Objective

This week I have begun the process of writing my essay. This meant that Gareth was able to see the work I have done and make suggestions for me to improve, as well as give me ideas in which to take my project.

I began this session by talking to Gareth about where I want to take my project and what I am trying to learn. I therefore mentioned how I want it to be a personal journey in which I try to document  my Grandfather, through the photographic style of Julian Germain in ‘For , but  in style similar to that of how Yury Toropstov has gone about his work in ‘Deleted Scene’. I then showed Gareth the work I have done so far on my essay, through which he marked and gave me some feedback on. I found this feedback to be useful and it gave me some good ideas about how to write my last paragraph of the essay, which I am struggling for ideas on.

What interested Gareth in particular was the concept that I was creating a narrative based around a person who is not alive and who I therefore cannot photograph. Gareth defined this concept as an ‘interpretation’ – photographing things related to the subject but not the subject directly.

Gareth came up with an idea: we went down to the archive room where we collected a series of photo scrap-books made by  photographer George Adolphus Thomas (born 1900) – 10 in total over the course of 30 years. Many of these photographs included and were focused around Thomas’ young daughter: Pamela Georgina Thomas (born 1929). Pamela was photographed constantly and fanatically by her father, which has resulted in a extensive body of work documenting and recording her upbringing

My challenge was to look at these photographs, make a few notes, and draw a series of conclusions based on findings – as well as attempt to put these photographs in chronological order. In particular, Gareth wanted me to consider the idea that because Pamela was photographed an extensive amount; in different places, points of times and context, that a clear narrative of her can therefore be told through the images. In contrast, Gareth got be to consider the contrast this has with my own project, as I am attempting to create a story about someone who is no longer alive.

Response

The task was relativity easy to complete, I had to look in all the books and then date them in chronological order. I more or less completed this task however it was at times hard to decide which ones to put in order because of the timeline of the album sometimes overlapped. It was interesting to see to variety of images which had been taken, over such a long period of time.

Whilst I was doing this task I became more interested in the actual book, in particular the hand-made, scrapbook appearance to them. There was something that really appealed to me about this presentation, it was simple but personal. The photos were arranged in this scrap-book manner and Thomas included little personal notes, presumably for this own benefit of remembering when pictures were taken and what happened. I found doing so gave the book a very unique feel to it, it could never be re-produced as the photographer had put their own stamp on it. There was something almost satirical about some of the notes, it added comical elements to the narrative, in many ways glimpse of the photographer’s personality embedding itself into the narrative.The way Thomas had arranged the photographs was quite simple; he simply made little cut outs and placed the developed images in the individual pockets – sometimes one large photo taking up an entire page and sometimes up to 6 photos on a page. This order was random and spontaneous.

The concept of the book was very clever. Thomas had carefully arranged the photos in a roughly chronological order. The choice of images were definitely not random because the photos all displayed a certain narrative by which different images linked to the next. Thomas did not simply just photograph his daughter; he did it in a considered manner, resulting in a variety of images of her in different situations.

At the end of session I had a talk with Gareth about what I had learned. I spoke about how it inspired my personal study – mentioned in the next section – and my thoughts of the books in general. We got onto the discussion of how image presentation very much affects how the viewer interprets and meanings behind photographs. We also spoke about the contrasts between my own work and that of George Thomas. We distinguished the concept that although me and this photographer have based our work of the same  concept, to paint a visual picture of a particular subject, we are however doing so in very different manners; Thomas used the subject directly to tell a story, whereas I am painting a story of a subject who is not around to be photographed. Therefore we determined that my photo-book could be a response to Thomas’ work, however done in a different way.

“Your work could be edition four?” – Gareth Syvret

How has this session helped my Personal Study?

Doing this task gave me a an idea for my own Personal Study; to make a handmade photo-book made of a simple scrap-book I will buy. I will then create a narrative by printing the photos off of sticking them into the book.

This session has therefore in my view, been very useful because it has given a clearer idea about how to present my photo-book. It has also given me a better idea about how to go about the last paragraph, due to both to the useful essay feedback Gareth has given me as well as the extra context I have gain about the photographer, George Thomas, whom is another inspiration I can link to my own writing and to the basis of my project in general.

