Documentation semester 2, Photography Design, National Institute of Design

1. Sneha Sarang | Photography Design
Sneha Sarang | Batch 2015 | Sem 2 | Documenta on | Photography Design

2. HISTORY
O F I M A G I N G
SCIENCE AND
L I B E R A L A R T S - 2
RESEARCH
W O R K S H O P - 2
DESIGN
M E N E G M E N T
RESEARCH
M E T H O D O L O G Y
OPEN
E L E C T I V E
MATERIAL AND
P R O C E S S - 2
DESIGN
P R O J E C T - 1

3. Faculty - Bikaramjit Gupta
Category - SD
Dura on - 2 weeks
OPEN
E L E C T I V E
Documen ng
Old Railway Sta on
o f A h m e d a b a d
Objec ve
During this Module our mo o was to archive data from old railway sta on of
Ahmedabad and make documentary film on one specific topic which can have
some powerful message to pass onto the new genera on.
We done
We covered some old railway sta ons like Gandhigram, Bavlan & Dhola. We
went on a field visit in the first week to observe our subject, we interviewed
people to know about their lifestyle & how they belong to a railway sta on.
Second week we were involved in video edi ng of our own concepts.
My learning
How to start a conversa on with strangers to make them comfortable on
camera. The pre process of documentary where we learn to start with shots in
our imagina on and then where to place which shots in our film. Took
experience of interviewing people plus Adobe premiere pro edi ng.
2016

4. Group Guide: Bikramjit Gupta
Independent Filmaker
&Visiting Tutor
bikramjitguta@gmail.com
Vipul Barla
Animation & Film Design
nd
2 year B.Des
Shiram Juttu
Furniture Design
nd
2 year B.Des
RavishankarVP
Graphic Design
nd
2 year B.Des
Madhvi Menon
Graphic Design
nd
2 year B.Des
Karishma Mistry
Furniture Design
1st year M.Des
Sneha Sarang
Photography Design
1st year M.Des
Shreya Jakhar
Photography Design
1st year M.Des
Rishiraj Chakrabartty
Animation & Film Design
1st year M.Des
Madhuvanti Madhdhur
Film &Video Communication
1st year M.Des
Priyank
Film &Video Communication
1st year M.Des
Individual Documentary - h ps://www.youtube.com/watch?v=MEd000r2V1g
Poster Design for documentary
Shots

5. Class discussionInvita on through flags
Final Display at design gallery, NID, Paldi

6. HISTORY
O F I M A G I N G
8
Faculty - Sathyanand Mohan
Rishi Singhal
Shekhar Bha acharjee
Adira Thekkuvee l
Category - TH
Dura on - 2 weeks
Objec ve
Ÿ To look at some of the philosophical and theore cal aspects of Photography
through the 150years ofits existence.
We done
Ÿ On first week we covered one book – David Bate’s Photography, The Key
Concepts – which has eight chapters. Each one gave presenta on on one
chapter. Inspired by this book I did one project called ‘Pese ped se hi ate he’. On
secondweekwe covered India's 5000yearart historyandvisual tradi on ofIndia.
I did a presenta on on Kishor Parekh. Then we visited ‘Lalbhai Dalpatbhai
Museum’ at Ahmedabad. Then I did my project called ‘Creator of the earth’
inspired from ‘Manuscript pain ngs ofChaurapanchasika'.
My learning
Ÿ A er this course on history of photography I can now apply these styles in my
photography with myown interpreta on.
The following are the majoraspects ofmylearning:
Ÿ Chronological historyofart prac ces in India star ng from prehistoric mes.
Ÿ Ways oflooking and apprecia on in historic Indian context.
Ÿ Historyofphotographyin India.
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7. vtimtu vtuz mtu ne yt;tu nu!
History of Imaging
Guide: Sathyanand Mohan
Re-interpret in your own way, keeping
in mind the discussions had in class.
vtimtu vtuz mtu ne yt;tu nu!
In ournature everything is interconnected.Amanwho is running behind money, as he
growolderhe forgetthis truth that moneycan onlysave us unlesswe save ournature.
10
vt{f]r;t mtu ne SeJtlt Ftejt;tt nu,
Jtn steJtlt sttu vtuz fu mtnthu atjt;tt nu>
vtimtu vtuz mtu ne yt;tu nu!
mtnthu fu rjtgtu vtuz fe AtkJtCte ftVe nu,
Jtn vtuz sttu ytst cteFtht vtzt nu>
cteFth fu Jttu ytst Elmttlt ft ftdtL ctltt nu,
Jtn Elmttlt sttu fuJtjt vtimttu fu rjtgtu ste;tt nu>
steltufu vtimtu vtuz mtu ne yt;tu nu,
Jtn vtuz sttu vt{f]r;t ftu ctltt;tt nu>
11

