=Photography as Art and Science in London - Art Capstone=
by [[User:Jhdupuis|Jacob Dupuis]] 
{{Infobox
|title = Photography
|bodystyle = width:25em
|image = [[File:theLinkedRingLogo.jpg|x450px|alt=Milestone Image]]
|caption = The Linked Ring logo, 1893
}}

__TOC__

=Abstract=
This project was created with the goal of allowing me to explore the history of photography in London, while also allowing me to further my experience with photography. While I have not taken classes on photography, I've had experience shooting events and producing work for hire, and am constantly trying to learn as much as I can. Being in London where a lot of modern photography's history began means that there were a lot of resources in the city to help me develop the project. This milestone looked at Photography in the end of the 19th century in London and America. The background explores the Linked Ring group and Photo-Secession movement, and how photography moved from just being a science to being an artistic field that utilizes science to further the technical aspects of the craft. The deliverable of this milestone is in the form of street photography taken with modern professional equipment that is meant to reflect styles created by traditional 19th century photography technologies.
 

=Introduction=
 
This project looked at the historical development of Photography in London and applies some of those principles to photographs that I created here in the city. It provides a summary of how modern photography came to bloom in London, and how it influenced developing techniques in today's digital photography world. The works of the Linked Ring are often studied in a historical or practical way, but my project combined both with modern techniques. Instead of focusing on the experiments or technology of the time period, the project looked at how the styles can be adapted to use with modern cameras. The background of the project contains information about what led up to this shift of how photography was viewed by society as the 20th century began.
 

=Section 1: Background=
==The Linked Ring==
{{Infobox
|title = The Linked Ring
|bodystyle = width:25em
|image = [[File: LinkedRingMembers.jpg|x350px|right|frameless|thumb]]
|label2 = '''Founding Committee Members'''
|data2 = Date Unknown
}}

At the start of the 1890s, several photographers grew unhappy with the way that the Royal Photographic Society and its members were looking down upon those who wanted to try new techniques and capture photographs that were different from the traditional portraits and landscapes that were being produced. Photographers George Davison, Henry Robinson and Henry Van der Weyde decided to then form a club that would support photographers who wanted to experiment with new techniques and promote the fine art aspects of photography as well.<ref>(1953). “Journal of the Royal Society of Arts, 101” London: ROYAL PHOTOGRAPHIC SOCIETY'S CENTENARY. Pp. 132.</ref> This movement became widespread in Europe and the U.S., with groups such as the Vienna Camera Club, Photo-Club de Paris and Photo-Session following en suite. The group grew to 114 Links (as the members were known) and would eventually open invitations to American photographers.<ref>Harker, M. (1979) “The Linked Ring: The Secession Movement in Photography in Britain.” London: Heinemann. Pp. 17.</ref> In order to receive an invitation, Photographers must have a deep understanding of every aspect of the art form, from the chemical development processes, to optical and mechanical skills. Alfred Stieglitz, an American Link, would go on to say “a photograph is not artistic if it is technically perfect, but pictorially rotten.” (quote) This quote reflects that the Links not only strived for technical knowledge, but for a creative angle of their works as well. <ref>Taylor, J. (1984) “The Salon de Refuses of 1908.” 8/4 London: History of Photography. Pp 277.</ref>
 
===Members===
Members of the Linked Ring would go on to develop new photography techniques such as efficient daguerreotype, platinum and palladium toning, artificial lighting in images, carbon-printing, image manipulation, depth of field and low light images.<ref>Hannavy, J. (2008) “Encyclopedia of 19th Century Photography.” New York: Routledge. Pp 221.</ref> While it was known as a brotherhood, the group would have 4 woman photographers as active members and one holding a leadership role for sometime. All of its members contributed siginfically to photography history. Primarily members were from England, but membership opened up to Americans eventually.<ref>Harker, M. (1979) “The Linked Ring: The Secession Movement in Photography in Britain.” London: Heinemann. Pp. 11.</ref> The Brotherhood would then vote on disbanding the organization as it felt that too much American influence was occurring. This would lead to the fame and rise of Alfred Stieglitz and the Photo-Secession movement, as he continued to pursue it. <ref>Harker, M. (1979) “The Linked Ring: The Secession Movement in Photography in Britain.” London: Heinemann. Pp. 18.</ref>
 
===Photographic Salon===
The Photographic Salon was created as a way to showcase the works of the Links for the mass public in London to enjoy. The theme of every photography Salon was just three words: difference of opinion. This further echoed the motivation behind the group entirely.<ref>Mortimer, F.J (1919) “Photograms of the Year.” London: Iliffe and Sons. pp 44.</ref> Occurring several times a year, the members of the Linked Ring would vote on prints or plates to be displayed in the collection. The Photographic Salon was also one of the first recorded displays of photographs spaced out at eye level, as opposed to filling an entire wall with images.<ref>Hannavy, J. (2008) “Encyclopedia of 19th Century Photography.” New York: Routledge. Pp 221.</ref> Below are images that were displayed in the 1896 Salon. <ref>The Linked Ring (1896) “Pictorial Photographs” London: Kegan Paul, Trench Trubner and Co. (The London Salon of Photography 2017)</ref>
<gallery mode="packed">
Image:PhotoSalon1.jpg|''Title Page of Salon Portfolio''
Image:PhotoSalon3.jpg|''An Essex Quay by Lionel C. Bennett''
Image:PhotoSalon2.jpg|''Watching for the Return by Alfred Stieglitz''
Image:PhotoSalon4.jpg|''The Mall by Eustace Calland"
</gallery>
 

===Pictorial Photography===
Pictoralism is a movement that is derived from painting and sculptors to describe photographers who were seeking a change from traditional forms. Pictorial photography is considered photos that emphasize beauty, tone, composition and subject, rather than capturing images for the sake of documenting reality.<ref>(1920) "Pictorial Photography." New York: The American magazine of Art, 11. pp. 261</ref><ref>Lord, R. (2003) "Process and Progress: George Seeley and the Pictorial Recipe." Yale University: Yale Art Gallery. pp. 110</ref> The images above are examples of Pictorial Photography, taken from a Photographic Salon exhibit. These images would have been considered 'abstract' or 'artistic' at the time due to their composition or the techniques used to create them.
 

