Shoot 4: Investigating the non-traditional side of love part 2: Emma

May 5, 2016 Leave a comment

To carry on my personal investigations, I wanted to capture one of my friends, Emma, who is a regular Tinder user herself. I wanted to capture Emma just like I did with Freddie; for instance, her as her usual self, what she would usually dress in, and what she would make more of an effort for.

Emma in the Morning

The one thing I find most interesting about social media sites, and in this case, Online dating apps, is the fact people not perceived ever as their usual self. Allowing me to work with Emma in a way that does so is really significant as the reader is assured that in this case its a reliable piece of information that is eventually acknowledged. The first image that I took of her was wearing pyjamas. Emma like to wear pyjamas in her spare ‘chill time’, which is perfectly okay, but do her fellow Tinder users know this? or any of her recent ‘matches’ – the reader is drawn to seek questions about the vulnerability of her current situation. – Is what Emma is posting online projected as her true self? – this is something as an artist needs to find out through the use of imaging.

Emma’s Usual Self

I wanted to capture Emma’s usual self also. I felt this was a good reflection to give the reader a reliable sense that Emma is a truthful person to the overall ‘dating site community’. I composed Emma to be very natural in order for this to happen and used the setting of her room to characterise her even further. Because her room is rather messy, this could suggest that she is not what she say she is on social media, as people may pursue her as someone who is ‘neat’ by her perfectly composed / touched up photographs.

Smart Emma

To end this shoot, I dictated what would most likely be featured on Tinder, as if there was an abbreviation to its social ‘guidelines’. I composed Emma wearing her typical sixth-form uniform in order to show that she is part of the Education System, something that is may not mentioned as much on her page.

Further Ideas

In order to take this further, I plan to appropriate Emma’s character and to manipulate it by producing a Tinder profile for her. I think by having a role reversal between what was the subject s the art now becomes that the artist is the art whereby they narrate a false-looking story of someone else, in effect masking their individual persona.

Ideas, Planning, Record, Research

Shoot 4: Investigating traditional relationships through family part 2: Mum and Dad

May 5, 2016 Leave a comment

Looking into the comparisons between non-conventional love against that of traditional love made it easy for me when deciding that I really wanted to use my parents as the forefront to this concept. Because they have been together for nearly 24 years, I thought it was best for me to use their story through images and some text to show the love they have for each other, and to show that there are other means and ways of going about finding love.

I took this image to show how in a contemporary image there is a truthful relationship. This image is clever in my eyes as I feel it speaks for itself as a metaphor, dictating how there are possibilities like my parents of not having to rely on things which are un-reliable, like Online Dating websites and apps.

Researching with my own Family Archive

Much like my previous shoot featuring my grandparents, I dug into my own family archive to seek some contextual references and links I can make to juxtapose those with contemporary love stories. Continuing on with links to KesslesKrammer, I felt the repetition in these wedding images are still the stereotypical ‘wedding cake pictures‘ and ‘flowers‘ and ‘relatives‘. I felt this really fitted with the theme with how looking back images where truthful because they always seem to create a sort of social pattern, yet because of the recent developments of online dating it is hard for people to empathise with certain patterns fitted by relationships as people are now finding love in various ways.

Other uses of Archival Material

The alternate uses of archival material yet again represent similar works of Ed Templeton, as I feel the uses of writing and stamps present an overlaying narrative in a simplistic and metaphorical way. If I was to use this idea of following on from Templeton during the exam, I feel it would be a goof idea to overlap the images with text and to also include maybe some stamps over the top to suggest the concepts notion. This letter my Dad sent to my mum I felt was quite ambiguous, and the envelope making it more of an un-written mystery. I think it would be an interesting concept for people to interpret this work for themselves and ask themselves what could of been inside of it. I feel this envelope can represent the era that they were in too. It was more common during the 60s and 70s to write letters instead of sending text messages like people do in our modern society, yet with letters its more detailed as to what could be happening, however, also just as misleading.

Experimentation, Ideas, Planning, Record, Research

Shoot 3: Investigating traditional relationships through Family Part 1- Nanny and Pops

May 5, 2016 Leave a comment

The next shoot I made was of my Grandparents. I felt it was a good idea to make portraits of them to distinguish the relationship they’ve had for the last 60 years. Recently celebrating their Diamond Wedding Anniversary, I thought it would be a great opportunity to show to a viewer that with the new developments of social media, it is still possibly to withstand such a lasting and traditional relationship. This is also viable to the words of Steven Gill, in particularly “Hackney Kisses“, as my grandparents relationship occurred prior to the effects on World War ll.

I started to compose both images in their bedrooms. My Grandparents use separate bedrooms as my Grandma prefers to sleep without my Granddad, having no particular reason but the fact he snores in his sleep. The first portrait I made was of my Pops, in reflection of Gill, I wanted to use an important feature in their lives in a repetitive way yet somewhat differentiated. Composing either of them in their bedrooms suggested a connection yet also a difference.

My grandparents go against the normal stereotypes and traditional norms of the modern era – couples who are usually considered ‘sleeping in separate rooms‘ are usually considered a couple with differences, ones who are usually in conflict, and ones who are usually unhappy with their relationship. Capturing this feature made me to combine the importance of conflict in a traditional and contemporary mind set – in this case, it would probably be considered a normal thing for couples to opt out of sharing a room with their partners.

My Own Archival Research of Nanny & Pop’s Traditional Relationship

When interviewing my grandparents, I felt it was vital to still make contextual connections between the old and the new, yet still withstanding in the frame of how their relationship can be seen as ‘traditional‘. These black and white images where taken during my grandparents wedding in Jersey in 1955.

I thought this image above was particularly significant, as it sprung back earlier connections with KessleKrammer’s series “USEFUL PHOTOGRAPHY 010“. Using the possible idea of the form of typology in the exam, this could be a good way to surface the way relationships are ‘celebrated’ and the truth behind that in contemporary and in traditional relationships.

Bad Wurzach and War Imagery

I felt it would be a good idea to include other archival material such as data response media such as maps. My grandfather was held captive in Germany under the Bad Wurzach Concentration Camp. My Grandmother, was left in Jersey. During my grandfather’s return to Jersey in his late teens, this is when they met and became as they are now. I felt including materials like this it would also give me the opportunity to draw on these maps or annotate them like a sort of ‘sketch-book‘, analytical work piece, allowing the reader to interact with it more and therefore understanding the relevance to its personal foreshadowing. This could be in the style of Ed Templeton, who frequently uses writing as a source of narrative in a different form.

Analysis

Staged analysis

May 5, 2016 Leave a comment

I took this image as a representation of what this victim was made to do. I really like the expression given off by the subject and I think it really connects to the context. Compared to the other images, the background of this image consists of a plain wall, I like this difference in comparison to the other images in which are taken in a home environment. It allows the view to focus on what the subject is actually doing, instead of focusing on location and distracting objects in the background; the focus is all on the expression and situation the subject is in. When first conducting this shoot, I didn’t want the arms and hands of the subject to be visible within the image, I simply wanted a (close) head and shoulder shot that showed the belt around the mouth. However, I quite like the fact that you can see that she is doing it to herself because that is what this victim actually went through, alongside all the confusing and scared emotions (which I feel are expressed quite well within this image). I feel like when editing this image, I was a bit too focused on creating these dark exposures to co-exist with the dark memories, thus the darker tones within this image are quite strong and I plan on lightening it up a little bit via Photoshop.

