Documenting Digital Creative Practice

This paper is grounded in the author’s experience of documenting his own digital high dynamic range landscape photography and visual effects practices, and, the advantages, value, limitations and impact this has on the creative practice and vice versa. Documenting of digital creative practices is becoming increasingly important for creative businesses, practitioners, researchers and academics. For photographers, filmmakers, animators and visual effects artists, it is means of demonstrating innovative approaches to engage the public and prospective clients. For academics and researchers involved in practice-led research, documenting practice provides material for reflection and case studies as well as a means of evidencing the research journey and key decisions taken along the way. This paper will explore and compare different means, methods and approaches to documenting digital camera acquisition, processing and postproduction workflows depending on the audience consumption and usage – i.e. self, private or public, and utility i.e. self-reflective practice, communication of insights, evidencing and cataloguing research and creating case studies. A range of approaches from hand written notes, photography to a number of different video documentation approaches will be discussed and evaluated in terms of ease of documentation, situational constraints, impact on the creative practice, ease of storage, and, dissemination.

Content

Author and article information

Contributors

Rehan Zia

Conference

Publication date: July 2021

Publication date (Print): July 2021

Pages: 231-235

Affiliations

[0001]Bournemouth University

Poole, United Kingdom

Article

DOI: 10.14236/ewic/EVA2021.39

SO-VID: e40b1352-4f54-4cbb-917c-4e4ff4a5b778

License:

This work is licensed under a Creative Commons Attribution 4.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by/4.0/

Conference name: Proceedings of EVA London 2021

Conference acronym: EVA 2021

Conference number:

Conference location: London

Conference date: 5th July – 9th July 2021

Conference sponsor: Electronic Workshops in Computing (eWiC)

Conference theme: AI and the Arts: Artificial Imagination

History

Product

1477-9358 BCS Learning & Development

Self URI (article page): https://www.scienceopen.com/hosted-document?doi=10.14236/ewic/EVA2021.39

Self URI (journal page): https://ewic.bcs.org/

REFERENCES

L. Candy and E. Edmonds (2011) The Role of the Artefact and Frameworks for Practice-Based Research. The Routledge Companion to Research in the Arts, (October 2010), pp. 1–18.
S. Lumet (1995) Making movies. 1st edition. New York: Vintage Books.
R. Nelson (2013) Practice as research in the arts: principles, protocols, pedagogies, resistances. Palgrave Macmillan.
R. Zia (2020) Fixing it in the present-the decisive moment in high dynamic range landscape photography. Bournemouth University.

Comments

Comment on this article

[1] L. Candy and E. Edmonds (2011) The Role of the Artefact and Frameworks for Practice-Based Research. The Routledge Companion to Research in the Arts, (October 2010), pp. 1–18.

[2] S. Lumet (1995) Making movies. 1st edition. New York: Vintage Books.

[3] R. Nelson (2013) Practice as research in the arts: principles, protocols, pedagogies, resistances. Palgrave Macmillan.

[4] R. Zia (2020) Fixing it in the present-the decisive moment in high dynamic range landscape photography. Bournemouth University.

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