ALTERATION

Jerry Uelsman■ Jerry N. Uelsmann is an American

photographer, and was the forerunner of photomontage in the 20th century in America.

■ Uelsmann is a master printer, producing composite photographs with multiple negatives and extensive darkroom work. He uses up to a dozen enlargers at a time to produce his final images, and has a large archive of negatives that he has shot over the years.

Untitled 1976Untitled 1963

Untitled 1980

Untitled 2000Untitled 1982

Lucas Samaras■ Lucas Samaras born in Greece.■ Lucas Samaras was already known as a

sculptor, painter, and performance artist when he began experimenting with photography. In his early work, which includes multi-media assemblages, he often included images of himself.

■ In 1973 Samaras discovered that the wet dyes of Polaroid prints were highly malleable, allowing him to create what he calls "Photo-Transformations." He made these images in the modest New York apartment that also served as his studio. Describing himself as a "Peeping Tom," Samaras makes and remakes his own image to create a multi-faceted portrait of himself. These self-portrait photographs are distorted, terrifying, and often mutilated images.

Lucas Samaras Photo-Transformation, 1976 Polaroid

Photo-Transformation Lucas Samaras Color instant print

Lucas Samaras. Photo-Transformation. June 13, 1974.

David Hockney■ David Hockney is an English painter,

draughtsman, printmaker, stage designer and photographer.

■ An important contributor to the Pop art movement of the 1960s, he is considered one of the most influential British artists of the twentieth century.

■ In the early 1980s, Hockney began to produce photocollages, which he called "joiners," first of Polaroid prints and later of 35mm, commercially processed color prints. Using varying numbers of Polaroid snaps or photolab-prints of a single subject Hockneyarranged a patchwork to make a composite image. One of his first photomontages was of his mother. Because these photographs are taken from different perspectives and at slightly different times, the result is work that has an affinity with Cubism, which was one of Hockney's major aims – discussing the way human vision works.

David Hockney, My Mother (1986)

Pearblossom Highway (11-18 April 1986) by David Hockney

Trevor Paglen■ Trevor Paglen’s A Study of Invisible

Images is the first exhibition of works to emerge from his ongoing research into computer vision, artificial intelligence (AI) and the changing status of images. This body of work has formed over years of collaboration with software developers and computer scientists and as an artist-in-residence at Stanford University. The resulting prints and moving images reveal a proliferating and otherwise imperceptible category of “invisible images” characteristic of computer vision.

■ Paglen’s exhibition focuses on three distinct kinds of invisible images: training libraries, machine-readable landscapes, and images made by computers for themselves.

Trevor PaglenA Study of Invisible Images. Installation view, 2017. Metro Pictures, New York.

Comet (Corpus: Omens and Portents)Adversarially Evolved Hallucination, 2017dye sublimation metal print21 1/2 x 26 7/8 inches (54.6 x 68.3 cm)

False Teeth (Corpus: Interpretations of Dreams)Adversarially Evolved Hallucination, 2017dye sublimation metal print21 1/2 x 26 7/8 inches (54.6 x 68.3 cm)

Highway of Death (Corpus: The Aftermath of the First Smart War)Adversarially Evolved Hallucination, 2017dye sublimation metal print32 x 40 inches (81.3 x 101.6 cm)

Human Eyes (Corpus: The Humans)Adversarially Evolved Hallucination, 2017dye sublimation metal print48 x 60 inches (121.9 x 152.4 cm)

A Man (Corpus: The Humans)Adversarially Evolved Hallucination, 2017

dye sublimation metal print48 x 60 inches (121.9 x 152.4 cm)

Maija Annikki Savolainen■ Paperworks

■ The series, Paperworks (See/Sea), is a study on the colors of sunlight and the photographic way of seeing. The images are made with a folded, white A4 sheet placed in direct sunlight at different times of the day and year. When looking at the picture at a distance, one might see a horizon line. When taking a closer look, it becomes clear that there is something strange about the view. The horizon appears to be a fold on a sheet of paper, the colors are reflections of sunlight on the white surface; a little bit of information makes the eye see something else than before.

© Maija Savolainen

Jonathan Lewis■ Jonathan Lewis is a London-based photographer

■ Lewis’ work explores ideas of production and consumption in a playful manner, as in See Candy, which samples scans of candy wrappers to produce barcode-like patterns that amuse the eye and rouse the memory. The sensibility on display has been described as “strangely entrancing,” evoking a “Mr. Magoo kind of world,” while his prints “are joyful visual confections.”

■ In his most recent series, WalmArt, Lewis explores one of the more mundane rituals of modern living: the trip to the supermarket. The brightly packaged products arranged in layers and stacked in grids offer up a wealth of visual opportunity which the photographer digitally deconstructs to the verge of abstraction. The markets, reduced as they are to a Lego-land of blocks of color, are undermined in their efforts to facilitate accessibility to their products. Ultimately, however, Lewis is seduced by the bright uniformity of the aisles offering us an aesthetic enthusiasm that reflects our love/hate relationship with shopping, food and 21st Century living.

Jonathan LewisSEE CANDY: Almond Joy, 200123 x 23” Iris print

Jonathan Lewis

SEE CANDY: Bit O’Honey, 200123 x 23” Iris print

Jonathan Lewis

SEE CANDY: Walnetto, 200123 x 23” Iris print

Jonathan Lewis

SEE CANDY: Milky Way, 200123 x 23” Iris print

Abstract Landscapes by Frances SewardMy photography is a visual representation of the mind attempting to portray the solid evidence of the internal world. My work is inspired by Hong Viet Dung, a Vietnamese painter and devout Buddhist, and explores a psychological journey into inner space. This minimalist photography employs reductionism, as well as phenomenological light and perception, to evoke psychological and emotional landscapes.

Camera Alteration for you to try

■ Changing color balance

■ Selective Focus

■ Lens Distortions

■ Filters

■ Painting with Light

■ Adding elements

Lens Distortion

Soft Focus Filter

■ These filters do exactly that, they reduce the sharpness of an image but only to an extent that is barely noticeable.

Neutral Density Filter■ This filter uniformly

reduces the amount of light entering the lens. The ND filter is helpful when the contrast between highlights and shadow is too great to get a quality exposure. Also enables greater motion blurring and image detail allowing large aperture and or a slow shutter speed to be used.

Lens Distortion

Lens Distortion

■ Tilt Shift Lenses

Lens Distortion

Lens Distortion

! Bokeh- or soft focus

Lens Distortion

Plastic Distortion

Shoot through a prisim

Lens Distortion

■ Plastic Bag

■ Vaseline

■ Pantyhose

■ Plastic with marker drawing

Painting with Light- still life

Harold Ross

Painting with light abstractly

Wynn Bullock

Wynn Bullock, Color Light Abstractions, 1961

Scanner as the camera

Scanner as the camera

Cara Barer Janet Dwyer

Rebecca Wilde

Izalia Roncallo

Roberta Bailey Stewart Nelson

Post production Alterations

■ Using Plug in filters– Nik color effects – Alien Skin Exposure

■ Color and contrast extremes- Using LR HSL or Photoshop Curves

■ Multiple layer photo using Photoshop Blending Modes between layers

Nik - Color Efex Pro

Alien Skin- Esposure

HSL Color Split tone

Solarizing using Curves in ACR or Photoshop