Students taking loftier schoolhouse photography qualifications such as A Level Photography or NCEA Level 3 Photography often search the net looking for tips, ideas and inspiration. This article contains over 100 creative techniques and mixed media approaches that Fine Art / Photography students may wish to use within their work. Information technology showcases student and artist examples along with brief descriptions of the techniques that have been used. Approaches relate specifically to mixed media photography techniques, technical / play tricks photography ideas and interesting, fun or unique compositional strategies.
Annotation: The creative photography ideas listed in this article should non exist explored haphazardly within a photography course, but rather selected purposefully, if appropriate for your topic or theme. These approaches may or may non be relevant for your own photography project and should exist chosen only in conjunction with communication from your teacher. The techniques listed here are created using a range of unlike cameras and devices, such as a digital SLR/DSLR photographic camera, traditional camera, pinhole camera and/or photographic camera phone.
Stain, smudge and erode photographs using water, similar Matthew Brandt:
Matthew Brandt has created unexpected and dramatic running of coloured ink past submerging printed photographs in h2o. Afterwards photographing lakes or reservoirs from around the United States, Brandt collects samples of h2o and brings them dorsum to his studio. He so soaks the c-prints in water from the location that the image represents. Over fourth dimension, the surface begins to degrade, creating images that are relics of this procedure. This is a great example of how artistic photography techniques tin (and should) be driven by the subject or theme that is explored.
Sew together or embroider photos, equally in the stitched vintage photography of Maurizio Anzeri:
Maurizio Anzeri offers a wealth of inspiration for students who are looking for portrait photography ideas. The brightly embroidered patterns and delicately stitched veils cross the faces with sharp lines and dramatic glimmering forms. Notation: Although Anzeri sews directly into establish vintage photographs (oftentimes from flea markets and auto boot sales) information technology is commonly recommended that most high school students utilize their ain photographs for this purpose.
Stitch photographs together, like Lisa Kokin:
Lisa Kokin takes found, unrelated photographs and stitches them together, fabricating a relationship between them; creating an imagined life from the nostalgic shots.
Wrap torn plastic or other materials effectually the edge of your camera to create hazy edges, equally in the photographs of Jesse David McGrady (via PetaPixel):
This clever photography play a trick on produces soft, hazy edges around with a photograph, helping to create a seductive, ethereal or other-worldly atmosphere. Jessy David McGrady achieves this result using a plastic sandwich bag, with a hole torn in the side. He places the band of plastic effectually his camera lens, secured in place with a condom band, leaving rough, torn, slightly crunched edges visible through the viewfinder (but not obscuring the paradigm completely). The intention is that the middle of the paradigm remains well-focused and sharp, while the edges become misty. You can experiment with using marker pens to color the plastic or increasing the number of layers of plastic.
Use a hand-held glass lens or prism, to create blurred, abstract forms, like this photograph by Sam Hurd:
A convex lens or prism held in front of your camera lens tin can create stunning reflections, distortions and 'bokeh' (see beneath) inside and around your image. The results are unexpected and unpredictable, oftentimes creating beautiful abstracted shapes and colours that are not easily replicable using Photoshop. A hand-held glass lens or prism enables yous to quickly add together variety to an image, angle and directing light and color from the scene itself. Sam Hurd has used this technique to create a strong focal indicate: a magical environment with attention swiftly focused upon the ii figures in the center. This technique takes practise, but tin generate some spectacular results.
Deliberately unfocus lights to create 'bokeh', as in this beautiful landscape past Takashi Kitajima:
Takashi Kitajima stands on loftier-rise buildings and photographs Tokyo urban center at nighttime, capturing radiant semi-abstract urban landscapes. This composition contains a single focused area, surrounded by circular, glowing 'bokeh' – shimmering orbs that appear when a photographic camera lens attempts to record unfocused points of low-cal. Bokeh is created in different means by different lenses – typically actualization unintentionally in the groundwork of a scene. In this image, Kitajima has used a narrow depth of field (so the surface area in focus is very minor). In add-on to existence an exciting part of outdoor night photography, bokeh can occur in dimly lit interiors, such equally when photographing sequinned fabric, glitter sparkle or Christmas lights etc.
Photograph scenes through visible hand-held lenses, as in this A Level Photography piece of work past Freya Dumasia:
Identity photography ideas: these photographs were created by distorting and inverting oversupply scenes through circular lenses. The frame of the lens becomes a dominant compositional chemical element, containing blurred and abstracted figures that are reduced to smears of unidentifiable color.
Abstract an image completely through three mirrors, creating a vortograph, similar Alvin Langdon Coburn:
A vortograph is the abstract kaleidoscopic photo taken when shooting an object or scene through a triangular tunnel of three mirrors. Alvin Langdon Coburn'southward images were some of the first abstract photographs taken.
Fold a photograph and make a installation, still life or sculpture, as in this example by Joseph Parra:
Joseph Parra has cutting and folded 3 identical prints with meticulous precision, creating transfixing, distorted portraits. Entitled 'Oneself', this work references the 'fractured, multiple, and twisted ways we often view ourselves'. Many students search incessantly for still life photography ideas: this is a reminder that sometimes the photograph itself can get the nonetheless life.
Collage mixed media materials onto images, as in Vasilisa Forbes' photography:
This series of gimmicky photographs, entitled 'You lot were in that location we were all there', have precise, belittling strips of coloured paper collaged onto black and white photographs, removing the human presence from an image. Her work explores popular culture and the 'conditions of living in a commercial system'.
Splash, smear or throw mixed media upon photographs, as in this A Level Photography sketchbook example by Jemma Kelly:
This is a richly textural high schoolhouse Photography sketchbook, completed for an As Photography projection. It explores the theme: 'Unknown and Forbidden'. Collaged, mixed media photography techniques tin can add another dimension to photographs, and can help with the exploration of conceptual photography ideas.