8. 12 13

9. 14
Explora ons
15

10. Visual tradi on of India
Visual tradi on of India- We started with cave pain ng 'bhimbetka' Madhya Pradesh
then we moved on indus valley civiliza on where we covered famous ar facts “Prist
King “ statue, seals with Pashupa . In mauryan period – piller, Yksha-Ykshi. Sunga
dynasty and Andra period where we have seen stupa – four gate and jatka stories
which is actually based on buddha's life . We covered Kushan dynasty and gupta
period and also ajanta ellora pain ngs. We also got to know about some book like
“वो गा से गंगा” 'Volga to Ganga'- Bheem Sangh. In Jain manuscripts we covered
pain ngs like rajput, rajasthani and pahari pain ngs we talked about different ragini
and how their eyes are calm in every expressions. We can not see right prespec ve
in these pain ngs but we can feel it with the way they used colours in it. We
discussed about the word - subjec ve and objec ve. We show Paul Klee's work and
discussed words like high-low pitch, melody and polyphony, how music relate with
pain ng or how pain ng can be developed by music. Thus, we realized that every
thing came from poem, people used to interpret it in their own way. These new
terms which we can apply in our work. Having inspired with some pain ngs we can
also use some style in our concepts. To evolved an art of today's era, we need to
know an art before this era.
16
In other class we started with Portugal map and discussed on how Bri sh
empire entered in India. We covered some pain ngs like 'Jahngir' where we can
see it's Persian look but it has some European style then we discussed about
aura behind head. We also found some Urdu words in bellow part of the
pain ng which is invented by Akabar. As me passed European also wanted to
immersed their self in Indian tradi on. Then we covered some ar facts like
Skinner Album, James skinners of skinner's house, the fraser album. At that
me Indian co on were very well with printed floral pa ern but compare to
this European clothes were more cheaper. We have also seen Raja Ravivarma's
pain ngs of god & the way he distributed and became famous. Thus, we can
say that Dutch, French and Bri sh East India company had war with India.
Presenta on on :
John Murray
Linnaeus Tripe
William Johnson
Alexander Greenlaw
Felice Beato
Samuel Bourne
Fred Bremner
Lala Deen Dayal
Umrao Singh Sher Gil
Homai Vyariwalla
Sunil Janah
Madan Maha a
Richard Bartholomew
Kishor Parekh
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11. Pain ng style of interest - ‘Chaurapanchasika’
I am inspired by ‘Manuscript pain ngs of Chaurapanchasika' in Indian Pain ng.
Chaurapanchasika is generally used to a par cular style of pain ng which is famous for
elegance and o en its impassioned lyricism. Here, scriptures are wri en in Devanagari.
There was also a poem named as Churapanchasika. The Kashmir poet Bilhana (late 11
or early 12 century), was a favorite theme of Rajput painters. It deals with a thief's
nostalgic reminiscences of his secret love for a princess whom he is eventually allowed
to marry. Here, we can see the fusion of western lndian Jaina manuscript style with
Persian influences. This Chaurapanchasika style are adopted in many other illustrated
manuscripts with slight varia on in its usage. The best example for the above men oned
are, Bhagavat Purana Ms. Mewar C. 1500, Mirgavat C. 1560 Gita Govinda Ms. C. 1570;
Laurchandhya.
My Inspira on
I found of for ‘Devnagari script’ in ‘Manuscript pain ngs of Chaurapanchasika' the way
they used powerful text which helps you to understand the concept of pain ngs. As
they were depic ng stories of champav and dilnh in that era. As our science evolved
there are some issues related to our environment. One of the issue is about in the last
decades, honeybees, other insects and birds have been disappearing.
Ancient European lore recognizes the wasp as big part in pollina on. Here the wasp is
symbolic of fer lity as this genre of earth-based believers honored the wasp for its role
in con nua on of certain plants and flowers. Some Na ve American Indian tribal myth
inidcates the wasp as the creator of the earth, and was a symbol of order, organiza on
as well as produc vity. The prime season of the wasp is spring, and so it is symbolic of
new beginnings, and star ng new projects.
My Concept
Title- Creator of the earth
Theme- My imagina on through illustra on with photography
Props- Honey bee home, white paper as background
Colour- Natural in morning light
