hiroshi sugimoto

Theatres

Hiroshi Sugimoto has been working on this project since the 1970's. He takes his large format camera into the theatre and exposes the film for the duration of the screening. It's beautiful.

Homepage

Art 21

printing for review 2

So I made three prints tonight based on recent location scouting. They really aren't great... but I wanted to make them to keep develop my printing skills. 

This is what the events of tonight's printing have taught me:

- I still have a lot to learn in Photoshop but I'm a lot better since last time. 

- It may be peaceful and a good work environment at uni in the pm-am... but there's no-one here to help. Print during the day!

- Make test prints! If nothing else it saves the inevitable waste of paper! 

I tried the cinema shot first. This is what it's meant to look like (roughly):

This is what came out:

I really haven't been able to work that out. The other two came out ok so I really don't understand the problem... I'll come back tomorrow and see if someone can help me. All of those unsuccessful attempts did help me memorize the process... It goes a little something like this:

1. Working Profile.

Edit > Assign Profile > Profile > from the drop-down menu select Ekta Space PS 5, J. Holmes > OK

2. Soft Proof

View > Proof Setup > Custom

Device to Simulate > E2400pbISP_PSGbpNCA_D50P

Don't check 'Preserve RGB Numbers'

Rendering Intent > Relative Colormetric

Check 'Black Point Compensation'

Display Options (On-Screen), Check Simulate Paper Color *(I'm nopt sure about Black Inc, it's probably a good idea to check it though).

Then...

View > Gamut Warning

(and this is where you should make any edits, then a test sheet for your test print, so that you can then come back here and edit again!)

3. Print Setup in Photoshop

File > Print... (the '...' indicates that there will be further options in that selection)

Printer > Epson 2400

Page Setup > Format for: Epson 2400, Paper size > A3 (for me... not everyone)

Select the orientation of the page.

I personally didn't have it centre or scale my images because I had worked that out earlier with my canvas size... but it would probably be the smarter/easier thing to do!

Ok, the important stuff...

From the drop down box on the right, select 'Color Management'

Print > Document

Options > Color Handling > Photoshop Manages Colors

Printer Profile is > E2400pbISP_PSGbpNCA_D50P

Rendering Intent > Relative Colormetric

Tick 'Black Point Compensation'

Hit 'Print...'

4. Epson Printer Driver Settings

Printer: 2400

Presets > Standard (the saved ones aren't very reliable), then the following:

obsessional organisation

One of the reasons I started this was blog was to increase my productivity. I suffer from a very unreliable memory, so this is a great way for me to store information that I would like access from later and from somewhere else. I also really want to establish an effective workflow, now, while I'm still at uni, for projects, life, work... everything. For me that involves writing and recording... and of course documenting.

A big part of this process can be very simple - lists. But scribbling indecipherable jibberish on random scraps of paper tends to end up lost (and then found again in found) and useless. So listography is now where I transfer my scribbles, so that I can cross things off (good for the soul), and continue to update all those things I don't want to forget. It would make a good home page for anyone who's likely to get lost in internet infomania, instead of doing all those constructive things you dialled up for. It's pretty basic, and offers a much prettier version in old-school paper style... but this works for me.

Update: I found a better alternative for the list and to-do addicts... Remember the Milk. Its cool check it out. If you wanna be nosy and stalk me there too you can probably search for me... jeanc!

printing basics references

Epson Stylus Photo 2400 Specifications - Epson.co.uk

Paper size - Wikipedia

If I'm to print a full size A3 print on of of these printers, I can print right to the edge if I choose the right settings in the printer driver? Otherwise the margins are 3mm left/right, 20mm top/bottom.

A3 paper: 297mm x 420mm/11.7" x 16.5"

I'm not planning on doing this anyway but I think it's important to know the printable area when you start prepping for printing in Photoshop.

Ok, now I'm confused. Why is an A3 printer suggesting it can print a larger area than the surface of the paper? I'm going to make a new canvas in Photoshop, the size of an A3 minus the margins (assuming you have to do it for each 4 sides). That will be:

291mm x 380mm

I'm moving my images onto this canvas, resized for printing at:

35cm x 18.92, pixels, 2480 x 1341. Resolution of 180. 

Cross your fingers xx

aspect ratios

This series should be presented in a cinematic style. 

I'll obviously have to crop the images fairly heavily if I'm going to shoot with the Hassleblad, less so if large format. Either way, I've gotta decide pretty soon which one to go for, so I can get a better idea in my head about what I want to do. I'm leaning towards cinema - 1.85:1

content

I've decided to open up the interestingess channels and invite posts from special guests.

I'll be inviting academics, established and emerging artists, writers, peers and more.

The content is up to the author. It would be nice if it related to my project (think 'why do we (especially generation y) feel so compelled to constantly engage in screen-based media?'), but I find everything interesting so whether it be technical, something you think everyone should know, or even something as pop culture as why you like watching Buffy so much... I'm interested. Writing itself is not even required. If you'd just like to share an image/video/link... I'm interested.

Forward this on to anyone you think would be interested, or send your ideas to s3162611 at student.rmit.edu.au

Thanks!

flash kit, hassleblad + home studio

Since the studio was ready, I borrowed one of the new Broncolor kits with a Hassleblad with a 50mm lens. Very exciting.

I packed it all nice and safely into my car (with seatbelts!), and when I got home carefully examined the contents. 3 heads, a softbox, two barn doors, an umbrella and a sync cord.

I extended the stands, with the centre column remaining close to the ground, feet out at about 45 degrees. I wasn't sure but that felt most logical to me, and I remembered at Deakin in Film we had sandbags on the poles between the legs and centre column, so I assumed I was doing the right thing. I arranged them in my preferred positions around the room.Then I got the heads out, loosened the head attachment and adjoing screw which holds it in place, and gave all the heads a new home. Then I begun investigating the attachments.

It took me a while to work out how to attach the barn doors. Finally I realised it squeezed into the inner circumference of the bulb shade. Easy.

The umbrella was pretty straightforward, just slide the pole into the side of the head, and attach the smaller bulb head.

The softbox was the trickiest. The bulb head was a heavy metallic disk, with holes for poles in the side. Extra holes were for different shaped softbox's. I worked out how to insert the poles and the cover... but the white softbox front cover seemed too small, impossible to velcro on. I finally realised that you had to pull the side covers back, poke the poles into the corners of the front cover (much stronger material than it seems), and once you've got that all in place, pull the side cover back up and velcro together.

