• Home
  • Coursework
    • EYV 5 Viewpoint
      • EYV 5 Exercise 5.3
      • EYV 5 Exercise 5.2
      • EYV 5 Exercise 5.1
    • EYV 4 The language of light
      • EYV 4 Exercise 4.5
      • EYV 4 Exercise 4.4
      • EYV 4 Exercise 4.3
      • EYV 4 Exercise 4.2
      • EYV 4 Exercise 4.1
    • EYV 3 Traces of time
      • EYV 3 Decisive Moment debate
      • EYV 3 research point
      • EYV 3 Exercise 3.3
      • EYV 3 Exercise 3.2
      • EYV 3 Exercise 3.1
    • EYV 2 Imaginative spaces
      • EYV 2 research point
      • EYV 2 Exercise 2.7
      • EYV 2 Exercise 2.6
      • EYV 2 Exercise 2.5
      • EYV 2 Exercise 2.4
      • EYV 2 Exercise 2.3
      • EYV 2 Exercise 2.2
      • EYV 2 Exercise 2.1
    • EYV 1 From that moment onwards
      • EYV 1 research point
      • EYV 1 exercise 1.4
      • EYV 1 exercise 1.3
      • EYV 1 exercise 1.2
      • EYV 1 exercise 1.1
  • Assignments
    • EYV 5 Photography is simple
      • EYV 5 Photography is simple assignment
      • EYV 5 Photography is simple contact sheets
      • EYV 5 Photography is simple tutor feedback
    • EYV 4 Languages of light
      • EYV 4 Languages of light assignment
      • EYV 4 Languages of light contact sheets
      • EYV 4 Languages of light tutor feedback
    • EYV 3 The decisive moment
      • EYV 3 The decisive moment assignment
      • EYV 3 The decisive moment contact sheets
      • EYV 3 The decisive moment tutor feedback
    • EVY 2 Collecting
      • EYV 2 Collecting assignment
      • EYV 2 Collecting contact sheets
      • EYV 2 Collecting tutor feedback
    • EYV 1 Square mile
      • EYV 1 Square mile assignment
      • EYV 1 Square mile contact sheets
      • EYV 1 Square mile tutor feedback
  • Learning log
    • Publications and exhibitions
      • 2018 Deutsche Börse Prize exhibition
      • Charlotte Cotton: The Photograph as Contemporary Art
      • Stephen Shore: The Nature of Photographs
      • Tides: Photographing the seafront
    • Photographers and their work
      • Sally Mann: At Twelve/Immediate Family
      • Stephen Gill: Hackney Wick
      • Eddo Hartmann: North Korea (2014–17)
      • Henri Cartier-Bresson: L’amour tout court
      • Tony Ray-Jones (1941–1972)
      • Eadweard Muybridge: the first movie (1878)
      • Thomas Ruff: the JPEGS debate
      • Light & shade: Trent Parke & Brian Griffin
      • Composition: Alexander Rodchenko (1930)
    • Theory and reflection
      • Reflection on my progress through EYV
      • Working up to the EYV 5 assignment
      • Homages from my archive
      • Considering contexts
      • Lessons from Sally Mann’s landscapes
      • My view of the Decisive Moment debate
      • Does B&W always reference the past?
      • The strange world of long exposures
    • Technical
      • Lightroom CC image editing tutorials
      • Focal points can differ in B&W vs colour
      • Experimenting with colour adjustments
      • The power of colour to evoke an era
      • Photographing the moon
      • A new perspective on deep depth of field
      • B&W can look more interesting than life
      • The path of the eye through an image
  • About me
  • Home
  • Coursework
    • EYV 5 Viewpoint
      • EYV 5 Exercise 5.3
      • EYV 5 Exercise 5.2
      • EYV 5 Exercise 5.1
    • EYV 4 The language of light
      • EYV 4 Exercise 4.5
      • EYV 4 Exercise 4.4
      • EYV 4 Exercise 4.3
      • EYV 4 Exercise 4.2
      • EYV 4 Exercise 4.1
    • EYV 3 Traces of time
      • EYV 3 Decisive Moment debate
      • EYV 3 research point
      • EYV 3 Exercise 3.3
      • EYV 3 Exercise 3.2
      • EYV 3 Exercise 3.1
    • EYV 2 Imaginative spaces
      • EYV 2 research point
      • EYV 2 Exercise 2.7
      • EYV 2 Exercise 2.6
      • EYV 2 Exercise 2.5
      • EYV 2 Exercise 2.4
      • EYV 2 Exercise 2.3
      • EYV 2 Exercise 2.2
      • EYV 2 Exercise 2.1
    • EYV 1 From that moment onwards
      • EYV 1 research point
      • EYV 1 exercise 1.4
      • EYV 1 exercise 1.3
      • EYV 1 exercise 1.2
      • EYV 1 exercise 1.1
  • Assignments
    • EYV 5 Photography is simple
      • EYV 5 Photography is simple assignment
      • EYV 5 Photography is simple contact sheets
      • EYV 5 Photography is simple tutor feedback
    • EYV 4 Languages of light
      • EYV 4 Languages of light assignment
      • EYV 4 Languages of light contact sheets
      • EYV 4 Languages of light tutor feedback
    • EYV 3 The decisive moment
      • EYV 3 The decisive moment assignment
      • EYV 3 The decisive moment contact sheets
      • EYV 3 The decisive moment tutor feedback
    • EVY 2 Collecting
      • EYV 2 Collecting assignment
      • EYV 2 Collecting contact sheets
      • EYV 2 Collecting tutor feedback
    • EYV 1 Square mile
      • EYV 1 Square mile assignment
      • EYV 1 Square mile contact sheets
      • EYV 1 Square mile tutor feedback
  • Learning log
    • Publications and exhibitions
      • 2018 Deutsche Börse Prize exhibition
      • Charlotte Cotton: The Photograph as Contemporary Art
      • Stephen Shore: The Nature of Photographs
      • Tides: Photographing the seafront
    • Photographers and their work
      • Sally Mann: At Twelve/Immediate Family
      • Stephen Gill: Hackney Wick
      • Eddo Hartmann: North Korea (2014–17)
      • Henri Cartier-Bresson: L’amour tout court
      • Tony Ray-Jones (1941–1972)
      • Eadweard Muybridge: the first movie (1878)
      • Thomas Ruff: the JPEGS debate
      • Light & shade: Trent Parke & Brian Griffin
      • Composition: Alexander Rodchenko (1930)
    • Theory and reflection
      • Reflection on my progress through EYV
      • Working up to the EYV 5 assignment
      • Homages from my archive
      • Considering contexts
      • Lessons from Sally Mann’s landscapes
      • My view of the Decisive Moment debate
      • Does B&W always reference the past?
      • The strange world of long exposures
    • Technical
      • Lightroom CC image editing tutorials
      • Focal points can differ in B&W vs colour
      • Experimenting with colour adjustments
      • The power of colour to evoke an era
      • Photographing the moon
      • A new perspective on deep depth of field
      • B&W can look more interesting than life
      • The path of the eye through an image
  • About me
 Reflection on my progress through EYV