==Photo-Secession==
Around the early years of the Linked Ring, a companion (and later member) of the group named Alfred Stieglitz based in New York City who shared similar ideas. Stieglitz would go on to form the Photo-Secession group after being scorned for his choices for a gallery display for the National Arts Club. The movement became a step away from traditional art methods and styles and opened the door in American photography for Avant-garde works that were starting to become popular in Europe at the time.<ref>Stieglitz, A., Ross, C. (1942). "The Origin of the Photo-Secession and How It Became 291". New York: Stieglitz., pp. 8-9.</ref>
 
===Alfred Stieglitz===
{{Infobox
|title = Alfred Stieglitz Portrait
|bodystyle = width:25em
|image = [[File: AStieglitz.jpg|x350px|right|frameless|thumb|Jacob Dupuis]]
|label2 = '''For the MET Museum'''
|data2 = Taken in 1915
}}
The founder of Photo-Secession and one of the first Americans in the Linked Ring, Alfred Stieglitz was an important figure in the history of modern photography. Stieglitz conceptualized the idea of photography being an art form, and helped to bring the concepts of modern art to the creatives in America.<ref> (2017). "Alfred Stieglitz - Victoria and Albert Museum. (2017). Vam.ac.uk.</ref> He spent a lot of time practicing and learning in Europe and especially London, capturing images of the city life and the River Thames. Several series of notable works from his career include ''Equivalents'', Low Light Experiments and his images of the human body. For each of these, he always used the latest technologies available, and developed his own methods of applying them. In the case of ''Equivalents'', Stieglitz focuses on the new development of panchromatic emulation which allowed for the camera to capture all visible wavelengths of light in the monochrome image. <ref>Stieglitz, A. (1926). "Equivalent Collection." New York: The Metropolitan Museum of Art Database."</ref> ''Equivalents'' focuses on clouds, with no other references as to location as the camera is always pointed directly at the sky. ''Equivalents'' has been widely considered as the first recognized series of of abstract photography, with the intention of viewers to interpret it how they please. The images that Stieglitz created of human bodies are his largest and most valued collection today. They almost exclusively feature his wife, artist Georgia O’Keefe, and focus on movement and details as opposed to traditional portrait compositions. Stieglitz would take these on platinum and palladium plates, and inevitably experimental silver plates that would provide sharper contrast in the colors.<ref> Rabinowitz, P. (2015). "KAHLO AND O’KEEFFE: PORTRAIT OF THE ARTIST AS FASHION ICON." JSTOR., Extravagances: Habits of Being 4 (pp. 166-194). University of Minnesota Press.</ref> The [[Victoria and Albert Museum]] features a large collection of these images in partnership with the Georgia O’Keefe Foundation.
 
====Camera Notes====
Stieglitz had been publishing works and journals on ideas, and concerns about the state of the photography on behalf of the Camera Club of New York from 1897 until the turn of the century. When the club was originally formed, Stieglitz declined the role of president, as he felt he had more power and influence while being in charge of the club’s magazine.<ref>Bunnell, P. (1979). "The Print Collector's Letter, 10(4)." JSTOR. pp.133</ref> The periodical was entitled Camera Notes, and often faced criticism as Stieglitz frequently called on photographers to embrace new concepts and styles such as pictorial photography. Stieglitz felt that the Linked Ring was missing out on a chance to spread its concepts, and having control over Camera Notes allowed him to spread the ideas behind Photo-Secession in a way that Linked Ring never was able to. When he formed the Photo-Secession he resigned from Camera Notes, but due to his name recognition was able to start Camera Work; which became a huge success, selling equal to Camera Notes previously had. This platform allowed the Photo-Secession to become widespread before even opening a physical gallery, which they would not do until 3 years later.<ref>Bunnell, P. (1979). "The Print Collector's Letter, 10(4)." JSTOR. pp.134</ref>
 

====Alfred Stieglitz Statements & Gallery====
Stieglitz published often, writing essays on the state of photography, his identity as an artist, and the world itself. Most of these works or his quotes are still famously quoted, such as this one published in a periodical magazine where Stieglitz shares his thoughts on pictorial photography: ''The point is, what you have to say and how to say it. The originality of a work of art refers to the originality of the thing expressed and the way it is expressed, whether it be in poetry, photography, or painting. That one technique is more difficult than another to learn no one will deny; but the greatest thoughts have been expressed by means of the simplest technique, writing.''<ref>Stieglitz, A. (1899) "On Pictorial Photography." New York: Scribner's Magazine. pp. 528-</ref> The most famous words by Stieglitz can be found below along with a gallery of his works. The Alfred Stieglitz statement is a declaration that he would often list with his gallery displays.
 
''I was born in Hoboken. I am an American. Photography my passion, the search for truth, my obsession.'' – Alfred Stieglitz, 1920 Statement<ref>Whelan, R. (1995) "Alfred Stieglitz: A Biography" New York: Little Brown. pp 11</ref>
 
<gallery mode="packed">
Image:ASGallery1.jpg|''A Wet Day on The Boulevard, 1894''
Image:ASGallery2.jpg|''The Terminal, 1892''
Image:ASGallery3.jpg|''The Hand of Man, 1902''
Image:ASGallery4.jpg|''An Equivalent, 1930"
Image:ASGallery5.jpg|''Netzflickerin, 1898"
Image:ASGallery6.jpg|''Hands (Georgia O'Keeffe), 1918"
</gallery>

==Results==
Pictorialism was a core principle of the group and its movement, as Stieglitz and other photographers wanted to be able to showcase their private experiments and manipulations of traditional techniques, because they felt their results were truly spectacular and new. In both Photo-Secession and the works of the Linked Ring, new styles and technical advancements came to be. Image manipulation, cropping and color adjusting started to become widely used in order to provide new looks at previously seen subjects.<ref>Nickel, D. (1992). "Autochromes by Clarence H. White." Record of the Art Museum, Princeton University, 51(2), pp. 31-37</ref> Technical procedures such as film developing, tintypes and coloring were not the only things to change however. Content of photography shifted away from traditional portraits and landscapes to include geometric, abstract designs and everyday life. The beginnings of low light photography, and use of lighting to alter a scene also came about during the rise of pictorialism. Pictorialism provided photographers the same unique control and personality in their images as painters previously had.<ref>Bunnell, P. (1992). "Pictorial Photography." Record of the Art Museum, Princeton University, 51(2), pp. 11</ref>
 

=Showcasing Photography as a Science=
 
==London Street Photography==
For my deliverable I decided to create 4-5 images that reflect photography elements that members of the Linked Ring used or created here in London. I looked specifically at Alfred Stieglitz for images 1-3. Instead of using their exact methods and technology, I decided to use modern imaging software and hardware to emulate the visual aspect of images, and did my best to use the pictorial mindset when framing and taking the images. I decided upon Alfred Stieglitz's work to emulate because of the coloring of his images due to the development processes that he used. Because I do not have access to the same types of camera technology, I am unable to create images using the same processes. The advancement of digital technology and imaging however is truly incredible and even cellphones have the capability of creating great images. For this project, I used a Fujifilm X100s and a Leica M camera. I decided upon these traditionally styled Rangefinder cameras for the state of the art technology that they both have, and the reputations and history of the companies that develop them.
 
