Stephen Gill

Gill began photography at a young age. In 1985, while still at school, Gill began work with a Bristol-based photography company, copying and restoring old photographs. Two years later, he began working full-time in a one-hour photo lab. In 1992 he enrolled in a Photography Foundation course at Filton College in Bristol and, a year later, began work at Magnum Photos in London. In 1997 he become freelance photographer
Gill currently lives in Hackney, London, England. 
Gill’s photographs are held in private and public collections and have also been exhibited at London’s National Portrait Gallery, The Victoria & Albert Museum, Decima Gallery, Agnes B, the Victoria Miro Gallery, Galerie Zur Stockeregg, the Gun Gallery, The Photographers' Gallery, Palais des Beaux Arts, Leighton House Museum, and Haus der Kunst.
Gill's photographs have appeared in international magazines including The Guardian Weekend, Le Monde 2, Granta, The New York Times Magazine, Tank, The Telegraph Magazine, I-D magazine, The Observer, Blind Spot and Colors.



I find his work very clever because he makes things that we would never think about looking at, let alone taking a picture, and giving it a life and adding a story behind it which we would never have thought of.

Sophie Calle Experiments

I found the Sophie Calle project 'The Address Book' very interesting so I thought I would begin by experimenting with a phone book my mum had stored around the house.

I decided to take the pictures in black and white to give like an old looking feel and effect.  What I really like about what I had is the actual photocopied page because my printer isn't that good it gave it a nice smudge effect to it which adds a really nice qwerkyness about it.

These are the other experiments I did.  Some pictures were a bit blurry but I reckon this gave them a nice effect of  rapidness which gives the effect of not wanting anyone to know that you're taking pictures of someones address book.

Depth Of Field

Depth Of Field- depth of field (DOF) is the distance between the nearest and farthest objects in a scene that appear acceptably sharp in an image. 
Although a lens can precisely focus at only one distance at a time, the decrease in sharpness is gradual on each side of the focused distance, so that within the DOF, the unsharpness is imperceptible under normal viewing conditions.  In some cases, it may be desirable to have the entire image sharp, and a large DOF is appropriate. In other cases, a small DOF may be more effective, emphasizing the subject while de-emphasizing the foreground and background.

This image is a great example of DOF.