns out there is a known problem where Apple default network connection to the printer via Airport protocol. This prevents the full Epson driver from working and hence the limited selection of generic paper types.

The solution is to start afresh by removing the printer from Apple settings and instal it twice – yes twice. First time the system enforces an Airport protocol. On the second attempt it is realised by the system that there is an identical printer already installed and is coughs up the option to have the second instance as an Epson driver.

Here is the explanation: https://www.redrivercatalog.com/infocenter/tips/how-to-fix-missing-paper-media-type-selection-OSX.html

When someone commented to me the problem was my fault for not installing the printer the truth was I hadn’t installed the printer twice. Who would have thought such defective logic would be hidden from the owner of a new printer?

So Case Closed?

When printing had been going so well with review test prints, or in fact, any prints then why overnight a green cast appeared and wouldn’t go away.

There is a little tale to hear. The system, of course, had been calibrated at regular intervals, both screen and print. Monthly updates on screen and a really deep 9-page colour swatch check on the printer a while back.

The regular intervention meant recalibration was only a small chore but then nothing ever changed. The images always looked their best on the system and on the choice of my regular choice of paper.

Almost imperceptibly the recalibration reminders fell silent. But this was a result of the computer OS being upgraded to 64 bit somewhere along the line. The Spyder software simply faded away and stopped working and almost consigned to the bin.

A bit of begrudged time was needed to backtrack over emails to uncover the software suppliers policy followed by some checking on their website. The whole set of equipment was obsolete overnight except I was pleased to discover that the Spyder5 and associated SpyderPrint scanner were the oldest gear to remain in support.

Next followed some tracking down to find the 64-bit drivers on the datacolor website. Never an easy task but they were eventually found. Before locating the drivers in the support area there were several opportunities to purchase the latest all 64-bit offering SpyderX. That would have been a mistake as it was not required.

A bit of usual messing around with technology followed then without any razzamatazz the Spyder5 and SyderPrint were working again.

That gave a sense of ease but did it solve the problem? Well no, not exactly.

Next up was a colour correction problem caused by a double action of printer and computer. I describe this as two bullets in the barrel firing at once making a bit of a mess.

I was printing from Photoshop opting for Photoshop to control the colours rather than the printer. But still, the vital printer driver settings I needed to alter were greyed out and besides, there was no Generic RGB profile on the system. The embedded YouTube video from datacolor explains all.

There was a deep dive investigation required but once the solution was found it worked really well. First I had to find a Generic RGB colour profile. The reason for this is that it is a no-action option, what goes in comes out. The next step on my computer was to find the ColorSync utility and use it to set the Generic RGB setting from behind the greyed out controls. The manufacturer doesn’t want the general user tampering, I suppose.

Having done a full system calibration I now had a new set of icc profiles. I could see in the making of them how a whole range of colours had been inexact. So a new icc profile was made for each paper (and ink)..

In Photoshop I could now pick the exact profile and let the printer add its neutral /no effect correction and all became good.

The thing was I spent a day or so away from my work solving the green colour cast problem.

When things are going well each print is spot on first time. When things are going wrong in printing they really go wrong and you notice by the amount of reprinting and wasted prints that begin to pile up. There are so many adjustment options that dissapoint and it is only when getting behind the software driver in ColorSync that you retake control. At least that was my hard found experience.

The hanging questions have to do with why did it suddenly go wrong. The 64-bit aspect was one problem, the print manufacturer forbidding vital change with greyed out settings and lack of a neutral Generic RGB profile another.

Add to this a change of paper type. I was now using double-sided matte for the book and poster board matte for the exhibition prints. In the past, the solution had been narrow. I’d kept to what worked. For the FMP publications, I needed to learn to respond to expanded options and change.

A year ago I first used double-sided matte for my Ed Ruscha challenge book, which was a summer activity. Some of that printing was off I recall but I brushed it aside and should have dived into the software behind the scenes to correct the problem back then. I’d have placed myself in a better place. for the delivery fo the FMP assignments. The most significant impact of the printing being held up was that less drying time was left for the hand-bound book.

Summary

Through making FMP publications and both as a photographer and hopefully some may allow artist, I’ve been able to develop printing skills even if progress was hard-won.

As a self-professed print-virgin only two years ago I was aware of the benefit of the photographer printing their own work and always made my own prints. From review comment on the paper selection, I’ve expanded the wider creative options.