Reflection on my progress through EYV

21 April 2018
Read More
 Working up to the EYV 5 assignment

Working up to the EYV 5 assignment

09 April 2018
Read More
 Homages from my archive

Homages from my archive

30 March 2018
Read More
 Considering contexts

Considering contexts

28 March 2018
Read More
 Lessons from Sally Mann’s landscapes

Lessons from Sally Mann’s landscapes

05 March 2018
Read More
 My view of the Decisive Moment debate

My view of the Decisive Moment debate

09 February 2018
Read More
 Does B&W always reference the past?

Does B&W always reference the past?

08 February 2018
Read More
 The strange world of long exposures

The strange world of long exposures

06 February 2018
Read More
 Reflection on my progress through EYV

Reflection on my progress through EYV

21 April 2018
Read More
 Working up to the EYV 5 assignment

Working up to the EYV 5 assignment

09 April 2018
Read More
 Homages from my archive

Homages from my archive

30 March 2018
Read More
 Considering contexts

Considering contexts

28 March 2018
Read More
 Lessons from Sally Mann’s landscapes

Lessons from Sally Mann’s landscapes

05 March 2018
Read More
 My view of the Decisive Moment debate

My view of the Decisive Moment debate

09 February 2018
Read More
 Does B&W always reference the past?

Does B&W always reference the past?

