#313 ASSIGNMENT: VALERIE JARDIN #3

It's assignment day where our special guest, street photographer and international photography mentor Valerie Jardin sets a photography challenge or a way to think about your picture-making for the next week. It’s a challenge for everybody, whatever interests you have. The sneak peek and pictures below from Valerie may help you understand a little more about the challenge set.

Alex Kilbee’s conversation is mentioned ahead of his appearance on Friday’s photowalk and if you’d like to see his YouTube channel follow this link.

Send the pictures you make following this assignment to studio@photographydaily.show - 2000 pixels wide, any orientation you prefer; square, portrait, landscape, or best quality if you’re exporting from a smartphone.

My thanks to our wonderful Patrons and MPB.com who sponsor this show; the number one company in the UK, the US and Europe when it comes to buying, selling, and trading used camera kit online – it’s a safe place to do business, with guarantees upon what you buy.

  • Valerie asks you to add a filter today between your subject and your camera, described within the show and visually by her example pictures below.

BY ROBERT WEIGEL


BY VALERIE JARDIN (above and below)

Photographs to help you understand today’s concept for the challenge set.


BY MIKE MILLER

With regards to Valerie's third assignment, I knew what I wanted to do with regard to a filter and it had to do with water over glass in front of the camera. With this image, I had a piece of plate glass from a picture frame. I set up my image with camera on a tripod and then put the glass on a 25-degree angle in front of the lens. The camera was on a 12-second self-timer as I needed both hands. I poured water out of a jug onto the glass as the shutter tripped to get this effect. It looks reminiscent of intentional camera movement, but it isn't. It took about ten tries to get something I was reasonably happy with.


BY DREW BROWN

This shot was taken from the ferry to Liberty Island on a grey, moody and torrential rain-filled day. I wasn’t expecting my first glimpse of Liberty to be through a raindrop-covered window filter, but I quite like it.


BY KELLY MITCHELL (above and below)


BY MAURICE WEBSTER

A moment of serendipity as I walked along Brighton seafront listening to this assignment. I saw these two ladies enjoying the sunshine in the ubiquitous Brighton deckchairs and thought it made for a slightly left-field take on the assignment.


BY JOHN GRINDLE (ABOVE AND BELOW)

Just back from my grand tour of England, taking in such places as Canterbury, Cambridge and then onto Skegness and up to Durham, then back down along the west coast of Wales. As you can imagine, the cultural difference in each town/city was tremendous. I tried to photograph as much as I saw, but my wife doesn’t understand my desire to photograph a black bin on black & white tiles quite as much as I do!

I did take two that fit Valerie’s assignment perfectly - the first was taken from our room window in the Scarborough Premier Inn. It was a great view of Scarborough Castle, unfortunately, there was a net curtain between two locked panes of glass and no way to move it out of the way. The second was at the wonderful Beamish Living Museum, where they have funfair and this beautiful lady was selling the tickets for the rides from behind a perspex window.


BY JOHN MILLAR

Interestingly, (or spookily) the weekend before the episode with Valerie's latest assignment went out, I captured this image, which fitted the brief well I think. It's of son number 3, (he also answers to Charlie, but not Tom, George or Harry. I have a 1 to 4 numbering system for when I can't get the right name for the right child, which I blame on my age. For the boys, it causes them much amusement when I use the wrong name!) The image was shot through a plastic shed window, as he was finding it weird to look through as it distorts what you see, and I thought it would make for a fun, different portrait shot. It was shot on (your favourite film stock), HP5 and was shot with my old 1989 Canon EOS 600 with a "nifty fifty" lens.

I don't develop my film, I let the excellent people at AG Lab take care of it for me. To digitise the negatives, I used a light table, film holder, Olympus EM1ii with 30mm macro lens and tripod. I then used DXO Photolab 4 to invert/edit the final image. The film was sent off Monday afternoon and back by Thursday, so can definitely recommend them for a fast turnaround for those that don't do their own development.

Neale James

Creator, podcaster, photographer and film maker

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#314 PHOTOWALK: CHANGING LIFE DIRECTION

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#312 PHOTOWALK: FINDING THE BOOK YOU WILL PUBLISH!