What started out as a preference for letting Photoshop control colours turned around. In spite of giving Photoshop colour control, it made more sense to let the printer do the work. I have more confidence with my new choice at the moment at least as the printer tends to control the hidden variables like ink drying and paper feed and size detection.

There was another benefit in that the December Digital Imaging Symposium I attended that helped me sort out issues of residual Infra-red IR detection had a session of colour spaces with lots of examples and comparisons. So the knowledge is building and with practice, it is leading to controlled higher quality publication.

As a consequence of all that is said, I can now confidently go public with my photography in a wider range of forms.

PHO705: Fonts

Supporting Discussion

The choice of font for FMP submission remains firm as Granville Light. A return to inspect the style after a cooling-off period only confirms this. The use of a Typography Insight App allowed a detailed comparison with a standard sans serif font. The Granville Light style is very much being enjoyed.

Original Post

Time has been spent researching san serif fonts for the FMP assignments and two fonts have shortlisted and have been installed and are being trialled:

  • Granville
  • Auster

Both fonts are very clear and Granville is being preferred on several counts including style which is more apparent on the lower case letters f and t, but also for being from a French designer at a Paris foundry given the project theme of loss in the Great War. The slight dagger-like flourishes in the lowercase letters f and t, also act as a metaphor for me as references to the Dirk and the Sgian Dubh, sheathed pointed daggers carried in Scottish national dress.

I won’t install the Granville font in this blog but provide a PDF example here:

PHO705-Fonts

Looking at this example a reservation emerges to do with font width, even as something that makes it more readable. Is it too wide? The answer becomes clear when the font is viewed at the required 1.5 line spacing where indeed it looks fresh and clean as seen in th ePDF above.

PHO705: Creating Draft Critical Review of Practice

Two items have been held up pending 10 weeks of illness then need to create portfolio work.

These are the Video that should have been made over the break and the Critical Review of Practice CRoP.

These have been taken together, but oddly manage to support the work. The following PDF is the mind map. A CRoP is a CRoP but it has to be about something so the overview of working practice and methodology is given as a mind map. The CRoP requirement (or part of) has been mapped onto it and requires further development like issuing a draft. However, there is some referencing to other practitioners still in research. Despite having this for earlier incarnations of the work (in earlier study Modules) the work has progressed on so time for the update.

To an extent I can argue about originality and a need to mask off external influences as the work is quite unique in its standing as a branch of Art based on Science. As blogged previously I’m never surprised anymore to find original thought crop up in other places of which two examples could be cited.

CroP-WIP

  • Top left hand in the mind map is the Critical Review of Practice from an earlier module assignment.
  • The bottom left hand is a storyboard outline for a useful video resource that is being created. (This proved very helpful to visitors to the summer exhibition).
  • Above this is the connection to the CRoP linked to Ghost Abstract Figurative Themes. While Ghosts per se have been dropped since the review with a book designer, the landscapes remain ghost images.
  • Practice location top right is the piece being updated for this dynamic project. It does need to settle down urgently prints, book, portable exhibition and talk to be worked on.

There is quite a challenge here as none of the work has been subcontracted to printers or anyone else so all of the skills from the photography through to all branches of making have been absorbed and this alongside all of the marked assignment work. For anyone wishing to embark on an MA Photography Course they may wish to consider how much work to outsource to specialists. Personally, outsourcing the Book making to an online offering is not preferred over an artists book dummy and hiring a book designer would lose some of the original intent to someone else’s view of what the market would stand. The work is still too dynamic for this.

Bottom right is the remainder of the CRoP assignment requirement, which pertains to the public showing.

In terms of evidencing the work as mentioned here in an FMP lecture video then on the subject of gaining public feedback, there is a need to reach out to practitioners to elicit attendance or somehow provide comment on the work.

I now have a date of the Easter Weekend for showing the work over four days at Amersham Studios tradesecrets.live Only now can approaches be made by reaching out.

As image-making is fundamental and has been a major focus, work has been flooding forward and is now starting to receive critique (two critiques were missed through technology issues).

There is scope for an earlier pop-up exhibition at the same location. No promises yet. Details will be published and a campaign run via Instagram account foto_graphical and Facebook.

<placeholder> for draft CRoP

PHO705: Assessment Period Reflection

So what has been happing of late?