So, I was ready to go. But no-one to shoot. I really wanted to try portraits, although I should have been working on my project. But I really just wanted to familiarise myself with the lights, not get too adventurous this time. But not only had I just spent my last $40 on 120 film (Kodak Velvia VC 160 - 6 rolls from the eager salesman at Ted's), I realised the kit didn't contain a hotshoe adapter for the sync cord. I knew I could trigger the flashes with the on camera flash on my 400D, but I hated having to use my flash (I hadn't yet realised I could turn it down), and I really wanted to have a go at the Hassleblad.

The next day I took some outdoor shots with the Hassleblad, it was such a different experience than using an SLR. It had a prism veiwfinder, and it was big! The wide angle tripped me out, I couldn't stop looking through it! I found it a bit difficult to focus though. I've always suspected my right eye isn't as good as the other so I think I should check that out.

A very helpful person informed me that there was a connection point in the Hassleblad lens. Of course! It was so obvious. I had even just re-read the medium format chapter in Ansel Adams' The Camera, and it specifically discusses Hassleblad's and how they're organised in components. The prism hotshoe doesn't even have connection points, its only purpose is to hold an on-camera flash. Everything else is dependant upon the lens.

Well I still had no subjects until a reluctant friend dropped in to lend me her MacBook, and I convinced her to be my guinea pig. From what I shot on the 400D, I needed to adjust the brigtness and/or distance of the lights from the subject and back wall.

When she left another friend told me he was setting up a myspace music page for a friend he's written with. He wanted to know if I could shoot some stuff for the profile. Perfect, come over now! I only had about half an hour with them, but it was great fun. I was a bit more accustomed to the set-up, my subject was playing some really nice acoustic stuff, and an amazing and soft Smashing Pumpkins cover, and I mostly just had to wait for those magic moments (and change lenses, batteries, film...). It was really fun. I think we all felt pretty special doing our things.

making a studio

Darren's week 2 class really inspired me to give lighting a shot. I was scared! Pro lighting gear is expensive, and for people who know what they're doing! But then I realised, I've studied this all before, I understand it, I just have to begin experimenting and putting it into practice... otherwise what's the point. But then the issue of location dampened my excitement. I'd heard on the grapevine there's a couple of studio's on campus, one somewhere near architecture, and another somewhere else for the video art kids. Oh, and a bluescreen 'downstairs'. Before I could be bothered to put the peices together, Sharna told me how she was setting up a miniature studio in her shed. Brilliant. I have a double garage at home, no cars occupying it, because its a disaster storage zone.

Well it was time for me to do some ritualistic renovations. I needed a new workspace anyway.

The garage was littered with piles of boxes and miscellaneous junk, with a bit of space for sitting and cigarette smoking. I basically just moved it all to the left of the room, stacked everything to the roof, and threw some rubbish out. I did a lot of sweeping, eventually mopping and vaccuuming too.

I begun painting the plasterboard that covers most of two adjacent walls, and the ceiling... but then my paint ran out as had my funds. Luckily, the paint fairy visited me at RMIT and I was stocked up again. It's funny though how much pastels can appear ceiling white in a dark alleyway at four in the morning. The closest I had was something I would describe as 'institution/school white', aka grey. Maybe blue grey. But close enough to white for now. After all that hard work I realised I would need to seal the floor. Concrete dust was up my nose and I wanted an end to it. You should really apply it with spray, but while I still had my motivation on the best I could do was use the roller I'd just finished the walls with. Section by section, the opacity waned, the sealer ran low. It looks pretty bad but hopefully everyone that doesn't get me will just assume I was going for some kind of artistic aesthetic.

It was a big job. It took me several weeks, and it sometimes felt like it wasn't meant to be. The lowest point was the day I discovered the monster spiders. I'd encountered a few before this point, even a redback, but I have never seen anything like this scary mother. (Yeah, they alwasy had millions of babies along for the ride). I made my mum kill it. She had to use a shovel. It was quite possibly the scariest moment of my life since my teen ouija board days. I really have to remember to 'bomb' this place at some stage, I've now encountered three of these beasts and its not fun.

Anyway, all I really need to do now is get a ladder and finish cutting in the cornices and get some more white sheets to hide the ugly wall of junk.
Oh I'll also need some tools such as a desktop computer for my big computer desk, and some lighting and backdrop stuff would help... you know, the basics.

weddings 2

Im trying to establish the foundations for a future business that I can then use to support myself. I've got a wedding in June, and I will learn a lot from it. Until then however, I need to work out the best ways to do this. I haven't yet had a chance to discuss this yet with the bride (who asked for me through a friend), but today I sent her an email.

Firstly, I tried to establish a negotiable fee plan. I give her a list of expenses, she gives me the money, then after the couple have the results, they can decide if they'd like to reimburse me for my work (because it's my first job and they're doing me a favour too). Otherwise, we'll agree to a fixed rate of around $500 and I'll receive the funds in advance.

Next, I outlined what will happen after the ceremony.
-I will do some post production work on the images, make up a proof booklet, and let her choose which ones she would like for enlargements etc from there. I looked aroundthe net for templates in photoshop, looked on lab websites for help, then finally realised I can do it myself in Photoshop. Go File > Automate > Contact Sheet II. Much better. Then just print however many 8x10's and have them wire bound. I'll also make up an options tick-box type sheet for the couple to fill out and let me know what they want.
- Then I will make up a book template in iPhoto and send off for it. I'll have to know how many copies, at which size and style etc, and probably should show them the data version for approval first. Since it will mostly be shot in photojournalism style, it will most likely be presented in rough chronlogical order.
- And finally I will get back into the post-production on the images selected for enlargemnts etc.

Establishing this kind of workflow is difficult, but once you start narrowing the options down it becomes easier. I'm looking forward to it.

weddings 1

Post in progress.

Wedding Phototgraphy on wiki

tips and techniques

wedding photojournalists association

apple iphoto books
more on photo books:
make them
info on custom profiling for iphoto books
a useful blog
another less useful blog

portable flash options

I saw some event photo's of Sapna's yesterday. The use of flash was very effective. She said she uses a Metz flash and often has someone else hold it for her. I think this would be such a great option. If anyone knows much about them, or where and how to get them cheap, let me know. Thanks.

the law

This post is in progress. It will ideally inform on issues of law, copyright, business, tax, etc. Fun but esssential. Feel free to share your know-how while I research. NAVA's advice centre is a great start.

links:

Copyright information from the Australian Copyright Council (.pdf's)

Creative Commons Australia

ideas worth spreading

You know when you finally catch onto something and then you hear people refer to it several times that same week? I found Ted. Finally.