All of three sessions I have done so far have all been useful in different ways. This week has been the most useful in terms of providing me with creative ideas.

My Photo-book Design Idea

The main advantage of me doing this is that I will able to include this in the book other than the actual photos, such as real documents and hand-written notes.

My main intention of doing so is to make a book which is personal and uniquely my own. Through this I mean I will make a book which only can be made once and never duplicated, because the photos will be original prints and I will include authentic documents and my own hand-written notes. Unlike making an on-line book, which can be easily re-ordered and duplicated, my book will instead be a one off design; customised and personalised to my particular desire, not limited by the restrictions of a web design. I also think it will be a fun and creative task to complete and I think it is an idea which is a bit different. I like the idea of including stuff other than photos, which means I can make more of a pop-up style book, a bit more creative than simply just photos; therefore more personal and subjective.

My essay, instead of being included on the page will be printed of separately on a piece of paper and either stapled in the book or placed in an attached envelope. I think that this will be a good idea because it will mean will essay can be read in an easier manner, as the paper can be separated from the book and therefore handled easier. I will also be a fun and creative way to play on the pop-up idea, and the font can be a type-writer font, again a response to the idea that the book is a retro design.

For extra inspiration I have looked at an old book I had from about 8 years ago. It is called ‘Eygptology’ and was a book with interactive pop-up features. This book was a history book and made use of similar archival documents that I want to use in my own book, such as letters and old photographs.

I also looked at a YouTube video of a hand-made book,  made by a photographer named Greg A. Chiana, as well as a prehaps more well known handmade photo-book, made by Martin Parr entitled ‘Life’s a Beach’

“Tropical prints frame images shot in Parr’s journalistic style, creating a nostalgic aesthetic that recalls a timeworn photo album” – Bettina Korek

Martin Parr’s special edition photo-book ‘Life’s a Beach’, is a good example of a successfully produced hand-made photo-book.

Parr in this book has evoked the traditional style of a photo-album; images framed on thin cardboard paper, with the individual pages separated with a thin paper cloth. The way Parr has displayed his photos also resonates this idea of a traditional photo-album; images stuck to the page with photo-corners and formatted in a simplistic manner, slightly quirky, vernacular manner.

What makes Parr’s work in ‘Life’s a Beach’ different to a normal amateur album is the extremely considered way he has presented his work. Parr has, in a subtle manner, moved away the the old-fashioned appearance of a photo-album; instead gone for a more contemporary approach which embracing the advantages of some aspects of this retro appearance.

The paper cloth sheet which separates the images continues this pattern of evoking a traditional photo-album. I find it is effective because it provides a sense of delicately to the photo-book; a sense of ritual which reminds the viewer of the fragile and unique nature of the book.

The way Parr has chosen to present his book at first glance is very interesting. Instead of just displaying the book on its own Parr has gone for an unusual idea of presenting the book in an encased cardboard box. This gives a very unique and personalised feel to the book, reflecting the idea that it is somewhat like a packaged gift/parcel. It also adds a sense of fun to the book, because the viewer must go through the process of opening the book from a case, as if they were opening a gift or wanted packaging. Practically speaking it also helps to preserve and protect the photo-book for longer.

Parr’s front cover does not necessarily resonate that of a traditional photo-album – it has a more modern and professional feel. The material of the front and back cover is wood. This material provides the book with rustic hand-made feel,  therefore conveying a sense of ‘lightness’ and a simplicity. It is also slightly unusual to use wood as a material for a book; it makes Parr’s ”Life’s a Beach’ therefore slightly different, again an idea which appeals to me,; to make a piece of work which is a bit different.

I like Parr’s idea of including hand-written notes next to each of the photos. The only disadvantage of using handwriting in a book is that it can make the pages look more like a collection of thoughts in a scrap book then a proper photo-book. However Parr has not overdone the notes, only writing a few words about each of the images, still enabling the photographs alone to determine how the viewer interprets/reflects upon the narrative. In Parr’s case, the notes serve to guide to viewer through the images by giving the ;locations and sometimes at name and date; further personalising the nature of the document.