  • Making new work.
  • Planning going public. (which requires new work)
  • Ramping up the professional
  • Ramping up the quality of work

Overall, an exciting period of practice development.

Concluding, is the intense period of reading and learning putting substance behind research based practice. Going are the days of creating themes in support of project narratives.

For visual language development samples of themes have been created.

  • Father mitochondria layered on mother image (mitochondria as transmitter). Biological markers ready to be layered in next stage.
  • Stills dropped out of newsreel of 100 years ago montaged into project examples
  • Family archive motherline photograph layered with glow image (mitochondria)
  • graphic development of DNA and cellular imagery and text

A rather busy and very worthwhile period indeed.

Three months of work to finish off a professional portfolio of high quality to be taken public Reacquainting with the MA Photography requirements caused a close look at example work created so far.

There were then many ups and downs hinging on the practice of being fully digital in the making. With much time spent in the digital darkroom the methodology was fully re-examined and especially following the digital imaging Symposium at Westminster University.

The Symposium was good and gave access to several key scientists in skincare and medical forensics. For those that know about the project the relevance should be clear. Much was confirmed around the artist’s assumptions of biological science as applied here.

The quality of the work then came under deep scrutiny anticipating cramming a lifework into a meagre 10MB PDF file without undue loss of image quality. The answer is InDesign and the methods documented in the FMP block.

However, any signs of a borderline quality entering the process and the situation will only worsen. Were there signs in current work?

Previous bad experience of transferring to mobile working and lack of connectivity in the Scottish Highlands led to a deliverable quality issue. It was never planned to be like that – the cohort will remember those events.

In an attempt to avoid technical issues deep scrutiny was performed on the work. A solarisation filter is quick to pick up on banding faults and pixelation (not in the original but from processing).

How to resolve this? Some very detailed analysis and comparison trials showed how and where different algorithms broke down affecting an unacceptable number of images.

During the last week of the “break” or so called University Assessment Period, and to which this blog post pertains work continued urgently to sort out technical issues. A number of workshops and external resources were called upon and a growing amount of time was soaked up.

This continued into Week 13. The current blog post is a retrospective. That is how important it was to resolve quality, instigate testing and build a professional approach to practice. Time normally spent learning and researching art and photography began to make way to working the critical methodology during the FMP blocks.

It would be great to have visual examples accompanying this post but for now it is important to continue making and delivering images elsewhere. Return later when priorities resolve.

There has been much catching up to do. After 10 weeks of being slain by the aftereffects of two bouts of flu, it is sad to note the passing of two more family members in the run-up to year-end.

In a way, the losses underline the importance of the project being made complete to pass on to others. The pay-off would be in gathering the technique that others may wish to use with their own, alongside forever unfolding events on a world stage, whether that be a 9/11 or something else.

PHO705: Assessment Period Reflection

The Helter Skelter that is Making (of late)

The research period moved into the making phase within the digital darkroom.

Many up and downswings have been encountered in the making, from renewed optimism to unexpected problems arising that needed to be resolved.

More structured recording of image statuses has now been established on Evernote as a wider body of work has emerged, none of which is entirely satisfactory at present.

Direction around abstract outcomes such as landscapes for some images fell foul of image banding as well as encountering more editing suite false images on the screen versus print.

Being guarded and mindful of this resulted in changes. A solar checking layer is used to detect banding where it might not be immediately visible to the eye followed by a step by step expansion method and 100% viewing (or do and undo merge layers).

And so too, subject matter bias changed in moving to the biology theme with the development of skill in making cellular images alongside associated graphic elements. Maybe too this was an avoidance strategy as avoidance of quality issues which and it led to switching the major theme to and fro ghost/landscape/biology

The methodology has changed through this as methodology currently biases towards forms as Surrealist imagery.

Another branch in the period in between these stages meant conducting a series of trials of merging stills dropped out of newsreel video. That presents challenges with the mixed resolution, edge problems and differential lighting when integrating. Time out was taken to practice overcoming these challenges but as a major wartime theme production has stopped for now. The problems can be tackled with more confidence having gained more practice on different methods. Whether to return to this or not is the question. There are probably too many themes for a book or exhibition and so something has to go. If the biology theme of cellular imagery went ahead then maybe too many similar images result. There is no obvious solution at this stage and so work continues with the numerous themes,

Reading the course requirement for quality scanning and professional making at this level on top of evidencing this does lead towards a situation of panic in these matters.