These images were produced with the intention of being blurred and slightly out of focus. I conducted this effect due to the fact that when discussing these negative encounters, the victim would constantly say how she didn’t remember a lot and when she did, the memories would tend to be blurry and confusing. Thus, by creating this effect I felt that I was creating this connection visually and contextually. The close up image of the hand holding the belt is quite interesting and goes against the normal/perfectly composed portrait. This image doesn’t actually include the subjects facial features, but embodies other small elements that I felt necessary within this narrative such as the fact that the subject is sat on the floor (behind a door) and the outstretched hand holding the belt. These particular aspects fit in well with what I was told and adds to the suspense of this body of work. The other image I decided to include, consists of the subjects facial features and although blurred (as intended) through the use of a slow shutter speed, it also fits in representing what happened. I like how the shadow over the subjects cheek looks almost fragile and I like how she is looking down from the camera and I think the fact that she is behind the clothing which is hanged up behind the door looks genuine and adds authenticity to the image.

This image is quite similar to the images above, however in this frame, I captured the full body of the subject and I think this image is more visible in representing things like background/location. The angle of this image isn’t directly centered and I positioned myself slightly higher as if someone is slightly looking down at the subject, as if the viewpoint was from the abuser. With regards to rule of third, I positioned the camera so that the subject was not centered and more to the left of the frame (because I thought it wouldn’t look as good if she was directly in the middle due to the clothes hanging on the door behind her). Also, there is some negative space to the right side of the image however I think it looks better than having negative space on both sides, surrounding the subject. Plus, I think it works quite well as you can see that it is a door and it’s quite evident to notice the fact that she is sat (in a scared and shy manner) behind it. I used natural window lighting for this particular image and looking back, I could have improved it by perhaps making the room slightly lighter to create a darker mood.

Evaluation

Review: Photo-shoots

May 5, 2016 Leave a comment

Taking Images

Shoot 1-2: Developing a theme

The first shoot of this project consisted of a visit to the ‘Fresh Fish Company’ which is run by Vicky Boarder. I went down to the shop, which is a old, re-furbished boat and took a series of images of the shop display, some off the customers, as well as the people who work there. The aim of this shoot was mainly to ‘ease’ into the project. To have a neutral and balanced theme, looking at the retail side, very much a middle-ground between the types of images Parr takes, to that of Wildschut. I intended over the course of this particular shoot to find out a bit more about the types of local produce I could look into. Vicky proved to be very helpful because see gave me a list of a few farms that I could look into to visit. She gave me a very good variety of different places to look into, such as Gordon Blake’s Tomato farm and Colin Roaches’ Water-cress farm. I liked the idea I could look into different Jersey produce that was not just exclusively along the lines of diary or potatoes, but was a bit different and in many ways questioned the status-quo of what really can be defined as ‘Genuine Jersey’ produce.

Shoots 3-5: Visiting Farms

I then proceeded to visit some of the farms which Vicky had recommended. My first visit was to Gordon Blakes’ farm at Three Oaks Vinery. I felt a got some really interesting and strong images on this shoot. However upon accessing the images I only felt there was one image which worked within my narrative. At the same time, this shoot was definitely a worthwhile experience and gave me good practise for which to develop apon.

Next I visited Colin Roaches’ watercress farm. Although it was only a short visit I felt that I got some good images. This shoot, slightly differed away from the restrictions of copying the style of Henk Wildschut, because of the fact the shoot was outside and furthermore, it did not have a huge amount of time and wanted to get as many images done as possible. My subsequent images are in many ways a bit on the boarder of Parr and Wildschut, with images coming across in a style somewhat reminiscent of Parr, whilst hinting at the object approach more so reminiscent in the work of WIldschut. This in many ways found the balance between objectivity and creativity, something which is not always easy to achieve.

My final farm shoot involved visiting the cattle farmer Tom Perchard. Tom has a very large collection of cows, one of the largest in the channel islands. As I visited his farm last year, this shoot was more of a case of expanding on a few of the ideas I explored last year. I spent a couple of hours down at the farm and I was good because I had a degree of freedom to explore the farm on my own. As a result I had a lot of time to carefully structure and compose my images, thus enabling me the opportunity to really explore the theme of Henk Wildschut. I believe some of my resulting images are very powerful and some of the strongest from this series.

Shoots 6-8: Taking images in the style of Martin Parr

These final three shoots were perhaps the most enjoyable. I experimented with trying to take images of fresh Jersey produce in an exclusively Parr like way, close-up and using flash. I enjoyed these shoot because it allowed me a degree of creativity to express with a style which I have been interested in for a while, but have not had the opportunity to explore in its fullest sense.

Shoot 6 involved going into town and visiting the market place. I wanted to get a few ‘Parr-like’ snap-shots of different customers at the market and a few satirical images which looked briefly at the overall theme of the project. For this section I aim to be creative as possible and took photographs of anything I found of interest. I terms of composition, I only got a few images I would consider strong enough to make it in the photo-book. However the main benefit I got from this shoot was to practise and experiment for my next shoot.

Shoot 7 involved taking grotesque close-up shoots of food as a was being eaten. I tried to get the most horrible and vulgar images as possible. I also got a couple of photographs of food as it was being plated up, images which were in no way as vulgar.

Shoot 7 played directly into relevance to Shoot 8, my final and one of the simplest shoots. In this shoot I sought to replicate the classic advertising style of pristine images of local Jersey produce. At first I attempted to set up a mini studio to then photograph the food with. However after attempting this I did not feel that the resulting images were that successful. Therefore I decided simply to photograph the food on a clear table, evoking the same style each time. This in many ways was beneficial because it allowed me use natural lighting to my advantage more, owing to brighter, more colour ‘Parr-like’ images.

Other shoots

As I have a family background in farming I have got a small archive of images I have taken in the past, which have expressed relevance to the overall theme of this project. Subsequently I have used some of these images in the final photo-book.

Editing

Staged edits

May 5, 2016 Leave a comment

This series of images represent the story on the previous post. I have decided to edit these images above because I believe that they are the most strongest throughout this body of work. I quite like the fact that some images are blurred, and deliberately selected the blurred images as representation of blurred memories my friend had. With regards to final outcomes, I am unsure whether I would want to present images in a series or as a select few and present them individually. Throughout this shoot I experimented with different compositions and shutter speeds in order to create specific effects. In some of the shots, the exposure seems to be quite dark, and although that was the sort of effect I was going for (to stand as a representation of dark memories); I’m not sure that it worked very well and looking back at them now, I probably should have ignored focusing on exposure as that could have always been adjusted in photoshop. I think that the expression of the subjects face fits accordingly with the topic and specific situation, and definitely think that it connects the contextual factors alongside the visual aspects. The background and setting is in a bedroom, due to the fact that it is where the situation occurred and I wanted to staged images as accurately as I could, including little things like location and clothing. It would have been easy to conduct this shoot in the studio, using chiaroscuro lighting eat, however by doing it in a home environment, it brings forth the fact that these things happen in what is supposed to be a safe place; a home.