Simulate the effect of the wet collodion process used past Emerge Mann via Edwynn Houk Gallery:
Photographer Sally Isle of mann is a fan of antique photography technology, often using a bellows photographic camera (one that has a pleated, expandable box to extend the lens). She has produced a meaning torso of piece of work using the platinum printing process, which results in high quality monochrome images with a very wide tonal range, as well as the bromoil press process, which involves making an oil impress from a bleached and hardened print on silver bromide paper. Bleaching makes the darkest areas of the print become hardest, so when soaked in water, more water is absorbed in the highlights. Due to oil and water not mixing, when the bromide image is inked with oil paint, the oil adheres to the darker areas but. This can then exist printed using a printing press, resulting in a soft paint-similar paradigm, with no two images exactly the same. Sally Mann has also created many works using the collodion wet plate process, which can result in images that appear to be a hybrid of photography and painting. This is a laborious historical printmaking method in which the final image is created onsite using a portable darkroom. It has seen a revival in popularity amongst contemporary photographers, with photography equipment now available to simulate this do. As in the examples above, colours are not true-to-life. It should exist noted that these techniques involve circuitous processes and chemical mixing and are thus not suitable for almost beginner Photography students (unless guided by a especially enthusiastic teacher). The stunning images above, nevertheless, suggest many artistic ways in which paint, ink and photography tin exist combined as office of a high school Photography projection.
Pigment developer sporadically onto photo paper to expose only parts of the piece of work, as in these portraits by Timothy Pakron:
Visual artist Timothy Pakron uses experimental darkroom techniques to create 'silver baste portraits' of his close friends and family, including his female parent and twin sis. Rather than immersing the paper entirely, Pakron hand-paints developer solution onto the photo paper, revealing cardinal elements of the face up, such as eyes, nose and oral cavity, communicating emotion via a few selected features. The dripping chemical solution creates a stream of drips across the epitome, revealing further details of the face in unexpected and unpredictable means. The drips suggest tears, burnout and despair: the feeling of being submerged in a storm. This aptly communicates the struggle of separation and loss in his family, which are specifically represented in the portraits of his twin sis and mother.
Pigment direct onto photographs, as in these works by Gerhard Richter:
Gerhard Richter has painted over 500 of his own photographs (with many more than works discarded): commercially printed images that are overpainted with spontaneous gestural smears, using leftover oil pigment practical with palette knives, squeegees or doctors' blades. In the examples higher up, the thick painted lines carve up the composition and inject colour into what is otherwise a rather drab interior scene. The paint disturbs the viewer – shatters the illusion that we are quietly observing a scene – pulling our attending to the tactile surface and smear of texture in front of our eyes.
Combine paint and photographs digitally, like Fabienne Rivory's LaBokoff projection:
This project by Fabienne Rivory explores interactions between imagination and reality. Selecting photographs that represent a memory, Fabienne digitally overlays a gouache or ink painting, introducing an intense vibrant colour to the work. Students might like to experiment with this thought by creating a photocopy of a work and applying ink or watercolours straight (watery mediums will not 'adhere' to an ordinary photography surface).
Redraw part of a scene with pigment, equally in these works by Aliza Razell:
Although similar to the to a higher place technique, this involves more than than applying painterly colours or textures to a work. In the example on the left, role of a digital image has been erased and replaced with a paw painted image. Many high school photography students have superb painting and drawing skill. Adopting a technique such as this can be a great way to flaunt multiple strengths.
Paint onto objects and then photograph them, as in this IGCSE Photography piece by Rachel Ecclestone:
This IGCSE Photography portrait submission incorporates imaginative face painting with dramatic lighting and well-composed images. This arroyo is growing in popularity amongst contemporary online photographers and provides students with another avenue for expressing a wide range of artistic skill.
Mark or scratch negatives or photos, every bit in this 100 year old vintage print past Frank Eugene:
This paradigm was created using photogravure – a photographic printmaking technique that was used to create some of the first photographs. It uses a treated, light-sensitive gelatin tissue that is exposed to the prototype and adhered to a copper plate. Later on the areas of unexposed gelatine are done abroad (leaving different depths of hardened gelatine in darker and lighter areas) ferric chloride is used to etch the image into the copper plate beneath (the ferric chloride soaks in more than in the adumbral / darker areas etc), assuasive a fully tonal photograph to be produced when printed using a printing press. In this example, Frank Eugene has scratched away background details with a retouching pocketknife, and then the horse remains the ascendant chemical element in the composition. The resulting image is a combination of drawing, carving and photography (an unorthodox approach for the time, which was influenced by his experience equally a painter). Photogravure is now a largely discontinued method of printing a photograph (it has been replaced by light amplification by stimulated emission of radiation etching machines – run across below) nonetheless, it inspires a range of contemporary photography ideas, such equally scratching the surface of a photograph with a fine point or scratching a negative prior to printing.
Utilize a CNC or Laser Engraving Motorcar to etch a photographic image onto glass, wood, aluminium or another similar cloth:
As technology progresses, it is possible for digital images to be engraved upon various surfaces (such equally rock, timber, fabric or leather); on or inside glass, as in a 3D crystal engraving; or around cylindrical items, such equally a rotating bottle. A laser is used like a pencil, with a controlled axle moving in unlike directions, intensities and speeds, delivering energy to the surface, heating up and vaporises areas or causing small pieces to fracture and flake away. Although the majority of laser photo engraving examples online seem to exist uninspiring commercial shots, laser engraving offers new possibilities for high school Photography students – not just in terms of printing images onto exciting materials, but as a way of creating a textured plate which can then exist printed from. It should be noted that although well-nigh high school Fine art Departments are not in a position to purchase a 3D laser engraving machine to experiment with (although this may alter in the hereafter) some Pattern and Technology Departments are beginning to. Many companies also offering a custom laser engraving service that students may make utilise of. Remember that those who must post piece of work away for assessment are not able to submit heavy, beefy or fragile pieces (such as laser wood engraving or laser engraving on glass).
Utilize an ink transfer method to print photograph images onto other materials, as in this video by Crystal Hethcote:
This video shows a unproblematic epitome transfer technique using gel medium, which could exist useful for applying a digital image to any number of artistic surfaces.
