Visual Process Dairy – CAVA 124

Exercise A – Camera Introduction

Part 1

Fast Shutter Speed

F: 9.0 Shutter: 1/200 Iso: 400 White Balance: Cloudy

Slow Shutter Speed

F: 22 Shutter: 2 Seconds Iso: 100 White Balance: Cloudy

Wide Aperture Setting

F: 1.8 Shutter: 1/2000 Iso: 200 White Balance: Cloudy

Small Aperture Setting

F: 22 Shutter: 1 Second Iso: 100 White Balance: Cloudy


Part 2

Lens focal length

Part 3

Framming and Compostion

Foreground, middle ground and background
Subject and a non-distracting background
No dominant foreground

Part 4


High Contrast Image
Low Contrast Image

Contact Sheets


  • Learning basic camera techniques
  • Learning basic framing/composition
  • Photography as an art form
  • Creating a contact sheet
  • Building a concept
  • These lessons were important to me as I haven’t practised photography in this way in a long time.
  • These lessons are vital in creating my major project as they are the fundamentals of this subject

Exercise B – Landscape as a study of the natural world


  • Learning about the definition of what is and is not a landscape photo
  • Learning about the different categories of landscape photography (Study of the ‘natural’ world, documentary, popular culture, politics and propaganda, abstract form, conceptual art).
  • The above photos were inspired by Ansel Adams’s traditional photography practice.
  • The importance of framing/composition of photographs and the idea of looking at shapes within an image, (leading lines within a photo). This concept is extremely important as it takes a photo that looks like a point a shoot as opposed to a carefully framed shot.

Exercise C – Landscape as documentary, popular culture, politics and propaganda


  • Documentary landscapes of the Wollongong landscape from mount keria

Exercise D – Landscape as abstract form and conceptual art


  • Struggled with the concept of abstract photos in terms of creating a landscape with an aspect of a traditional landscape

Exercise E – Project concept and planning template

Project issue (topic or concept)

What aspects or concepts relating to the theme of Landscape Photography do you plan to engage with through your photographs? What interests you?

  • Natural Beauty
  • Ocean Landscapes (Connection to the beach),
  • Traditional Landscapes/Grand Vistas
  • Natural Beauty
  • Ocean Landscapes (Connection to the beach),
  • Nature
  • Portraits
  • Showing Time
  • Colour Differences
  • Identity

Significance to you

How/why is this concept important to you?

References (minimum of 3)

What photographers/artists and theoretical concepts are informing your work? Describe

  • HIROSHI SUGIMOTO (his abstract work of the ocean)
  • Ansel Adams
  • Jan Dibbets 

Making / Planning


What/where/who will you photograph? That is, what will be your subject(s)? Where do you think you should go (or can go) to take your images? Why is this important to your project?

What: Seascapes

Where: Wollongong/Sydney

Who: N/A

This is important to my primary work as I intend to take photos of places that have significant meaning to me and the course of my life.


What type of light will best suit your approach? How/why is this the best approach? What is your rationale?

With my concept, the plan is to shoot at different times during the day (Sunrise, Middle of the day, sunset, late night, and night.

Outline your shooting plan:

– Where/location(s)
– When (what weeks of class)
– How (photographic approach, resources needed, production issues)

Where: Wollongong/Sydney

When: Week 10, Week 12, Week 13

How: I will use my own equipment, which will consist of my Sony A73, 24-70mm F4 lens and a 55mm 1.8 lens and a tripod as I will be doing long exposures.


Ansel Adams

Ansel Easton Adams was born in February 1902 in San Francisco and is famously known for his landscape photography and known to be an environmentalist who used his art to capture on film rare sights. His fame continually grew through his works of Yosemite National Park and his black and white photos of landscapes, He was also a co-founder of developing the Zone System, a tool to figure out the exact exposure and contrast of the image. The clarity produced by his photos played a pivotal role in the field of the fine arts world and his work is still relevant even today even though his work came to a finish with his death in 1984.

Ansel’s precision and meticulous attention to his composition and use of light and contrast in his photography is one characteristic that I am particularly inspired to implement into my own major work on this subject. Another aspect of his work that I would love to add to my major work would be his practice of pin-sharp focus throughout the entire image as well as using black and white as a colour option for my work. I have also always been into traditional landscape photography and have practised it throughout my years of learning photography. I also see potential to combine modern photo editing techniques and my own style to build upon his works.


Born in 1948 and raised in Tokyo, Hiroshi Sugimoto is a photographer originally from Japan. He studies sociology and politics at Rikkyō University in the same city he grew up in. In 1974, he acquired Bachelor in Fine Arts degree from Los Angeles at the Art Center College of Design. Later on, he shifted to New York.