08 February 2018
Read More
 The strange world of long exposures

The strange world of long exposures

06 February 2018
Read More
My IAP blog
  • Home
  • For assessment
  • Assignments
    • IAP assignment 1
      • IAP A1: battling dread and doubts
      • IAP A1: developing a concept
      • IAP A1: request for critique
      • IAP A1: adjusting my approach
      • IAP A1: assignment
      • IAP A1: contact sheets
      • IAP A1: reflection before tutor feedback
      • IAP A1: tutor feedback
      • IAP A1: reflection after tutor feedback
    • IAP assignment 2
      • IAP A2: assignment
      • IAP A2: background, research and process
      • IAP A2: reflection before tutor feedback
      • IAP A2: contact sheets
      • IAP A2: tutor feedback
      • IAP A2: tutor-recommended research
      • IAP A2: reflection after tutor feedback
      • IAP A2: developing a presentation for assessment
      • IAP A2: final for assessment
      • IAP A2: summary for assessment
    • IAP assignment 3
      • IAP A3: assignment
      • IAP A3: background, research and process
      • IAP A3: contact sheets
      • IAP A3: reflection before tutor feedback
      • IAP A3: tutor feedback
      • IAP A3: reflection after tutor feedback
    • IAP assignment 4
      • IAP A4: assignment
      • IAP A4: contact sheets
      • IAP A4: background, research and process
      • IAP A4: reflection before tutor feedback
      • IAP A4: tutor feedback
      • IAP A4: assignment revised
      • IAP A4: reflection after tutor feedback
      • IAP A4: final for assessment
      • IAP A4: summary for assessment
    • IAP assignment 5
      • IAP A5: assignment
      • IAP A5: contact sheets
      • IAP A5: background, research and process
      • IAP A5: reflection before tutor feedback
      • IAP A5: tutor feedback
      • IAP A5: final for assessment
      • IAP A5: reflection after tutor feedback
      • IAP A5: summary for assessment
  • Coursework
    • IAP 1 coursework
      • IAP 1 exercise 1.1 historic portrait
      • IAP 1 exercise 1.2 background as context
      • IAP 1 exercise 1.3 portraiture typology
      • IAP 1 exercise 1.4 archival intervention
    • IAP 2 coursework
      • IAP 2 exercise 2.1 individual spaces
      • IAP 2 exercise 2.2 covert
      • IAP 2 exercise 2.3 same model, different background
      • IAP 2 exercise 2.4 same background, different model
    • IAP 3 coursework
      • IAP 3 exercise 3.1 mirrors and windows
      • IAP 3 exercise 3.2 aspects of personality
      • IAP 3 exercise 3.3 unhelpful portrayals
      • IAP 3 exercise 3.4 the gaze
    • IAP 4 coursework
      • IAP 4 exercise 4.1 decoding adverts
      • IAP 4 exercise 4.2 image and text
      • IAP 4 research point 4.1 anchorage & relay
      • IAP 4 exercise 4.3 storyboard
      • IAP 4 exercise 4.4 news captions
      • IAP 4 exercise 4.5 words and images
    • IAP 5 coursework
      • IAP 5 research point 5.0 storyteller or history writer?
      • IAP 5 research point 5.1 objects as metaphor
      • IAP 5 exercise 5.1 still life
      • IAP 5 exercise 5.2 exhausting a place
      • IAP 5 exercise 5.3 journey
  • Learning log
    • Self-reflection
      • Reflection on identity
      • IAP A1: battling dread and doubts
      • Stopping and re-starting the course
      • IAP Reflection on inside/outside
    • Research
      • Book: Eijkelboom, H. People of the Twenty-First Century
      • Magazine: Foam #55. Talent
      • Book: Bull, S. Photography
      • Video: Elina Brotherus student talk