Add sculptural elements that beetle from the photograph, as in this case by Carmen Freudenthal & Elle Verhagen:
This photograph blurs the boundary between a 2nd representation and reality, integrating photography with 3D elements. Some of the works past Carmen Freudenthal and Elle Verhagen include videos projected onto photos and images printed onto draped sheets.
Take photos using a scanner, like Evilsabeth Schmitz-Garcia:
Scanography is the fine art of recording a subject using a flatbed scanner. It is created in the same style that Xerox art is created using a photocopier, nonetheless scanners typically have the ability to create larger, college quality digital files, as opposed to an firsthand black and white print. Scanography artists arrange objects upon the scanner screen (sometimes covering these with a layer of paper or draped fabric) and create a 'scanogram'; or capture movement in exciting ways, such equally Evilsabeth Schmitz-Garcia'southward 'Borderline Personality Disorder' portraits to a higher place, which take been distorted and stretched as the scanner arm moves across the screen. Scanners tin can also exist used to accept scans of objects place upon existing photographs, equally per the example below.
Identify objects on top of a photograph and browse it, like this example by Rosanna Jones:
This image was created in response to the topic 'Concealment'. A strip of folded tape was placed upon a blurred photograph so scanned to create a subsequent digital image. This creates the illusion of a slice of tape floating in midair, in front of a ghost-like figure.
Put objects on height of photographs and rephotograph them, like these images by Arnaud Jarsaillon and Remy Poncet of Brest Brest:
Retaking photographs of photographs – like to the scanning of photographs above – is another technique that is condign more popular. Retaking photographs is specially suitable when the nature of the added objects cannot be scanned (as in a wet liquid) or when you wish to use alternative angles and other photography techniques to manipulate the image farther. In these examples by Brest Brest, the raw egg and tomato plant ketchup provide an unexpected contrast to the formal portraits, creating images that command attention.
Project images onto textured surfaces and rephotograph them, as in these experimental images by Pete Ashton:
These urban landscape photographs were created using a homemade camera that projects an image onto a piece of scratched plastic and and then photographs this. A similar outcome could be achieved by projecting images via an overhead projector or slide projector onto a textured or decorative surface, such as an eroding wall, ripped wallpaper and stained concrete.
Project images onto people or scenes, as in these examples by freelance photographer Lee Kirby:
Although images tin be combined digitally, projecting ane image across a three-dimensional form creates a shut interaction betwixt the 2 scenes. The projected image distorts and becomes obscured every bit it bends around a 3D form and falls within shadowed crevices. Projecting images onto people can exist a great way to experiment with ideas relating to identity and portraiture, or every bit machinery for moving towards abstract photography. It can also become a artistic photography lighting technique – a mode of introducing mottled, coloured light to a scene.
Create a photogram, as in this example past Joanne Keen:
Photography students often begin the yr experimenting with the simplest blazon of photographic image – a photogram, too known as a 'cameraless photo'. This is created past placing objects straight onto photo paper in a darkroom and and then exposing the system to light for a prepare menses of fourth dimension. The objects create shadows on the paper in various intensities, depending upon the strength and duration of the light also every bit the transparency of the items. Translucent items can exist particularly successful, as in the slices of lemons and limes shown in Joanne Keen's photogram above. In one case the newspaper has been exposed to light, information technology is processed in the darkroom every bit per normal.
Create pinhole photography, making your own pinhole camera from scratch similar Matt Bigwood (via The Phoblographer):
This awesome experimental photograph was created past Matt Bigwood during a vi month exposure, using a homemade pinhole camera, fabricated out of an aluminium can (the lite proof box). The top of the tin can was removed and a pinhole was punctured in the side (the smaller the hole, the sharper the image – although the longer exposure time is needed, equally less light is permit in). Photographic paper was then inserted into the tin can (in the dark), with a paper-thin lid placed back over the opening, before it was positioned in place. As the pinhole was uncovered, lite entered the 'camera', creating an inverted view of the scene on the photographic newspaper (flick tin can also exist used) positioned within the camera. Although pinhole cameras often create unpredictable photographs, they are a great style for understanding how photographs were originally created. This instance by Matt Bigwood captures the motion of the sun (a blazon of photography known as solargraphy) across a suburban sky.
Note: some teachers purchase a make-calm pinhole camera gear up for their students, such as this one from Amazon United states of america or Amazon Great britain (affiliate links). Matt Bigwood's DIY pinhole cameras are made from ordinary aluminium drinkable cans:
Deliberately overexpose a shot, creating 'high-key' photography, similar this portrait by Gabi Lukacs:
High-key photography is the consequence of letting besides much light into the camera (having the shutter open for longer than the light atmospheric condition would ordinarily crave). Although overexposure usually occurs by accident, this can exist used as a deliberate stylistic technique. A high-fundamental photograph is typically taken in a bright location (extreme sunshine or under special photography lighting) with a white background or surroundings. A high-cardinal photo often has a minimal, sleek and/or futuristic appearance: smooth flawless surfaces, pale shadows, few modest details, and lite areas 'blown out' (whitened).
Experiment with underwater photography similar Elena Kalis:
Students who are looking for creative portrait photography ideas will be inspired by the compositions of Elena Kalis. The dreamlike, other-worldly quality of shooting underwater can trigger many abstract or literally 'absurd' photography ideas.
Use a homemade light box to create uncluttered backdrops for photography, as in this YouTube video by Auctiva:
Art teachers and students frequently accept photographs upon cluttered classroom tabletops, often with less than optimal lighting weather condition. Light box photography tin be particularly useful in this state of affairs, helping those who wish to create professional production shots (Graphic Design students creating promotional material, for example) or those who want to photo sculptural or design pieces, create blended works from several elements or just to accept a simple backdrop for their images. Tabletop photography becomes infinitely easier when you can lite a subject well, and capture true colour and details, in a reliable, uniform way. If yous are looking for other less fourth dimension-intensive tabletop photography ideas or properties ideas, it is possible to buy cheap light box kits and low-cal tents from Amazon.com and Amazon UK (affiliate links).