The use of photo corners is similar to what I want to do for my own photo-book. In ‘Life’s a Beach’ photo corners work well because they help to give the photographs a stronger and more three-dimension presence. I also like how it gives a retro style to the images, making them appear like comp temporary, vernacular snap-shot images in juxtaposition to the traditional nature of a photo-album, albeit altered and customised to give a comp-temporary feel. This subtle contrast gives an edge to the work; it look professional and at the same time, somewhat amateurish/vernacular.

A photo-album is often linked with the idea of storing and preserving memories in a personal way. What Parr has done through making this book has recorded a documentation of British seaside culture in a way which the viewer can reflection upon in a personal way, looking back on Parr’s findings in a similar way they would look fondly back at a family photo-album. My conversation with Gareth on Tuesday got me thinking about the ways in which the presentation of photographs can effect how they are viewed. Subsequently, it is clear that because of this style of presenting images – which evoke the style of holiday snapshots placed in a family album  – that Parr is evoking the concept that the images are not simply documentations; but instead a subjective narrative which tells a contextually based story which can subsequently conjure of nostalgic memories and links to the past.

Evaluation

I like the simplistic style of ‘Life’s a Beach’. It is engaging and entertaining for go through, visually different to a traditional printed photo-book. It is a very clever concept that the style of the photo-book manipulates how the viewer perceives the images, inviting them not just to view the images but reflect in a nostalgic way of the nature of the images.

This is the sort of style I will go for should I decide to make a photo-book is this hand-made manner. It is personal and vernacular, but at the same time well considered, and importantly; presented and laid out in a professional manner – as good as if it was an on line template.

As this example shows, subtlety and simplicity is key to creating a successful hand-made book. The authentic feel of snap-shot images being personally placed in a hand-crafted book must not override the fact that the paper, layout and photo-prints must be well considered and of good quality.

In order to create my final book, we have been instructed to research it online and look at layouts and designs.

The website we used was: http://www.blurb.co.uk/

Here is a mood board of some photo books i liked:

I like how the photograph is places by itself on the right hand side of the page. The white border surrounding it gives it neatness and a bold outline that catches my attention.

Similarly, I like how this photograph is displayed across 3/4 of the rectangular book.

Considerations:

• what type of cover will i use?
• will the cover have various images or just one?
• how much space will i leave in between images?
• what borders will i use? color selection?

Include:

• quotes from the photographers and the people that i interview
• podcasts – either music or them speaking
• always have some sort of text (describing), even if the picture takes up the whole page
• maybe some illustrations to go with it, or special associations with the subject – eg drawing, plaque with name, newspaper article – this makes it very personal and interesting

“Ser Sangre” 

Inaki Domingo was born in Madrid in 1978 and is a visual artist. His most reflective work, ‘Ser Sangre’ questions and explores how the family is traditionally represented in family photo albums, replicating images contained in containers of intimate visual memory and how they constantly relive the perception that they always tend to look the same. ‘Ser Sangra’ when translated is ‘be blood’ in Spanish, accrediting these ideas of ‘connection’ and ‘relationships’ within a family lifestyle. This style of Domingo illustrates the translation and barriers of a family and how they transition during long periods of time, and in different destinations. The story that’s set on a family holiday in Majorca, shows the collections of frozen smiles predominate, to the detriment of other moments, much more frequent in any family’s day-to-day activities.

My Interpretation

Below is an image I took in the style of Domingo. The rustic and natural style of Domingo’s photographs underline the key hypothesis of my personal study.

My Interpretation

Below are another two interpretations I have done in the style of Domingo. His constant use of mediums such as archival material and drawings which have been scanned in,  lead me to explore this style of myself. I wanted to show the development of our family home when we moved house by incorporating objects that would be moved during this process. I photographed a childhood present I received and have kept ever since I was eight. During my younger years, I drew this and have kept the drawing ever since. I scanned this in and allowed that to feature in my personal study also.