===Fujfilm X100s===
Since 1934, Fujifilm has been creating film, cameras and lenses of high quality for consumers and professionals alike. When the company stepped away from film and into its new revamped line of digital, it brought its years of expertise with it.<ref>Hassell, D. (1998) "Making the Most of images" Geographical Association. pp 2.</ref> Fujifilm's sensors known as X-Trans function similar to film cameras by changing the pattern of pixels, allowing the company to emulate colors and tones of its film lines, on the digital camera. The [https://www.fujifilm.eu/uk/products/digital-cameras/model/x100s X100s] from Fujifilm is a small mirrorless camera that contains a cropped X-Trans sensor, and a 23mm f2.0 lens that is equivelent to a 35mm image. This camera utilizes Fuji's different film modes to produce film like colors and images. Using the X100s, I took images 1-3 on Westminster Bridge in London. The images are actually taken at 50mm, as I used a glass conversion lens to get a more narrow shot. The images were taken using the Fujifilm ACROS emulation. ACROS is a film look that mimics the grain of a film camera to provide texture in the black and white look. The tones also are softer in the shadows when the camera is taking the image, but more contrast heavy in the highlights, with less grain existing in the white parts of the image to make it look more realistic.<ref>Fujifilm (2016) "Fujifilm X-Trans Sensor Technology Press Release" Japan: Fujifilm.</ref> I then took the images into Adobe Lightroom, a RAW image editor, and adjusted the white balance to give it a warm look. This was because Alfred Stieglitz shot with Platinum and Palladium chemical process, which gave a warmer tone to the prints. The resulting images were scaled down to be displayed on the internet, but capture tourists viewpoints in the political area of the city.
[[File:M3P1JacobDupuis.jpg|1200px|center|thumb|Image 1]] 
[[File:M3P2JacobDupuis.jpg|1200px|center|thumb|Image 2]] 
[[File:M3P3JacobDupuis.jpg|1200px|center|thumb|Image 3]] 

===Leica===
Image 4 was taken on a different camera than the Fujifilm, this time a Leica M. Upon exploring in London, I reached out to the [https://www.leica-storemayfair.co.uk/ Leica Store Mayfair] and they graciously let me try out some of their cameras one afternoon. A German company, Leica Camera has been one of the highest caliber camera makers in the history of photography. The cameras were first produced in 1923, and the first compact cameras made that used 35mm film. Only two members of the Linked Ring ever used Leica cameras, and it would not be until after the group disbanded that Leica would become widespread in Britain.<ref>Lynne, W. (2005) "Encycolpedia of 20th Century Photography Vol. 1" Routledge. pp. 1266.</ref> Today the cameras are used primarily by journalists and professionals as they create an incredible image, and have incredible lenses. I tested several Leica cameras but decided to use the mirrorless Leica M Monochrom. As the name suggests this Leica M shoots exclusively in Black and White. This creates a very detailed image with incredible sharpness as there are no filters in front of the sensor that detract from quality in order to detect color. The camera is meant to capture even more range of 'colors' than a normal color camera would.<ref>Leica Camera UK. (2014) "Leica M Monochrom (TYP 246)" UK: Leica Mayfair Press Release.</ref> I paired the camera with a Noctilux-M 50mm f0.95 lens at first, but switched for the same lens in f2.0 aperture as it was very bright out and f0.95 would be unusable in the direct sunlight. Using the Leica was an incredible experience out on the street and I took several images that I was happy with, but image 4 stood out enough that I decided to use that one. Without editing, the black and white image is straight from the camera and down scaled to be displayed here. It has incredible quality and details and the framing leaves viewers pondering for meaning in the image. The lines in the image draw towards the center where I had just noticed the $14,000 cellphone being displayed and framed in the window. The businessmen that had turned their heads provide interesting thinking material, as it is unclear what they are looking at: the $14,000 phone, or the $10,000 camera and lens that I got to shoot with? This image reflects the pictorial method of using high caliber technique to create artistic photos that leave viewers questioning and developing thoughts about.
[[File:LeicaMMono.jpg|1200px|center|thumb|Image 4]]
 
===Images===
<gallery mode="packed">
Image:M3P1JacobDupuis.jpg|''Image 1''
Image:M3P2JacobDupuis.jpg|''Image 2''
Image:M3P3JacobDupuis.jpg|''Image 3''
Image:LeicaMMono.jpg|"Image 4"
</gallery>
 

=Conclusion=
 
In conclusion, this project examined the history of pictorial photography in London, and how it's influence spread to America. Alfred Stieglitz who is considered one of the most important and influential photographers who had lived, was a big push behind pictorial photography and led the Photo-Secession movement which worked in conjunction with the Linked Ring. Projects that follow could look into the actually techniques of the photographers, and use film and chemical development processes that were the product of these photographers.
 

=References=
 
[[Category:Art Projects]]
[[Category:2017]]

The Rise of New Design in Old London

2017-06-22T09:40:36Z

Jhdupuis:

=Regent Street =
by [[User:Jhdupuis|Jacob Dupuis]] 
{{Infobox
|title = Photography / Architecture
|bodystyle = width:25em
|image = [[File:RegentStreetRender.png|x450px|alt=Milestone Image]]
|caption = Creative Render
}}

__TOC__
 

=Abstract=
Here in London, I used photography, videography and design to analyze galleries, locations and their history. This project looks at streets, more specifically Regent Street, and how the architecture of today is integrated into the architecture of the past, and what purpose it served everyday people who interact with it. The creative piece I have developed for my milestone is a concept for a common space that incorporates modern design into the surrounding historic environment of Regent Street. I have experience working with design and architecture, from a [http://jacobdupuis.weebly.com/flex-friday.html year-long project] I did 2 years prior that involved conceptually redeveloping an educational space. The objective of the creative portion of the project was to create a conceptual space on Regent Street that is functional, and brings modern design techniques into the classically conserved area, without taking away from the overall historical sight.
 

=Introduction=
 
In this project I examined Regent Street and how it evolved into the busy, iconic tourist center of London that it is today. The creative piece involves creating a render of a potential artistic platform that is functional and does not change anything about the existing buildings. In the project, I researched the history of the street and summarized it along with key figures for the background. In the creative piece I then took an image of an under utilized section of the street, and blended it with a 3D render of a canopy design that I had created for the project. I also included architectural rendering features and mimicked actual design renders with what I had available.
 