These are a few of my favourite's so far:

Jill Bolte Taylor: My stroke of insight

Barry Schwartz: The paradox of choice

Sir Ken Robinson: Do schools kill creativity?

Al Gore: New thinking on the climate

And a couple more thanks to Kelvin:

Blaise Aguera y Arcas: Jaw-dropping Photosynth demo

James Nachtwey: TED Prize wish: Share a vital story with the world

how camera cheats work

Super-cheap diy for the pov & nerdy at instructables.com

Cigarette pack flash diffuser
DIY Photography Gels
Remote Shutter Triggers for Canon dSLR's

what makes fine art so fine?

I've always struggled with the differences between fine-art, and pop-art (not in the Warhol sense).

I should have called this blog "the embarrassingly obvious epiphanies of jean". Or perhaps Künstlerroman. It seems ridiculous to admit it here, especially because I had this same epiphany years ago with cinema. What separates the Lynch's from the Speilberg's.

It's quite simple really. It's the level of skill. You can't effectively subvert genres until you really understand them. The extra something that makes a work of art magic. is actually a subtle execution of successfully combining enormous reserves of knowledge, thought, effort, skill and time. It is why we say we appreciate art.

the matrix

I hate going to the library. I really like books though. But it's too time-consuming, and there's too many options. The pile gets too big, too heavy, and I tend to attract fines. And its not pretty like Metropolis or Readings or welcoming like Borders. I think a coffee shop would help.

Anyway, I went there on Monday. I got Liz Well's Photography Reader, Ansel Adams' The Camera, Caponigro's Adobe Photoshop Master Class (2003!!) a novel by George Orwell, and a couple of doco's on Ansel Adams and Bill Henson.

I should have only got one. But I knew I'd want more. I've been trying to read them... but I'm suffering from a mild case of infomania. It's ridiculous. Part of my interest and desire to do this project is to try and cure myself of this craziness... but I love it, I'm addicted to it. I tell myself I love learning but I think it's something more.


The process of reading textbooks is something I think I have to reaccustom myself too. Each page, paragraph, sentence, term lends itself the opportunity for associations and further thought. There's so much to consider, and you probably bring even more with you. The problem is in the pace. When reading textbooks, you control the pace at which you assimilate the information. The problem with that for me is that I'm too easily distracted. It takes a good narrative hook, or reward system, to keep me going. I'm a result of 21st century consumer society, always hungry for more, bigger, better faster! And I only just really realised that now. Which is proof enough for me. I feel a bit like Neo in The Matrix... less the Hollywood heroism and fighting a bit more apathy.


The novel is by Orwell, so its more nutritious in popular opinion than tv or film, but still junk food compared to Adams' The Camera (deceivingly simply title). But novels are narratives. I can handle them in length, because I know that's the format. Not as easy as a good magazine article, but ultimately more satisfying, in the same way watching the entire series of Buffy is so much more powerful than even the greatest character development in a wonderful film. There's a joy in the slow change, and its broken up by constant events.

Screen based media is another story. It's designed to flow. So much so that we psychologically can't, or really don't want to tear ourselves away. The role of the viewer role is so much more passive. I heard once somewhere (no doubt from a very unreliable source), that you have more brain activity while your asleep than when watching tv. That's why I got the doco's. I like the passivity. And perhaps that's the answer to my riddle.

Why do we love the screen? Beacuse we love being passive.


But that doesn't exactly fit with the whole gaming subculture...

scholarships/awards

George Alexander Foundation Scholarships
Opens 21 Jan Closes 18 April.
Successful students will demonstrate academic ability, the will to succeed leadership potential and/ or community involvement. The value of the Scholarship will be $7,500 per annum. Students who take up these Scholarships will undertake to contribute 15 volunteer hours and will receive 5 hours training in leadership and community involvement activities.
Application Form

Northcote Trust Scholarships
Now Open Closes 18 April.
Please note for this year only this Scholarship will also be open to students in their final year of study in an undergraduate program ($7,500 for their final year)
Application Form

RMIT Travel Grants
Applications close: Friday 2 May 2008 at 5pm.
RMIT University provides Travel Grants (up to $2,000) to assist students who are undertaking an international education experience (mobility activity) that is for academic credit within their RMIT Program.
Application Form

OS HELP (LOAN)
Applications close: Friday 2 May 2008
Loans of $1,000 to $5,196 available for a six month study period on exchange at one of over 100 RMIT partner institutions. For students studying between 1 July & 31 December 2008.
Application Form

The Freedman Foundation Travelling Scholarship for Emerging Artists
Closing date: June 6th 2008
It provides assistance towards travel (for educational purposes) and/or tuition costs for young people building a career in the visual arts broadly in the areas of painting, photography or sculpture. Overseas travel (preferably for the first time) to undertake formal study, a residency or a planned program with a professional artist or mentor will be considered, as will informal study for a planned research project.

Siemens Fine Art Scholarship
Awarded to students producing outstanding work throughout the School of Art. Contact Kevin White (03) 9925 2656 / kevin.white@rmit.edu.au / Contact Robert Baines (03) 9925 3540/ robert.baines@rmit.edu.au

Australian Institute of Professional Photographers (AIPP) National Photography Student of the Year Award
A monetary amount available for high achieving Final Year students. Contact Sandra Irvine (03) 9925 5238/sandra.irvine@rmit.edu.au

Australian Institute of Professional Photographers (AIPP) Victorian Student of the Year Award
Between $500 - $1000 available for high achieving Final Year students. Contact Sandra Irvine (03) 9925 5238/sandra.irvine@rmit.edu.au

CPL Digital Award
$500 awarded to the BA student demonstrating the best digital imaging work. Contact Sandra Irvine (03) 9925 5238/sandra.irvine@rmit.edu.au

Earl Carter Editorial Award
$2500 awarded to the best BA student in Fashion/editorial photography. Contact Sandra Irvine (03) 9925 5238/sandra.irvine@rmit.edu.au

Victor Greenhalgh Scholarship
$1200 available for a student who experiences financial hardship during their program. Contact Amanda Roberts (03) 99254995 / amanda.roberts@rmit.edu.au

Wolf Wennrich Award
$500 awarded to the student demonstrating craft excellence. Contact Robert Baines (03) 9925 3540/ robert.baines@rmit.edu.au

RMIT Business Medal
A $1,000 cheque awarded to a graduating student in any award program who demonstrates outstanding ability measured in terms of both academic distinction and community leadership. For more information visit www.rmit.edu.au/bus/pruInvergowrie