Other Examples

Wendy Ewald is a photographer born in Michigan whose work specialises in capturing how children should ‘see’. This relationship is a gateway into how we can except the different relationships of different children between society, culture and multiple generations. It is said she uses “the camera as a tool of expression. Significantly meaning that her connection with characters in her images are able to relate with the reader in various relationships and contexts. In recent years, Ewald had produced conceptual instillations in Michigan and even England. I felt Wendy was an ideal artist to receive information and experimentation from as I was able to justify my ideas of presenting people and telling their stories through dictating the photographs.

Wendy’s work is easily recognizable as the facial expressions are very clear and immediately let the reader know the context and emotion of these images.

Wendy shows an illiterate image of a community and family, as I think she wanted to reflect the different relationships between this group of people.

The words in Wendy’s images reflects a too the point way of interpreting an image. This makes the reader connect with this character as can be seen as relatable through the emotions.

Presentation 

Wendy adapts to the environment when blowing up her images, and does this possibly to create awareness to the community and families. With connection to my own personal study, I think Wendy Ewald’s work perpetrates the boundaries of what normal people consider. Using large scale prints, she is able to get across these messages of stereotyping by using text as well as print.

My Interpretations of Wendy: 

Themes: Stereo Typing /  Violence / Community / Change

A United Nations report released in December, 2012, stated that the conflict had

“become overtly sectarian in nature”

Definition of sectarian:  relating to religious or political sects and the differences between them. 

The violence in Syria has caused millions to flee their homes. As of March 2015, Al-Jazeera estimates 10.9 million Syrians, or almost half the population, have been displaced. 3.8 million have been made refugees.  As of 2013, 1 in 3 of Syrian refugees (about 667,000 people) sought safety in Lebanon (normally 4.8 million population). Others have fled to Jordan, Turkey, and Iraq. Turkey has accepted 1,700,000 (2015) Syrian refugees, half of whom are spread around a cities and dozen camps placed under the direct authority of the Turkish Government. Satellite images confirmed that the first Syrian camps appeared in Turkey in July 2011, shortly after the towns of Deraa, Homs, and Hama were besieged. In September 2014, the UN stated that the number of Syrian refugees had exceeded 3 million.

The Kansas City Star: 

The editor Lewis Diuguid describes the Syrian civil war as a devilish turn of human nature as his opening line:

“War is such a crazy, unpredictable beast.”

Diuguid’s use of the word ‘beast’, immediately condones a sense of  fear and anguish, relating to specifically the torment families of the Syrian community have to go through.

How has the study of photographers and Archival Research influenced my Personal Study? 

I tend to investigate… Transitions within a family / Change in my personal social re-formations.

I’ll be looking at…

• How artists like Rita Puig-Serra Costa has allowed me to develop my project with a archival response and perspective
•  History of Costa
• The approach on society through the archive
• Archive versus contemporary photography
• How has archival research changed  the way we see society / family today?
• How does Costa relate to Archival research?
• How have I been influenced by the Archive?

Define Avant Gard:

“new and unusual or experimental ideas, especially in the arts, or the people introducing them”

or

“Favouring or introducing experimental or unusual ideas”

Introduction: 

Introduce Main Hypothesis

Paragraph 1: (500 Words)  Family Pre-conceptions

Past / Modern day pre-conceptions of family life. past / future subjects this idea of memory

Introduce your first photographer: Rita Puig-Serra Costa. Describe key events in the artists life (death of her mother) that influences the work: “Where Mimosa Bloom”. Include examples with your own photographs / experiment of early response and analysis.

Context: What is going on in the world at the time? (artistically / politically / socially / culturally)  – Fighting in Syria, many families separated, moving from place to place not so for the better. Families being destroyed by death and war overcome normal family necessities / lives.

Paragraph 2: (500 Words) Links within a Family / Community 

Looking at the differences / transitions between two locations: Jersey / New Jersey. Martin Toft: ‘Atlantus’ 

Context: Culturalisation – changes in race / culture / societies expectations.