Through this work I want to inspire people for posi ve change in the world. Honey bee
is not just honey bee, it is a creator of the earth. It is a symbol for progress, team-work,
involvement, development, produc vity, construc on and communica on. Bees are very
social, and has special means of communica on with its family. When the wasp appears
in our lives it is a message for us to consider our own methods of communica on. The
wasp might be a sign that we may need to express ourselves more clearly.
History of Imaging
Guide: Adira
Make something being inspired by
from India’s 5000 year art history
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Title- Creator of the earth /प वी के िनमाताृ
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12. Faculty - Mihir Bholey
Binod Agrwal
Category - TH
Dura on - 1 week
SCIENCE AND
L I B E R A L A R T S - 2
Objec ve
Ÿ To equip design students with social science concepts.
Ÿ To introduce students to the idea of a science of society, and to engage
them in ques oning
Ÿ exis ng prejudices and stereotypes about social groups, their values and
prac ces.
Ÿ To learn basic concepts of class, caste, gender and ethnicity and their
contexts in India.
Ÿ To learn about social aspects of development challenges in India in respect
of Dalits, tribes, women and minori es.
Ÿ To appreciate and cri cally engage with contemporary debates on Indian
society.
Ÿ To sensi ze design students to the social -cultural issues and condi ons and
introduce social science skills to bring in ideas of iden ty.
We done
Topic covered was ‘The idea of India-A Journey through history, society &
culture’. We discussed some terms like caste, class, sanskri za on,
globaliza on, westerniza on, orthodox and heterodox, buddhism, jainism,
sufism and ended with Gandhi: The morden Messiah.
My learning
As a photographer or designer I can not design anything unless I understand
my society. Indian society is diverse but people are s ll together.
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13. Faculty - Chandan Gomes
Category - RW
Dura on - 1 week
RESEARCH
W O R K S H O P - 2
Objec ve
Ÿ How do you let your picture become more performa ve .
Ÿ The role of a singular focus: How some master photographers cul vated a
personalised way of looking, and reflected upon a set of themes and ideas through
theirwork.Whyis such a focus important? Howdoes one find it?
Ÿ An archive of rejected/unseen photographs -The ar st/ photographeryou are now,
has been in making ever since you took the first photograph or even before that. It is
very important to remember the photos you made, unassumingly photos that are
connected to your life and the journeys you have undertaken that might not be a
part ofanyphoto essays orexhibi ons, but might have ledyou to them.
Ÿ The role of Literature, Philosophy and Sociology in shaping photographic
sensibili es.
We done
Ÿ We have seen 20 photos that influenced Chandan - How they influenced/
affected him as a viewer and a young photographer, his reading of them, the
photographers' intent while making them, and how they fit in their larger body of
work.
Ÿ Film and documentary screenings- Sebas ao Salgado, Vivian Maier
Ÿ Understanding the role oftext in photography.
Ÿ Howtowrite project statements forphoto essays and stories.
Ÿ Howtowrite personal statements forfellowships and grants.
Ÿ Astudyofsomewell-wri en photo essays.
My learning
Ÿ Try & connect your life experiences and then photograph it as it leads you
towards - happiness, joy, visuals or some feelings.
Ÿ Figuring out what it is that you want to convey by your work.
Ÿ Explaining each and every photograph is fu le. Let people make their own
assump ons.
Ÿ We should always think ahead and understand the rules of the game.
Ÿ Music is also an important aspect in photography. Photography is not just a
memory but it also evokes memory.
Ÿ Whatever the outcome of the project maybe in print, all your inspira on can come
fromyourscrapbook regardless the outcome.
Ÿ Grant applica on steps - 1) Reason 2) Purpose-bodybuilding 3) Bring it towards the
conclusion 4) Synopsis
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14. I am fond of the beauty of an object.
We are living in a world of pa erns and forms. To interpret this world
in my own way in my diary which leads me to be complacent & I feel
I become a part of it and my art becomes a part of that ar cle .
This is what actually makes me human.
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15. Grapes - Smell
Pencil - Pa ern
Ants - Texture
Beads - Colours26 27