=Section 1: Background=
 
In the heart of London you can find the ever so busy Regent Street, built with the purpose of being a path for Royalty and one of the first luxury shopping district in the world. The street holds some of the most popular shopping destinations for tourists today. Regent Street sees millions of visitors every year and is one of the only places in London where tube stations are shut down due to being too crowded.<ref>Gelbart, H. (2015). "Oxford Circus Tube station 'closes every three days' for overcrowding." London: BBC.</ref> Originating in the start of the 1800s, the street was one of the first developed and planned commercial spaces and served as a passage between parks and residences. Primarily contained between Oxford and Piccadilly Circuses in an area known as the Quadrant, the street brings many firsts to the city of London including the first area to allow later storefront hours, which let shops be allowed to stay open until 7pm, in order to provide for the consumers that would normally be caught in work or congestion in the busy city.
 
==The Street==
 
Regent Street serves as one of the most important passes in central London, functioning as both a commercial activity hub and route for the flow of traffic. The street is heavily traveled as it provides a north-south passing between the western running Oxford and Piccadilly roads. The character of the street is not lost due to the traffic however as the shopping hub exists on the vast sidewalks allow the motorways to continue operating, and the shopping that is linked with its existence still thrives today. Often on weekends or when there is nice weather in the summer, the motorways are shutdown for events and pedestrian use.

 {{Infobox
|title = John Nash
|bodystyle = width:25em
|image = [[File: JohnNash.jpg|x350px|right|frameless|thumb|John Nash]]
|label2 = '''Occupation'''
|data2 = Architect
|label3 = '''Life'''
|data3 = 1752-1835 (83 years old)
|label4 = ''Location''
|data4 = London England
|label5 = '''Noteable Works'''
|data5 = Regent Street, Buckingham Palace
}}
<nowiki> </nowiki>

===Historical===
 
====John Nash====

John Nash is one of the most important architects of late Britain in the 18th and early 19th centuries. His greatest achievements include designing Regent Street and Regent's Park, Brighton Pavilion and Buckingham Palace. He worked under Prince Regent, who later became King George IV, designing various projects and pieces for the Crown Estate and the City of London. Nash contributed heavily to the modern layout of western London.

 
====Development====
In 1810, John Nash began developing plans for the street, as commissioned by the city. Previously the space was used for houses, but many surveys had been created under the order of Prince Regent (who would become King George IV), who was hoping for a link between his residence and the park now known as Regent Park. Building this link would allow for reduced traffic on existing paths, and this royally commissioned space would hopefully lead to quality improvements made to the surround areas of the city, cleaning up the divide between royal upper-class neighborhoods of Mayfair to the west and the abutting impoverished working citizens in Soho to the west at the time. John Nash was commissioned to develop the plans for a connection between Oxford Street in the north, and Piccadilly below it. Part of his work also was to continue the street from Oxford Street up an existing road connected to Regent Park, but without the grand commercial appeal, as Oxford was used by all people, and Regent had the intent of being for upper-class only initially. Nash was also commissioned to design the park that the road connected to.<ref>Newbold, O. (1912). "Regent Street - An Historical Perspective". London: Town Planning Review., pp. 86.</ref>
Difficulty came when the Crown Estate was unable to acquire the land in the desired site, causing a north-west curve at the Piccadilly end of the proposed road. The meeting locations on either end of the streets were to be developed into large circular junctions, which would be called circuses (derived from the Latin word circus <ref> (2005). “circus”. Oxford English Dictionary.</ref>) These circuses, Piccadilly and Oxford, would help relieve traffic congestion and provide more open spaces for gathering and would go on to be prime locations for the inevitable development of the London Tube system. Looking from Piccadilly Circus up the curve of Regent Street would be an area Nash called the Quadrant; this was his vision of where shopping and commercial business could occur, becoming a central hub for the wealthy as they travel from their homes to the park, linking the upper class areas together across the city. To ensure that this was a high quality shopping area, Nash prohibited the real estate being used for butchers or any food processing businesses.<ref>Walford, E. (1878). "Old and New London: Volume 4". London: Cassell, Petter & Gaplin., chapter XXI.</ref>
 
The plan was submitted to Parliament for consideration in 1813 after being finalized by Nash.<ref>Nash, J. (1813). "Plan present to the House of Commons, of a street proposed from Charing Cross to Portland Place, leading to the Crown Estate in Mary-le-Bone Park." London: British University. </ref> The House of Parliament approved greatly of the idea as it would generate much needed jobs at the time and hopefully increase spending in the overall economy. 600,000 pounds (29,800,000 today) were assigned to Nash who would over oversee the development of the street and buildings surrounding it. The government would oversee him as he managed and assigned leases and drew in commercial businesses, while they gathered income from the costs of the initial proposed 99-year leases.<ref>Rappaport, E. (2002). "Art, Commerce, or Empire? The Rebuilding of Regent Street". London: Oxford University., pp. 53.</ref> Rental income began after 1819 when initial construction was complete on the street. Over the course of time the street would become a booming hub of fashion, imported and upper class products and see several redesigns of the facades upon expiration of the starting leases.
 
Redesign plans have occurred many times by the Crown Estate who hoped to always keep the street looking as best as it could. In 1866, the Crown Estate Commissioned new designs for the buildings along Regent Street. The overall architecture of the street now features uniform, five story buildings with Portland Stone. Some buildings have dormers that bypass the five story rule. The Portland Stone fronts are replicated today, and the street matches those uniform designs. While the street layout and patterns have remained the same, Nash’s original building designs and work have all been replaced, save for the All Soul’s Church and Regent Park, with the most recent reconstruction of the street occurring in 2011.<ref>Weinreb, B. (2011). "The London Encyclopedia (3rd ed.)". London: Macmillan.</ref>
 

===Current===
Facing declines in visits, the Crown Estate began a 10 year plan of redeveloping the street in the start of the 2000s. Part of this plan included selling some of the Quadrant Area and the Northern Area. Together with the Crown Estate, Regent street’s owners now include the Norwegian Government (Pensionary Oil Fund) and Hackett London. To avoid the sales of these areas leading to radical changes to the building fronts, the Crown Estate formed the Regent Street Conservation Area, which lists all of the buildings on the “Statutory List of Buildings of Special Architectural or Historic Interest.” The buildings in the Conservation are considered Grade II which means special care must be taken to preserve the exterior facade of the buildings. Part of the listing also prevents the buildings, or any new buildings in the area from being built any taller than the existing 5 story ones, and also requires architecture that is matching.<ref> (1990). "Planning (Listed Buildings and Conservation Areas) Act 1990". London: The British Parliament.</ref> Current leases on the street include commercial storefronts for brands such as Ferrari, Apple, H&M and other large luxury good sellers. The space is used still primarily for shopping, but also includes restaurants, luxury apartments and business space. Because of the listing of the Conservation area buildings, retailers and architects are incorporating modern design in their storefronts and commercial spaces, blending the traditional looks with new and exciting concepts. 
 