Fuji Xerox Pursuit of Excellence Awards
$250 awarded to students for both performance and ability in their final year. Contact Fay Mitchell (03) 9925 9446 / fay.mitchell@rmit.edu.au

Protos-Richard Gaze Awards
$1000 awarded to the 3 students who display the best design towards the pursuit of excellence. Contact Fay Mitchell (03) 9925 9446 / fay.mitchell@rmit.edu.au

The Joan Ritchie Social Science Prize
The objective of this prize is promote the practical or applied social sciences as contributors to human well-being and social justice. This prize is to be awarded annually, to the value of $500.

http://www.australiacouncil.gov.au/grants/arts_funding_guide

http://www.idp.com/students/scholarships/default.asp

http://www.jason.edu.au/

http://www.endeavour.dest.gov.au/student_exchanges/default.htm

http://www.artshub.com.au/au/default.asp

everything is illuminated

Now that I've narrowed the subject matter down to people engaging in screen-based (mostly narrative-driven) activities, I have to deal with the technical realities of it. Many of these devices (mp3 players, cameras, portable gaming consoles & mobile phones) illuminate the face of the viewer. But not well enough for photography in the lighting conditions I want (dark, Crewsonesque). So I'm going to need to increase the radiant glow. This is what I will need:

- unwanted device bodies
- used disposable camera's (for the flash)
- someone on instructables, photojojo, makezine, or maybe even flickr groups to have already worked it out for me.
- some kind of diffusing system, probably gels too.

Or maybe a snoot or two will do the trick? I really want light to play a big part in this. I want it to be beautiful... not just a means to an end.

Time to experiment. And research... I'm sure this has been done countless times before.

melbourne galleries list

The following is a list of Melbourne Galleries that I have painstakingly copied & pasted from the FAP site (thanks!). Feel free to add or note in comments.

Anna Schwartz Gallery
185 Flinders Lane, Melbourne 3000
(03) 9654-6131
Tues-Fri 12.00 to 6.00pm, Sat 1.00 to 5.00pm, groups by appt.
mail@annaschwartzgallery.com
www.annaschwartzgallery.com
Director: Anna Schwartz (member of ACGA)

Arc One Gallery
45 Flinders Lane, Melbourne 3000.
(03) 9650-0589 fax 9650-0591
Tues-Fri 11.00am to 5.00pm, Sat 11.00am to 4.00pm
www.arc1gallery.com
Directors: Suzanne Hampel, Emma Kranz and Fran Clark

Arts Project Gallery
24 High Street, Northcote 3070
(03) 9482-4484 fax 9482-1852
Mon-Fri 9.00am to 4.00pm, Sat 10.00am to 1.00pm
info@artsproject.org.au
www.artsproject.org.au

Australian Centre For Contemporary Art (ACCA)
www.accaonline.org.au
Free entry.
Tues-Sun 11.00 to 6.00, Mon by appt.

Australian Centre for the Moving Image (ACMI)
Federation Square, Flinders Street, Melbourne 3000.
(03) 8663-2200
info@acmi.net.au
www.acmi.net.au
Mon-Fri 10.00 to 5.00, Sat-Sun and public hols 10.00am to 6.00pm.

Blindside Artist-Run Space
Level 7, Room 14, Nicholas Building, 37 Swanston Street (enter via Cathedral Arcade lifts), Melbourne 3000.
(03) 9650-0093.
Thurs-Sat 12.00 to 6.00
info@blindside.org.au
www.blindside.org.au
Curator: Daine Singer.

Brightspace
8 Martin Street, St Kilda 3182
(03) 9593-9366
Wed-Sat 12.00 to 6.00pm, Sun 1.00 to 5.00pm
www.brightspace.com.au

Brunswick Arts
2A Little Breese Street, Brunswick 3056
(03) 9383-2263
Thurs-Sun 12.00pm to 5.00pm
www.brunswickarts.com

Brunswick Street Gallery
322 Bruswick st, Fitzroy (Opp Bar Open)
Wed-Thu 12-4pm Fir-Sun 11-6pm (New Hours)
http://bsgart.com.au/

Bus
117 Little Lonsdale Street, Melbourne 3000
(03) 9662-2442
Wed-Fri 12.00 to 6.00pm, Sat 12.00 to 5.00pm
email@bus117.com
www.bus117.com

The Carlton Hotel
http://www.thecarlton.com.au/

Centre for Contemporary Photography (CCP)
404 George Street, Fitzroy 3065
(03) 9417-1549
Wed-Sat 11.00am to 6.00pm
info@ccp.org.au
www.ccp.org.au

Charles Nodrum Gallery
267 Church Street, Richmond 3121
(03) 9427-0140 fax 9428-7350
Tues-Sat 11.00 to 6.00 or by appt
gallery@charlesnodrumgallery.com.au
www.charlesnodrumgallery.com.au
Director: Charles Nodrum (member of ACGA)

Christine Abrahams Gallery
27 Gipps Street, Richmond 3121
(03) 9428-6099.
Tues-Fri 10.30am to 5.00pm, Sat 11.00am to 5.00pm
View works online at www.christineabrahamsgallery.com.au
Director: Guy Abrahams (member of ACGA)

City Gallery
Melbourne Town Hall, Swanston Street, Melbourne 3000
(03) 9658-9658
Mon 10.00 to 2.00, Tues-Thurs 11.00 to 6.00, Fri 11.00 to 6.30, Sat 10.00 to 4.00
www.melbourne.vic.gov.au/arts

Citylights Project
info2@citylightsprojects.com
http://citylights-projects.blogspot.com

Citylights Centre Place
5 streetside lightboxes featuring illuminated printed artworks.
Located in Centre Place Melbourne.
New exhibitions every 10 weeks.
Always Open, 24 hours.

Citylights Hosier Lane
12 streetside lightboxes featuring illuminated printed artworks.
Located in Hosier Lane, Melbourne
New exhibitions every 10 weeks.
Always Open, 24 hours.

Collingwood Gallery
292 Smith Street, Collingwood 3066
0411-650-399
Tues-Sun 11.00am to 7.00pm
manager@collingwoodgallery.com.au
www.collingwoodgallery.com.au

Conical Inc.
Upstairs, 3 Rochester Street, Fitzroy 3065
(03) 9415-6958
info@conical.org.au
www.conical.org.au

Counihan Gallery in Brunswick
233 Sydney Road (next to Brunswick Town Hall)Brunswick 3056.
(03) 9389-8622 fax 9387-4048
Wed-Sat 11.00am to 5.00pm, Sun 1.00 to 5.00pm
counihangallery@moreland.vic.gov.au
Curator: Edwina Bartlem

Dantes Upstairs Gallery
150 Gertrude Street, Fitzroy 3065
(03) 9417-0488
Tues-Sun 11.00am to 5.00pm
dantes@bigpond.net.au
www.dantesfitzroy.com.au

Diaz-Castillo Gallery
1126 High Street, Armadale 3143
(03) 9509-1159
Tues-Fri 11.00am 5.00pm, Sat 10.00am to 5.00pm
gallery@diazcastillogallery.com
www.diazcastillogallery.com
Gallery director: Andrea Diaz-Castillo. Gallery manager: Jo Salt.