Analysis

Shoot 4,5 and 6 – Image Analysis (Responses to Martin Parr)

May 5, 2016 Leave a comment

These images are a collection of responses in which I have tried to copy the style of Martin Parr. I took about 300 images off and on for the course of the week. I am happy with the resulting images and feel I have a good variety of images which credit different aspects of Parr’s unique and distinctive style.

Experimentation

Freedom Tree | My Experimentation

May 5, 2016 Leave a comment

For this shoot I took inspiration from one of Tom Killick’s photographs that he made down at the abandoned Jersey asylum. There was one particular image of a drawing that a patient did of a tree and it really intrigued me and made me wonder what this person must have been doing through at their time in the asylum. I decided to interpret my own story as I would never be able to find out the real story. So I created a troubled persona, one that wants freedom. I know this shoot could come across as cliche but obviously this person had a troubled mind and their only way of expressing themselves in the asylum was to illustrate it, to draw pictures of things that they imaged. To me the tree symbolises freedom and hope as they are always out in the open. I created a story whereby my persona draws a picture of a tree to escape and to sit and look at when she feels lost or lonely. Something that I also found very interesting when looking at the actual image was that the drawing was unfinished which makes me think that this patient was one of the last to be living in the asylum before it was abandoned or that maybe this patient passed away before they could actually finish it.

I am not too keen on this shoot. There is just something about it that I don’t like and I am unhappy with how it has turned out. As I am rubbish at drawing the tree didn’t turn out well at all and I just don’t think the chalk came out strong enough in the final images as well as it not really showing the state of mind that my character was in. I have no interest in this series as it is quite boring and basically just someone drawing a rubbish tree on the wall. I feel that I needed to get more into the character and to really show the state of mind that my character was in. I feel that this could have worked out better if I got someone else to be the subject and so I would have creative freedom to walk around and get better shots and different angles of the subject drawing. This shoot is a bit too simple for me and doesn’t really stand out as strong images to me. I’m not really feeling it with this shoot and know that I can do so much better than this but as an experiment it is fine. I just feel that there is a lack of expression and emotion in this series as the spectator isn’t really able to see much of the subjects face or how they are possibly feeling. I made this series from recording myself in the car park of my apartments. A man actually came in a couple of times and asked if we lived here but obviously I do and I explained that to him too. After making these photographs I went and got buckets of water to wash all of the chalk off and I actually cut my finger trying to scrub it all off. This is most likely the cleanest those walls have ever been as even when I was younger my friends and I used to draw along the walls with the dirt that covered the walls and the floor. Anyway, in the end I cleaned everything off the wall and it now looks as good as new.

This is my favourite still from the shoot as it shows some expression and emotion in it. I like how strange my subject looks in this photograph and her whole body language. She is slightly slumped over, holding the chalk in an odd manner while looking demonically over her shoulder. This part of the photograph shows the most emotion and the possible mind state that my character is in. I like the composition of this photograph too and how my subject is slightly off centred with the tree in the background. I wanted all of my images to be in black and white to represent the time period of the late 1800s in which it would be based as well as it being a bit more poetic than a basic coloured image. I don’t think that this image would look as good in colour as the light wasn’t very good and was more yellow because of the lighting of the car park.

https://youtu.be/EuppGzT-dzU

Experimentation

Scared Sh*tless | My Experimentation

May 5, 2016 Leave a comment

This project is based off of research that I have done into lunacy on the island. I got this story from an article I read on cases of people loosing their minds, lunatics, back in the late 1800s. One case particularly interested me and it was one where an apprentice jumped out in a white sheet at his boss who was so shocked that he never recovered. I found this story to be really strange as you would never think someone could go mad from another person walking up to them in a sheet but then I guess back in the late 1800s people scared easier and there was no CGI or special FX that could create fictional beings, monsters and ghosts which we seem to have become accustomed to in the modern world. I wanted to re-stage this scenario as it intrigued me so much and so I decided to take on a new persona and become this petrified man. I recorded myself reacting to the ghost as well as putting my friend under a sheet and recording her too. I found this shoot fun to do. I decided to add in the video I recorded as I feel it just adds a bit more depth to my project. I made it black and white as well as sped it up a lot so that it wasn’t too long to watch. I think that it has worked well and the stills I got from the video look good together.

Here is the final series that I have created for this project. I like how it has turned out as it is simple yet tells the story nicely. The one thing that I don’t like about this series is the location and the right side of the subject surroundings, it doesn’t look as good as I would have hoped but it looks fine for these photographs. I like them all together and think that they mesh well. I wanted to create a kind of story board as I wanted it to look like stills from a film and these particular images look best when they are together as one individual one on its own wouldn’t stand out as much and wouldn’t make much sense compared to the series as a whole. My favourite still is the medium shot of the person in the sheet as I like the detail that the black and white gives, adding shadows. I also like the expression on the subjects face as he sees the sheet come closer and he starts to get really freaked out. I like the simplicity of this shoot too as it is fairly obvious what is going on and why the subject was scared silly. The only thing about this project is that I wanted to title it ‘Scared Sh*tless’ but I feel that it may be slightly inappropriate to have as a series for my exam project. I do think that title flows a lot better but as it is for exam work, don’t think that it would be the best title to have. I will also be writing on the physical copy of this series and will add a caption underneath. I think that I want to caption it Ghosts Aren’t Real. I feel that this could be quite ironic as obviously this man sees what he thinks is a ghost before him when in fact it is just his apprentice. I quite like this caption as it does tie in quite well with the entire project.

https://www.youtube.com/watch?v=yuuB9_CPtyY

Above is the short film that comes with the series of images. This is a behind the scenes look at how I make my images and how I stage them. I have put the video in black and white and sped it up so it isn’t as long to watch but I’ve ended up really liking it as it makes me think of an old black and white silent film comedy as the mannerisms of my subject resemble that of one of those over theatrical and dramatic characters. I also like how the sped up audio sounds as when the ghost (person under a white sheet) appears a high-pitched sound comes out making it seem more scary for the subject and adds a bit more context to the whole thing too. I like this mini series as it is simple to follow and easy to understand without my spectators having to know anything about local lunacy in the island or even without any background knowledge. I enjoyed making this video as it was quick and easy to do. I like that it is straight forward and easy for my spectators to be able to follow.