===Regent Street Gallery===
<gallery mode="packed-hover" heights="180">
File:regent_1.jpg| The Quadrant at Regent Street
File:Map of Regent Street.jpg| Modern Map of Regent Street
File:Regent Street Conservation Arena.PNG| Map of Regent Street Conservation Area
File:Initial Regent Street Plan.jpg| Initial Plan of Regent Street
</gallery>
 

==Modern Design in Regent Street==
 
===Apple Store===
Apple's storefront is a primary attraction on Regent Street, drawing thousand and thousands of customers each day into the recently remodel space. This space at 235 Regent Street was designed by English architecture firm [http://www.fosterandpartners.com/news/archive/2016/10/reimagined-apple-regent-street-opens-in-london/ Foster & Partners] who have designed buildings and features across the country and globe. This project was approached with the core concepts of Regent street in mind, while focusing on being innovative and drawing in customers to an experience, much like the street does with its grand appearance. The open courtyard like space is used not only as a retail space but for interactive community events and workshops, creating a sense of a 'town square'. By opening up the main floor with high ceilings they achieve this town square feel and the large glass entrance ways feel welcoming and open with the street. Foster & Partners used wood and stone design elements that pair with the Portland stone, creating a sense of uniform between the old buildings and the new sleek space. Unlike the black accented exterior, the inside of the store has white and wood accents, for a more modern feel. The ceiling's lighting is designed to imitate daylight, so you feel the bright, outdoor like lighting everywhere in the store, support the outdoor town square feel. Foster & Partners used its modern design philosophy, and the available space to incorporate history and life into Apple's commercial Regent Street location.

<gallery mode="packed-hover" heights="180">
File:Apple regent street.PNG| Apple Regent Street
File:apple-regent-street-foster-partners-london_dezeen_2364_ss_0.jpg| Apple Regent Street Interior
File:Apple regent street front drawing.PNG| Storefront Plan
File:©_Foster___Partners_2278_FP597692.jpg| Side Floor Plan
File:©_Foster___Partners_2278_FP597690.jpg| Floor Plan
</gallery>

===RIBA===
RIBA or the Royal Institute of British Architecture, is very active in bringing modern and new architecture into the classical Regent Street buildings. They achieve this through the RIBA Regent Street Windows Project, which has been occurring for the past 8 years. This event is a highly competitive project in which architects have the ability to propose projects that must be contained within the storefronts of Regent Street retailers. The RIBA and the Crown Estate partner with several of the large commercial businesses on the street and develop installations and designs that architects have a year to create. This not only brings more attention to Regent Street, but it also allows for modern design to be incorporate into the historical sites that retailers occupy. The most recent RIBA project consisted of retailers that include luxury names such as "Armani Exchange, and Kate Spade", affordable fashion brands such as "H&M and Uniqlo" and even "Liberty" one of the oldest businesses operating on Regent Street. Projects are supposed to bring "innovative art and design" to the historical fronts of Regent street and lead to striking architectural displays that integrate into the existing grand design of the center of London's shopping world.<ref>(2016). "Regent Street Windows Project". London: Royal Institute of British Architecture Library. </ref>

 

===Project===
While Regent Street is functional and designed well, it still faces overwhelming amounts of congestion due to the central location and vast tourist attractions located on the street. When the street was initially designed, it would be almost exclusively accessed by the upper-class and wealth of London, but now it is fitting for anyone from business people to visiting tourists to visit the street. This increased congestion happens at a few key points contained within the quadrant shopping area: 
- Oxford Circus 
- Hanover Street 
- Vigo Street (Start of the lower curve) 

Following my research, I decided to look at how the congestion in one of these areas could be solved and if the solution could incorporate modern design concepts. In order to decide upon a congestion point, I looked at the areas and factors that play into the amount of traffic, and how a solution could be engineered. Oxford Circus, houses a notoriously busy tube station, and is considered the upper boundary of the Quadrant. With Regent Street joining the busy crossroad of Oxford street, any solution here would involve large modifications to traffic patterns and a lot of complex elements. Vigo Street and Hanover Street faced similar traffic pattern modifications in order to have space to develop any conceptual architecture that would meet the regulations of the Grade II conservation area. Because of this, as I walked along Regent Street, I witnessed a group of tourists, struggling with an Information Kiosk. This kiosk was labelled as a way to assist visitors of the area with information about the street, and locations of vendors. The location of the kiosk however, was right on the sidewalk in a bustling area in front of a bus stop, leading the users to be bumped into and constantly in the way of pedestrian traffic. This led to the idea behind my creative component.
 
 
 
 

=Section 2: Deliverable=
[[File: RegentStreetRender.png|x320px|right|thumb| Deliverable Preview]] 
The creative piece I have developed for my milestone is a conceptualized design for a common space that incorporates modern design into the surrounding historic environment of Regent Street. This space is located under canopy like structures that is installed over Regent Place, a small pedestrian-only offshoot of the main street, located in the heart of the quadrant. The concept is presented through design overlays on a photo.
 
===Process===
I initially set out to create an information area in Regent Place, as the existing information areas on Regent Street are usually temporary tables set up to assist visitors. However, upon examining the site in person I realized it would not have enough space and the current businesses located there would be congested with visitors seeking information. Because of this I decided to develop a space for rotating architects and designers to develop new exhibitions that can be seen by hundreds of thousands of visitors, without interfering with every day life. 
In my concept, Regent Place would become home to the Regent Canopy, which would be a rotating display in which designers have the chance to create a canopy system that is rested between the two buildings on either side. The canopy would supported by large anchoring poles that run along the sides of the building, but allow the structure to be independent and not damage the facades. As a deliverable, I created what I imagined one of the displays could look like, using a 3D render and image manipulation software.
 
The first step was to gather an image of the location, and upon visiting I found that the facade is under construction on the left side of Regents Place, and any image that I took would be obstructed by the work. Following this I decided to use the google street view camera's image of the location, dating from 2015. The image was empty, which helped me as I had a tough time finding the street empty (even early in the morning). The street view image had a few flaws however:
:#Some of the image stitching was off, creating errors in the building face. 
:#The 360 image created lots of warp on the lines of the buildings features. 
:#The file was fairly low resolution. 
Aware of this, I brought the image into a photo manipulation software and traced the lines of the building using guides to give the image the appearance of an architectural render. Upon tracing the lines I faded the image into the background to symbolize that it is the existing and unchanged part of the render.
 