      • Exhibition: 100 First Women Portraits by Anita Corbin
      • Exhibition: Deutsche Börse Prize 2020
      • Martin Parr on Zoom with Simon Bainbridge
      • Book: Usborne, M. I’ve Lived in East London…
      • Exhibition: Jan Svoboda
      • Book: Shore, S. Uncommon Places: The Complete Works
  • About me
My CAN blog
  • Home
  • Assignment summaries
  • Assignments
    • CAN A1 Two sides of the story
      • CAN 1 Assignment
      • CAN 1 Contacts
      • CAN 1 Tutor feedback
      • CAN 1 self-assessment
      • New perspective on CAN 1 Two sides of the story
    • CAN A2 Photographing the unseen
      • CAN 2 Assignment
      • CAN 2 Contacts
      • CAN 2 Tutor feedback
      • CAN 2 self-assessment
    • CAN A3 Putting yourself in the picture
      • CAN 3 Assignment
      • Further reflection on assignment 3
      • CAN 3 contacts
      • CAN 3 Tutor feedback
      • CAN 3 self-assessment
    • CAN A4 A picture is worth 1,000 words
      • CAN 4 Assignment
      • CAN 4 Tutor feedback
      • CAN 4 self-assessment
    • CAN A5 Making it up
      • Developing an idea for assignment 5
      • CAN 5 Assignment
      • CAN 5 Tutor feedback
      • CAN 5 self-assessment
  • Coursework
    • CAN 1 The photograph as document
      • CAN 1 Exercise 1.1 Citizen journalism
      • CAN 1 Research point 2.1 Inside/outside
      • CAN 1 Exercise 3.1 Colour vs black & white
      • CAN 1 Research point 4.1 Paul Seawright
      • CAN 1 Exercise 4.1 Sarah Pickering
      • CAN 1 Exercise 5.1 Composite image
      • CAN 1 Exercise 5.2 Technology and truth
      • CAN 1 Research point 5.1 Documentary photography
    • CAN 2 Narrative
      • CAN 2 Exercise 1.1 Briony Campbell & W Eugene Smith
      • CAN 2 Exercise 2.1 Write your own captions
      • CAN 2 Research point 2.1 Sophie Calle & Sophy Rickett
      • CAN 2 Exercise 2.2 Interpret a poem
    • CAN 3 Putting yourself in the picture
      • CAN 3 Exercise 1.1 Reflect on the works
      • CAN 3 Exercise 2.1 Nikki S Lee
      • CAN 3 Exercise 2.2 A childhood memory
      • CAN 3 Exercise 3.1 Gender and image
    • CAN 4 Reading photographs
      • CAN 4 Exercise 0.1 Other reasons for photos
      • CAN 4 Exercise 1.1 Elliot Erwitt image
      • CAN 4 Exercise 2.1 Comment on an ad image
    • CAN 5 Constructed realities
      • CAN 5 Exercise 1.1 Goodfellas character clues
      • CAN 5 Research point 1.1 Gregory Crewdson
      • CAN 5 Exercise 2.1 Nicky Bird Question for Seller
  • Learning log
    • Self-reflection
      • CAN 1 self-assessment
      • Reflection on defining myself
      • New perspective on CAN 1 Two sides of the story
      • CAN 2 self-assessment
      • Starting to think about sustaining my practice
      • Volunteering for the Brighton Biennial
      • Further reflection on assignment 3
      • CAN 3 self-assessment
      • Developing an idea for assignment 5
      • My work as a Brighton Biennial volunteer
      • The Brighton Biennial study visit
      • First steps with colour management
      • CAN 4 self-assessment
      • Photography reading group hangouts
      • CAN 5 self-assessment
      • Reflection on my progress through CAN
    • Reflection on others
      • Photo London 2018
      • Ian Jeffrey: Photography
      • Austin Kleon: Steal like an artist
      • Roland Barthes: Mythologies
      • Reflection on Francesca Woodman
      • Reflection on copyright
      • Maria Short: Context and Narrative
      • Roland Barthes: Camera Lucida
      • Brighton Museum & Art Gallery: Gilbert & George