Thinking through the image merging the experience from the Summer exhibition weighed. Separate archives (of the author in this case) and abstract expressionistic images led to triptych layouts that worked in exhibition but not as a book (the weight of paper in a signature with not enough strength in the stitching. Signatures are complicated, always looking wrong at the earlier printing stage but turn out right, where triptych became unmanageable in the handling and ended up being complex or not practicable as a dummy.

PHO705: Working up the resolved portfolio

This blog post is a mixture of items from artist research through publication planning through to misleading image editing.

Artist Research

Helen Chadwick

Tony Essler

Exhibition

In the next week, the venue and date will be confirmed with the venue owner. The last exhibition, during the summer, was presented to an audience as a learning exercise in preparation for this FMP module of the MA Photography course.

As a learning thing, it was invaluable on all fronts. It is proposed to repeat this form and improve upon areas identified from advanced ‘marketing’, through to the quality of the edit with improved visual language and narrative.

Rather than stand alone as an unmarked work – course delivery is digital, the exhibition will again avoid being a Vanity project and help build the final PDF edit.

Newspaper|Magazine| Book

Having learned to hand bind and having practised by making two books and an exhibition pamphlet, the principles of making have been acquired and will be used to guide the selection of paper medium rather than allocate time to the unmarked making which cannot be handed in.

So printed artefacts will be designed and made but will use a professional service. A candidate service is currently being looked into.

Exhibition printing and mounting can be kept ‘in-house’. A decision will be made on technique, whether or not to do as in the summer surface mount prints on 40 by 50 board. The quality of the craftsmanship can be elevated to archival print mounting using cutouts and non-destructive taping.

The idea is to act in advance and take advantage of the settled decision to use 4 by 5 print ratio at A4. This means the board can be cut-out in advance. The layout is proven to work with the exhibition physical space and a simplified display method and available studio-style lighting which has been further augmented.

The ‘deal-breaker’ is in the image edit. If necessary, any archive image used that has to be landscape 4 by 5 ratio, will break the exhibition layout not just in terms of conformity but spatially – the exhibition needs to sit well within the identified space.

The conformity can be enforced as long as it makes sense and any ‘vital” image may be re-introduced into the final PDF edit.

The main images were previously described as being in an abstract expressionist style, by creating an emotion or feeling. The project has moved ever closer to the abstract surreal.

The abstract surreal is intended to be themed with archive photographs: originals of the author, family archive or images processed from historical video footage.

Image Editing Update

Having fallen foul of an editing software fault during a previous module (Adobe Lightroom Community, 2018), during the break it became necessary to view edits at a Zoom level of 100%. Work saved radically differed from the same image displayed on-screen during the editing process. What you see is not what you get. Variation from intent does represent a problem.

Some research into the unintended change led to an answer online (Adobe Photoshop Community, 2018).

The explanation is that the processing software avoids computer processing load by interpolating any smaller representation. In the current project, this is typically when the evolving image is fitted to screen – do not rely on what you see on screen unless at 100%. This became apparent in making image comparisons of processing Method A versus Method B following last months (December) Symposium on Imaging Science.

Bibliography

Adobe Photoshop Community (2018) Merge Layers fault. Available at: https://community.adobe.com/t5/photoshop/merge-adjustment-layers/td-p/9842482.

Adobe Lightroom Community (2018) Random red blocks appear on images exported through Lightroom. Available at: https://community.adobe.com/t5/lightroom-classic/seemingly-random-red-blocks-appear-on-images-exported-through-lightroom/m-p/10134977.

Innocence (2020) innocence paris. Available at: https://www.innocence-paris.com/fr/.

PHO705: Assessment Period Reflection

This reflection is made during the break otherwise timetabled as the first of three weeks of a University assessment period. No work on the Final Major Project FMP module is under assessment at this time. It is simply a break during which work is able to be progressed.

The activities conducted have been:

  • Guest Lectures and
  • Post-processing photographs.

Guest Lectures

The (optional) lectures watched back are:

  • Christiane Monarchi Part 1
  • Christiane Monarchi Part 2
  • David Moore
  • Guy Martin

The guest lecture by Jim Mottram was viewed last year. These lectures have been very useful and represent a blogging task that competes for a limited resource (time) when working on the priority task of making work. It will be necessary for completeness to return and write up the blog posts. It is interesting blogging this point of view when it is still the break.