Following that process I then used Autodesk software (Fusion 360) to create a mock up of the canopy. Using opensource models of canopy material, and details such as the light fixtures and anchor-post-bases, I created a mock up of a canopy system that would fit the design, and gave the materials textures and lighting effects.
 
The next step was to juxtapose images of the 3D model onto the image file of the street. Upon doing this I realized the canopy would be better fit on the edges of the street as opposed to the center as I had designed it. To avoid remaking the model and the complications that came with that, I instead cut the images of the model in half, and manipulated them into place on where I felt would be the most creative spots. After constant tweaking, I reached a satisfactory design. The canopy designs are left in full color for a contrast with the faded reality of the rest of the image.
 
The final step was to add features commonly found in architectural renders. I searched online and found opensource images of people that are used for designs. I inserted the people into the file and exported it, with some of my steps which can be viewed below.

===Gallery===
<gallery mode="packed">
Image:RegentStreetCapture.PNG|''Google Street View Screenshot''
Image:RegentStreetLined.png|''With Fade & Accent Lines''
Image:Canopy3DModel.jpg|''Screenshot of 3D Model in Autodesk''
Image:RegentStreetRender.png|''Final Rough Render''
</gallery>
 

=Conclusion=
 
This project has taken a look at the overall history and advancement of Regent Street from its conception to its current existence and function. The street has been in the heart of London and a sight for tourists and Londoners alike to shop for high end items, while providing a connecting route between Piccadilly and Oxford streets. Due to the large amounts of traffic and visitors that enter the Quadrant area of the street, Regent has become a hub for innovation, as designers look for ways to draw in consumers to their clients stores in and around the preserved historic buildings. By designing a conceptual architectural display space area attached to Regent Street, this project provides a model for an innovative, and non-intrusive space that continues to showcase modern design in Regent Street. Future areas of expansion on this project in art could involve looking into the process to getting a project like this proposed or even constructed. History expansions of the project could look into the traffic pattern and possibility of developing the original street differently, and how that would have affected London and the surrounding area.
 

=References=
 
<references />

 

=External Links=
[http://www.jacobdupuis.weebly.com My Portfolio]
 

[[Category:Art Projects]]
[[Category:2017]]

2017-06-21T12:13:14Z

Jhdupuis:

=Photography as Art and Science in London=
by [[User:Jhdupuis|Jacob Dupuis]] 
{{Infobox
|title = Photography
|bodystyle = width:25em
|image = [[File:theLinkedRingLogo.jpg|x450px|alt=Milestone Image]]
|caption = The Linked Ring logo, 1893
}}

__TOC__

=Abstract=
This project was created with the goal of allowing me to explore the history of photography in London, while allowing me to further my experience of taking photos. While I have not taken classes on photography, I've had experience shooting events and for hire, and am constantly trying to learn as much as I can. Being in London where a lot of modern photography was developed means that there were a lot of resources in the city to help me develop the project as well as my photography skills. This milestone looked at Photography in the end of the 19th century in London and America. The background explores the Linked Ring group and Photo-Secession movement, and how photography moved from just being a science to being an artistic field that utilizes science to further the technical aspects of the craft.
 

=Introduction=
 
This project looked at the historical development of Photography in London and applies some of those principles to photographs that I created here in the city. It provides a summary of how modern photography came to bloom in London, and how it influenced developing techniques in today's digital photography world. The works of the Linked Ring are often studied in a historical or practical way, but my project combined both with modern techniques. Instead of focusing on the experiments or technology of the time period, the project looked at how the styles can be adapted to use with modern cameras. The background of the project contains information about what led up to this shift of how photography was viewed by society as the 20th century began.
 

=Section 1: Background=
==The Linked Ring==
{{Infobox
|title = The Linked Ring
|bodystyle = width:25em
|image = [[File: LinkedRingMembers.jpg|x350px|right|frameless|thumb]]
|label2 = '''Founding Committee Members'''
|data2 = Date Unknown
}}

At the start of the 1890s, several photographers grew unhappy with the way that the Royal Photographic Society and its members were looking down upon those who wanted to try new techniques and capture photographs that different from the traditional portraits and landscapes that were being produced. George Davison, Henry Robinson and Henry Van der Weyde decided to then form a club that would support photographers who wanted to experiment with new techniques and promote the fine art aspects of photography as well.<ref>(1953). “Journal of the Royal Society of Arts, 101” London: ROYAL PHOTOGRAPHIC SOCIETY'S CENTENARY. Pp. 132.</ref> This movement became widespread in Europe and the U.S., with groups such as the Vienna Camera Club, Photo-Club de Paris and Photo-Session following en suite. The group grew to 114 Links (as the members were known) and would eventually open invitations to American photographers.<ref>Harker, M. (1979) “The Linked Ring: The Secession Movement in Photography in Britain.” London: Heinemann. Pp. 17.</ref> In order to receive an invitation, Photographers must have a deep understanding of every aspect of the art form, from the chemical development processes to optical and mechanical skills. Alfred Stieglitz, an American Link, would go on to say “a photograph is not artistic if it is technically perfect, but pictorially rotten.” (quote) This quote reflects that the Links not only strived for the technical knowledge, but for a creative angle of their works as well. <ref>Taylor, J. (1984) “The Salon de Refuses of 1908.” 8/4 London: History of Photography. Pp 277.</ref>
 
===Members===
Members of the Linked Ring would go on to develop new photography techniques such as efficient daguerreotype, platinum and palladium toning, artificial lighting in images, carbon-printing, image manipulation, depth of field and low light images.<ref>Hannavy, J. (2008) “Encyclopedia of 19th Century Photography.” New York: Routledge. Pp 221.</ref> While it was known as a brotherhood, the group would have 4 woman photographers as active members and one holding a leadership role for sometime. All of its members contributed siginfically to photography history. Primarily members were from England, but membership opened up to Americans eventually.<ref>Harker, M. (1979) “The Linked Ring: The Secession Movement in Photography in Britain.” London: Heinemann. Pp. 11.</ref> The Brotherhood would then vote on disbanding the organization as it felt that too much American influence was occurring. This would lead to the fame and rise of Alfred Stieglitz and the Photo-Secession movement, as he continued to pursue it. <ref>Harker, M. (1979) “The Linked Ring: The Secession Movement in Photography in Britain.” London: Heinemann. Pp. 18.</ref>
 