Experiment with camera filters, like the neutral density filter that was used to photograph this cute seascape by Salim Al-Harthy:
Many students assume that tweaking of the colour or lite in a photograph takes place digitally, after the epitome is taken. Although digital editing tools are bang-up, there are many benefits to starting with a higher quality paradigm. Photographic camera lens filters – optical filters which typically screw or clip to the camera lens â€" tin can assist with this. The lens filter shown (above left) is a neutral density filter, which reduces the corporeality of light that enters the camera. This allows long exposure shots in brightly lit scenes, such every bit in Salim Al-Harthy's beautiful seascape photography, to occur without becoming over exposed. Other filters affect the brightness or hue of a colour, reduce reflections, misconstrue or diffuse a scene. Photographic camera filters can be added and used in combination equally needed.
Use specialised photography lighting to achieve dramatic contrasts, every bit in this portrait of two brothers past dankos-unlmtd:
Many high school photography classes have a set up of lighting equipment, tripods and backdrops which can be shared among students and used for demonstration purposes. Although expensive lighting is non necessary to create a swell shot (indeed, daylight is all that is needed in many cases), experimenting with photography lighting techniques tin exist helpful, peculiarly in staged, indoor shots. Lighting is particularly important in black and white photography, where the removal of color means greater emphasis upon calorie-free and shadow. In this portrait, backlighting creates a dramatic highlight around the contour of the face, emphasising the similarities and differences between the older and younger blood brother.
Use a transportable photography reflector (i.e. this one from Amazon.com or Amazom Great britain – affiliate links) to create better lighting within your shots, such as in this outdoor portrait by Toni Lynn:
Virtually transportable reflectors for photography are inexpensive, lightweight and easy to deport. They come up in a range of sizes and colours and are usually made from cogitating material, held taut by a wire ring (although y'all tin can make your own silver version using tinfoil taped onto a cardboard sheet or use reflective insulation board from a hardware store). The primary function of a photography reflector is to lighten a subject naturally, eliminate harsh shadows and/or add together a sparkle to the eyes by directing, arresting or diffusing lite. Dissimilar coloured reflectors tin can also be used to modify the mood of an image, such as a gold reflector for warmth and argent for increasing highlights. Black and translucent 'reflectors' are not technically reflectors at all – and instead absorb, scatter or diffuse light. In the example in a higher place, Toni Li demonstrates how a natural backlit portrait can exist improved dramatically past reflecting light back onto the subject's face.
Take unfocused shots and create semi-abstract photographs, like those past Bill Armstrong:
Beak Armstrong sets his photographic camera's focus ring at infinity and takes purposefully unfocused photographs. He makes collages – photocopying, cut and painting over images – and then retakes these as blurred photographs, then that the resulting scene appears to be a photograph of reality. Verbal identities and objects remain mysterious. This photographic technique allows the emphasis to be placed upon light, tone and colour, resulting in intriguing, suggestive images.
Create 360 degree 3D panoramic photography, as in this image by Nemo Nikt:
Equally engineering progresses, more cameras and digital image manipulation programs offer the power to combine multiple shots from unlike angles into spherical 360 degree photographs (commonly with the appearance of little planets or floating worlds). Some cameras utilise 2 different lenses to achieve the 3D photography effect, while others utilize one. Students should be specially careful when using techniques such as this, as the temptation to experiment can overwhelm skillful judgment, simply for certain themes or compositional approaches, 3D panoramic photography may be appropriate, especially if this is used in an artistic, experimental manner.
Use kites to create aeriform photography, as in this image by Pierre Lesage:
Kite aerial photography (KAP) is a technique for only the particularly dedicated and experimental Photography student. It involves lifting a camera via a kite using a purpose-built or DIY rig, with the shutter triggered remotely or automatically. Although 1 of the more complex (and potentially risky) photography techniques listed here, it can allow exciting experimentation with camera angles and peak, creating cute images like the one by Pierre Lesage in a higher place, which would never otherwise exist able to be accomplished. With fast shutter speeds, motion blur can frequently be avoided. Students who are inexperienced using kite aerial photography are all-time to trial this using an inexpensive camera!
Produce High Dynamic Range Imaging (HDR Photography), every bit in this example by Karim Nafatni:
In sure situations, part of a normal photo may appear too dark or too light. For example, when photographing a figure before a brightly lit window, the portrait and interior may appear as a dark silhouette – or the window scene may appear bright white. What is HDR photography? HDR is a way of solving this, past combining two or iii photographs of the same scene taken at unlike exposures, so that all areas of the photo take the right 'dynamic range' or brightness. As is demonstrated in this stunning photograph of an aeroplane flight deck by airline captain Karim Nafatni, even shadows and very bright areas in HDR photography are perfectly exposed and full of detail. This results in a captivating, almost illustrative effect. Wondering how to do HDR photography? Shots taken at different exposures can be combined using HDR photography software; the HDR mode in-photographic camera or the HDR Camera setting on some smartphones (come across the listing beneath). In-photographic camera modes do all the piece of work for yous and simply spit out the final image. HDR Photography tips: avoid movement (of both the subject and your camera) for the duration of the shots (use a tripod!); avert this technique if you want strong contrasts between dark and light areas; and practice not apply when a scene that is already bright and well exposed.
Apply tilt-shift photography to make existent things look miniature, equally in this instance past Nicolas:
Tilt-shift photography is a technique that makes real objects appear pocket-size, equally if they were part of a miniature scale model. This is achieved through blurring and distortion – either with special camera lenses (such as the Nikon or Canon tilt shift lens); lens adaptors (such as the Hasselblad Tilt Shift adapter) which convert traditional lenses to tilt shift lenses; digital manipulation after the image is taken; or using a free smartphone app or Photoshop. There are as well websites that catechumen images to tilt-shift photos, such every bit http://tiltshiftmaker.com. A quick tilt-shift photography tutorial: start with a high quality, well-lit, in-focus photograph; take the photograph from above and to the side (equally if looking downwardly upon a scale model); cull a relatively simple scene; and make certain people are small (realistic people don't appear in models). Remember that exciting techniques such as this are fun and tempting to use to backlog: integrate only those which are beneficial and relevant to your high school Photography project.