Post-processing

The methodology employed is to post-process photographs of healing wounds into surreal/abstract style. Subsequent to this is a choice of theme that is essential to building a narrative.

There needs to be an oversupply of candidate images for various outcomes:

  • Exhibition images (for subsequent edit/reduction for the assessment PDF)
  • Book dummy in particular for a group meeting with a Book Designer.

Progress in post-processing

From the outset, time was taken to make the project a research-based project. This has matured and could go on longer than the permitted time for the course but now is coming together as a whole and so making has resumed.

A mixture of figurative images or images with other referents can be seen here. In these images above the referent relates to themes of ghost, inner/outer space, landscape/seascape/mountainscape.

With research ideas in place, making by intuition took take-off once more. As this progressed, that state of flow that is spoken of returned and a variety of outcomes were generated.

Variations sprang forward as in the case of the mind interpreting the outcomes as weird and eerie then finding this feel worked its way into non-healing as you recognise the characteristics in source photographs that likely produce an aesthetic. In particular, there has been an emphasis on synthesising a project theme of inner/outer spaces.

Also, by expanding reading into the Surreal it quickly becomes apparent how geometric manipulations used appropriately can expand the scope of work produced. There is a personal appeal and education bias here. At present, more general acceptance and a decision to proceed will be down to making more geometric manipulations. The purpose is to stimulate structural interest in the original glow images from the trace of healing and life energy.

Module activity has firmly progressed from ArtSci into digital imaging, and from outcomes into how they arise in the conscious mind supported by a reading of the weird and eerie and of the unheimlich and of place.

Another branch being touched upon is a return to further artist research to aid the positioning of practice amongst contemporary photographers.

In the digital post action, it is necessary to limit change if the image becomes overprocessed. For example, banding can occur. In a project that encompasses the real and the imaginary, there is the analogous of realistic depiction and an imaginary version of the image found to be displayed sometimes on screen.

Artefacts first noticed in some processed images in an earlier module returned to haunt a number of edit in FMP. The previous observation was of fringing, now it was of banding.

Eventually, this was traced to image zoom level affecting how the software adapts. The software creates in effect, fleeting visual outcomes that do not exist in reality when saving a file or printing and image. This seemed quite ‘haunting’ until an explanation was found on a technical forum.

The software maker in its attempt to reduce the processing load for a displayed image that is zoomed interpolates the pixel data and injects impermanent changes. Surreal/abstract imagery developed for the FMP Project can be prone to showing the desired finish but it is not possible to save or print.

It is not just the camera that sees differently to the eye, but now the editing software which is deemed an integral part sees differently to the author The camera never lies can be extended to the editor software never lies?

In defence of the software manufacturer, the product is intended for general purpose use within particular specialisms. The type of processing used for the FMP project is susceptible to showing up the problem discussed. It is especially true where there is an openness towards challenging the computing limits.

Integrity checks are now performed on new images during the making. An integrity check would be defined as confirming what is intended is what you see on screen and what you get as a result. We are used to JPEG saves adding artefacts in performing destructive processing when reducing file size. We are already aware of this. It is more of a surprise to see transitional effects that exist completely within the editing software and then vanishes.

If the effect is desirable and needs to be made permanent, then this involves using a camera to photograph the screen. This may or may not be successful by individual image.

Two checks have been routinely incorporated.

First is to add a curves layer with solarisation characteristic. High contrast shows up transitions and identifies banding. Fringing, by comparison, is already directly obvious to the eye.

Curves solar characteristic makes subtle banding more obvious.

Second, as an alternative is to merge layers – the difference is immediately obvious. If editing layers have to be retained then unmerge once the check has been performed.

Finally, try to work at 100% zoom for the true image or switch zoom to check the render. Full zoom at 100%, however, is usually less desirable than fit-to-screen that allows the overall image to be viewed.

Depending on the aesthetic and theme, some forms of banding are referent of DNA testing and so may be desirable in a print.

Reprocessed Photographs

Some photographs taken before FMP have been reprocessed to use more refined techniques that have been developed.

This increases the variety of source material and is consistent with good ethics given the nature of the subject, healing wounds.