Dickerson Gallery
2A Waltham Street, Richmond 3121
(03) 9429-1569 fax 9429-9415
Tues-Sat 11.00am to 6.00pm, Sun 12.00 to 5.00pm
melbourne@dickersongallery.com.au
www.dickersongallery.com.au
Director: Stephen Nall (member of ACGA)

Eckersleys Open Space Gallery
97 Franklin Street, Melbourne 3000
(03) 9663-6799 fax 9663-6721
Mon-Fri 9.00am to 6.00pm, Sat 10.00am to 4.00pm, Sun 11.00am to 3.00pm
melbourne@eckersleys.com.au
www.eckersleys.com.au

Flinders Lane Gallery
137 Flinders Lane, Melbourne 3000
(03) 9654-3332
Tues-Fri 11.00am to 6.00pm, Sat 11.00am to 4.00pm
info@flg.com.au
www.flg.com.au
Director: Claire Harris.

FortyFiveDownstairs
45 Flinders Lane, Melbourne 3000
(03) 9662-9966 fax 9662-9733
Tues-Fri 11.00am to 5.00pm, Sat 12.00 to 4.00pm
www.fortyfivedownstairs.com

Gertrude Contemporary Art Spaces
200 Gertrude Street, Fitzroy 3065
(03) 9419-3406 fax 9419-2519
Tues-Fri 11.00am to 5.30pm, Sat 1.00 to 5.30pm
info@gertrude.org.au
www.gertrude.org.au
Director: Alexie Glass

Heide Museum of Modern Art
7 Templestowe Road, Bulleen 3105.
(03) 9850-1500
Heide Cafe (03) 9852-2346.
Tues-Fri 10.00am to 5.00pm, Sat-Sun and public hols 12.00 to 5.00pm
www.heide.com.au

Helen Gory Galerie
25 St Edmonds Road, Prahran 3181
(03) 9525-2808
Tues-Sat 11.00am to 6.00pm
gallery@helengory.com
www.helengory.com

Jenny Port Gallery
Level 1, 7 Albert Street, Richmond 3121
(03) 9429-6006
Wed-Sat 11.00am to 5.00pm
info@jennyportgallery.com.au
www.jennyportgallery.com.au

Kick Gallery
239 High Street, Northcote 3070
(03) 9486-5642
info@kickgallery.com
www.kickgallery.com

Kings A.R.I.
Level 1/171 King Street, Melbourne 3000
(03) 9642-0859
Wed-Fri 3.00 to 6.00pm, Sat 12.00 to 6.00pm
contact@kingsartistrun.com.au
www.kingsartistrun.com.au

Linden – St. Kilda Centre for Contemporary Arts
26 Acland Street, St Kilda 3182
Office (03) 9209-6794.
Gallery (03) 9209-6560 fax 9525-4607
Tues-Sun 1.00 to 6.00pm
info@lindenarts.org
www.lindenarts.org
Director: Giacomina Pradolin

Monash Gallery of Art
860 Ferntree Gully Road (cnr Jells & Ferntree Gully Roads), Wheelers Hill 3150
(03) 9562-1569
Tues-Fri 10.00 to 5.00, Sat-Sun 12.00 to 5.00, closed Mon & public holidays
mga@monash.vic.gov.au
www.mga.org.au
Director: Jason Smith.

Murray White Room
(Melway 1B T9) Sargood Lane (off Exhibition Street), Melbourne 3000.
PO Box 18400, Collins Street East 8003
(03) 9663-3204
email@murraywhiteroom.com
www.murraywhiteroom.com

The Narrows
Level 2, 141 Flinders Lane
(03) 9654 1534
Wed-Fri 12-6, Sat 12-5 or by appointment
http://www.thenarrows.org/
Director: Warren Taylor

National Gallery of Victoria

The Ian Potter Centre:
NGV Australia Federation Square Corner Russell and Flinders Streets, Melbourne 3000
(03) 8620-2222
Tues-Sun 10.00 to 5.00, Thurs to 9pm, closed Mon. Open all Victorian public holidays
www.ngv.vic.gov.au
Free entry unless specified

NGV International:
180 St Kilda Road, Melbourne 3004
(03) 8620-2222
Wed-Mon 10.00 to 5.00, closed Tues. Open all Victorian public holidays
enquiries@ngv.vic.gov.au
www.ngv.vic.gov.au
Free entry unless specified.

Nexus Modern Art
123 Cecil Street (opp South Melb Market), South Melbourne 3205
1300-780-003
Wed-Fri 10.00 to 6.00, Sat-Sun 10.00 to 4.00
melita@nexusmodernart.com.au
www.nexusmodernart.com.au

Niagara Galleries
245 Punt Road, Richmond 3121
(03) 9429-3666 fax 9428-3571
Tues 11.00am to 8.00pm, Wed-Sat 11.00am to 6.00pm
mail@niagara-galleries.com.au
www.niagara-galleries.com.au
Director: William Nuttall (member of ACGA)

O Project Gallery
74 Johnson St, Fitzroy. Above The Old Bar.
5-10pm Sun-Thurs, 4-10pm Fri-Sun
http://www.oprojects.org/

Off The Kerb
66B Johnston Street, Collingwood 3066
(03) 9077-0174, 0400-530-464
Thurs-Fri 12.30 to 6.00pm, Sat-Sun 12.00 to 5.00pm
info@offthekerb.com.au
www.offthekerb.com.au

Outre Gallery
249 Elizabeth Street, Melbourne 3000
(03) 9642-5455
www.outregallery.com
Mon-Sun

Per Square Metre Gallery and Studio
Wed-Fri 12pm-6pm, Sat-Sun 10am-6pm
191-193 Johnston Street, Collingwood
Call us on:(613) 94177991
Email us at: info@persquaremetre.com
http://www.persquaremetre.com/hire_info/

Photospace
34 Dight Street, Collingwood 3066
(03) 9415-6139
Wed-Fri 12.00 to 6.00pm, Sat 12.00 to 4.00pm
info@photospace.net.au
www.photospace.net.au