Sugimoto’s works are made up of several series with each one being distinctive in its theme. The photographer himself described his work as an expression of exposed time or images that act as capsules of time of a series of occurrences. Moreover, his work focuses on the variance between existence and passing away.

Sugimoto’s work’s especially the ones above have a very surreal aspect to them, as well as giving me a sense of calm in them is one characteristic of this work that particularly interested to bring over to my own work. Another aspect of his work that I would love to add to my major work would be his practice of long exposure to seascapes is really interesting to me as well as using black and white as a colour option for my work.

Jan Dibbets

Dutch artist who works mainly with photography. Born in Weert. Trained as an art teacher at the Tilburg Academy 1959-63 and studied painting with Jan Gregoor in Eindhoven 1961-3. Taught art at a training college 1964-7.

Paola Franqui

Puerto Rican-born street photographer living outside of New York City specializing in visual storytelling. She has her BA in Criminal Justice from Rutgers University and has over 5 years of experience working with brands.  What started as a hobby grew to become Paola’s passion, and it has changed her life in ways she never could have imagined.  

This combined with her chosen digital editing and colouring of her photos is a very notable aspect of her work and will inspire my own editing techniques. 

Location Scouting

Wollongong Lighthouse

Week 10 – Images

Contact Sheets

Concept Dot Points

Documentary Landscape/Mount Kiera
  • Wollongong History
  • Steal Works History
  • Documentary
  • Impacts?
Seascapes/Wollongong Harbour
  • The sublime
  • The sublime beauty of nature
  • The sea and the air are the building block of life
  • Personal attraction/connection to the sea (grown-up surfing)
  • Erosion
  • Cleansing the soul
  • Nostalgia
Traditional Landscapes/Waterfalls Belmore Madden Falls
  • Ansel Adam’s
  • A personal connection to nature
  • Study of the natural world



  • Need to clean my camera’s sensor (dirty specs on image)
  • Had to do some basic image clean up to get the spots off the image
  • Also had to remove the boats I’m the original photo
  • Have to reshoot that exact spot on another day/different times
  • Play around with high contrast black and white edits

Week 12 – Images

Contact Sheet – Colour

Contact Sheet – Black and White

Editing Images

To edit my chosen images, I would first organize my photos in lightroom in the order of the contact sheet. Secondly, I would adjust all of the images that I have identified on the contact sheet to the correct exposures, Thirdly I applied a preset that I have already made previously. Lastly, I adjusted any images that look slightly off and export them all into a separate folder.

  • Touch up
  • Used the spot healing brush to clean up the dirty sensor

Final Work

The Sublime

Concept Statement

My approach to this work is based on my own personal connection to the ocean and the beach as many of us share. These photographs are successful, as I believe, they show the beauty of the ocean in the simplest form but evoke a sense of wonder and calmness within these compositions. I also like my photographs to give a feeling of looking at a hidden world we don’t normally see.

The use of long exposures reflects the chaos of a relentless ocean crash against the rocks and sand, and how in this approach slow and mindful approach to photography can create peace and serenity.

Ansel Adam’s practice was a major influence on how I approach this body of work. As I sat at the top of this headland, I had to set the tripod on a jumble of rocks and changing its position even slightly was arduous.” This “protracted ballet” of nudging, tilting, raising, and lowering was for Adams the art of organizing reality to create an aesthetically-pleasing composition.

Nature offers an infinity of views and changing light. There are great photographs waiting to be found everywhere, every day. But they are almost never to be found easily.

Social Media Campaign for Climate Change – BCM 303

Social Media marketing is one of the most effective ways of marketing anything to the world nowadays. It allows marketers to connect and engage potential customers through using strong social media strategies to obtain their targeted audience. Therefore, it is furthermost very important to have the skill to be able to run a social media campaign for our future World Expo for 2025. In this report, I will be focusing on the World Expo theme of ‘Climate Change. Through my discipline of social media marketing and creative direction and to evaluate current social media campaigns that are currently taking place. I have also interviewed a professional in Social Media Management and Creative Directing Julius Dimataga to gain a better understanding of the creative process and collaboration.


Maëlle Jacqmarcq’s “Environmental Activism in the Digital Age” explores the development of new digital technologies and the predicted boon for environmental activism. With social media platforms were expected to facilitate change, and enable activists worldwide to communicate and organise more effectively.