Use a tilt-shift result to make paintings or drawings appear real, as in these photographs of Vincent van Gogh artworks by Serena Malyon:
Third year Fine art student Serena Malyon accomplished some draw-dropping results when applying the tilt-shift technique to famous van Gogh paintings using Photoshop. Flat, two-dimensional images took on the illusion of three-dimensional scenes, casting the viewer suddenly back in time. This tilt-shift arroyo may be more suitable for high schoolhouse students who specialise in Painting, but in that location may be ways in which digital distortion of painted scenes tin can form an integral part of a senior Photography project.
Photograph things with extreme macro lenses, similar these photos of water drops by Andrew Osokin:
These ethereal photographs of frozen water drops on plants are at such an extreme scale that they seem to be of a miniature, undiscovered worlds. Students looking for macro photography ideas oftentimes do non have to look far. At an extreme close-upward, a whole other realm of detail and possibility emerges.
Photo things without contextual information, so objects become almost unrecognisable, as in this instance past Peter Lik:
The subject matter of this dramatic photo is not immediately clear. At a first glance, it could be a swirling sheet in air, sand dunes at dusk or thick layers of impasto pigment smeared across a canvas. In fact, Peter Lik is a renowned mural photographer and this piece of work is from his Hidden Coulee's series – photographs of America's beautiful canyon landscapes. Rather than seeking to misconstrue or manipulate a scene, students looking for abstract photography ideas may wish to take this approach: zoom in until all contextual data is missing from a shot, capturing a beautiful fragment of the earth that no one else has seen.
Take photos from uncommon or unexpected viewpoints, like these birds center view photographs commissioned past the human rights organization Club for Customs Organization:
Photographing something from an uncommon bending can often consequence in fresh, unexpected images. This bird's middle view shows a tiny apartment in Hong Kong, where i.3 one thousand thousand people alive beneath the poverty line. The image was taken via a camera installed in the ceiling and aims to illustrate the unsafe living atmospheric condition of people crammed into small spaces.
Use frames inside frames to create intriguing compositions, such equally these photographs by Chen Po-I:
'Frames inside frames' is an age-old compositional strategy that helps to direct vision, create depth and emphasise certain areas of a photograph. In these examples, from Chen Po-I'due south series 'Outlook', urban growth in Taiwan is framed by windows in nearby derelict, abandoned buildings. This helps to contextualise the scenes and introduces ideas related to industrial expansion.
Emphasise reflections, rather than the objects themselves, as in the urban landscape photography of Yafiq Yusman:
At that place are many opportunities for students to explore reflections within their work â€" such as those that occur upon metal, glass or h2o. Yafiq Yusman has created a great series of bustling Singaporean landscapes photographs showing scenes from his home town reflected in puddles.
Play with shadows, like Russ and Reyn Photography:
Another creative approach is to place accent upon the shadows created past a field of study. This can lend itself to trick photography ideas or illusions, every bit in the example above, or provide a manner for creating dramatic lighting weather inside a photographic work.
Create illusions using forced perspective, like these photographs by Laurent Laveder:
Forced perspective is an optical illusion that occurs when deliberately tricking the viewer into thinking that an object is larger or smaller than it actually is. The illusion is created through careful staging of viewpoints and camera angles. Nigh forced perspective photographs involve cliche scenes that are best avoided inside a loftier schoolhouse Photography project, only there are some beautiful examples, such as these evocative works by Laurent Laveder.
Suit compositions every bit if they were a beautiful still life painting, such every bit these nutrient photographs styled past Maggie Ruggiero and photographed past Martyn Thompson (left) and Marcus Nilsson (right):
Every shape, texture, colour and form within these photographs has been considered, selected and positioned with care. Those looking for out-of-the-box indoor photography approaches or unusual still life photography ideas tin find it helpful to remind themselves that Photography students have the same level of compositional control as exercise Painting / Fine Fine art students. Understanding how to residuum and link dissimilar elements of a limerick might be all that is needed for you to create unforgettable even so life photography.
Create aboveboard documentary photography, like these emotion-filled black and white football fan shots by Christopher Klettermayer:
Documentary photography – or reportage photography, as it is sometimes known – involves candid photographs of unstaged, unmanipulated scenes (commonly involving people) such as might be taken by a photograph journalist. Emphasis is frequently upon motion, expressions and emotions of the subjects, with images left in a mainly raw, unprocessed country. Looking around for opportunities in your local environment can exist all that is needed for students to observe documentary photography project ideas, however it is worth remembering that capturing well-balanced innovative compositions in an unfolding situation takes practice and skill.
Capture the same scene at different times, as in this photography serial by Clarisse d'Arcimoles:
Clarisse d'Arcimoles has taken a series of photographs mimicking former family photographs, creating identical compositions of family unit members at different stages in their lives. The series explores ideas such equally the 'irretrievability of the past and photography's strength to make memories tangible'. Facial expressions, trunk angles, wearing apparel, hairstyles, props and background settings are recreated entirely, and then that family members sense that they travel back in time while the shoot takes place. Once taken, the shot is manipulated digitally, adding grainy textures and changing the light and tone to mimic the contrast within the former photograph. This image is an archival injet print of d'Arcimole's sister, aged 13 and 35.
Utilise mirrors to create illusions, as in this self-portrait by xviii year old photographer Laura Williams:
Mirrors concur much potential for students and can be useful for directing lite also as reflecting images. This photograph was digitally enhanced using Photoshop, then that the mirror appears transparent or invisible, showing the landscape behind the figure.