Paragraph 3: (500 Words) 

Paragraph 4: 

Conclusion: 

References:

• Book: Rita Puig-Serra Costa, (2004) “Where Mimosa Bloom”, Éditions du LIC, Optimal Media GmbH

For the second week of my internship I began at Jersey Arhcives in the morning to order my copies of two documents; Francis Le Feuvre’s will & testament, as well as his German Occupation Registration Card. I registered as a Jersey Archive member in which I recieved a started pack and watched a short 5 minute video outlining the process and consideration of using the ‘reading room’.

I then went up to the reading room and ordered the two documents I needed. I found the process to be difficult to follow at first because I had never been exposed to such an environment before. The staff there however were really friendly and hellped me out a lot.

I then reported my findings to Gareth back at the Société Jersiaise and we had a brief chat about my views of this experience and my evaluation of my findings.

• The reading of Francis’ will (saw the original copy in the archives)was fascinating to explore and divulge into. Although I already knew this, it was interesting to see that my Granddad was not included in the testament. I suppose seeing the document in person made such a concept more real and graphic as I could see the exact nature of what was intended  and written. We both decided it would be a good idea to trace evidence with relates to such reason, which I speculate from what I heard was to do with my Granddad’s decision to join the Salvation Army.
• The registration card was equally a fascinating and insightful document to study. The glaring presence of Francis in the image very much impimises  the characteristic of what I have heard about him, a stern and foreboding character! Again, as Gareth also noticed, I can see firm Le Feuvre family residence

I spoke to my Nan about the image in question of Jack, David and Edward Le Feuvre – of whom all emigrated to New Zealand. She stated clearly that this had no connection to possibly my Granddad’s brothers.

• Although she stated the he did have a brother named Edward whom was sent to Australia after getting into trouble and encountering some  difficulties, of which my Francis decided in this instance to send him away. 
• This finding in itself was interesting in formulating a viewpoint of my Francis of which I can use to articulating an interpretation of his relationship with his other children, and thus my Granddad.

On this note, we decided to venture downstairs to the Societere library where I went 2 years prior with my Dad and Uncle to view (a very large!) Le Feuvre family tree. This family tree was created by renowned Jersey-French author George Le Feuvre (1891-1984), known professionally under his pen name ‘George d’la Forge’. D’la Forge was distant relative of the family. My Nan recalls providing hospitality for him on a few occasions he visited the family in Kenya.

The aim of this visit was to confirm some of the discoveries we have made in the last week. We wanted furthermore to establish the identity of the three Le Feuvre brothers who emigrated to New Zealand.

The tree, consisting of 7 A1 Pages, is an extensive record of the genealogy of the family, dating back to to the mid 16th Century with our oldest ancestor on record, Pierre Le Feuvre. We sourced my Granddad on the tree and his  direct line. From this line we established that the three boys in question on the photograph were my Granddad’s first cousins. This may be a possible link to follow in my coursework, however I am unsure whether I have sufficient time to do.

After looking at the family tree, Gareth then got me to complete a task, as a way of furthering my understanding of working life at the Societere. He asked me to fill in a survey looking at the portrait collection of Henry Mullins. I had to source every single photo and then fill on the survey the gender of subject and the backdrop of which their portrait was taking. This proved to be quite a repetitive task and as Gareth jokingly put it “this is the boring side of working at the archives” . Nevertheless it was still fastinating to see the extent of the detail taken at the societere to ensure the photographs and photography collections are as detailed, tracked and monitored as possible. It has made realise quite how obsessive and methodical Gareth is in his approach to running the photo archives.

Afterwards Gareth invited me to read  a couple of extracts in a book looking at prominent Jersey people. There we two Le Feuvre’s documented on this book: George Le Feuvre (who wrote the family tree) and Philip Le Feuvre (of which Philip Le Feuvre house is now named after).

Evaluation

Again, I enjoyed my two hours I spent down at the Societere Jersai. I found reviewing my family tree to be very interesting and I forgot just have large it is. My time down archives before the internship to order the registration card and will, was a new and challenging experience. It was interesting to see how the archives centre works, I was surprised quite how simple it was to register to the system and make use of the extremely large quantity of resources on offer.