Week 1: Looking Back

My project is a study of the stained glass windows within Oxford’s chapels. With 47 chapels to contend with (I keep finding more!) I am focusing on just one window per chapel, although in reality, I typically photograph three of four. Using multiple exposure blending in order to create an image that demonstrates the wide and full dynamic range depicted within each window necessitates as many as thirty images of each window to be captured.  A composite image is created by piecing together, manually, the optimum individual glass pieces from the available range.  That image then receives a final edit, removing any damage and eliminating the horizontal support bars.  Depending upon the size and complexity of the window, post production can take 20+ hours.

A significant concern is the time and requirements it takes in order to secure access to the chapels.  Some of Oxford’s Colleges are very accommodating indeed, but rather too many play hard to get, or require an extraordinary level of paperwork. I am in a bit of a battle with one at the moment: I have filled out the very detailed two page ‘Tour, Filming and Photography Application Form’, which first has to undergo a committee hearing, then, if approved, has to be passed in front of the Governing Body for ratification.  This process should take less than two months.  However, they require me to have £10 million liability cover in place for photography in interior locations and currently I only have £5 million of cover.  I do a lot of competition target shooting… somewhat perversely, were I to travel into the chapel with one of my rifles, I would be covered for the required £10 million liability insurance!!

While I have enjoyed aspects of the previous modules, the one stand-out feature is that they prevent me from working on my project.  I can commit to one or the other, but not both. My aim for this module is to attempt the impossible, managing my job, my project and the module.  Quite how others cope with the addition of a family, I cannot imagine!

‘The break’ for me was the start of a new academic year, so since late August I have been working seven day weeks in-school… much looking forward to next Saturday and Sunday, being the first Leave of the term!  However, last Wednesday afternoon I did dash into Oxford and photograph three stained glass windows within Oxford’s smallest chapel: The Chapel of St. Edmund’s Hall, but these have yet to leave my camera. I hope to get the chance to work on these images during my off-duty nights this week – if that is the case, images will follow…

I was hoping to have edited two lights from the east window, but time only allowed for one…

The ‘before’ shot is the middle of the 25 exposure bracketed images, with the final image being the result of about ten hours of multiple exposure blending, followed by eight hours of editing to remove the supports bars (this image being particularly awkward as a result of the patterns on the assorted gowns).  The final part of the process was a return to the chapel, with the image saved on a tablet so that I can compare the edited image with the actual window or light.  In this instance, it required no further work… I was keen to brighten the image as it appears quite murky in places, but that is true to the original, so I have left it looking, perhaps, rather dull…

This window is the earliest example in Oxford by Edward Burne-Jones and William Morris (1865).  The finished image suffers a little because the entire window is quite dirty… resulting in the blackened specks in many of the individual pains of glass. Additionally, I have noticed that the earlier pre-Raphaelite windows are significantly less vibrant than those of the late 1890’s and beyond.

The Latin quote, ‘Ecce Agnus Dei qui tollit peccata mundi‘ is from John 1:29… ‘Behold, the Lamb of God, who takes away the sins of the world!’

Week 2: Whose Image is it Anyway?

Image on left: original photography by Patrick Cariou / image on right: artwork by Richard Prince

Copyright law.  There have been some notable art copyright cases in recent decades. One of the most significant is French photographer Patrick Cariou’s claim, suing Richard Prince and his gallery, Gagosian, for copyright infringement. Read more about the case here  or an even more detailed report here.

I am no fan of this style of work – how can a few crude daubs of paint and a magazine cutting make this a new work of art (or indeed ‘art’). There seems far too much sympathy in using the work ‘appropriation’ – there is no synonym that can make it acceptable. If it necessary to exhibit such work, I could come close to tolerating it if there were clear apologies to the original artist/photographer and if the exhibition was clearly labelled as being one of intellectual property theft and vandalism.

I cannot begin to agree with the decision of the court.

I find it saddening that one level of argument in favour of the court is that Cariou did at least gain publicity for his work. When Cariou took the original photography, he had no intention of gaining from the exposure of this case. It must be rather galling to be better known as the person whose work was appropriated by someone else, rather than for your skills as a photographer.

Cariou was not approached with regard to permission, so it would seem improbable that the subject in the photograph received that common courtesy. I wonder how such a case would be handled in Europe? The GDPR issues alone could be sizable.