IMG_4412blog — Scared Sh*tless | Final series

Experimentation

Not My Wardrobe | My Experimentation

May 5, 2016 Leave a comment

For this mini series I decided to focus in on the research that I have done on local islander Colonel Victor Barker. For this I went back to basics and make my series as simple as possible and so in my images, as my own subject, I stood wearing a dress with my long hair and I then pretended to cut my hair and from there I changed into one of my dad’s suits. I thought that this would be the easiest way to show what I was trying to show and also made it more obvious that this was a transgender transition with the bandage going across my chest area to get rid of my feminine figure. I think that this shoot worked out really well and was successful. I decided to do it with the window in the background so that the spectator isn’t able to fully see my face as I wanted it to be more mysterious and not look obvious. I think that this has worked out well and the exposure of light is just how I wanted it to be. I also only had the side of a wardrobe showing as I wanted this added touch to show where the clothes came from and also just those there wasn’t any dead/empty space. I am unsure what to title this shoot but was thinking of making it a quote from Victor Barker himself as I did read a book all about him entitled Colonel Victor Barker and His Monstrous Regiment. In this book there are accounts from those that were there when Barker was arrested and they said he was saying ‘This is it, I’m done’. He was arrested because he owed money to a shut down restaurant and was only found out to be a woman when he went down to the police station. I think that this is a really amazing story and don’t want to ruin it or turn it into a cliche and so just stuck with the simple changing of the clothes.

To create these images I literally just set up my tripod in my parents room and had it positioned on their bed with my camera recording on top. I then got myself into a position that looked best in the photographs. After filming this I put the video into Adobe Premier Pro, made the entire thing black and white and took screen shots from there. I am now editing together in Photoshop a small series of images that tell the basic story so there will be one shot of each stage of getting changed into a man. I am pleased with how these images have turned out as I like the entire mise-en-scene of the images and how the silhouette looks. I like that the spectator is able to see part of the subjects face but only larger features and they are unable to completely see everything. I kind of used this as a metaphor as often we look at people but we can’t see everything about them and everyone, not only transgender people, have or have had something to hide. This particular series is a reflection of how Victor Barker was hiding his old identity as a woman to lead a better life as a man, he made up a lie that his bits/manhood was blown off during the war and that was the reason why he couldn’t have sexual relations with his wife. I think that this series of images reflects this idea of mystery and not really being able to see everything about a person.

victor barker experimentblog — final series

For this mini series I decided to make 12 images as it needed just a few extra shots to add more context and detail to the entire project. I like how they have turned out and think that it works much better in black and white than if it was in colour. I like how the natural light isn’t too overpowering but also creates shadows adding more of a sense of mystery to the whole series. I thin that these images are interesting to look at and do look good together. Once I have printed this I need to write a caption/comment onto either the top or bottom half which I have left space for when editing in Photoshop. The caption that I want to add to this is ‘That’s it, I’m done’ as this is something that Barker actually said and I think that this could be a good way of intriguing my spectator into wanting to find out more about the story behind the mini series and possibly look further into the story itself as it is so captivating and interesting. I enjoyed doing this shoot and am happy with how it all turned out. I like the harsh lighting coming in from the window as it makes the images more dramatic and makes my spectators want to look deeper into the images and want to see every detail of them.

https://youtu.be/jz2UeugFYKA

Experimentation

Locked Up | My Experimentation

May 5, 2016 Leave a comment

Here is another behind the scenes video of a shoot that I have done as part of my A2 photography exam. I wanted this shoot to make my spectators slightly uncomfortable and to really get them to wonder what is going on. This particular project is based off of a local case of lunacy. This shoot is based on a story I have read about in an article of a woman named Jane Le Maistre, who was living in the late 1800s. She was deemed insane and locked up in an outhouse where the people that, supposedly, cared for her neglected her. Here she was left tied up and naked with only a small coarse sheet to cover herself with. She was in a state where she was stuck positioned like a monkey and had no use of the bottom half of her body. This obviously meant that she was surrounded by her own faeces and the living conditions were awful and dirty. This particular lunatic became known by the community and so attention started to come her way and people found out about the inhumane conditions she was left in. Inspectors were sent to investigate but upon their arrival Jane had been washed, hair cut, floor cleaned, given blankets over her naked body, a bucket put by her side and her legs moved. Her carers knew that these inspectors were coming and so then they decided that they needed to cover up their acts of neglect. I find this story extraordinary and how someone battling with a mental illness was just locked up and left to rot. She couldn’t use her lower body and so she wouldn’t be able to go to the toilet and she seemed to be lost to the world. I feel that her mental and physical state would not have been as bad or as extreme as it was if she was given the proper care. When people don’t understand something they tend to just lock it up and pretend that it isn’t happening. This is something that I wanted to show in my images. As the spectator goes through the series they can see my subject slowly changing and looking in a better, more clean, condition. I wanted to make sure that there were no other people in the shots as I wanted it to look as if it was being done like magic as is similar to the actual story of how miraculously Jane Le Maistre was clean and in a much better state than people had speculated. It astonishes me that this happened in Jersey as I never really think much happens here but obviously in the late 1800s, and even today, a lot goes on behind closed doors that we may never find out about.

I do like this series as I have the contextual knowledge behind it and think that it does tell the story well. I wanted this series to stand out and be in a way slightly confusing for my spectators as it is odd. I feel that it looks like a bit of a spot the difference and I like that as I do want my spectators to think about what has changed in each image. I made it all black and white to go along with the theme of the late 1800s where there were only black and white cameras to capture images. I also chose to make myself the subject as this was easiest as I knew exactly how I wanted to position myself and the expression I wanted on my face. I also think it was a good to bring out a new persona in my photography work and become yet another person. The final image in the series is actually two images put together in Photoshop. When recording this I left the camera going, got changed and then went round the other side and stood looking down on the area that my subject had been pretending to be looking at her. The two sets of legs at the end represents the professional inspectors and how they only see her after her carers have changed and altered the reality of her living conditions. This blends in with the theme of truth as those people bent the truth and altered Jane Le Maistre’s reality. I wanted to look into how society treats people with mental illnesses and how lunacy was dealt with on the island before the creation of the Jersey asylum. Although all of my work is staged and as such becomes a form of fiction it is still based on a true story and how an islander was actually treated back in the late 1800s. I feel that this is an extraordinary story that not many people living on the island nowadays would know about. I want to bring the talk about mental illness into the main of society as we still tend to ignore it and not quite understand those struggling and dealing with it.

https://youtu.be/xxO1FINV17s

Research

Artist Reference | Cindy Sherman

May 5, 2016 Leave a comment

Cindy Sherman is one of my favourite photographer and I have taken a lot of inspiration from her in my past projects. I wanted to look into her work again but not the famous film stills that she created in the 1980s but to look at some of the work that she created during her time as a student in the late 1970’s. One particular set of images is based on a Hollywood-inspired murder mystery story with a vast amount of characters waiting for the bus. Sherman becomes each of the characters and dresses in different clothes based on people that you would typically see in a 1930s movie. The story behind Sherman’s work entitled Murder Mystery People is an imagined crime movies that features 17 different characters inspired by stereotypical figures in 1930s Hollywood films.

