I is an Other : An Exploration of the Development of Childhood and Adolescent Self-Concept

A multidisciplinary project that combines original empirical research with an analysis of two Modernist novels, The Waves by Virginia Woolf and A Portrait of the Artist as a Young Man by James Joyce

Recent developments in portraiture: what does it mean to bring a portrait to life?

I give a brief history of my art practice,which explores past, present and possible future techniques to, in some sense, bring portraits ‘to life’.I set out and discuss the work of artists who have influenced my thinking and practice and others who are simply working along related lines. In particular I examine developments in ‘augmented reality’ and give an account of the current state of this field both in general and as utilised by contemporary artists. I explain how I learnt this new technology and describe how I used it to enhance my art/photography practice in order to produce more interesting and novel kinds of portraiture with it. I discuss the decision-making behind the making and curating of the final pieces of artwork for my MA exhibition. To conclude I discuss both the viewer’s engagement with my work and to what extent the work realised my vision and intentions for it. By using new technologies am I limiting access to a privileged audience only? Did I find a meaningful and aesthetically satisfying solution to ‘bringing a portrait to life’

Portraits

ThesisThe script consist of some highlights in the history of portrait photography and interviews with of two famous portrait photographers: Horst Paul Albert Bohnnann and Johan Pretorius as well as and seven helpful hints to successful portraiture. Some techniques (including lighting techniques), as well as the equipment needed for portrait photography is discussed. Several kinds of portraiture such as the infonnaVformal portrait and group portraits are also discussed. The script also deals with some of the author's own work

A Phenomenological, Arts-Based Study of Art Therapists’ Self-Reflective Practice

This phenomenological, arts-based study examined the experiences of 15 art therapists using five-minute, full-bodied self-portraiture with 55 minutes of self-reflective journaling once a week for four weeks at the end of each work week. The therapists determined the location for this practice. Subsequently, the four artworks, as a serial, were explored with each participant in a one-hour telephone or Skype interview to understand their lived experience through art, and its signs, and symbols. This process enabled the therapists to act as witness to their respective self/selves, deepening their insights and connections about self. The transcribed audio-taped interviews were manually coded to surface descriptive and interpretive elements, and empathic immersion facilitated some understanding of the participant’s actual lived experience to identify themes. Eight themes about the self surfaced, including self-awareness through: symbolism of environment; emotional, spiritual and bodily awareness; construction of self through word in art; engagement with inner-child; transformation; awareness of professional self; self-care; and awareness of hope and appreciation. The results, confirmed with each participant, found that their self-portraits, using simple materials such as photocopy paper and markers, resulted in images which visually captured the artist’s actual experience, in ways that words could not. The subsequent reflections concerning the images resulted in rich descriptions that facilitated their respective self-assessments, and in turn, their future directionality. The results also affirmed the importance of self-care for the art therapist through the creation of art, as a means for maintaining their inner artistic drive and desire, and balance and well-being

Communicating through photographs: a guide for public relations professionals

The purpose of preparing this guide was to create a resource for public relations professionals to refer to when faced with the task of placing photographs in publications. The assumption is that most public relations professionals are not trained to think visually, partly because their education is focused on writing and virtually ignores aesthetics. Since readership surveys find that people prefer photographs over the written word, and that pictures capture attention quicker than headlines, it is essential that public relations people know how to use visuals to enhance a message. The primary research methods of this study were examination of literature appropriate to the photographic and publishing processes, interviews with experts in the field, and an investigation of electronic resources. The conclusions drawn provide the reader with limited basics of photography, such as how to plan a shoot, how to take a picture and how to submit a photo to the printer. Primarily, this guide is intended to teach public relations professionals how to increase the effectiveness of their publications through the use of important photographic elements such as composition, content and placement

Creative Assets and Program Content Guide: To Build Social and Emotional Learning and Promote Trauma Mitigation and Healing

In 2016, the Adolescent Girl and Creativity Network was commissioned by the Population Council’s Community of Practice to utilize their wealth of knowledge and field experience to critically examine, adapt, and expand the Council’s Building Assets Toolkit© and complementary Asset Exercise. The question explored was: What are the essential assets pertinent to the most-at-risk girls and how can they be built through creative techniques/activities? This guide is the result of that activity—13 creative assets and 50 activities (program content) to build social and emotional learning, mitigate and manage trauma, and promote healing. The 50 creative program content activities to build the 13 creative assets are described in detail. Multiple activities can build each asset

The art of people photography

ThesisPhotography relies on a process of cooperation between subject and photographer. Try to establish from the outset the mutual understanding that you are working together to achieve a good result, if someone consents to pose for a portrait. Host people like the idea of a competent photographer taking pictures of them, and one can build on their underlying willingness to help. But you will have to overcome initial difficulties, to achieve a simple and natural likeness, because few people can pose formally for the camera without some tension. Largely, communication is a matter of getting people to relax in front of the camera. Try to bolster your subject's self-confidence. Be free with compliments and keep a conversation going. Hake positive suggestions instead of criticisms. If the sitter is frowning, it will disappear naturally, when a change of pose is encourage. Plan ahead, to inspire confidence in own ability, so that one do not appear undecided about backgrounds or lightning during the session. Have the equipment set up as intend to use it. Before the subject arrives, if possible, test any special lighting. The photographer will help the subject to feel comfortable and relax, by clearly establishing that he or she know what they are doing