Visual Process Diary – CAVA 224

Week 1

Image 1

F: 5.0 Shutter: 1/100 Iso: 200 White Balance: Cloudy

Image 2

F: 5.0 Shutter 1/100 Iso: 200 White Balance: Cloudy

Image 3

F:11 Shutter: 1/60 Iso: 400 White Balance: Cloudy

Image 4

F: 5 Shutter: 1/50 Iso: 200 White Balance: Cloudy

Image 5

F:25 Shutter: 2.5 Sec Iso: 200 White Balance: Cloudy

Week 2

Week 3

Contact Sheet

Through making a contact sheet I was able to decide which images I was going to use to make a Hockney Joiner.

Editing Photos Review

To edit this image I did a basic edit in adobe camera raw within photoshop. To edit this image I start with a basic edit of the exposure to bring back the highlights due to the slight over-exposure. I also made an adjustment to the hue of the blues and greens to my creative style.

Proof Sheet

Week 4

Hockney Joiner

Visual Research

David Hockney 

David Hockney, born 9 July 1937 is an English painter, draftsman, printmaker, stage designer, and photographer. As an important contributor to the pop art movement of the 1960s, he is considered one of the most influential British artists of the 20th century. 

In the images above (Hockney Joiners) you can see the multiple angles, focal lengths, and framing taken within each photograph had been collaged and overlapped to make a new image and meaning to the work. This aspect of the photo is quite intriguing to me as it provides the idea of seeing a certain scene from a different perspective and allows the audience to stroll with their eyes over the entire work as they are broken down into specific images. 

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, will inspire my own editing techniques. 

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.

On return to Holland, settled in Amsterdam and began to make ‘Plough Projects’, ‘Beach Projects’ etc., followed by his first ‘Perspective Corrections’. Started in 1967 to use photography to create a dialogue between nature and cool geometrical design by rotating the camera on its axis, taking a series of photographs systematically increasing the shutter speed, etc. 

In the above works, the changing of the horizon is quite a common and very noticeable aspect and has inspired me to take my own twist on this effect within my own work.

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

Location Scouting

Mount Kiera

Contact Sheet

By creating a contact sheet after my location shoot I’m able to look at all the images and decide on which images are the correct exposure and highlight the ones that need to be adjusted in post-editing for my images to look similar and not look out of place in my series.

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.


Firstly I would start by creating a grid layout for the number of images I was going to include in my series (24 images). Secondly, I would use the rectangle tool to draw out where my images will go and turn off the stroke width and shape colour. Thirdly I placed the images within the squares I drew and change the fitting to (Fill Content Proportionally) and adjusted slightly for the look I was trying to achieve. Finally, I exported the A3 document to a high-resolution image (12) with 300 PPI

Final Work

Sublime View

By Sean Pickering

Week 8

Photoshop Skills – Photo Montage

Major Project Plan

What is your aim or the issue(s) you wish to engage with for the project? What is important to you? What is the concept? For example issues of identity, immigration, climate change (to name but a few).


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


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

What photographic form will you employ? Refer to the lecture series. For example will it be a photo-assemblage, montage, collage or series in printed format.

  • Photo Series

Final project form. What form do you envisage the final submission taking? How many images? How might this be presented for exhibition/ submission? A2 or A3?

  • Two A2 pages printed in landscape form and pined side by side.

References (minimum of 3 contemporary and 3 historical). What photographers/artists are informing your approach, both in photographic form and issues/content.

Shooting plan. Where, when, how. First round of images due for class week 9.

Week 9

Week 10