Zine Photography Workshop (Screen)


On the 14th of March, the stage 3 class of the DIT Photography course attended a workshop that outlines how one would photograph print documentation. After a short presentation of the use of polarizing filters, the class commenced their workshop shoot in studio C. It was agreed amongst the class that the zine selection should be edited down to six: Exhausted Structures, by Brian Arnold; As I Walked Out Through Dublin City, by Luke Fallon; and A Dirty Book Volume One, by Dawn West; 08.08.05 Vol.2, No.1, by 'cooperatewithus'; The Wolfman Meets the Bride of Frankenstein, by Lemon O Books; and Swearing at Traffic best Keeps Me a Pedalling, by Pez. These zines were chosen because it felt that these best represented photography in zine culture.


The camera, a Canon 5D mark III, was tethered to Shane’s laptop. This made it possible to better control the placement of the zines in the frame more accurately, as well as keep a more regulated control of lighting and other elements such as hand placement, as the canon camera screens can show a larger frame than the cropped image that is imported into Adobe.



FIg.1: Anon (2018). Screen capturing of photo images of zine in Studio B on March 14th


The #screen capture of the images in Lightroom also makes it easier to catalogue and tag the images with the relevant metadata, that enables a smoother workflow when editing and using them at a later date, and easier to sort into files when sharing with others via Google, Dropbox, etc. The images were shot in RAW, in order to keep as much image data as possible for later use.



Fig.2: Anon (2018). Colour corrected images exported from our shared lightroom catalogue.


On March 20th, the class reconvened in studio C to film cinemagraphs of the zines. The selection was narrowed down again to just three zines: Exhausted Structures, by Brian Arnold; As I Walked Out Through Dublin City, by Luke Fallon; and A Dirty Book Volume One, by Dawn West. It was felt these three zines were the most closely affiliated with photography, and their compact size also made it easier to shoot them and later convert them into cinemagraph format. For this shoot, the class relied on the screen on the back of the canon as the framing was easier to follow on the camera #screen while in video mode.




Fig.3: Anon (2018): Videoing the Cinemagraphs


The use of the #screen was most important in post production process, both for editing for the broadsheet and the website, Forgotten Zines. Post-production involved converting the images jpeg for the website, and then later the slide projection screen as well as converting the video footage into cinemagraphs in Adobe Photoshop. Adjustments also had to be made to the photographs to make them more attractive on the screen. Such as brightening the whites in the image and boosting the image contrast, as well adjusting and cropping the image orientation.



Fig.4: Anon (2018.) Animated gif of zine in Studio B on March 14th


(Edited/compiled by Kate O'Connor, beta read by Alex Simonics)

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This is an educational project. Where content has been reproduced every effort has been made to credit the source and copyright holders. Please respect the economic and moral rights to their original works and metadata of the artists and authors referenced. Otherwise, content on the site is licensed under a Creative Commons Attribution 4.0 International Licence. CURATING PHOTOGRAPHY MODULE, BA PHOTOGRAPHY, TUDUBLIN, CITY CAMPUS, IRELAND 2020. 

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