16. Faculty - Bhavin Kothari
Category - TH
Dura on - 1 week
DESIGN
M E N E G M E N T
Objec ve
Ÿ The aim of this module is to equip students with the necessary skills and
competencies needed to perform task of design management in an efficient
manner.
Ÿ Main objec ve is to familiarize students with the basic concepts of management
and to see howthat can help in the context ofdesign.
We done
Ÿ Instead of researching and redesigning an exis ng brand, we developed our own
brand called ‘pi-o-be’ which has an Indian flavor of liquor, with a mission to bring
Indian liquorto the global audience.
My learning
Ÿ Understanding business ecologyand about IPR.
Ÿ Studyofexis ng brand / business and its marke ng strategy.
Ÿ Use the concept ofCo-Branding and associateyourselected brand.
Ÿ Concept and types ofIntellectual PropertyRights.
Ÿ To exhibit & submit understanding ofDesign Management on a poster.
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17. About P-O-Bey
• P-O-Bey is an INDIAN company which brews Indian liquor and sells it to a
global audience. We specialise in crea ng an experience through some of the most
famous, authen c indian flavours of liquor.
Vision & Mission
• VISION :We seek to create & promote, great-tas ng beverages. We strive to
grow our business with the same honesty & integrity we use to cra our products, with
sustainability & great taste for all.
• MISSION : Bring Indian liquor to the global audience.
Target Audience
• Elite Business Class & Socialites
• Professionals & Upper middle class
• Pub crawlers
4P’s of P-O-Bey
Product - 3 products
• Toddy
• Fenny
• Tharra
Promo on
• Social networking sites
• TV Ads
• Hoardings
• Newspaper Ads
• Bulk Messaging
Price
• Toddy - High range
• Fenny - Medium range
• Tharra - Low range
Place
• To en re global audience
Collaborators
• Distributors - Most of Pubs/ Bars and chains of consumer stores in abroad.
• Suppliers -
• Alliances -
Customers
• Market size & growth - evolving with
• Market Segments -
• Mo va on behind purchase - value drivers, benefits vs. costs
• Retail Channel-
• Consumer informa on sources
• Frequency of purchase, seasonal factors
• Quan ty purchased at a me
Compe on
• Actual & Poten al - No present compe tors but can grow by me.
• Direct or Indirect - It can be both
• Products - Possibility of facing compe on on most of products
• Posi oning -
• Market shares -
• Strengths & weaknesses of compe tors - These recipe are open and not patented, so
there are lot of possibili es. These will be the greatest strengths. weaknesses might be most of
products have less me span which
Context
• Poli cal & regulatory environment- governmental policies & regula ons that affect the
market
• Economic environment - business cycle , infla on rate, interest rates
• Social/Cultural environment - society’s trends & fashions
• Technological environment - new knowledge that makes possible new ways of
sa sfying needs, the impact of technology on the demand for the exis ng product
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18. Segmenta on, Targe ng & Promo on
• Toddy :
Segmenta on – Demographics – Age 30+, High class peoples
Market Targe ng: Elite Business Class & Socialites
Promo ons: Through Elite Hotels, 4 & 5 Star hotels as hosters
• Tharra :
Segmenta on – Demographics – Age 25+, common people
Market Targe ng: middle class
Promo ons: Commercials Stores, Wine shops etc..
• Fenny :
Segmenta on – Demographics – Age 25+, Professionals
Market Targe ng: Upper & middle class
Promo ons: Through Pubs/ Bars
Sujith – NMD
Rohit R C – LAD
Sushanth – NMD
Prashant – NMD
Paridhi – NMD
Vaibhav – LAD
Pra k – LAD
Sneshashish – TGD
Sarita – TGD
Pritam – AD
Gargee – LAD
Sneha Sarang - PHD
Ideas
By
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19. Faculty -Vipul Vinzuda
Prof. Tripurasundari Joshi
Category - TH
Dura on - 1 week
RESEARCH
M E T H O D O L O G Y
Objec ve
1. Introduce an arrayofresearch methodswhichwhen employedwill inform the
design outcome.
2. Offerhands-on experience ofconduc ng research and studentswillwitness
research results.
3. Provide opportunityto conduct disciplinaryresearch and learn about research
in related design disciplines through teamwork and cross-disciplinaryeduca on.
4. Build discipline specific case studies forteaching research method and/or
learn fromwhen undertaking design projects.
5. Develop discipline-specific and cross-disciplinaryinsights needed to inform
individual disciplines and fostercross-disciplinarywork.
We done
Ÿ Framed research ques ons and developed qualita ve research methods
that inform the design outcome.
My learning
Ÿ About research - Research methods relevant to design, applica on - which
‘methods’ to use, analysis of research data & ethics.
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20. Annexures
What is the purpose and aim of your inves ga on (what is the value/context of your topic)
Conversa on is much more than just speaking, wri ng, and interpre ng words. Language, grammar ,context,and
non-verbal cues are important to understand the meaning and context of conversa on in non face to face
communica on. The purpose is to inves gate the role of emo cons in providing the context to non face to face
communica on.
What is the problem or opportunity statement (what is the ques on you want to address)
To Explore the influence of Emo cons as non-verbal cues in understanding the meaning and nature of message
in computer mediated communica on.
What key informa on is required and what methods are being used to gain it (what knowledge do you need and
how are you ge ng)
Informa on collected- Usage frequency, Usage pa ern, Role of gender, context, percep on of different
emo cons
Methods- Expert interview and survey- ques onnaire
What are the major findings of your research so far (what data has been found)
1. When words are not enough to express emo ons
2. To make environment friendly, easy and lightly
3. To show your actual face/expression;
4. To make communica on more generous;
5. Adding personality to text based communica on;
6. Because of increase in electronics and CMC, there has been loss of non verbal queues that has made
conversa on very vague. And use of emojis makes it more inter personal
7. Frequency of using Emo cons affects the impression of another's personality in a online chat/text
messages.
8. It affects the emo ons felt by the receiver of message
9. Conversa on becomes more engaging while using images
10. People who are less expressed are found more
;
how people use emojis and what they use them to signify o en varies by your age, gender, loca on
and even social class.
To save me user use emojis in conversa on and availability of varied emojis allows them to do it in a
very efficient fashion.
Emojis are being used for marke ng and adver sing , as the imagery of their favorite brands, they
don’t see it as adver sing. They see it as self-expression
emojis are being used, apart from tex ng and online chat, to ignite emo ons that emojis can trigger .
h ps://www.youtube.com/watch?v=AevC1bPr6UM
they have become a intense part of our budding culture , it bridges gap between the digital interface
and one another.
Instant and wordless communica on to get services ; h ps://youtu.be/NtdLsJsObrU
Emo cons are a new form of language that we’re producing, and to decode that language we’ve
produced a new pa ern of brain ac vity
What is significant about your findings (what is the emphasis of your discussion)
Emojis and emo cons holds great importance in the way we communicate with each other . User want to make
their conversa ons short, interac ve and context oriented. Thus here we find significance of emojis.
They are visually appealing, making our conversa ons engaging, they set trends, people are using them to
promote their product, service and even their own personali es..
As everyone around the world is exposed to changed technologies somewhat together, emoji are emerging as a
universal language where in people can understand the context of conversa on even though the words might
not be understood. coool!!!
What are your recommenda ons (what is your research ‘product’, a guideline, specifica on, revised brief etc.)
Our recommenda ons would be based in the line of improving the overall appeal and func onality of text based
Computer mediated messages through emoji and emo cons supplemen ng as non-verbal cues.
11.
12.
13.
14.
Guide - Vipul Vinzuda & Tripurasundari Joshi
Year- 2016
絵 (e ≅ picture) 文 (mo ≅ writing) 字 (ji ≅ character).| |
Pr ject
Research Methodology
Shreya Gupta_ TGD
Sneha Sarang_PHD
Pranshu Chaudhary_NMD
Paridhi Diwan_NMD
Neel Kadia_NMD
36 37