Create a circuitous 'unrealistic' setting and photograph it, as in this composition by Cerise Doucède:
When so many photographers insist upon using digital manipulation to create bizarre and unexpected scenes, it is refreshing to encounter Carmine Douède string inanimate objects from the ceiling, positioning these as if they are exploding outwards from a central figure. Creating this extraordinary still life took Doucède iii days. The strings are left visible in the last photograph, adding an element of awe to the work, as the viewer becomes enlightened that this is not digital fantasy.
Collect many similar items and produce typology photography, like Sam Oster's apparatus series:
These silverish gelatine prints consist of electrical consumer goods arranged in a grid format. Each item is photographed formally, within an identical setting: a typology of kettles and electrical fans. This is part of Samantha Oster'south 'Brusque Excursion' series; a photo-media investigation of the electric consumption of modern social club. The items were collected from dumps and rubbish collections and photographed using blackness and white film, before existence processed by manus.
Organise subject matter into patterns, like Jim Golden:
Photography students sometimes get caught upward in 'finding' a perfect scene, surround or moment to photograph and forget that they have direct compositional control. Objects or scenes can be deliberately arranged and equanimous, creating meaningful installations or repeating patterns. A reminder of the price of progress, Jim Golden purchases obsolete technology at yard sales and thrift stores and arranged these into dramatic patterns. Placing hundreds of near identical objects next to each other forces viewers to find and discover tiny differences.
Digitally create patterns, as in this artwork by Misha Gordin:
Whereas the above example depicts a physical system of subject area matter, this photograph shows how digital manipulation can exist used to create a powerful and moving paradigm.
Overlay multiple photos from slightly dissimilar angles, like these experimental photographs past Stephanie Jung:
Stephanie Jung creates stunning urban landscapes, overlaying near-identical city scenes that have been taken from slightly different angles, at different transparencies and colour intensities. The repeated forms (buildings / vehicles / street signs) suggest echoed memories, vibrations of life; the ebb and menstruum of fourth dimension.
Digitally erase parts of objects, as in this A Level Photography work by Leigh Drinkwater:
The mouth of this A Level Photography portrait has been digitally removed using photography editing software. Rather than erasing the paradigm entirely, a 'rubber stamp tool' or the equivalent tin can be used to duplicate a surface. In this case, facial pare has been imitated, concealing the mouth.
Colour select areas, every bit in this example byLocopelli:
This photograph uses colour to describe attention to a certain expanse of the composition and create a focal point. Photography editing software is used to create a duplicate black and white copy of an artwork as a divide layer below the original photograph. The coloured layer is then partially erased, cropped or selected, leaving colour visible in sure areas merely.
Apply a digital filter to create an illustrative effect, as shown in this Adobe Photoshop tutorial:
Many Art teachers and examiners take a fervent dislike of Adobe Photoshop filters. This is considering many students seem to believe that spending ten seconds applying a garish filter to a mediocre photograph transforms it into 'art'. Digital filters do accept a place, nonetheless, and tin can provide enormous value (such as in the example in a higher place, when several Photoshop filters have been applied, manipulated, erased and tweaked earlier arriving at the final epitome). Using digital filters may be especially appropriate for students who incorporate photography inside graphic design or illustrative projects.
Digitally overlay textures onto photos, as illustrated in this tutorial by PhotoshopStar:
Textured layers can be digitally added to part or all of a photo to impart the illusion of texture. There is a huge range of possible textures that are suitable for photographic overlays; the opportunities are endless. Students should detect and photo these themselves – for instance, decomposable timber surfaces, peeling paint or stained concrete. Ideally a student's theme or topic should inspire a suitable textural surface to explore.
Digitally draw over photographs, equally in these portraits by May Xiong:
These haunting photographs bear witness painted figures overlaid with a web of linear structures. The images explore the man listen; the interconnected maze of man idea.
Digitally superimpose photographs onto other products, as in these watches by John Rankin Waddell:
Gimmicky photographer Rankin has helped design the new Swatch watches, which are adorned with his shut up photographs of human eyes. In this example, eyes become unusual, captivating patterns that beautify a product.
Digitally merge images to play with calibration and create fantasy scenes like Lorna Freytag:
Lorna Freytag is a photographer, children's book illustrator and author. She creates commissioned portraits, like the works in a higher place, merging children into imaginative, fantasy situations. Students often want artistic portrait photography ideas and to integrate stories and fairytales inside their work; these examples combine both.
Combine objects in unexpected ways, to create something new, as in Carl Warner's foodscapes:
Students often become adept at using digital software to erase or heighten parts of scenes, forgetting that objects themselves tin can be used to construct entirely new scenes. In this case, a landscape has been physically crafted from nutrient, with vegetables superglued and pinned in position upon a tabletop in Carl Warner's studio: celery stem trees; mushrooms for rocks etc. A series of different photographs are taken of the miniature landscape, using a combination of tungsten and flash lighting equipment to simulate daylight. These images are then assembled digitally, post product.
Photograph objects through mottled or translucent screens, like this work by Matthew Tischler:
Matthew Tischler takes photographs through window screens, netting and scrims, using these to dissect, pixelate and filter his images. This removes the fine detail from his work and creates 'faceless characters whose identities are defined by their surroundings'.
Overlay tracing paper, obscuring parts of an paradigm, like this photograph by Gemma Schiebe:
This piece of work past Fine Fine art student Gemma Schiebe emphasises our loneliness inside cities and explores the idea that people often move around a busy urban infinite without whatsoever connexion or interaction with those around them. The central figure has been cutting out of the tracing paper, so that the surrounding scene is done out and obscured.
Cut through photographs to betrayal other layers of photographs below, as in these images by Lucas Simões:
These images are created past layering a like photograph on peak of another so cutting precise holes into the top layer to betrayal the images below. This is repeated many times, creating a semi-abstruse concluding work that is equanimous of fragmented and disassembled forms. The forms can exist neatly cut using a craft pocketknife or Рequally in the example of Lucas Sim̵es' latest work Рa light amplification by stimulated emission of radiation cutter.