Sherman’s early work: http://www.anothermag.com/art-photography/2451/cindy-sherman-early-works

“I feel I’m anonymous in my work. When I look at the pictures, I never see myself. Sometimes I disappear” – Cindy Sherman

The quote above that I have extracted above really interests me as Sherman states that she doesn’t see herself in her images, which is what I feel in my images too. They aren’t self-portraits, Sherman becomes the character and creates a new persona in her work. I like that she creates new personalities and personas in her work becoming new people and changing who she is by her clothing, props, hairstyles and mannerisms and facial expressions. I find Sherman’s photographs really interesting and I like the way she makes her images as I use a similar method. In her images she tends to be in a studio on her own and have a shutter release to make her images, often we are able to see this in her images at the bottom of the image or to the side.

This is my favourite out of this series of Sherman’s. I like the composition of this image and how the subject is positioned in the bottom right. I find it interesting to look at how the subject is photographing and the camera with the flash attachment on top as this is what was often used back in the 60s when Sherman made these photographs. I like how Sherman literally becomes her characters and creates new and intriguing characters all the time, something that I like to do in my own work too. I like the added touch of sideburns and other details like the glasses and the hat in this image. I feel that the hat could have been an easy way to hide her hair without having to wear a wig like she often does. In my own images I took some inspiration and have made images wearing a hat and hidden all of my hair inside the hat. I like how Sherman shot all of her characters with the same background and in the same place, this makes it so much easier when shooting to just stick to one location in a studio, where often Sherman would photograph alone. I like that as a spectator you are able to see the shutter release at the foot of this image showing how Sherman would have made this photograph using her foot and I like that it isn’t perfect or that she hasn’t tried to hide it too much but it really manages to blend in well with this image and the character in this image.

I love this image! I just love how dedicated Sherman is to creating her characters and that she went to the extent of making herself a much darker skin tone than she actually is. I like that instead of leaving this character out, she went a step further and actually created this persona and made an effort to try to look like the woman she had imagined. I like how Sherman never seems to be limited with her work, whether a character is black or white, male or female she no character seems to be out of reach for her. I find Sherman becomes unrecognisable in her images and her characters look so distant from what Sherman herself looks like which I really love. I like the expression on the subjects face as she just stares into the camera. I like the simplicity of the composition and how the subject is just directly centred in the middle of the image. I also like that it isn’t perfect and the spectator is able to see in the background the plugs as well as the wire from the shutter release. Something about this image really intrigues me and I like the shadow in the background too as it just adds a little more dimension to the image. In the right hand corner there is a shoe which makes me think that she was possibly changing all of her clothes just off to the side of the camera and this shoe happened to make its way into the corner of the image.

Analysis, Finals / Presentation

Review: My Best Images

May 5, 2016 Leave a comment

These are 8 images I believe are the strongest I have taken over the course of this Exam Project. I will explain briefly after each image why I have chosen it. I have included images from all of my shoots over the course of this project to show the good range and depth I believe my project has achieved.

I have chosen this image because I believe it captures the personality of the subject very well; focused, energetic and always on the move. Thus there is a clear sense of energy to this image. The subject is frozen in the moment whilst distort and clearly in movement, which makes the frame somewhat abstract. Furthermore, the soft evenly dispersed lighting makes for a somewhat illusionist and silhouette sense about the subject, aided greatly through his free-flowing movement.

I have included this image because I believe it is a powerful and captivating representation of the watercress best. The simplicity of this image works because of the strong presence of rich green which embeds the focus of the frame and thus captivates immediately the intention of the viewer. In many ways it is an abstract image with no direct meaning, but the colourful and interesting visual elements compensate for this slight disadvantage.

This image is very Parr-like in style – abstract and close up. Like the previous image, there is little to suggest that there is much meaning behind the image. However little details are what make this image interesting, for example the three-point focus of the green jacket; knife; and the subjects hands. This provides the image with a sense of visual depth in a very straight forward way. The contrast of red and green add a suitable degree of conflict which strengthens the image, allowing the main feature of the knife to come through clearly within the image.

This is an image of two farmers who are customers at the ‘Fresh Fish Company’. I like this portrait because I believe it is visually strong. There is a clear sense of engagement of the subjects in the frame and their visual expressions and personalities very much come across. As a result this makes for a very bright and upbeat image which captures the clear sense of community.

This is a close-up still life of the hand of one of the customers at the fresh fish company up a lobster. I tried as much as possible to balance detail because the subjects hand, along with the distinctive bruise on the hand and interesting looking ring – whilst maintaining a sharp appearance of the lobster shell with comes across visually as strong to the viewer. As a result I believe that this image has a very strong sense to it, containing all of the right elements for an effective image; detail, lighting, depth, character and visual balance ect. In many ways I would consider this to be definitely one of my strongest images across all of the shoots.

I included one of my Parr-like close-up images in my final selection because I believe they were successful and deserve credit. I went for this close-up image of a tomato because it embodies the style of Martin Parr in the simplest way possible, a clean, straight-forward image which provides complete focus towards the tomato. It is a sharp and saturated image which has a balance between displaying order and control, whilst at the same time, through the red – exploding a sense of intensity and energy. I believe that this image may work well as a front-cover of my photo-book.

This image is a still life image I took of a statue of a chef in a shop window. It is a slightly lighter image which can serve as an interlude to break up some of the different sections of my narrative.

This image, again evoking the style of Parr, represents the other extreme of his style. This image shows a cooked burger on melted cheese. It is an extremely grotesque and vulgar image, which like the style of Parr, makes use of flash lighting to create a high level of saturation and glare. The resulting image is a direct contradiction of the image of the tomato as it subverts the purpose of the close-up advertising language, making the product look the exact opposite of appealing.

This final image is a picture of a cow looking glaringly into the camera, an image a took when I visited Tom Perchard’s farm. This is one of my attempts at Henk Wildschut’s style. I believe that it is a very strong image because the interaction of the cow with the camera gives the image a degree of intensity. Furthermore the black and white contrasts within the image give a sense of gloom and darkness to the, which to some degree can be considered sinister. Whilst many of my images in this series are fairly colourful and upbeat, this image on the other hand is much more serious and sombre in style, and thus its inclusion within the narrative helps to maintain and re-assert a sense of seriousness and focus.

Analysis

Shoot 3: Image Analysis

May 5, 2016 Leave a comment

Image 1

This image is of two cows as they are moving away from the milking parlour, into the barn. I took this image instinctively, at the time giving little consideration for the way in which it was composed. This lack of planning although usually a disadvantage, is in this instance an advantage because it adds a degree of spontaneity and flow to the frame.

The motion blur which has occurred due to the fact the cow is moving, in many ways adds a sense of surprise and energy to the image, adding a sense of conflict for a more exciting and unpredictable edge. Also it is intriguing to the viewer because it leaves a question mark concerning calm and stability in cattle farms, as the movement of the cow can be interpreted as a metaphor for a unsettled and restless nature.

The spontaneous nature of this image is clear due to the fact the composition is slightly off and obscured. This can be considered an advantage in strengthening the image because it gives it a more flowing and natural feel. The viewer is thus more likely to trust the objectivity of the image because it is hard to find evidence that the image could have been staged or manipulated.