21. 38 39

22. InsightsDataCollection
15581
93
15581
93
40 41

23. Summary :
A er a thorough research and analysis of data collected from sample popula on following key
insights were drawn:
Ÿ Emo cons change the mood of conversa on.
Ÿ Emo cons are effec ve in brand marke ng.
Ÿ Percep on of same emoji changes with different users.
Ÿ Use of emo cons is shi ing vocabulary.
Ÿ Animated emo cons are less popular, at least as of now.
Ÿ To save me user use emoji in conversa on and availability of varied emoji allows them to do it
in a very efficient fashion.
Ÿ Emo cons are a new form of language that we're producing.
Ÿ Because of increase in electronics and CMC, there has been loss of nonverbal cues that has
made conversa on very vague. And use of emoji makes it more inter personal
Ÿ It affects the emo ons felt by the receiver of message
Design Recommenda ons :
Ÿ Same core shape should be maintained as that of original form.
Ÿ Gender combina ons and skin tones reflects more human diversity.
Ÿ Annota ons should be provided.
Ÿ Emoji sugges ons while tex ng for fast and easy use by the elderly and everyone.
Ÿ Op on to select any image and convert it to emoji and adding sound or animate it.
Limita ons and future scope
Emoji and emo cons influence the way in which we communicate with each other.
Users want to make their conversa ons short, interac ve and context oriented even in
non-face to face communica on. Thus here we find significance of emoji. They are
visually appealing, making our conversa ons engaging, they set trends, and people are
using them to promote their product, service and even their own personali es. As
everyone around the world is exposed to changed technologies somewhat together,
emoji are emerging as a universal language where in people can understand the
context of conversa on even though the words might not be understood.
The future of emo cons lies in making the emo cons more interac ve and ac ve,
currently these are only passive and o en fail to convey the exact emo on as the user
wants to convey.
Bibliography :
1.) h p://clay.rice.edu/pubs/Tossell-Emo con-CHB12.pdf
2.) h p://ocw.mit.edu/courses/media-arts-and-sciences/mas-965-social-visualiza on-
fall
3.) h p://thenextweb.com/insider/2015/06/23/the-psychology-of-emojis/#gref
4.) h ps://blog.bufferapp.com/7-reasons-use-emo cons-wri ng-social-media-
according-science
5.) h p://mashable.com/2014/06/23/emoji-psychology/#k4a2mR_3S5qi
6.) h p://www.theodmgroup.com/2015/11/16/case-study-successful-emoji-
marke ng-campaigns/
7.) h p://www.edelman.com/p/6-a-m/emoji-power/
8.) h p://www.engadget.com/2014/04/30/you-may-be-accidentally-sending-friends-
a-hairy-heart-emoji/
9.) h p://www.indigodaily.com/pass-codes-of-the-future-emoji/
10.) h p://www.unicode.org/reports/tr51/
11.) h p://www.abc.net.au/science/ar cles/2014/02/06/3938772.htm
12.) h p://unicode.org/faq/emoji_dingbats.html
13.) h p://unicode.org/press/emoji.html
14.) h ps://www.youtube.com/watch?v=cgE_2XylOCk
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24. Faculty - Malhar Dhruv
Dileep Prakash
Rishi Shingal
Category - SD
Dura on - 6 weeks
MATERIAL AND
P R O C E S S - 2
Objec ve
Learned analog photography. Understanding the workflow in dark room.
Learned full format and medium format camera and old photography prin ng
processes.
We done
We went for field visit at Ahmedabad Heritage Walk and Pavagadh-Champaner.
Covered process like Silver Gela n Print, Albumen prin ng, Wet plate collodion,
Cyanotype & Salt Prin ng.
My learning
How to deal with chemicals, tools and materials in dark room. Learned-
Developing nega ve, use of enlarger, making contact sheets, knowing graded
papers, use of filters, taking silver gela n prints and also old photography prin ng
techniques.
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25. Developing Nega ves Contect Sheets
Materials and Equipments needed :
A daylight developing tank & reel
A roll of exposed film
A bo le opener
Scissors
Measuring beakers
Plates with developer, stop bath and fixer
Timer
Follow this to devlope Fomapan 400/36 :
Switch off the light in dark room, role nega ve on reel and get it in tank.
Now first wash tank with normal tap water.
Make developer at 20’ - 300ml D-76 + 20’ water according to tank size
keep it for 12min & a er 30 sec agitate it.
Now, stop bath for 1min - 20’ water + ace c acid
and then keep it in 5min fixer. Having done this wash it for 15min - a er 5 min 5
me agitate, a er 10min 10 me agitate, a er 15min 20 me agitate.
Now get your nega ve out from tank and wash it with dis ll water or use 2 drops
we ng agent in it (to avoid water drops)
Now hang and let it dry, cut it according to nega ve sleeves and keep it in cool and
dry place.
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26. Silver Gela n Print Final display
Keep your nega ve in enlarger’s nega ve holder. Adjust focus with fine tune
and fix your image size with the help of easel. There is a filter dower to keep
filters according your need.
More filter no. give you a more contrast.
you can use mul graded paper or else graded paper for more contrast.
Now, get ready with your paper and expose it for secedes you discovered and
take test prints before final prints.
Now, keep your paper inside developer (use D-163 + water) for 2 min then
stop bath for 1 min and fixer for 5min, then wash with normal paper with 5min.
Hang and let it dry , and your silver gela n print is ready to display.
In colour enlarger you have to increase magenta value for mor contrast.
According to your need you can do doge and burn. Doge-you can use your
hand shadow on that part. Burn-increse exposure me.
Nikon F3 35mm at Chanpaner village | Grade 3 paper Nikon F3 35mm at Chanpaner village | Grade 3 paper
Display at NID, Gandhinagar
48 49