In the back of my mind is the thought that my project could be seen as being repurposing of other people’s art: the project sees me photographing then editing stained glass windows. However, the artists are all deceased, I always seek permission from the owner of the art work prior to any photography, and I gain approval for use of the photograph once the editing is complete. My project does not see me reinterpret the works (despite Course-based encouragement to do so) and the only editing is corrective (removing cracks in glass; erasing grime and dirt; removing support bars). Any publication of the images sees full reference to the original artist, the copyright owner of the original item and details the location of the item: I am working in collaboration with the owners (in the absence of the artist). I believe that this is the only acceptable way of ‘using’ pre-existing art works… however, for the benefit of my project, should you feel that I am omitting an important step, please do comment to that effect.

Week 2 Challenge: Let’s Talk Business

This week’s activity therefore, requires thought about the following three areas in relation to my practice:

• A Mission Statement
• The Product
• The Market

This is an opportunity to consider them from a more commercial angle.

Mission Statement
The fantastic beauty of stained glass windows is rarely replicated in a photography as there are so many factors inhibiting the process: the weather and lighting conditions may be unfavourable; a camera lacks sufficient dynamic range; there may be a build-up of years of dust and grime; the horizontal support bars detract from the original design.  Dominic Price’s vision is to record an image that is a lasting memory of a stained glass window, viewed as fresh and clear as the original artist would have wanted.

The Product
An initial site visit ascertains the logistics of the shoot, together with the most opportune time of day and time of the year to take the photograph.  Diffused, bright light is optimal, avoiding harsh shadows created by the lead calmes that hold the individual panes of glass together.  However, vegetation and surrounding buildings can have a dramatic impact on the anticipated lighting were one to carry out remote calculations.  If the site lends itself to a straightforward set up, then the photography stage typically takes no more than an hour per light (an individual vertical division of a window), with up to 30 exposure bracketed images being taken for each view.  The stained glass window or light is then reconstructed individual pane at a time, by selecting the most appropriately exposed fragment of an image from the exposure bracketed range.  With the image reassembled, any damaged or overly dirty panes are corrected.  A follow-up location visit allows the chance for a final comparison with the original prior to the digital removal of any support bars.  The final image can be supplied in a number of ways, from digital file to a host of print options, with a Giclée print on 310gsm standard fine art paper; double mounted in white card, then black box framed, being the preferred finish.

The Market
With scarce competition in the field, the potential market is huge: any location with stained glass.  Beyond individual images, there is the opportunity for exhibiting works to local communities as well as publishing the images within guide books or as greetings cards.  Clearly religious festivals are well documented within stained glass windows and lend themselves well to the greetings card market.

Week 4: Begin at the Beginning

Today I want you to rediscover why you love to take photographs.

Review your earliest work an reflect: What do you see in it? Can you find a theme that connects it to the work you make today? What do you like and dislike about the early work? What was it about these photographs that made you want to be a photographer?

Use the space below to share and discuss these photographs with your classmates. Comment on the work of your peers – especially if you are familiar with the kind of work they are doing now. Tell them what you see in their early work and how it connects to what they do now.

Anna-Maria Pfab

I was taking photographs from the age of about 8 and with access to a darkroom, it was not long before I was printing my own work. As a youngster I used to love my time in the darkroom. There was definitely a sense of magic in watching the images develop: it seemed to be a very special place, working under filtered light in a small space with and a smell of chemicals that I have always liked! What can I say… I have a BSc and was formally Head of Science at a school – the enjoyment of chemicals has never left me!

Sadly I cannot locate any of my images from those early days, but by the time I was 17 I was teaching myself A-Level photography, with a portfolio based on the local landscape: living on the edge of Dartmoor I was rather spoilt for choice and loved being outside taking photographs.  I developed a penchant for printing images very hard on Ilford Multigrade…

I also spent much time photographing the sports and events around the school, with running costs being covered by the school (they would get to use my images for the school magazine) and prints also being sold to my friends. While I loved photography, and enjoyed providing a much appreciated service for my friends, I was also enjoying making money out of the process – a very important thing for a teenager!

University gave me the occasional chance to dabble with press work.  I managed to be first on the scene with a camera when the Royal Engineers Bomb Disposal Squad were dealing with a series of incendiaries planted in shops on Cornmarket Street – usually the busiest shopping street in Oxford.

I continue to love sports photography, whether for the school in which I work, or for a somewhat broader market.  I will never grow tired of being outdoors, particularly with a camera, and do enjoy the feedback from those who see my work.  Any monies are always welcomed!

So to my Research Project… photographing stained glass windows in Oxford chapels.  Well, I wanted a challenge: it seemed too easy to stick with that which I had always done.