Note: If you are interested in laser cut work, you lot may wish to encounter the excellent A Level Art project by Lucy Feng, which has been featured on the Student Art Guide.
Create layered handmade collages, like these works past Damien Blottière:
After taking initial photographs, Damien Blotti̬re cuts, layers and pastes these, extending the lines and curved organic forms of the human being body Рthe bones, muscles, face up, features and limbs Рas well every bit the designer garments that clothe them, creating fantasy/futuristic images. The cuts become the human action of drawing, with shadows between the layers calculation depth.
Cutting out shapes and insert coloured paper, as in these photographs by Micah Danges:
These landscape photographs by contemporary photographer Micah Danges have separate photographic layers and contain stylised abstract elements. The unproblematic strategy of cutting pieces out of a photograph and adding layers of dissimilar paper can be a great technique for high school photography students.
Collage photographs and found materials together, creating mixed media art like Jelle Martens:
These precise, analytical works by Jelle Martens, combine geometric blocks of colour with photographs, creating perfectly balanced patterns
Make a photomontage, equally in these examples by David Hockney:
This photography collage of a chair by David Hockney shows how several viewpoints tin can be combined within the one photomontage, creating an paradigm that is intriguing and cohesive, despite the distorted perspective. This arroyo might be suitable for those looking for still life photography ideas or those who wish to move towards a more fragmented or abstracted photographic image.
Make a photographic assemblage combining foreground, middleground and background, equally in this example by Matthew Chase-Daniel:
Matthew Chase-Daniel explores the way we wait at the earth. Rather than taking a single snapshot, he collects a 'group of moments', simulating the way we look in different directions and focus upon essential details. He takes a drove of photographs over a few hours or days, sometimes moving around the landscape; other times remaining nevertheless. Once he returns to his studio he selects, edits and arranges the photographs digitally, so they communicate the essence of a place. The terminal blended piece of work is printed at a large scale on rag paper.
Photo a single scene over time and bring together the pieces in sequence, like these composite photographs by Fong Qi Wei:
These photographs are from Fong Qi Wei'south 'Time is a Dimension' serial, and show digital slices of photographs taken over several hours at i location. The shots above show a seaside in sunrise, with the images organised together in a manner that shows the changing lite conditions.
Cut and Overlap a sequence of photos to create a sense of movement, as in this A Level Photography projection by Harriet James-Weed:
Many students who explore motility photography ideas leap towards flashy digital manipulation tricks, without kickoff making use of hand-generated collage techniques. This photomontage has been manually assembled upon a wooden surface, with images overlapped in sequence to imply motility. It was inspired past the great photography series of Edward Muybridge and is an first-class way of investigating conceptual ideas for subsequent works.
Combine multiple exposures to create the illusion of repeated objects, like these creative compositions past Lera:
Combining multiple exposures within i photo (the aforementioned technique that is used for sequence photography above) makes information technology possible to create the illusion that at that place are many identical elements within a composition. In these great examples, a imaginative fantasy concept is created – several mystical figures moving dramatically within the frame.
Superimpose 2 dissimilar only related scenes over the top of each other, like in this photograph past Adam Goldberg:
Traditional photographers have long been able to create two exposures on a single piece of film. This technique is at present besides hands achieved digitally – overlaying images using a multiply or transparency filter, for example. This example shows how the integration of two different scenes tin can assist to strengthen the ideas communicated within an artwork.
Photograph an artwork inside a scene to create illusions, as in these images by Gregory Scott via Catherine Edelman Gallery:
Many high school Photography students have skills in a broad range of other art disciplines. If you are looking for photography portrait ideas or still life photography ideas and are as well a strong painter or drawer, y'all may wish to employ trick photography to create surreal, distorted or unexpected illusions. Greg Scott takes photographs of large painted self-portraits, suspended within a existent life setting. The final shots are black and white photographs (the elimination of colour helps to conceal the purlieus between the painted and 'real' worlds) with careful system of perspective helping to merge the purlieus betwixt the painted and photographic prototype.
Add photography cuttings to real life situations, like the surrealist scenes created past Yorch Miranda:
This prototype has been created past hanging a cutting out photographic figure above a laundry handbasket. The change in calibration results in an inventive, surrealist scene, with the shadow cast by the figure becoming an integral part of the piece of work.
Inset scenes within other scenes, equally in these photographs by Richard Koenig:
Richard Koenig hangs a impress and rephotographs this in its new location, creating intriguing illusions of space inside space. Perspective lines within the two images are aligned to create optical confusion, and then the viewer is disconcerted and unsure about the separation of the two spaces. His work often features intimate, private moments inset inside generic, impersonal, public environment.
Poke or cut holes in photos and shine calorie-free through, like Amy Friend:
Using an unconventional photography lighting technique, Amy Friend pokes holes in photographs, so that pinpoints of light cast a magical glow over portraits that have faded and darkened with age. Although many students looking for vintage photography ideas resort to copying this arroyo exactly, in that location are many other possibilities, such as cutting and folding images in different ways, shining different coloured lights through gaps, rephotographing images at unusual angles and scales, distorting images and deliberately creating bokeh.
Photograph scenes through small gaps or holes, every bit in these photographs by Reina Takahashi:
Photographing a scene through holes holds exciting promise for students. In these examples, Reina Takahashi creates an intricate paper cut then photographs a room interior behind this. This fragments and abstracts the paradigm, and casts beautiful shadows.
Experiment with night photography and create a lite painting or drawing, as in A Level Photography example by Georgia Shattky:
'Low-cal painting' is the human activity of illuminating some other object or scene using a moving manus-held lite, such equally a flashlight or laser pointer. 'Light drawing' involves shining the lights at the photographic camera and cartoon or painting with lite in much the aforementioned fashion every bit an creative person might draw or paint with ink. The spectacular nighttime landscape in a higher place was created using a torch at twilight upon New Zealand sand dunes, as part of a high school Photography project. Tips: employ a long exposure in a dark setting, with the photographic camera mounted upon a tripod. An alternative light painting technique involves moving the camera around stationary lights (this is sometimes known equally kinetic light painting or camera painting). This is a less predictable method and results in vibrant, abstract photographs. Equally with many of the ideas listed in this commodity, rather than reading a circuitous light painting tutorial outlining verbal camera settings for nighttime photography, sometimes the best approach is simply to dive in and experiment, examination and explore.