Platform Artist Group
Campbell Arcade, Flinders-Degraves Street Subway, Melbourne 3000
(03) 9654-8559
Mon-Fri 7.00am to 7.00pm, Sat 9.00am-5.00pm
info@platform.org.au
www.platform.org.au
Sticky: Shop 10, Campbell Arcade, Melbourne
Open Wed-Fri 12.00 to 6.00pm, Sat 12.00 to 4.00pm

Red Gallery
157 St Georges Road, Fitzroy North 3068
(03) 9482-3550
Tues-Sat 12.00 to 6.00pm
www.redgallery.com.au

RMIT Gallery
RMIT University, Storey Hall, 344 Swanston Street, Melbourne 3000
(03) 9925-1717 fax 9925-1738
Mon-Fri 11.00am to 5.00pm, Sat 2.00 to 5.00pm, closed Sun and public hols
rmit.gallery@rmit.edu.au
www.rmit.edu.au/rmitgallery
Free entry, lift access

RMIT Project Space and Spare Room
Schools of Art and Creative Media RMIT University Building 94
23-27 Cardigan Street, Carlton 3053.
(03) 9925-4971
Mon-Fri 9.30am to 5.00pm
projectspace@rmit.edu.au
www.rmit.edu.au/adc/projectspace
Acting Curator/Coordinator: Stephen Gallagher, Gallery Admin: Andrew Tetzlaff.
Free entry, wheelchair access

RMIT School of Art Gallery
RMIT, School of Art, Building 2, Bowen Street, Melbourne 3000
(03) 9925-4971
Mon-Fri 9.30am to 5.00pm
projectspace@rmit.edu.au
www.schoolofartgalleries.dsc.rmit.edu.au/
Acting Curator/Co-ordinator: Stephen Gallagher, Gallery Admin: Andrew Tetzlaff

Seventh Gallery Inc.
155 Gertrude Street, Fitzroy 3065
Tues-Sat 12.00 to 6.00pm
info@seventhgallery.org
www.seventhgallery.org

State Library of Victoria
328 Swanston Street, Melbourne 3000
(03) 8664-7000
Open daily 10.00am to 5.00pm, closed Christmas Day
www.slv.vic.gov.au
Free entry unless specified

Sutton Gallery
254 Brunswick Street, Fitzroy 3065
(03) 9416-0727 fax 9416-0731
Tues-Sat 11.00am to 5.00pm
art@suttongallery.com.au
www.suttongallery.com.au

TBC Art Inc.
Level 1, 12 Waratah Place, Melbourne 3000.
(03) 9663-8233
Wed-Sat 12.00 to 6.00pm
info@tcbartinc.org.au
www.tcbartinc.org.au

Tolarno Galleries
Level 4, 289 Flinders Lane, Melbourne 3000
New address From Feb 08: Level 4, 104 Exhibition Street, Melbourne 3000
(03) 9654-6000 fax 9654-7000, 0408-146-536
Tues-Fri 10.00am to 5.00pm, Sat 10.00am to 12.00pm
mail@tolarnogalleries.com
www.tolarnogalleries.com
Director: Jan Minchin (member of ACGA)

Trocadero Art Space
Level 1, 119 Hopkins Street, Footscray 3011 (PO Box 2341)
(03) 9687-6110
Wed-Sat 11.00am to 5.00pm
trocadero@myartsmail.com
www.trocaderoartspace.com.au

UBER Gallery
52 Fitzroy Street, St Kilda 3182
(03) 8598-9915
Tues-Fri 10.00am to 6.00pm, Sat-Sun 12.00 to 6.00pm
info@ubergallery.com
www.ubergallery.com
Director: Anna Pappas

Until Never Gallery
2nd floor 3-5 Hosier Lane (off Flinders St, opp. ACMI), (entrance on Rutledge Lane), Melbourne, 3000
Wednesday to Saturday 12-6pm
Info2@citylightsproject.com

Uplands Gallery
Suite 2&3, 249-251 Chapel Street, Prahran 3181
(03) 9510-2374
Wed-Sat 12.00 to 5.00pm
mail@uplandsgallery.com
www.uplandsgallery.com

Utopian Slumps
25 Easey St Collingwood. Enter via side alley.
Fri - Sat 12 - 6pm Other times by appointment
http://www.utopianslumps.org/

West Space Inc.
Level 1, 15-19 Anthony Street, Melbourne 3000
(03) 9328-8712 fax 9328-8715
info@westspace.org.au
www.westspace.org.au

William Mora Galleries
60 Tanner Street, Richmond 3121
(03) 9429-1199 fax 9429-6833
Tues-Fri 10.00am to 5.30pm, Sat 12.00 to 5.00pm or by appt.
mora@moragalleries.com.au
www.moragalleries.com.au
Director: William Mora (member of ACGA)

project proposals

The assessment option I have chosen for Professional Practice is to write a proposal to have our work exhibited. We must find a gallery (or festival, platform of any kind) and follow their submission guidelines. This is the beginning of my search.

Thursday, May 1 for July 2008 June 2009 Exhibitions

Seventh Gallery Inc.
155 Gertrude Street, Fitzroy 3065
Tues-Sat 12.00 to 6.00pm
info@seventhgallery.org
http://www.seventhgallery.org/proposals.html


12 months in advance.
Blindside Artist-Run Space
Level 7, Room 14, Nicholas Building, 37 Swanston Street (enter via Cathedral Arcade lifts), Melbourne 3000.
(03) 9650-0093.
Thurs-Sat 12.00 to 6.00
info@blindside.org.au
http://www.blindside.org.au/proposals/
Curator: Daine Singer.

Bus
117 Little Lonsdale Street, Melbourne 3000
(03) 9662-2442
Wed-Fri 12.00 to 6.00pm, Sat 12.00 to 5.00pm
email@bus117.com
www.bus117.com

O Project Gallery
74 Johnson St, Fitzroy. Above The Old Bar.
5-10pm Sun-Thurs, 4-10pm Fri-Sun
http://www.oprojects.org/

1 May 2008 for exhibition in 2009
Centre for Contemporary Photography (CCP)
404 George Street, Fitzroy 3065
(03) 9417-1549
Wed-Sat 11.00am to 6.00pm
info@ccp.org.au
www.ccp.org.au

Brightspace
8 Martin Street, St Kilda 3182
(03) 9593-9366
Wed-Sat 12.00 to 6.00pm, Sun 1.00 to 5.00pm
http://www.brightspace.com.au/about/proposals.php

Conical Inc.
Upstairs, 3 Rochester Street, Fitzroy 3065
(03) 9415-6958
info@conical.org.au
http://www.conical.org.au/proposals_fs.html

Collingwood Gallery
292 Smith Street, Collingwood 3066
0411-650-399
Tues-Sun 11.00am to 7.00pm
manager@collingwoodgallery.com.au
www.collingwoodgallery.com.au

Flinders Lane Gallery
137 Flinders Lane, Melbourne 3000
(03) 9654-3332
Tues-Fri 11.00am to 6.00pm, Sat 11.00am to 4.00pm
info@flg.com.au
www.flg.com.au
http://www.flg.com.au/flg2/Exhibition_ProposalFLG2.html
Director: Claire Harris.

narrative or technology?