Colour in this image is crucial to providing a the image which an absurd, vernacular presence , which makes it so effective. In particular the turquoise blue included enhances the strength of the composition through its bold and assertive presence. In many ways this make the image largely abstract in presence, to the extent the glaring colours can be considered a influence of the inciting impact of advertising images. The inviting presence of the blue has a similar effect, drawing the viewer into the image, despite the conflicting fact that it instead subverts and contradicts many aspects of traditional advertising language.

Image 2

This image is a still-life shot of a lamp bulb present in the barn of Tom Perchard’s farm. This image can be considered a classic documentary-style shot; very organised and structured in terms of its presentation and composition.

The fact I have changed this image to black-and-white presents it with a very nostalgic and timeless feel, whereby it is impossible without context to determine when this image was actually taken. As a result it can be argued that this image evokes more of the traditional style of Wildschut. Nevertheless I have sought to slightly separate it from this associated through changing it to black and white and bringing the contrast up. I have done this is order to give the image a very unique sense within the narrative, an image which is a bit of a anomaly and doesn’t relate that much to many of the other images within the shoot.

The image is strengthened through the fact the background has an interesting presence and feel about it in its own right, in particular the way the light ripples through the fence. The re-occurrence of lines in very apparent. This provides the image with a pattern and degree of texture. In addition to this it also serves to extend the complexity of the image, thus adding a degree of energy to conflict with the calm and structured nature of the way I have photographed.

The black and white display of this image, in addition to the high level of contrast gives the image a slight silhouette feels, thereby creating a degree of mystery and obscurity to the image. This mysterious presence subsequently invites the viewer to question and evaluate its purpose within the narrative.

Image 3

This is an image taken in the milking parlour of one of the farmers beginning the process of milking the cows. I selected this image as a key one because it shows in a very direct way, the process of how a a cow in milked. In relation to the previous image, this one is also largely nostalgic and timeless in its feel, in particular when considering the fact the farmer is very old-fashioned clothing, as well as the fact this is a black-and-white image.

This image is blurred at time due to the fact the farmer was milking the cow. This however is effective because it gives the picture a subtle degree of energy, thus intensifying its presence. The blur also owes to creating a largely spontaneous and vernacular feel, which again removes my images from being considered typical advertising images. This blur is made effective in relation to the grainy feel of the image because these two factors combined make the image very chaotic and abstract.

Again, the darkness of the images serves to give it a slightly silhouette feel in particular in the right-hand of the image where the cow’s leg is largely obscured in shadow. This darkness also serves to intensify the mood, by allowing a greater degree of contrast to be drawn out, thereby strengthening it’s texture. This subsequently creates a far more rugged and authentic presentation to the image than otherwise may exist.

This style can be considered as very objective and documentation because I am simply recording an event as it happens, without having too much control of composition. It is therefore an image which links to the theme of truth to a very high degree, because it is not controlled and manipulated to fit any purpose, but instead is a raw documentation. This is therefore important to include in the narrative because it shows as realistically as possible, how milk (which serves as a major symbol) is produced locally.

Experimentation

Mother Where Are You | My Experimentation

May 5, 2016 Leave a comment

For this shoot I decided to move a chair into one of the corners of my living room as I found this area to to best the location that didn’t show too much of anything modern. I chose the corner as in the original Victorian portraits of hidden mothers they aren’t perfect and fairly obvious that the mother is there so I didn’t want to try to blend it in too much as the amateur approach jells much better with this project. When making these images I just pressed record to get more of a cinematic feel to them and thought that this would be much easier to edit from as I would be able to get more stills from this than if I had tried to take a load of photos. I enjoyed this experiment and it only took me a couple of minutes and we did it for as long as my niece wanted to stay in my mum’s lap. I think that these worked out well and I much prefer this experiment to the one that I had previously done before this one. There are shots of my sister putting my niece on my mum’s lap as well as a couple of shots of me putting the sheet over my mum’s head. I wanted this shoot and series to act as a kind of behind the scenes of what goes on in making a hidden mothers portrait. I do like this idea and think that it has worked out well.

I first put my video footage into Adobe Premier Pro and took screenshots from this and decided to edit my photos in Photoshop. I made them all black and white as for my entire project I have decided to make all of my images black and white as it makes my spectators focus in on the subject and what they are doing rather than being distracted by anything else. I cropped each of the images a little bit as I feel that they were too panoramic looking. I do like this experiment and want to have it printed as an A5 photo and I also want to write on top of it but I am unsure what to caption it as of now. I also want to age the image so I think that I will soak it in coffee or tea overnight and see how that works out, otherwise I will just caption it and have it looking new. This is my final series for the hidden mother’s shoot. I do really like this series as the main part of this shoot was so that the spectator is unable to see the bare face of the mother. I thought that this added a sense of mystery as well as no one’s faces being shown accept from the babies face (my niece) as this is what it would have been like in all of those Victorian images. I feel that I could do much more with this and want to work on it. I will be adding a caption to the physical copy of this series and write on it myself as well as attempting to age the series in coffee overnight. I think that this series does work well as it is simple and very straight forward.I want to add the caption Mother Where Are You underneath the series image as I think that this could work really well. I think that this could be interpreted well as it is obvious where the mother is but maybe not so much to the baby in the photograph.

This is my favourite image from the series as the expression on the subjects face is perfect and quite like that of the Victorian children. I also like the outfit of my subject as she is wearing a cute little dress with bows on the front that also slightly reminds me of the Victorian children’s images. On the day I just decided to make these images and hadn’t planned it but it all worked out really well with my subject already wearing this outfit and her being in a better mood than she was in the first time I attempted to photographer her. I do think that this is a good image as the spectator is able to clearly see the mother underneath the sheet with her legs and feet being exposed in the photograph as well as the mother holding the subject in place that the spectator is able to see. I think that this experiment has worked out a lot better than the original one as filming has helped a lot and I have managed to get a lot more stills from this. I think that the composition of these images are good as I decided just to center it all and made everything black and white to ensure the focus is maintained on the subject and what they are doing.

I have decided to make a flip book as part of this experiment as I think that it could work really well and look great if I do it right. In the stills the spectator would be able to see my mum’s face and so I have taken on another idea from the Victorian hidden mother’s photographs and just put a blob of paint over the top of her face. I think that this could work really well and add a sense of mystery to the images. For this experiment I will have to make a short video of the finished flip book itself that I will add to this post. I have put all 312 images into 13 A3 sized Photoshop images and will be printing these, cutting them out and putting them all together with a clip. I feel that this could work out really well and stand out as a final piece, I want it to be strange and different as I feel that this particular project is very much like that. I feel that the flip book will really bring the whole project together and add more detail to the time period it is based on in the late 1800s.