27. Clicked in hasselblad - Medium format 120mm
Clicked in sinar - Large format camera 4/5in
Wet plate collodion
Take a glass plate and layered with collodion. Drop it slowly in silver nitrate
bath (100ml AgNO + 1 lit water) for 5min.3
Now your plate is ready to expose, get it in to a nega ve holder and expose
it on right me.
Now, agitate your plate with developer and shake it slowly, here your image
should come before 15 sec which shows its exposed well, if it takes me it
means its under exposed. Now use tap water for stop bath and keep it in
fixer (500ml sodium thiosulphate called hypo+ 1lit dis ll water) for 5min.
Ÿ If your collodion is not working then add more alcohol (which a racts
more silver par als on collodion ) & add ether which makes your collodion
thicker.
Ÿ If your developer has more ferric then it will burn your image, to stop
burning use asci c acid.
Ÿ To solve peeling issue on wet plate a er exposing -use albumin with dis ll
water & keep it for 24 hours in fridge.
Ÿ To fix your plate life me varnish it - use superfine oil varnish or any
glossy varnish.
Ÿ To make it transparent - hot your plate and apply alcohol back side
Ÿ To make your glass nega ve to posi ve - apply black colour back side
Wet plate collodion
50 51

28. Materials Needed :
1. Weigh Scale with increment of 0.01 g
2. Hair dryer with cool se ng (Required if used for drying paper)
3. 11x14 inch trays (1 nos.) for Washing
4. Amber Coloured bo le (4 nos.) 250ml
5. Measuring cylinders (2 nos.) 100ml
Ingredients :
Chemical A: (light-sensi ve chemical)
1. 25g Ferric Ammonium Citrate (green crystal)-Light sensi ve
2. 100ml Dis lled water
Chemical B: (colour)
1. 15g Potassium Ferricynide (orange crystal)-Gives blue
2. 100ml Dis lled Water
Chemical C: (contrast)
1. 1g Potassium dichromate (orange crystals)-Increse contrast
2. 100ml Dis lled Water
Note:
Potassium Dichromate should not be used on fabrics. Dichromate are carcinogens and
should not be used on anything that will come into contact with skin.
Mixing the stock solu ons to make sensi zer :
Take a part of chemical A and mix with chemical B in 1:1 ra o.
To make a faster solu on, mix 2 part of chemical A with 1 part of chemical B
Another way is to mix 1 part of chemical A with 2 parts of chemical B, this will result to
slower sensi zer, but the blues will be more brilliant.
If using potassium dichromate, add 6 drops for 2 ml of sensi zer.
Apply this solu on on acid free paper in dark room with 2-3 layers, let it dry and expose it
in UV light with your nega ve.
Cyanotype
52 53

29. Salt Prints
Materials Needed :
1. Blender, Hand mixer or Whisk
2. Weigh Scale with increment of 0.01 g
3. Electric Ke le, Induc on stove or hot plate
4. 2 bowls for cracking eggs (1 for the yolks and 1 for egg whites)
5. Funnel
6. Cheese Cloth
7. 1-liter Bo le or Jar – 2 nos. (1 for Salt Print Solu on and 1 for Albumen)
8. Acid free water color paper
9. 2 inch flat so brush – 2 nos.
10. 11x14 inch trays (4 nos.) for each chemical i.e. silver, toner, fixer and washing
11. Hair dryer with cool se ng (Required if used for drying paper)
12. Darkroom (with safe light, which could be RED or AMBER, not more than 40
wa s)
13. Cloth clips or clip hangers for paper drying
Ingredients :
1. 20g Sodium Chloride (Kosher Salt or Sea Salt)
2. 2g Gela n (op onal)
3. 20g Sodium Citrate
4. 1-liter Dis lled Water
To Mix :
1. Add the gela n to 250ml of cold dis lled water and let it sit un l it swells (about
20 minutes)
2. Heat the rest of dis lled water and dissolve the salt, sodium citrate
3. Mix the hot water and gela n together and let it cool
Once at room temperature, it’s ready to use.
As some paper soak more water, use of gela n will help to get an even coat.
Apply this solu on on acid free paper with 2-3 layers, let it dry now apply silver
nitrate in dark room, let it dry and expose it in UV light with your nega ve.
54 55