More reprocessing is in progress and as the number of outcomes increases a decision can be made.

Narrative

The decision is pending at present around the visual theme. Adding archive to the mix is felt to really strengthen the presentation making it more accessible to the viewer. One processed image has had a second processed image layer added where the still was dropped out of video footage. The combination works well. There is a judgement needed in such pairings and whilst a second paring was found it still remains at present to increase the stock of surreal/abstract images.

PHO705: Recombinant Rhymes and DNA Art

Project development: rhymes, art and naming of the photo project.

Oxford definition.

This post is an extension of the Recombinant Rhymes and DNA Art (McNamee, 2019) feature in the blog post, PHO705: Research Artsci, Communicating Science Visually, Computational Biology and a new Avant-Garde

The intention is to deliver something art-based (rhyme or graphic text or image titles) over the upcoming period between terms as noted in the Final Proposal. An intention is to experiment to discover if contextualisation and visual language can be built with Recombinant Rhymes or DNA Art.

The idea is to use imagination in selecting words like TELEOLOGICAL that contain DNA base letters ACGT and combine them for effect, perhaps making a video with a reading of a rhyme. Words are intended to be selected for their connection to narratives of the project.

Select from the following ACGT words for some connected meaning:

Base-words-ACGT

Examples:

  • Advocating 
  • Fracturing conflagrations
  • Countervailing 
  • Lethargic contagiousness

Interestingly, the validated list contains the terms Abstracting and Photographic.

Project naming

In short, “Motherline” is the name presently chosen. This is less politically charged than the earlier proposed project name “Matriarchy”.

Matriarchy like patriarchy has political overtones, so is not so attuned to the themes of the work.

Motherline is derived here from the post PHO705: Visual Language of DNA Testing and the terms:

  • Family Ancestry (autosomal DNA)
  • Motherline Ancestry (mtDNA)
  • Fatherline Ancestry (Y-DNA)

Bibliography

McNamee, A. (2019) ‘Art of Now Recombinant Rhymes and DNA Art’. A Whistledown production for BBC Radio 4. Available at: https://www.bbc.co.uk/programmes/m0002rkb

PHO705: Guest Lecture (Publication) – Christiane Monarchi Part 1

Watch this Guest Lecture video and comment.

Christiane set-up Photomonitor and explained how this was set-up from her getting involved in Pluck and Portfolio and a desire to find out what was on. across a range of areas over and above the large institutions. She would advise in how to set up a niche.

Gaps were found in the offerings of:

  • Art List – large institutions
  • Art Rabbit.com – global and no UK focus
  • New Exhibitions Guide – major mostly historic items
  • British Journal of Photography – stopped doing listings
  • Photoworks – annual, great read but infrequent

Christiane’s requirement was UK and Ireland centric, for artists and emerging writers and all in an up to date guide of what’s on now. Here need was to bring people to photography and go and see it, think about it and spread the word. All without ads and is free.

The result in 2011 was www.photomonitor.co.uk. From the front page, key links are the Portfolio link written by the artist rather than mediated, there are listings sometimes with reading more depending on the gallery and their subscription. There are Reviews including of live exhibitions. Interviews talking to artists. Essays that have been researched. Auctions cover smaller upcoming auctions. Collections are interviews. Book reviews cover self-published and large publishers.

Christiane encourages artists to take a break and listen to others.

In terms of making a publication the 5 Years’ statistics were given:

The right hand column draws funding and that pays for commissioning the items on the right as community members.

In summary there are many many opportunities to see work that is shared.

Commissioned pieces are paid at 20p a word to a maximum as a budget constraint. 500 words on a screen are practical.

Commissioning is wider than London covering Wales and Ireland. Timeliness is key as mentioned to get people to the exhibitions. Social media is important for sharing.

t: @photomonitor

Christiane talked about potential for growing Photomonitor including into streaming of live audience talks.

Some Inspiring Platforms were listed:

Anyone with new ideas is encouraged to get in contact.

Response to Online Publication.

It is always exciting to see the smaller business venture establish itself and succeed. Any personal involvement would be to read Photomonitor and assess how it stands alongside say for example, major gallery memberships.

The online element is approached as a Portfolio website and as Instagram for marketing (planned) not to mention this blog site created for the MA Photography course.

There is still more to discover in Part 2 of Christiane’s guest lecture.