      • Towner Art Gallery Eastbourne: At Altitude
      • Robert Shore: Post-Photography
      • Bishopstone Railway Station: A Longer View
      • The Photography MA show at Brighton University
      • Susan Bright: Auto Focus
      • Howarth & McLaren: Family Photography Now
  • About me
My EYV blog
  • Home
  • Coursework
    • EYV 5 Viewpoint
      • EYV 5 Exercise 5.3
      • EYV 5 Exercise 5.2
      • EYV 5 Exercise 5.1
    • EYV 4 The language of light
      • EYV 4 Exercise 4.5
      • EYV 4 Exercise 4.4
      • EYV 4 Exercise 4.3
      • EYV 4 Exercise 4.2
      • EYV 4 Exercise 4.1
    • EYV 3 Traces of time
      • EYV 3 Decisive Moment debate
      • EYV 3 research point
      • EYV 3 Exercise 3.3
      • EYV 3 Exercise 3.2
      • EYV 3 Exercise 3.1
    • EYV 2 Imaginative spaces
      • EYV 2 research point
      • EYV 2 Exercise 2.7
      • EYV 2 Exercise 2.6
      • EYV 2 Exercise 2.5
      • EYV 2 Exercise 2.4
      • EYV 2 Exercise 2.3
      • EYV 2 Exercise 2.2
      • EYV 2 Exercise 2.1
    • EYV 1 From that moment onwards
      • EYV 1 research point
      • EYV 1 exercise 1.4
      • EYV 1 exercise 1.3
      • EYV 1 exercise 1.2
      • EYV 1 exercise 1.1
  • Assignments
    • EYV 5 Photography is simple
      • EYV 5 Photography is simple assignment
      • EYV 5 Photography is simple contact sheets
      • EYV 5 Photography is simple tutor feedback
    • EYV 4 Languages of light
      • EYV 4 Languages of light assignment
      • EYV 4 Languages of light contact sheets
      • EYV 4 Languages of light tutor feedback
    • EYV 3 The decisive moment
      • EYV 3 The decisive moment assignment
      • EYV 3 The decisive moment contact sheets
      • EYV 3 The decisive moment tutor feedback
    • EVY 2 Collecting
      • EYV 2 Collecting assignment
      • EYV 2 Collecting contact sheets
      • EYV 2 Collecting tutor feedback
    • EYV 1 Square mile
      • EYV 1 Square mile assignment
      • EYV 1 Square mile contact sheets
      • EYV 1 Square mile tutor feedback
  • Learning log
    • Publications and exhibitions
      • 2018 Deutsche Börse Prize exhibition
      • Charlotte Cotton: The Photograph as Contemporary Art
      • Stephen Shore: The Nature of Photographs
      • Tides: Photographing the seafront
    • Photographers and their work
      • Sally Mann: At Twelve/Immediate Family
      • Stephen Gill: Hackney Wick
      • Eddo Hartmann: North Korea (2014–17)
      • Henri Cartier-Bresson: L’amour tout court
      • Tony Ray-Jones (1941–1972)
      • Eadweard Muybridge: the first movie (1878)
      • Thomas Ruff: the JPEGS debate
      • Light & shade: Trent Parke & Brian Griffin
      • Composition: Alexander Rodchenko (1930)
    • Theory and reflection
      • Reflection on my progress through EYV
      • Working up to the EYV 5 assignment
      • Homages from my archive
      • Considering contexts
      • Lessons from Sally Mann’s landscapes
      • My view of the Decisive Moment debate
      • Does B&W always reference the past?
      • The strange world of long exposures
    • Technical
      • Lightroom CC image editing tutorials
      • Focal points can differ in B&W vs colour
      • Experimenting with colour adjustments
      • The power of colour to evoke an era
      • Photographing the moon
      • A new perspective on deep depth of field
      • B&W can look more interesting than life
      • The path of the eye through an image
  • About me
All text and images copyright © Julia Salisbury except where indicated otherwise. All rights reserved.