With regards to the question of text, I have to be honest and say that actually, I don’t see my project including much (or any) text at all. All of my images relate to the theme of metamorphosis, which I recently realised is the thread that ties all of my work together. In this type of photography, you try to convey a concept or message with a photograph. In this assignment, your challenge is to shoot as if you were using a film camera. That being said, sometimes a little direction and guidance are necessary. Capture photographs with the primary or tertiary colors. Its a reflection, or a study of an inanimate subject. Take a photo of a person smiling or scowling, right? Be sure to make water the subject and not an accent to the image. All rights reserved. Self-assignments are key to any photographer's growth. I would like viewers to see my images and ask themselves questions about what I’m doing and why but also, to ask themselves questions about their own interactions with the landscape. What I understand from the term “conceptual photography” is something that is, at its very core, about ideas rather than visuals. The goal in this one is to study textures and forget about the object itself: the texture becomes the subject. You don't have to study color like a painter would but can use tricks used by interior designers to influence your color decisions. Not so. Challenge yourself to capture the same motion in different ways. What I will address however, is my hope that by working with ambiguous and metaphorical images, I can encourage viewers to bring their own thoughts, feelings and interpretations to my work. I’m not saying that complexity and ambiguity are necessarily prerequisites of a conceptual photograph but they do seem to be fairly common elements. Improptu Alfred Hitchcock theme Hopefully, you will learn something new with each assignment and be able to use that in every photograph you take in the future. Few photographers are using Photoshop to edit and process - all the magic happens in-camera. I suppose in this respect, since my work is driven primarily by ideas, it would fall into the genre of ‘Conceptual photography’ although that doesn’t mean that I consider the ideas to be more important than the visuals. Water. Pros and Cons of Film and Digital Cameras. Title the assignment "Conceptual Photography Assignment." His passion for truth invariably places the integrity of the picture far above such matters as monetary gain or personal safety. This assignment should teach you how to recognize and accentuate those elements in your photos. What about happiness? I am also making an effort to reflect on my own experiments/work in progress and to consider how I can move ideas forward. Each and every image presented for this assignment started out by me asking the question “what if…?”  This is very typical of my personal voice, which is generally characterised by innovation/experimentation and alternative photographic techniques, both used to explore environmental examples of slow violence. When I was making the cocoon images, I was thinking very much about the concept of alchemy. Choose an object that you see or interact with every day. Some of these techniques used an element of chance (e.g., the fragmented lumen prints) but others required that I carefully considered design elements (e.g., the 3D collages) in order to create a successful image. Notice how the different lighting directions and camera angles can change how much texture appears. Take for example my current focus on environmental changes in the Anthropocene, geology and geological processes, and alternative photographic techniques (e.g., using physical/chemical/digital forms of alteration). Use this assignment as an excuse to take an afternoon photo excursion. The perspective assignment challenges you to view the world from an entirely new perspective, which in turn gives the viewer a new look at the ordinary. Once you have an idea of color theory, take another photo excursion and put what you've learned into practice. At its very core, my work is about transformation; it is about the processes and consequences of profound change. Choose a subject then look around for lines in the scene that you can use to 'lead' the viewer to the subject. Of the remaining images, I think that the most successful and interesting elements are the fragmented/ephemeral nature of some of the prints, the images that employ deception/mimicry, the use of juxtaposition and the surreal/psychedelic colours generated in some of the objects. Shadows are integral to creating depth in a two-dimensional medium such as photography. Instead of relying on the camera's screen to see if you 'got the shot' you will rely on your instinct and knowledge, just like photographers did before digital photography. At the moment, my overriding concept is metamorphosis and butterflies are the classic biological example of this, which is why they feature so prominently in my imagery. What Are the Autofocus Points on a Camera? On the contrary, I would like to think that my work is both intellectually and visually engaging. Conveying a sense of motion is often crucial to capturing a scene or emotion and it is an essential skill for photographers to practice. I have tried to reflect on how my reading relates to my practice and to highlight any ideas generated by my research. Email This BlogThis! Enter your email address to follow this blog and receive notifications of new posts by email. Ultimately, it should start with you the photographer first unless you’re working for a publication and the photo editor assigns you an editorial photography assignment. Discussion in 'Photo Assignments & Technical Challenges' started by thefox, Sep 24, 2011. I also thought that it was interesting that one of the interviewees said that ‘conceptual’ was a label not often used by the artists themselves but rather it was a label applied to them by someone else (e.g., curators or critics). This time, every time you find something to photograph, stop! In almost all of my recent projects my artistic process has been driven first and foremost by ideas, although having said that, I don’t think that visuals are unimportant. Turn off your camera's LCD screen so it does not show you the image after you have taken it. The best way to learn photography is to practice, though sometimes you can get stuck in a rut and not know what to shoot. Obvious examples of “conceptual photography” mentioned in the videos are the works of John Hilliard and Broomberg and Chanarin (notably their project ‘The day nobody died’ although interestingly, the artists themselves describe this work as the antithesis of conceptual photography). Sadness? This exercise requires a bit of study in color theory, which you will then put into practice in your photographs.