I'm writing my project proposal. My sister and friend are in the same room watching Buffy. It may seem ironic (or normal!), but I'm really struggling to distract myself from it, or perhaps not allow myself to become distracted.

Is it the pretty glow radiating from the screen? The engaging and attention seeking soundtrack? Or because (in JD from Scrubs' words), I'm a self-saboteur? Is it based in the opportunity for narrative absorption, escapism? If so, is it because we enjoy narrative, because it explores themes and issues that we all deal with, the human condition, and the writers have managed to make sense of it. There's resolution, motivation, reason. And a formula to boot. Answers, unfolding right in front of us. The alternative; life, is (seemingly) never-ending. We rarely experience the satisfaction of complete resolution. Narrative provides us with the satisfaction of resolution.

And if the desire for narrative is the main driving force behind our escapism tendencies, as opposed to the new opportunities provided by technology, then we have a long and complex history to deal with... perhaps beginning with the Dreamtime stories. But then you raise a whole new set of questions. Are stories created for entertainment or educational purposes?

Another series of issues to continue to explore.

artists statement

A Chaotic New World - faq

Modern western civilisation, especially current generations, are exposed to the biggest height in consumer culture and globalisation in history. The effects have imbedded themselves so extremely in our lives that it’s almost impossible to notice. In fact, we are, in many ways for many reasons, conditioned not to. It reminds me of a saying about trees and the forest.

Q. How do we deal with it all?
A. Escape.

Q. How do you do it?
A. Be somewhere else. An alternative reality or perception often works.

Q. Where can we find these alternatives?
A. Just look into a television, computer, phone, iPod, camera, etc. Generally somewhere with a screen.

Q. Why a screen?
A. People are attracted to light. Stimulation. Escapism. There’s often some form of narrative happening. It helps aid distraction.

Q. Why do we do this?
A. Life is difficult. There’s a lot going on. Time is precious. When we can, we prefer not to get too bogged down in it all. It’s a bit contradictory though, because we’re generally looking for stimulation. Stimulation is information. And if we use narrative as an example, the more chaos, stimulation, and information, the deeper we can immerse ourselves in it, and the deeper the immersion, the more we enjoy that distraction.

Q. That sounds a bit complicated… chaotic even.
A. That’s how it is for me. I want to dissect it all. So that it’s less chaotic. We think we like order more than chaos. Like anything, it’s not that simple. I’m going to try and work it all out using images. To create some kind of order out of this mess.

Q. How? Why?
A. We’re exposed to over 30,000 images every day. We understand them. How to read them, what they mean. We’re still susceptible to their manipulation, which is another theme I hope to explore. I believe images are the primary form of escape. So it makes sense to use them to communicate my findings.

How will your images illustrate your findings?
I’ll shoot images of people while they’re in the state of escape. This will at first appear meaningless, it’s something we see all the time. Which is part of the point, because we are so immersed in it. The form of the images, my choice of communication method; the fine art print, in an exhibition setting, will suggest that there’s more to it than that. The elements and construction of the images will provide clues for the viewer to read. Ideally, after a bit of consideration, the viewer should be able to understand the meaning and metaphors I have placed within the photographs.

how i got here

The following images were part of the basis for this idea. It probably started around the time that a friend of mine, who was in her final year of performance studies, was creating an installation based on video works that we worked on together, including an animation from an earlier post. Although the themes are quite different, I can see the link, or perhaps development of this idea from then until now. I was particularly interested in the viewer, identity, and screen-based media.



Next up was when my sister and I were watching the sunset. Only we weren't really watching it, just shooting it until it lost its attractiveness.



The next time was when I was checking out the ruins of Angkor. One of the sites had just wrapped up filming a Thai film. A young local was obviously influenced. It stood out only because the clichéd realisation that we all know but begin to really get when we travel... that life, when simple, and with limited resources, often appears much more relaxed and content. So it can be kind of confusing when you see the locals desiring the alternative western consumer driven culture.



And then, tourism/the veiwer/photography/location (where are you?). At the summit of a small mountain overlooking Angkor Wat for sunset, the amount of people, the chaotic search for the best view, and the amount of cameras, really just blew me away. That was for me, much more captivating than the sunset.




I'm just as bad. Especially as a tourist. At least most people only get their cameras out at the same time as everyone else. Inconspicuousness, not always my thing. I got a bit over excited when I found a Borders in Kuala Lumpur. And, even better, the Borders had an Apple store in it. The sales guy was taking our photo in PhotoBooth, of which I was taking photo's, of myself, with a fake Parisian background. So perhaps even when we're escaping, we're still escaping. To simplify.

how we got here

image as a political tool/propoganda
|
industrial revolution/politics
|
globalisation/consumerism
|
mass media/marketing
|
consumption/identity/psychology
|
chaos
|
dissatisfaction/desire for stimulation/escapism

review I 2008

The Digital Fine Print, Wednesday 9:30-1:30
Assessment 1 [25%]: Class Project – Week 4
This is a technical competency project to determine each student’s ability to identify and consider aspects of a digital fine print. Students present printed work that demonstrates an ability to make quality prints.

Class Project Assessment Criteria:

Presentation [25%]:
Presented images need to reflect a consideration of the relationship between the content of the image and the printing of the image.

Evidence of technical investigation [25%]:
Provide evidence of technical research that has informed and contributed to the production of the work. Evidence can be from a variety of resources, including the internet, books and journals. This should be presented in the form of an annotated bibliography.

Evidence of technical competency [25%]:
Provide evidence of technical competency and understanding of the key considerations for the making of a print. This can include use of technology, an understanding of terminology or a combination of skills. This should form the basis for the oral presentation.

Artist Statement [25%]:
Provide evidence, in the form of a typed artist statement, of the nature of the work in relation to the influence[s] and concepts.