30. Ingredients :
1. 15g Ammonium Chloride
2. 2ml Glacial Ace c Acid
3. 20ml Dis lled Water
4. 625ml Albumen (egg whites from approx. 30-35 eggs)
To Mix :
1. Separate the egg whites from yolk and pour it in a bowl
2. Add Ammonium Chloride, glacial ace c acid and dis lled water to egg whites and beat the
albumen into a froth (you
can use blender, hand mixer or a whisk)
3. Cover the bowl with a clean plas c wrap and allow it to se le for 24 hours in the refrigerator
4. Strain through dampened cheese cloth and then pour the mixture in a glass bo le or jar.
Refrigerate for one week. It will then be good for several weeks
Silver :
Make a 10% or 12% solu on i.e.
100ml Dis lled water
12g or 10g Silver Nitrate
Toning :
Toning with gold, changes the color from reddish-brown to purple brown or even a blue-brown,
depending on how you tone.
Gold toning also acts like an archival balance, as gold is more stable then silver.
Gold Borax toning :
Ingredients :
1. 400ml Dis lled Water heated to 38°C
2. 600ml Dis lled Water at room Temperature
3. 10g Borax (Sodium Borate)
4. 40ml Gold Chloride (1% Solu on – 1g to 100ml Dis lled Water)
To Mix :
1. Dissolve the Borax in hot water, then add the gold
2. Add 600ml of dis lled water and let it cool
Prepare the solu on around an hour before you are ready to use. Store in a brown bo le.
Fixer :
Use 15% Sodium Thiosulfate solu on for fixing i.e. 1000 ml dis lled water and 150g of Sodium
Thiosulfate.
Apply this solu on on acid free paper with 2-3 layers, let it dry now apply silver nitrate in
dark room, let it dry and expose it in UV light with your nega ve.
Albumen Prints
56 57

31. Faculty - Rishi Singhal
Sathyanand Mohan
Anuj Malhotra
Category - DP
Dura on - 6 weeks
DESIGN
P R O J E C T - 1
Objec ve
Ÿ Ra onalisa on of work produc on.
Ÿ Refinement of skill sets.
Ÿ Development of the process towards a visual and intellectually logical conclusion.
Ÿ Development of a sophis cated and informed understanding of prac ce-based
project.
Ÿ Understanding of the rela onship between skills and the theories of photography.
We done
Discussions, Lectures & workshops, Group Assignments, Research, Individual, Project
proposal, Field work, Produc on, Weekly Cri ques.
I worked on ‘Charkha’ and places which I covered
Ÿ At Sabarma Ashram
Ÿ Khadi Saranjam Karyalaya
Ÿ Khadi Prayog Sami
Ÿ Gujarat Vidhyapith
Ÿ Family near Sabarma Ashram
My learning
Having brought together all the skills and knowledge gained in semesters I & II, I
worked on my design project. It helps me to understand how research should done. It
taught me to deal with people and understand their life style. It helps me to come out
from my comfort zone due to I was actually entering in someone’s life which was not
easy to handle at one stage as our human nature is sensi ve while understanding
other’s feeling which is a ached with their personal objects or surrounding things.
58 59

32. Assignment 1
Satellite area is a very wealthy area of Ahmedabad city.
Place is fulled of high-rise buildings and malls with busy city life style.
Also in other hand there are peace full places like temples and mini zoo ‘Sundarvan’.
Here, I have covered some well known landmarks of
Satellite which can represent this area and the unique thing is
all places are connected with BRTS.
Satellite Area, Ahmedabad
In the beginning of the design project
we had one individual assignment in which we all had own area in Ahmedabad to cover and we
had to ar culate in our own thoughts which should represent that area.
The place from where Satellite area starts. Day - Night view
60 61

33. Gulmohar Park
Courtyard 5-star hotel with a prime
loca on & luxury ameni es.
Satyagraha society
Ramdev Chowk
due to loard ram temple.
Sundervan - mini zoo
where birds had their freedom.
Evolu on
ISRO
as road known as satellite.
shivranjani cross road
where satellite ends.
62 63

34. Design Project
Ÿ Before this topic I was thinking about “Heritage doors” and a er spending some me I
realized that somehow I am very fond of historical places, monuments and the emo ons
a ach with it.
Ÿ “I am convinced that swaraj cannot come so long as the tens of millions of our brothers and
sisters do not take to the charkha, do not spin, do not make khadi and wear it.” ~ M.K.Gandhi
(Opening speech at Belgaum Congress, 26-12-1924)
Ÿ I found this statement strong and very effec ve which made me to come on my new
topic “ Khadi and Charkha.” I want to know the psychology of people why they only rely
on Khadi and charkha for their source of income. What kind of emo ons they share with
it? Are they happy with what they are doing.
Ÿ I want to narrate a story which has a voice of people who are s ll connected which
charkha, a story which starts with the co on produc on in farm to the Kurta which we
buy in the market. I see it as a small child which is born in farm, receive all nourishment
required for growth, get converted into thread by charkha and finally into Kurta.
Why I am interested
Objec ve
Ÿ Phase 1 Visit mahatma gandhi ashram, fetch as much informa on through interviews as I can.
Contact people who are related to khadi and charkha. How business is done of khadi and
manufacturing of charkha.
Ÿ Phase 2 Consolidate all the informa on by photograph and develop the understanding of it.
Ÿ Phase 3 Try to narrate a story from whatever understanding I will get and check the
understanding with insights.
Ÿ Phase 4 Working on final presenta on and make a body of work in the format of book.
Methodology
Ÿ Final outcome of this Project will be a photograph display and Photo Book with post cards.
Outcome
Introduc on
Ÿ Khadi means hand spun and handwoven cloth. In 1918 Mahatma Gandhi opened his
movement for Khadi as a relief programme for the poor masses living in India's villages.
Spinning and weaving was elevated to an ideology for self-reliance and self-governance.
He appealed not only to those in need, but to each person to do spinning at least about
one hour per day, as a sacrifice to the country, as ones duty towards the suffering
countrymen.
Quote given my Mahatma Gandhi :
Ÿ “Khadi is the Sun of the village solar system. The planets are the various industries which can
support khadi in return for the heat and the sustenance they derive from it. Without it other
industries cannot grow. But during my last tour I discovered that, without the revival of other
industries, khadi could not make further progress. For villagers to be able to occupy their spare
me profitably, the village must be touched at all points”
DP Title – Charkha
To Know about Charkha’s contribu on for city and currant posi on
People who are s ll connected with charkha & their thoughts
Charkha s ll exists or not
Evolu on of charkha
Hand skills - training
Process of making khadi
because these ideas and stories has been difficult to realize or appreciate those
things without knowing it.
Ÿ To let people know the value of charkha in this era as it is not just a hobby but
it is a honorable occupa on.
64 65