===Photographic Salon===
The Photographic Salon was created as a way to showcase the works of the Links for the mass public in London to enjoy. The theme of every photography Salon was just three words: difference of opinion. This further echoed the motivation behind the group entirely.<ref>Mortimer, F.J (1919) “Photograms of the Year.” London: Iliffe and Sons. pp 44.</ref> Occurring several times a year, the members of the Linked Ring would vote on prints or plates to be displayed in the collection. The Photographic Salon was also one of the first recorded displays of photographs spaced out at eye level, as opposed to filling an entire wall with images.<ref>Hannavy, J. (2008) “Encyclopedia of 19th Century Photography.” New York: Routledge. Pp 221.</ref> Below are images that were displayed in the 1896 Salon. <ref>The Linked Ring (1896) “Pictorial Photographs” London: Kegan Paul, Trench Trubner and Co. (The London Salon of Photography 2017)</ref>
<gallery mode="packed">
Image:PhotoSalon1.jpg|''Title Page of Salon Portfolio''
Image:PhotoSalon3.jpg|''An Essex Quay by Lionel C. Bennett''
Image:PhotoSalon2.jpg|''Watching for the Return by Alfred Stieglitz''
Image:PhotoSalon4.jpg|''The Mall by Eustace Calland"
</gallery>
 

===Pictorial Photography===
Pictoralism is a movement that is derived from painting and sculptors to describe photographers who were seeking a change from traditional forms. Pictorial photography is considered photos that emphasize beauty, tone, composition and subject, rather than capturing images for the sake of documenting reality.<ref>(1920) "Pictorial Photography." New York: The American magazine of Art, 11. pp. 261</ref><ref>Lord, R. (2003) "Process and Progress: George Seeley and the Pictorial Recipe." Yale University: Yale Art Gallery. pp. 110</ref> The images above are examples of Pictorial Photography, taken from a Photographic Salon exhibit. These images would have been considered 'abstract' or 'artistic' at the time due to their composition or the techniques used to create them.
 

==Photo-Secession==
Around the early years of the Linked Ring, a companion (and later member) of the group named Alfred Stieglitz based in New York City who shared similar ideas. Stieglitz would go on to form the Photo-Secession group after being scorned for his choices for a gallery display for the National Arts Club. The movement became a step away from traditional art methods and styles and opened the door in American photography for Avant-garde works that were starting to become popular in Europe at the time.<ref>Stieglitz, A., Ross, C. (1942). "The Origin of the Photo-Secession and How It Became 291". New York: Stieglitz., pp. 8-9.</ref>
 
===Alfred Stieglitz===
{{Infobox
|title = Alfred Stieglitz Portrait
|bodystyle = width:25em
|image = [[File: AStieglitz.jpg|x350px|right|frameless|thumb|Jacob Dupuis]]
|label2 = '''For the MET Museum'''
|data2 = Taken in 1915
}}
The founder of Photo-Secession and one of the first Americans in the Linked Ring, Alfred Stieglitz was an important figure in the history of modern photography. Stieglitz conceptualized the idea of photography being an art form, and helped to bring the concepts of modern art to the creatives in America.<ref> (2017). "Alfred Stieglitz - Victoria and Albert Museum. (2017). Vam.ac.uk.</ref> He spent a lot of time practicing and learning in Europe and especially London, capturing images of the city life and the River Thames. Several series of notable works from his career include ''Equivalents'', Low Light Experiments and his images of the human body. For each of these, he always used the latest technologies available, and developed his own methods of applying them. In the case of ''Equivalents'', Stieglitz focuses on the new development of panchromatic emulation which allowed for the camera to capture all visible wavelengths of light in the monochrome image. <ref>Stieglitz, A. (1926). "Equivalent Collection." New York: The Metropolitan Museum of Art Database."</ref> ''Equivalents'' focuses on clouds, with no other references as to location as the camera is always pointed directly at the sky. ''Equivalents'' has been widely considered as the first recognized series of of abstract photography, with the intention of viewers to interpret it how they please. The images that Stieglitz created of human bodies are his largest and most valued collection today. They almost exclusively feature his wife, artist Georgia O’Keefe, and focus on movement and details as opposed to traditional portrait compositions. Stieglitz would take these on platinum and palladium plates, and inevitably experimental silver plates that would provide sharper contrast in the colors.<ref> Rabinowitz, P. (2015). "KAHLO AND O’KEEFFE: PORTRAIT OF THE ARTIST AS FASHION ICON." JSTOR., Extravagances: Habits of Being 4 (pp. 166-194). University of Minnesota Press.</ref> The [[Victoria and Albert Museum]] features a large collection of these images in partnership with the Georgia O’Keefe Foundation.
 
====Camera Notes====
Stieglitz had been publishing works and journals on ideas, and concerns about the state of the photography on behalf of the Camera Club of New York from 1897 until the turn of the century. When the club was originally formed, Stieglitz declined the role of president, as he felt he had more power and influence while being in charge of the club’s magazine.<ref>Bunnell, P. (1979). "The Print Collector's Letter, 10(4)." JSTOR. pp.133</ref> The periodical was entitled Camera Notes, and often faced criticism as Stieglitz frequently called on photographers to embrace new concepts and styles such as pictorial photography. Stieglitz felt that the Linked Ring was missing out on a chance to spread its concepts, and having control over Camera Notes allowed him to spread the ideas behind Photo-Secession in a way that Linked Ring never was able to. When he formed the Photo-Secession he resigned from Camera Notes, but due to his name recognition was able to start Camera Work; which became a huge success, selling equal to Camera Notes previously had. This platform allowed the Photo-Secession to become widespread before even opening a physical gallery, which they would not do until 3 years later.<ref>Bunnell, P. (1979). "The Print Collector's Letter, 10(4)." JSTOR. pp.134</ref>
 

====Alfred Stieglitz Statements & Gallery====
Stieglitz published often, writing essays on the state of photography, his identity as an artist, and the world itself. Most of these works or his quotes are still famously quoted, such as this one published in a periodical magazine where Stieglitz shares his thoughts on pictorial photography: ''The point is, what you have to say and how to say it. The originality of a work of art refers to the originality of the thing expressed and the way it is expressed, whether it be in poetry, photography, or painting. That one technique is more difficult than another to learn no one will deny; but the greatest thoughts have been expressed by means of the simplest technique, writing.''<ref>Stieglitz, A. (1899) "On Pictorial Photography." New York: Scribner's Magazine. pp. 528-</ref> The most famous words by Stieglitz can be found below along with a gallery of his works. The Alfred Stieglitz statement is a declaration that he would often list with his gallery displays.
 