Note: If you are interested in light painting y'all may besides wish to view this loftier school NCEA Photography project by Jessica Louise. Jessica uses a range of dark photography techniques, including using a laser to paint with light.
Use a fast shutter speed to freeze motion, like the activity photography of Justin Grant:
Move the photographic camera horizontally, so a moving discipline is in focus just the background is blurred, as in the panning photography of Mr Bones (via My Modernistic Met):
Panning is often i of the get-go 'tricks' that Photography students are introduced to. Using a slower shutter speed, the camera follows the motion of a moving object, ensuring that the panning motion is as smoothen and steady as possible (sometimes this can be achieved past rotating the camera atop a tripod). This results in the background appearing blurred, with the moving object sharp, equally in the example of a cat chasing a mouse higher up.
Use dull shutter speeds to create blurred movement, as in this beautiful water photo by Antti Viitala:
This amazing seascape by Antti Viitala shows overcast and stormy skies above crashing waves in South Africa. Long exposures blur the boundary between the sand and sea, creating an eerie and virtually other-worldly outcome.
Zoom in while shooting with a tedious shutter speed, like A Level Photography educatee Freya Dumasia:
This epitome was created by zooming the lens in and out at a slow pace, in a relatively low-light setting, with a boring shutter speed (low-lit situations help to avert over exposure). The model stood all the same and the camera was on a tripod (the aim is to minimise any motion aside from the zoom of the lens). This photography technique creates a sense of motion and creates a dramatic focal betoken. Information technology usually takes practise and experimentation to achieve the desired effect. Those without a zoom function on their camera can attempt to manually motility their photographic camera towards or away from a scene, yet this can makes things challenging, as it introduces movement and camera shake.
Experiment with wearisome shutter speeds at nighttime, blurring lights, as in the abstract 'Sightseeing Tunnel' series by Jakob Wagner:
Photographer Jakob Wagner took a five minute tunnel ride in an automatic car through a tunnel in China, creating vibrant, abstracted, long exposure, night photography that conveys the motion and changing calorie-free conditions along the journey.
Photo slow moving objects over a long menstruum of fourth dimension, equally in this photograph by Paul Schneggenburger:
Paul Schneggenburger photographs couples sleeping. Taken during a single half dozen hour exposure, the images contain many overlapping forms, reflecting a 'nocturnal lovers dance' in candlelight. Students looking for night photography ideas oftentimes presume that their options are express to bright moving lights: Schneggenburger'southward work is an excellent reminder of the potential that exists in other low-light settings.
Swing the camera while taking photos to achieve a swirling issue, as in this photo byLucasbenc:
Swinging of the camera while shooting can assistance to create a sense of move in a photograph or create spontaneous, unpredictable blurred, generating unexpected abstruse photography ideas.
Shake or jiggle the camera to create an impressionist effect, similar these examples by Gerald Sanders (via Apogee Photograph Magazine):
Afterward focusing upon a scene, deliberate shaking of a camera with pocket-size, controlled movements (making certain that the milk shake reduction feature is turned off on a DSLR camera) tin event in painterly impressionistic scenes. It can help to outset with slower movements, adjusting the aperture and exposure settings until the desired appearance is achieved.
Photograph moving subjects to create blurred, painterly forms, as in these examples by Mirjam Appelhof:
Whereas near photographers capture a frozen moment, Mirjam Appelhof aims to express the ongoing passage of time. Rather than create an ordinary static paradigm, she photographs herself moving, using a cocky-timer. Sometimes she works over the images with paint or different materials.
Create abstract photography from blurred movement, as in the 'Revolution' series past Yvette Meltzer:
Yvette Meltzer takes photographs in Chicago laundromats, closely cropping the images of driers in motion and then that they get abstract pieces. Meltzer quotes Picasso: 'There is no abstract art. You must e'er get-go with something. Afterward you can remove all traces of reality.'
Digitally add abstract elements to an prototype, such as these architectural photographs by Nick Frank:
Nick Frank creates sharp, stylised photographs of architectural details, zooming and framing a scene so that surface claddings announced to be vibrant two-dimensional paintings or designs, finding beauty and grace in spectacular and sometimes 'ordinary' architectural form.
Take close-up, tightly cropped scenes, creating abstract photography from surfaces and pattern, similar these works by Frank Hallam Twenty-four hour period:
Frank Hallam 24-hour interval carefully selects pieces of hulls from wrecked ships in West African harbours. Peeling paint, eroding metal and horizontal h2o lines take on the linear and textural qualities of an abstract painting: a commentary about the influence of fourth dimension upon humanity's technical accomplishment.
Finally, forget all fancy techniques. Open your eyes. Produce an unflinching record of what yous see, equally in this example by Gianfranco Meloni:
In that location are moments when information technology is best to forget outrageous techniques, enticing accessories and photography trickery, and instead concentrate upon the world in front of you lot. Discover the beauty that is overlooked and bring information technology to the forefront. Notice the magic and concord it all the same for others to see.
This collection is a work in progress. Information technology is continually updated with creative photography ideas and examples. If you are looking instead for photography theme ideas or project ideas for your entire high schoolhouse or college photography course, delight read our article near how to select a nifty subject area or theme for your Art project.
You may besides wish to view our collection of Featured Photography Projects by high school students from around the world.
Amiria has been an Art & Blueprint teacher and a Curriculum Co-ordinator for 7 years, responsible for the course blueprint and assessment of student work in two loftier-achieving Auckland schools. She has a Bachelor of Architectural Studies, Bachelor of Architecture (First Class Honours) and a Graduate Diploma of Education. Amiria is a CIE Accredited Art & Design Coursework Assessor.
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