https://youtu.be/Nse7nVrDZ84

Analysis

SHOOT 2: IMAGE ANALYSIS

May 5, 2016 Leave a comment

Experimentation

A Note On Mental Health | Short Film

May 5, 2016 Leave a comment

Yesterday I decided that I wanted to make a short film to contextualize the ideas behind my work. Last night I sat down and came up with a short little speech on mental illness that I decided would be good as a voice over on top of the films that I have made for each of my projects. I wanted to do something with my short films and not just have them as behind the scenes looks on how I create my stills so this was the perfect opportunity to do so. It may come out as a bit cheesy but I don’t mind that as I like what I have written and think that all the shots blend well into it bringing the visual aspects to what I am saying. This was just a quick little add on that I have decided to do but I do like it. I also filmed some extra shots of myself in front of the camera just so I have some shots that really correspond to the audio and so my audience aren’t just seeing the same repeated shots over and over again. Something that really intrigued me into basing my project on lunacy was how society tends to outcast them and banish them almost. I started off my project looking on outsiders and those that don’t fit in with the norm of society so I looked into local transgender cases from back in the late 1800s as well as witchcraft in the 16th and 17th centuries. I wanted to look into lunacy as I found so many cases in the late 1800s of neglect and how poorly treated these people were. It really interests me on how people can’t understand mental illness and seem reluctant to find out as I say in the video they can’t see anything physically wrong and so assume everything is ok when obviously it is not. The message that I wrote is quite short and is only about a minute long but that’s long enough as I want to keep it to the point that I am trying to make and I don’t want to drag it out too long as that will bore the audience. I want to use this as a way for my audience to be able to actively engage with my work and get more of an understanding of what my different series of images means.

Audio:
Mental health. It’s something we don’t tend to talk about and when we do it always seems to be at the expense of those struggling with it. Something that mainstream society doesn’t understand automatically makes you an outsider. We tear a part mental illness and brush it off because we can see no physical scars. We don’t understand what we can’t see. People we don’t understand seem to get shut out, taken away and left to let their sanity consume them. We choose to ignore them because it’s easier than helping. How can you help fix someones mind? Their bones aren’t broken, they aren’t bleeding but the pain is still there. It’s just not as easy to access.

https://youtu.be/-kFyc4erTMI

Experimentation

Flip Book | Experimentation

May 5, 2016 Leave a comment

Here is a short video of the six flip books that I have created. Originally I wanted to make one flip book but this would have been way too big and wouldn’t really work considering the size of my photos and that it would be too difficult to flip through. When filming I only went through the first flip book and the fifth as these were the most important ones showing the process of the mother sitting in the chair to when the child is sat in her lap and she has been hidden by the white sheet. This process took a while to make and in the end I stitched all of the books together, this took longer but I feel that it made the final outcomes look a lot better and they flow more with the whole theme of it being based around the Victorian period. I am happy with how they have turned out and think that the black and white works really well.

https://youtu.be/H41Y3PdBPlY

Analysis

Shoot 1: Image Analysis

May 5, 2016 Leave a comment

IMAGE 1

This image is a formal portrait of John who is one of the workers at the ‘Fresh Fish Company’. I got him to stand to stand just outside the entrance of the shop in a straightforward manner, facing directly at the camera.

I decided to go for a formal style because I believed I could get a more powerful and effective image this way. Furthermore I wanted to explore the role of traditional aspects of shop keeping, a link to my AS Exam Project , as the resulting image which themselves braced traditional documentary styled photography techniques, and as result had had a sense of charisma and charm which I also wanted this project to somewhat contain a degree of.

I like this images because it is a very classically composed images, which is in many ways nostalgic and traditional in sense. There is a sense of charm to this image, showing John in traditional fish-mongers attire and wearing a old French beret, thus imply both the traditional aspects of his trade as well as the traditional aspects of his Jersey background. In my narrative I believe that this image will serve a s a strong portrait in exporting the farming side.

There is a sense of intensity to the image which makes it visually interesting for the viewer. This intensity occurs as a result of the stark contrast between the subjects’ black coat with the white wall and door. This is one of the advantages I having the image in black and white because it simplifies the images, draws out contrasts and provides it with a greater sense of depth.

IMAGE 2

This image is a close-up shot of two jersey Royal Potatoes. the inspiration to got from this is a combination of the styles of Martin Parr and Henk Wilschut. I have balanced the madness of Parr’s saturated close-up and disorted angle shots with the more calm and reserved approach of Wilschut by photographing at a slightly less obscure angle. Furthermore I have brought the saturation of the image down greatly, as to continue this sense of calmness.

This image is effective because of the sense of rawness it evokes. This rawness can be depicted from the fact I have photographed a potato fresh dug from the ground. The flash photography serves to emphasise this concept, because the illumination of the potato emphasises the dirt on the potato.

In many ways this image is both a challenge as well as a celebration of the portrayal of local Jersey produce. Whilst the potato is indeed dirty and rugged in appearance which can be interpreted as a rejection of the ‘perfection’ of advertising, it is nevertheless a largely nostaglic image which celebrates the fact the potato is freshly dug. This contrast invites the viewer to investigate how a potato is best portrayed, as cooked and clean on a plate, or representative of the nostalgic merits of Jersey farming, a link to the simplicities of a cultural past where dirt was simply a sign of freshness and vitality.

Nevertheless this image in many ways through its casual composition, serves to challenge and subvert the techniques usually associated with advertising, whilst still maintaining this feel to a degree.

IMAGE 3

This image is a close up of one of the customers who goes to the Fresh Fish Company. I caught this shot just as the subject was picking the lobster up.

I find this image to be effective because it is very animated and full of energy. This energy is created to a large extent through the presence of the bright, daring red of the lobster shell. Red, which is often associated with anger and danger gives to image a sense of force and liveliness. Such power that the red brings is effectively contrasted with the inclusion of the lady’s wrinkled and bruised hand, which represents calmer aspects of age and wisdom. This calms the image to a degree and provides a sense of order.

This image is very ‘Parr-like’ in approach, owing to the fact it is close-up and highly saturated. Furthermore, the image is made abstract due to the strong presence of the hand, which distorts the fact that a lobster is present. Instead the viewer is invited to use visual clues to determine that the lobster is presence. This is effective because it invites the viewer to really consider all parts of the image in order to determine is meaning.

The image works to a large degree due to the fact it is very detailed, in particular the subjects hand an lobster shell depicted in the foreground. In addition the image is provided with a degree of depth caused by a low depth-of-field. This is effective in providing the image with a sense of presence because it draws attention to and exaggerates elements of detail by cancelling out focus from the blurred elements.

Experimentation, Ideas

Making A Flipbook

May 5, 2016 Leave a comment

For this project I have decided that I want to create a series of images that will be put together to create one image, looking like story boards. Each series will have a caption either on top or underneath them, I feel that this personalises the images a bit more and adds in some more context to them. I was also considering soaking each of them in coffee overnight to make them look brown and more like film reels from old film cameras but am unsure whether or not this idea would work out and I may not have time to do this. For one of my series I have decided to go a step further and create a flip book. I thought that this would be a good idea to take my love of film and incorporate it into my photography work. I feel that this method is a whole lot more interesting for my spectators to be able to look through and see a match-on-action series. I really like this idea as it brings my story to life and adds more to my final project.