Fine Art Photography Project 1a, Friday 2:30-6:30
Assessment 1 [25%]: Class Project – Week 4
This is a visual presentation of the project proposal, including preliminary research and investigations.

Class Project Assessment Criteria:

Presentation [25%]:
Presented images should reflect an engagement with technique and technical competency. The basis of this should be a demonstrated understanding of the realisation of your concept, proficiency of technique, and its relevance to the making of the work.

Evidence of Preliminary Investigations [25%]:
Provide evidence of the development and progress of ideas for your project. This can include examples of exhibitions you have seen or investigations of other artists’ work. It can also include films of interest, online sites or any other reference points for yourself. This should be presented in the form of a visual diary.

Evidence of Project Planning [25%]:
Provide evidence of planning for the project. This should include an analysis of projected costs for the project and relevant considerations. This should be presented in the form of a timeline and budget.

Artist Statement [25%]:
Provide evidence, in the form of a typed artist statement, of the nature of the work in relation to the influence[s] and concepts.


Advanced Studio 1 & 2, Thursday 9:30-1:30, 2:30-6:30
Assessment Review I – Project Proposal presentation
Presentation of project proposal, with support material, artist statement, project plan, references and sample images.

Assessment criteria for Assessment Project: Review I

Presentation [25%]:
Presented images should reflect the visual development of the project, in relation to the concepts and ideas. Whilst it is expected that images may be work in progress, they should demonstrate the visual aspect of the project.

Proposal [25%]:
Present and submit the completed project proposal, including the budget, timeline, investigation description and methodology.

Evidence of information and influence [25%]:
Provide evidence of theoretical and practical research that has supported and contributed to the development of the project proposal. This evidence could include books, papers, catalogues, journals, magazines, websites, film reviews, drawing, notebooks, mindmaps or any other appropriate material. This should form the basis of your bibliography, but can also be presented in other formats, for example - as workbooks.

Artist Statement [25%]:
Provide evidence, in the form of a typed artist statement, of the nature of the work in relation to the influence[s] and concepts. This should be incorporated into the Proposal.

the text reference list

This page will serve as an always updateable reference list. I will include recommendations, as well as things that I want to study, and things that I have studied. I haven't worked out the logistics of it yet but may sort by subject/author/date/status (recommended/read/want to read)... or perhaps I'll colour code in addition. Most other influences are noted as part of the blog but I guess I should list them here and perhaps link them to the original post? Open to suggestions :)

Recommended texts in The Digital Fine Print:

BIALOBRZESKI, P., RIBBAT, C. & HANIG, F. (2004) Neontigers : photographs of Asian megacities, Ostfildern-Ruit, Germany; New York, Hatje Cantz ; [Distributors] D.A.P. Distributed Art Publishers. Amazon or RMIT 770.92 B576

BLATNER, D. (2004) Real world scanning and halftones : industrial strength production techniques, Berkeley, Calif., Peachpit Press. Amazon or RMIT 686.22544 B644

BLATNER, D. (2008) Real World Adobe Photoshop Cs3 : Industrial-Strength Production Techniques, Berkeley, Peachpit Press. Amazon or RMIT 006.686 B644

CAPONIGRO, J. P. (2003) Adobe Photoshop master class : the essential guide to revisioning photography, Berkeley, Calif., Adobe Press book published by Peachpit Press. Amazon or RMIT 006.6869 A239

ELAM, K. (2001) Geometry of design : studies in proportion and composition, New York, N.Y., Princeton Architectural Press. Amazon or RMIT 701.8 E37

ENNIS, H. & NATIONAL LIBRARY OF AUSTRALIA. (2004) Intersections : photography, history and the National Library of Australia, Canberra, National Library of Australia. Amazon or RMIT 779.0749471 E59

EVENING, M. (2007) Adobe Photoshop CS3 for photographers : a professional image editor's guide to the creative use of Photoshop for the Macintosh and PC, Oxford ; Burlington, MA, Elsevier/Focal Press. Amazon or RMIT 006.686 E93

FRASER, B. (2005) Real world Camera Raw with Adobe Photoshop CS2 : industrial-strength production techniques, Berkeley, Calif., Peachpit Press. Amazon or RMIT 006.6869 F841

FRASER, B., MURPHY, C. & BUNTING, F. (2005) Real world color management : industrial-strength production techniques, Berkeley, CA, Peachpit Press. Amazon or RMIT 006.6 F841

JOHNSON, S. (2006) Stephen Johnson on Digital Photography, O'Reilly Media, Inc. Amazon

KISSELL, J. (2007) Real world Mac maintenance and backups, Berkeley, CA [S.L.], Peachpit Press ; Take Control Books. Amazon or RMIT 621.3916 K56

LONG, B. (2007) Real World Aperture, Berkeley, Calif., Peachpit Press. Amazon or RMIT 778.593 L848

MARGULIS, D. (2006) Photoshop LAB color : the canyon conundrum and other adventures in the most powerful colorspace, Berkeley, CA, Peachpit. Amazon or RMIT 006.686 M331

POGUE, D. (2007) Mac OSX: The Missing Manual, Leopard Edition, O'Reilly Media, Inc. Amazon or RMIT (Tiger) 004.165M2 P746

-------------------------------------------
Benjamin, W 1968The Work of Art in the Age of Mechanical Reproduction, from
http://fineartphotography.dsc.rmit.edu.au/?page_id=85

Berger, J 1965 Ways of Seeing Videorecording viewed March 2007

Bright, S 2006 Art Photography Now, First paperback edition, Thames and Hudson,
London.

Huxley, A 1936 Brave New World, Flamingo, London

Bordwell, David; Thompson, Kristin (2003). Film Art: An Introduction, 6th ed. New
York: McGraw-Hill.

Cotton, C 2004 The Photograph as Contemporary Art, Thames and Hudson, London

Smith, L Photographic Theory from
http://fineartphotography.dsc.rmit.edu.au/?page_id=85

Stathern, P 2002 The Essential Kant, Virgin Books, London

Wells, L 2000, Photography: A Critical Introduction 2nd Edition, Routledge, London

Westbury, M 2007 Not Quite Art ABC, Television Series viewed on air 2007 ( and
some new art show on ABC tracing the history of the evolution of art, and its effects).

Gomes, L 2008 Why We’re Powerless to Resist Grazing on Web Data, Wall Street
Journal Online, viewed march 2008
http://online.wsj.com/public/article/SB120527756506928579-
3wNdJRXhkpLqY4EDBt4j3ly1foo_20090312.html?mod=rss_free