35. mthfth nbtu athFtu ctlttltu ft ytuzph ’u;te ni> nbt nh
;thn fu athFtu ctlttfu, ytujt Ekrzgtt btuk mtvjttgt fh;tu ni>
ytst fjt femte ftu ftbt ltnek fhltt ni, EmterjtB
mttujth athFtt Cte ctltt;tu ni>
- ftuzth vthbtth, Ftt’e mthkStbt
gtntpk ctuXfu nbtu vt;tt ltnek ni> jturflt ctnw;t mtthu dttpkJt btuk
ytstCte athFtu vtu f;ttE ntu;te ni> nbtu YrMx ltnek ni, fe
felt jttudttultu Ftt'e vtnlte ni gtt ltnek, jturflt Ftt'e
vtnltltu Jttjtu ytst ctnw;t jttudt ni>
- jt;tt ctult, mttcthbt;te ytPt{bt
rltJt];t ntultu fu ctt’ Cte btuk gtntpk htuLt yt;tt nwk> Elmttlt
vt{Jt]r;t btu hnudtt ;ttu ;tk’whm;t hnudtt> ytih athFtt fuJtjt
vt{Jt]r;t ltnek, femte ytih ftu bt’’ fhltu ft rJtatth ni>
- ltdtelt CttE, Jti|ttrltf, vt{gttudt mtrbtr;t
Ntwhw mtu jtufu ytst ;tf ,sttu Cte zuJtjtvtbtulx athFtu btuk nwyu,
Jttu mtthu vt{gttudt mtrbtr;t ltu rfgtu> "ttdtu fe btstctq;te mtu
jtufu fvtzu fe xumxekdt ;tf fe Stkat gtntk jtuct btuk ntu;te ni>
- dteheSt htgt , vt{gttudt mtrbtr;t, vtrhHtKttjtgt
At Sabarma ashram
Tes ng Lab
Experimen ng on charkha to develop its new
advanced model. They have also developed
solar charkha and right now they are working
on ‘umber’ charkha which has 16 spindles.
Gandhiji spun every day for 1 hr. beginning
usually at 4. In 1918 Mahatma Gandhi
opened his movement for Khadi as a relief
programme for the poor masses living in
India’s villages. Spinning and weaving was
elevated to an ideology for self-reliance and
self-governance.
Khadi prayog sami
Khadi saranjam karyalaya
Prayog Sami is keen regarding the
development of charkha. They have
a lab to test fabrics and threads.
Manufacturing charkha according to
goverment order .
66 67

36. yuftdt{;tt, mt’CttJtltt, mtbttlt;tt, Nttkr;t ft vt{;tef,
ctti’[r"tf Pt{bt ytih Jgttvtth fu mtt:t rNtHtKt, yumtu
dttkr"trst rJtatth fu mtt:t nbt ytS Cte athFtt ftgtbt
hFtltu ft vt{gt;lt fh hnu ni>
- btntu’gt, dtwstht;t rJt$tvteX
Gujarat Vidhyapith
Gujarat Vidyapith was founded by Mahatma
Gandhi on 18th October, 1920.
Everyday a er prayer students have been
spinning ‘pe ’ charkha as a tribute to
Gandhian thoughts.
68 69

37. btuk ytih 'wmthu atth vtrhJtth, nbt gtntpk mtwhulY ltdth mtu
fuJtjt athFtt ctlttltu fu rjtgtu ytgtu> vtkYn mttjt ntu dtgtu>
vttpkat ;ttu mteFt ltu btu nek dtgtu> Emtu nh ftuE ltnek ctltt
mtf;tt> athFtu ft yuf Atuxt ~vt ctlttltu fu rjtgtu Whtu
mtti ctth nt:t btuk jtultt vtz;tt ni>
- btnuMtCttE, Jtfp Nttupvt
btunlt;t ;ttu ni vth nulzjtwbt ;ttu nbttht Dthft ne "tk"tt ni> btuk
r’lt fu nLtth "ttdtu ctwlt;tt nwk vth btkrstjt yCte ctnw;t 'qh ni>
- lthrmtknCttE, nulzjtwbt
Family near Sabarma ashram who specially came to make charkha from
their village in Surendranagar.
And today they are ge ng lots of order for miniature charkha.
Family near Sabarma ashram who are in the handloom business
and selling khadi, too.
70 71