Jacqmarcq (2021, p. 51) observed “The emergence of digital technologies has impacted the environmental movement by increasing the speed and scope of its messages worldwide.” Emphasises the impact that social media plays a significant role in addressing and hopefully positively influencing people on the impacts we have on climate change.

Social media has allowed for the organisation of climate change rallies drastically and has allowed for global participation as many of you have heard of “15-year-old Greta Thunberg started skipping school in 2018 to strike for climate action outside the Swedish parliament in Stockholm. The movement quickly went global. An estimated 1.6 million kids in 125 countries hit the streets during a protest in mid-March. And a youth-led demonstration planned worldwide for 20 September could be the largest climate protest ever.”(Marris 2019).

Google trends for climate change


Social Media Management and Creative Director – Julius Dimataga

I asked some essential questions about his creative skills, professional values, collaborative production skills and such as:

Q.1 Can you take me through your typical production process from idea development to final presentation?

Q.2 What would you say are key strengths or unique attributes that you bring to this profession?

Q.3 Can you recall any specific experiences that have been pivotal to your professional development?

Q.4 Have you had any memorable professional collaboration experiences? What makes collaboration worthwhile in your line of work?

Q.5 Where do you see your industry in 10 years? Where would you like to see it?

Interview Answers

And these are his answers:

A.1 Depends if I’m doing client work or creative work in that sense. With the creative process, everything begins with a sort of treatment and idea getting down on paper weather writing down a script or storyline or drawing a storyboard always got to be the process where you got to put your vision to paper instead of winging it most of the time with taking film things or photographs of things in visual documentation. I like to document all of my ideas on my I pad, procreate or paper.

From, there I will use whatever resources I have at my disposal, would touch base with my fellow workmates with scripting and organising talent, equipment, find locations and or rent a space to shoot, finally to shoot day and post-production. 

A.2 My key strengths are creativity in the sense of doing things out of the ordinary. I’m not afraid to experiment with things and have a fair bit of experience behind a camera. I can manipulate visuals and tell a narrative.

A.3 I would say maybe a couple of years ago I worked at the waratah’s, It was pivotal because it forced me to be in an environment where it’s always adapting and always changing very very fast. Being in the dynamic of the sport allowed me to see and work where I wasn’t in control all the time. However, I prefer to plan more it has given me that experience to be nimble and It allowed me to travel and work with a big team and very enjoyable

A.4 working with like-minded people and with creative people and people who like to express themselves through that and meet awesome people in awesome places. That’s the most rewarding about this line of work.

A.5 I like where the industry is right now, and how it’s face pace because everyone has access to technology and streaming services I enjoy that right now, it has given people the opportunity to express themselves and tell awesome stories and I want that to continue. For myself, I want to create a Netflix feature movie soon.

Through conducting this interview I have learned the skills and techniques that Julius implements into his creative and collaborative experiences as well as the industry that I want to work in in the future as well. He emphasized writing down ideas at the beginning stages of a creative endeavour as well as planning out the creative idea.    

Critical Evaluation of Case Study’s creative production

I have chosen to evaluate The Conversation’s blog post to evaluate, it breaks down the eight ways to make your climate change social media posts matter:

  1. Relevance matters
  2. Conciseness helps
  3. Chase positive, realistic targets
  4. Avoid misleading terminology
  5. Climate is global: weather is local
  6. Avoid uncertainty
  7. Suggest concrete action
  8. Listen

Theses’ steps would play an integral part in creating creative content on social media to raise awareness of climate change on social media.

Innovative Designs and Visual Communication Strategies in the final presentation

Taking into consideration of my interview with Julius, the case study of how to make your climate change social media posts matter, and the research I have done. I have advised creating a social media campaign around the fact of a proven method of creating awareness for this global issue I would also focus my attention on video creation the using the formation production process that Julius has explained during the interview to ensure my message and the creative idea was filled to my expectations.


Through the combination using Julius’s creative, collaborative teachings and the recent trends that are happening on social media it is important to post content thematically and aesthetically. Being creative with my future content is something I will be keeping in mind for the World Expo presentation. Aside from than regular content itself, it’s also important to post other relevant posts such as fun facts, memes or relevant quotes in the future project’s feeds. It is also very important to engage with our audience and be open to listening to ideas from everyone.


Jacqmarcq, M 2021, ‘Environmental Activism in the Digital Age’, Flux, vol. 11, no. 1, p.41/ 51pp.

Marris, E 2019, ‘Why young climate activists have captured the world’s attention, Nature, 18 September, viewed 17 August, <;.

Tenbrink, T 2021, ‘Eight ways to make your climate change social media posts matter – from a communication expert,’ The Conversation, 18 June, viewed 16 August,<;.