Exercise 1

Marquee Tool/Lasso Tool

Cut out the windowpanes with the marquee and lasso tools. Create a single image of clouds, apples etc. appearing in the windows of the building.


Using images IMG_1465.JPG, IMG_1678.JPG and blue-sky.kpg


A Place Re-Imagined (2011) – Hailey Lane

A Place Re-Imagined (2011) - Hailey Lane

This photograph (title unknown) is a part of Hailey Lane’s collection A Place Re-Imagined (2011). My Design Studio 3 Assignment requires me to produce a film about our favourite place, in which I have recently learned how to manipulate manual focus to create the ‘blurred lights’. It may be a simple technique to talented and aspiring digital photographers, but I cannot wait to learn how to do this on my DSLR camera and various other skills. This image has lead me to research further into Hailey Lane’s photography and hopefully I can use her as my chosen artist of interest in this course.

More Inforamtion on A Place Re-Imagined (2011):
“Seeking the unfamiliar in the familiar, I embarked on an exploration of the everyday places the casual observer might encounter–places littered with vague childhood memories. Revisiting these locations gave me a sense of excitement. Alone, at night, the environment changes. Things happen. A tension arises. Memories resurface.

The absence of light and people sees me lose myself. I find chaos, my own catharsis of incandescent scenes bursting with new life, new memories, arousing the impulse for new and necessary dreams. I’m now enticed and intrigued. I see the night as an opportunity to live in the moment, as an invitation to slow down, to look and to feel. Scenes dissolve into one another, coming into focus and fading away as I revel in the new and resonate with the old.”

Source: http://haileylane.com/#A-Place-Re-Imagined-2011

Digital Photography Terms


  • Sensitivity to light rating of a digital sensor
  • Lower ISO means less sensitive, higher means more sensitive
  • Speed: 100, 400, 1600 (doubles)
  • Digital sensors have increasing ‘noise’ the higher the ISO
  • ‘Noise’ occurs mainly in shadow
  • 200 ISO is the general
  • 150 ISO is best for exposure


Lens – Focal Length:

  • Wide angle Lens (‘squashes’ the top to the bottom and ‘vignette’ – darkens corners)
  • 24mm is wider than 26mm
  • Also portrait, standard and telephoto
  • You can create perspective and distort photographs


Shutter Speed:

  • The amount of time light is allowed to enter the camera through the lens
  • The lens open and close for a moment in time
  • Measurement: whole and fractions of a second (1 second to a 1000th of a second)
  • Each shutter speed is half/double the previous



  • The opening in the lens which controls the amount of light  entering the camera
  • Measurement: f-stops (fractions of a whole number)
  • The longer the f-stop number the smaller the opening and less light will pass
  • The higher the f-stop number will halve the amount of light entering
  • The smaller the f-stop number will double the amount of light entering


Depth of Field:

  • Not the same as focus
  • Greater focus when there is less focus on the centre



  • The total amount of light which falls on the film plane
  • The balance between exposure, aperture, ISO, shutter speed etc.



  • Taking an under-exposed, average and over-exposed image and digitally merging them together to create the desired/correct exposure


White Balance:

  • To maintain/retain colour, making the colours as realistic as they are shot  


These terms are the basic terms I need to familiarize myself with to begin the course. I will be able to further development my skills by understanding and using these techniques.

Narelle Autio’s Collection Water Hole

Narelle Autio's Collection Water Hole

I am inspired by this collection in particular because I think there has been a focus on light. The water reflection shown in this image, as well as those in the rest of the collection demonstrate the reflection of light and water.

“Narelle Autio’s vibrant and award-winning images of Australian coastal life have won her impressive national and international acclaim. Since they were first exhibited at Stills Gallery in 2000, her vivid photographs have also captured the hearts and imaginations of viewers. One beauty of Autio’s work is its ability to speak to so many people about their own experience of being coastal dwellers. Another is the play of colour and light in the photographs, giving them a magic and painterly quality that transcends the usual depictions of the beach. Autio’s images give back to the coastline the complexity, drama and beauty that are eroded by postcards and clichés.