''I was born in Hoboken. I am an American. Photography my passion, the search for truth, my obsession.'' – Alfred Stieglitz, 1920 Statement<ref>Whelan, R. (1995) "Alfred Stieglitz: A Biography" New York: Little Brown. pp 11</ref>
 
<gallery mode="packed">
Image:ASGallery1.jpg|''A Wet Day on The Boulevard, 1894''
Image:ASGallery2.jpg|''The Terminal, 1892''
Image:ASGallery3.jpg|''The Hand of Man, 1902''
Image:ASGallery4.jpg|''An Equivalent, 1930"
Image:ASGallery5.jpg|''Netzflickerin, 1898"
Image:ASGallery6.jpg|''Hands (Georgia O'Keeffe), 1918"
</gallery>

==Results==
Pictorialism was a core principle of the group and its movement, as Stieglitz and other photographers wanted to be able to showcase their private experiments and manipulations of traditional techniques, because they felt their results were truly spectacular and new. In both Photo-Secession and the works of the Linked Ring, new styles and technical advancements came to be. Image manipulation, cropping and color adjusting started to become widely used in order to provide new looks at previously seen subjects.<ref>Nickel, D. (1992). "Autochromes by Clarence H. White." Record of the Art Museum, Princeton University, 51(2), pp. 31-37</ref> Technical procedures such as film developing, tintypes and coloring were not the only things to change however. Content of photography shifted away from traditional portraits and landscapes to include geometric, abstract designs and everyday life. The beginnings of low light photography, and use of lighting to alter a scene also came about during the rise of pictorialism. Pictorialism provided photographers the same unique control and personality in their images as painters previously had.<ref>Bunnell, P. (1992). "Pictorial Photography." Record of the Art Museum, Princeton University, 51(2), pp. 11</ref>
 

=Showcasing Photography as a Science=
 
==London Street Photography==
For my deliverable I decided to create 4-5 images that reflect photography elements that members of the Linked Ring used or created here in London. I looked specifically at Alfred Stieglitz for images 1-3. Instead of using their exact methods and technology, I decided to use modern imaging software and hardware to emulate the visual aspect of images, and did my best to use the pictorial mindset when framing and taking the images. I decided upon Alfred Stieglitz's work to emulate because of the coloring of his images due to the development processes that he used. Because I do not have access to the same types of camera technology, I am unable to create images using the same processes. The advancement of digital technology and imaging however is truly incredible and even cellphones have the capability of creating great images. For this project, I used a Fujifilm X100s and a Leica M camera. I decided upon these traditionally styled Rangefinder cameras for the state of the art technology that they both have, and the reputations and history of the companies that develop them.
 
===Fujfilm X100s===
Since 1934, Fujifilm has been creating film, cameras and lenses of high quality for consumers and professionals alike. When the company stepped away from film and into its new revamped line of digital, it brought its years of expertise with it.<ref>Hassell, D. (1998) "Making the Most of images" Geographical Association. pp 2.</ref> Fujifilm's sensors known as X-Trans function similar to film cameras by changing the pattern of pixels, allowing the company to emulate colors and tones of its film lines, on the digital camera. The [https://www.fujifilm.eu/uk/products/digital-cameras/model/x100s X100s] from Fujifilm is a small mirrorless camera that contains a cropped X-Trans sensor, and a 23mm f2.0 lens that is equivelent to a 35mm image. This camera utilizes Fuji's different film modes to produce film like colors and images. Using the X100s, I took images 1-3 on Westminster Bridge in London. The images are actually taken at 50mm, as I used a glass conversion lens to get a more narrow shot. The images were taken using the Fujifilm ACROS emulation. ACROS is a film look that mimics the grain of a film camera to provide texture in the black and white look. The tones also are softer in the shadows when the camera is taking the image, but more contrast heavy in the highlights, with less grain existing in the white parts of the image to make it look more realistic.<ref>Fujifilm (2016) "Fujifilm X-Trans Sensor Technology Press Release" Japan: Fujifilm.</ref> I then took the images into Adobe Lightroom, a RAW image editor, and adjusted the white balance to give it a warm look. This was because Alfred Stieglitz shot with Platinum and Palladium chemical process, which gave a warmer tone to the prints. The resulting images were scaled down to be displayed on the internet, but capture tourists viewpoints in the political area of the city.
 
===Images===
<gallery mode="packed">
Image:M3P1JacobDupuis.jpg|''Image 1''
Image:M3P2JacobDupuis.jpg|''Image 2''
Image:M3P3JacobDupuis.jpg|''Image 3''
Image:LeicaMMono.jpg|"Image 4"
</gallery>
 
===Leica===
Image 4 was taken on a different camera than the Fujifilm, this time a Leica M. Upon exploring in London, I reached out to the [https://www.leica-storemayfair.co.uk/ Leica Store Mayfair] and they graciously let me try out some of their cameras one afternoon. A German company, Leica Camera has been one of the highest caliber camera makers in the history of photography. The cameras were first produced in 1923, and the first compact cameras made that used 35mm film. Only two members of the Linked Ring ever used Leica cameras, and it would not be until after the group disbanded that Leica would become widespread in Britain.<ref>Lynne, W. (2005) "Encycolpedia of 20th Century Photography Vol. 1" Routledge. pp. 1266.</ref> Today the cameras are used primarily by journalists and professionals as they create an incredible image, and have incredible lenses. I tested several Leica cameras but decided to use the mirrorless Leica M Monochrom. As the name suggests this Leica M shoots exclusively in Black and White. This creates a very detailed image with incredible sharpness as there are no filters in front of the sensor that detract from quality in order to detect color. The camera is meant to capture even more range of 'colors' than a normal color camera would.<ref>Leica Camera UK. (2014) "Leica M Monochrom (TYP 246)" UK: Leica Mayfair Press Release.</ref> I paired the camera with a Noctilux-M 50mm f0.95 lens at first, but switched for the same lens in f2.0 aperture as it was very bright out and f0.95 would be unusable in the direct sunlight. Using the Leica was an incredible experience out on the street and I took several images that I was happy with, but image 4 stood out enough that I decided to use that one. Without editing, the black and white image is straight from the camera and down scaled to be displayed here. It has incredible quality and details and the framing leaves viewers pondering for meaning in the image. The lines in the image draw towards the center where I had just noticed the $14,000 cellphone being displayed and framed in the window. The businessmen that had turned their heads provide interesting thinking material, as it is unclear what they are looking at: the $14,000 phone, or the $10,000 camera and lens that I got to shoot with? This image reflects the pictorial method of using high caliber technique to create artistic photos that leave viewers questioning and developing thoughts about.
[[File:LeicaMMono.jpg|400px|right|frame|Image 4]]
 
 

=Conclusion=
 
In conclusion, this project examined the history of pictorial photography in London, and how it's influence spread to America. Alfred Stieglitz who is considered one of the most important and influential photographers who had lived, was a big push behind pictorial photography and led the Photo-Secession movement which worked in conjunction with the Linked Ring. Projects that follow could look into the actually techniques of the photographers, and use film and chemical development processes that were the product of these photographers.
 

=References=
 
[[Category:Art Projects]]
[[Category:2017]]