Narelle Autio’s new work Water Hole 2012 celebrates the otherworldly beauty of the dark waters she encountered whilst travelling through parts of Queensland, Northern Territory and Western Australia. Driving through these dry and remote areas, she found herself pulled towards the isolated bodies of water that dot the landscape. These water holes dictated the path of her travels, crossing the parched earth of the day to arrive at waters edge by afternoon. Her underwater worlds contain an element of dark fantasy, like the mythological underworld of Persephone. Plant life rises, waxy and gnarled in texture like sculptural forms, weed scratches the surface of the visual plane like abstract expressionist drips of paint and uncountable hexagons of light seem to equally construct the images from dots as they fleck and obliterate their surfaces.”

Image: Untitled #14, 2012 – Type C print
82 x 120cm, edition of 8 + 2 AP

Source: http://www.stillsgallery.com.au/artists/autio/index.php?obj_id=main&nav=1

Megan Jenkinson’s Collection Atmospheric Optics

Megan Jenkinson's Collection Atmospheric Optics

I am inspired by this collection because it uses natural ight and digital photography to generate a series of captivating photographs.

“The Atmospheric Optics series of aurorae is complimented by the Morrell’s Islands series, where the further conceptual dimension of apparent knowledge or belief is added. This series arose largely from Jenkinson’s reading of exploration journals, where the peculiar phenomenon of mirage islands was frequently mentioned. It seems many early explorers, such as Captain Morrell, named and carefully charted a number of Antarctic islands. Yet when later expeditions searched for them they had disappeared. The obvious explanation, that they were simply huge icebergs, is not in fact the accepted one, but rather it seems that Polar mirages were the cause. Distance, scale, and certainty, are notoriously fickle in those regions and still fool even the most seasoned observers (sometimes with tragic consequences). Again the lenticular process has been used by Jenkinson to entice the viewer into that unnerving world. Cold grey seas promise islands that come and go almost as if one stood on the freezing, heaving deck of some explorers ship.”

Image: Atmospheric Optics XI, 2009 – Lenticular
90 x 90cm, edition of 5 + 2 AP

Source: http://www.stillsgallery.com.au/artists/jenkinson/index.php?obj_id=series_02&nav=2

Nikon DX SLR D60

My Camera: Nikon DX SLR D60

  • Replaced the D40X
  • Entry-Level SLR Camera – lightweight and compact
  • Dust Reduction System
  • Expeed processing ‘concept’ seen in the D3 / D300
  • Active D-Lighting
  • Eye sensor (to control the screen display)
  • Optically stabilized version of the kit lens



  • 10.2 Megapixels
  • 2.5” Screen
  • APS-C Sensor (23.6 x 15.8 mm)
  • CCD Sensor type
  • Maximum Resolution: 3872 x 2592
  • ISO: Auto, 100, 200, 400, 800, 1600, 3200
  • Nikon F mount for Lens
  • Focal Length Mult.: 1.5x
  • No LCD articulation
  • 230,000 Screen Dots
  • 30 sec minimum shutter speed
  • 1/4000 sec maximum shutter speed
  • Dimensions: 126 x 94 x 64 mm
  • Weight: 522g
  • Image ratio w:h – 3:2
  • No image stabilization
  • Manual and Auto focus
  • Pop-up Built-in Flash (12m range at ISO 100)
  • Flash Modes: Auto, Red-Eye, Slow, Red-Eye Slow, Rear curtain
  • 2 or 10 second Self-Timer
  • USB 2.0 (480 Mbit/sec)
  • Storage Types: SD/MMC/SDHC card



Information Source: http://www.dpreview.com/products/Nikon/slrs/nikon_d60

Image Source: http://sharecamera.blogspot.com.au/2010/10/nikon-d60-dslr.html

Appreciation of Light

  • Shadows and Reflections
  • Enhance the quality of light manually and digitally
  • Think about light when you take a photograph

In Context:

  • Australian Light is at its optimum when the sun is rising or setting
  • Light during the middle of the day is harsh
  • We receive light all day (horizontal axis) which means we can manipulate and take advantage of various colours, temperatures and hue changes