The first flip book was made back in 1868, a time period in which most of my own photographic series are based so I thought that it fit in quite nicely. This ties in with my work on the hidden mother’s and how the Victorians always seemed to be finding new ways of experiencing images, hence the creation of the praxinoscope and zoetrope. I wanted to bring this flare to my photos and create something that would have been around at the time period that I have focused on. The flip book was invented by John Barnes Linnett and it was given the latin name kineograph which means ‘moving picture’. Simply a flip book is a series of images all stacked on top of one another that slightly vary as they go down making it look as though the images are moving. I really do love this idea and think that it could work out really well if done successfully.

Creating My Own Flip Book

I decided to only make one of my series into a flip book as I had an idea before hand of how time consuming it can be so I decided to focus on my hidden mothers inspired series that I recorded and took stills from. For this I put my film into Adobe Premier Pro and paused and took screenshots at every snap so I ended up with 311 photographs in the end. I then took to Photoshop and lined them all up on A3 sized sheets 5×5. I thought that this would make it easier when it comes to printing and cutting everything up. This took some time to get each and every one at the same size and length. I took these files to Jersey Archisle where I have been doing work experience and printed them all out which took a few hours as they needed to be printed on Matte A3 paper which needed to be put into the printer piece by piece. I think that this process went well and the images have turned out really great. They looked really good and it made me keen to see the end result. I then went back to school and started to guillotine each sheet individually just so I could get the perfect measurements. I have been busy cutting out each photograph individually and want to make them the exact same size. Something that I have realised that I will remember for next time is that I didn’t leave any space at the top for the holder and so I will loose some of my image but I don’t mind so much about this as there is a bit of blank space on the top as the recording gave the shots more of a panoramic feel to them. I do think that this will work out really well in the end and make for some good final outcomes. I have also realised that I am going to have to make a few flip books as they won’t all fit into one, this is fine and I have started to separate them all up into packs of 50 images each with the final series having a few more images as there is an odd number of images. After getting them all together into each series I went and got tiny holes drilled into each one of them but when taking off the masking tape the image on the top and the bottom were ruined and so each set has now got 48 instead of 50 with the final set having 59 as there were extras left over that went best with the final set. I then decided to just feed thread through each hole with a needle and basically went round a few times and made sure that it was all secure and together. This took some time but I do think that it has worked out better than a clamp would have done and it also goes better with my theme of having everything based in the late 1800s.

Zoetrope and Praxinoscope

When looking into the idea of flip books it was suggested to me to look into zoetropes and I found them really interesting. These were also around in the late Victorian period and would have been a really awesome idea as a possible final piece but I feel that the flip books work so much better for my projects as they are so long and it wouldn’t really work too well. I could however make a zoetrope out of one of my series as a little added experiment. I feel that this could turn out to be a really great little experiment as I could have this to add to my box which could work out really well. I would only make a small one out of card and stick the images around the inside. I am filling an old box with all of my ideas into it and think that this would bring a nice added touch to it and bring it all together.

Screen Shot 2016-05-05 at 17.52.02 — zoetrope moodboard

Analysis

Shoot 3 – EDITS AND REVIEW

May 5, 2016 Leave a comment

Here is a selection of images I have taken in my most recent shoot to Tom Perchard’s farm in St Martin’s. In this shoot I have attempted to look carefully into the how Wildschut has approached themes and styles in a sensitive and reflective manner, thus copying this sense of careful and considered objectivity.

I am happy with my resulting images because I have captured a few really key images and strong moments relating to cattle farming. Some of my images are very classic and nostalgic in style, and I have subsequently experimented to enhance this style by changing a few of my images to black and white. I believe that this nostalgic sense serves as an advantage in this particular selection of images, precisely because it supports my intent to create classically composed images, in contrast to the colour and chaos of my Parr-like images.

Editing

Paradise Lost: Filming and Editing

May 5, 2016 Leave a comment

For my documentary I have been creating the whole video using the editing software Final Cut Pro. This has been the first time I have used this software to edit, but found it to be easy to pick up as I have had experience using editing software before such as Premiere Pro. When starting out making the film, I first went and captured footage of Eddie in the car park as at the time it was raining. For this shoot i used my iPhone camera as it is able to film video in full HD 1080p at 60fps. This allowed me to get high quality video footage, without having to skate while holding a DSLR. I started of by capturing footage of Eddie skateboarding so that I could overlap it with him speaking directly to the camera. Although I captured a number of these action shots, in post production I lost the pen drive with the clips on, so I only had the few I had transferred to the computer. Because of this I sourced videos of Eddie skateboarding on YouTube as he said that I was allowed to use it. I also wanted to source material from YouTube as it shows clips of Eddie from when he was a lot younger, and the progression that he has made with his talent. As well as recording action shots, I also filmed an interview with Eddie where I just asked him to speak from the heart about his life skateboarding in Jersey and the culture around it. This worked out well because Eddie is so passionate about skating that he is able to talk for hours. As well as filming in the carpark, I also went out a number of times to different places across Jersey to film filler shots of the island and shots of Eddie skating the streets. This helped to give more context to my documentary and make it a flowing piece.

In Final Cut Pro, I started by placing the interview in full and cutting up the parts of which I felt were relevant. This meant watching the whole interview and listening out to things that gave meaning to the whole idea of the documentary, such as Eddie speaking about how the police give skaters grief for just performing their sport. The next thing I did was create an introduction. I started out with using a sound bridge of Eddie skateboarding as it gives the audience an idea of what the documentary is about before actually seeing anything. It also helped with the transition of the title screen to the first shots. I created a short montage of clips for this opening as they show off the beauty of Jersey, but what I am saying in the voice over contrasts what is being shown. After creating the introduction and cutting up the interview, I then began adding footage of Eddie skating and clips I had found on YouTube of him and others skating in Jersey. As I previously mentioned, I featured these clips as they give more context to the narrative of the documentary, but also help to cut up the footage of him speaking which ensures the pace of the film is not too slow. After this, I added the audio of my voice over. The voice over helps to explain what the documentary is about and adds a personal side, as I talk about how I have been friends with Eddie and have watched him grow up as he skates. The other audio that I added at this point was the background music. Both the tracks that were featured in the film were created by me, as it meant they had no copyright, so I would be allowed to upload the film to YouTube without any hassle. Having creating the tracks myself, also meant that they reflected the atmosphere of the documentary in the way I wanted as I created them to suit the film. To finish off the film, I now have to add the title and ending credits so that the film has a definite beginning and ending.

Analysis

SHOOT 2: EDITS AND REVIEW

May 5, 2016 Leave a comment

Edits

Review

I met with Colin Roche and he drove us down the road his farm in Maufant. The first thing I had to do was to change my shoes and put on a pair of boots given to me by Colin. The idea of this was to protect my feet from the extremely slippery and swamp like conditions – this also was so my shoes were not damaged in the process. When we were driving down to the farm he asked general questions such as what my project was about and to find out how I would like best his assistance.

We had a general chat before he went on to explain what got him into watercress farming. He revealed why he moved from Liverpool, initially intending to stay in Jersey for a weekend but “never returned” in the last 40 years. His interest in watercress farming developed when he worked for a short period as a gardener for the politician Terry Le Main, who I incidently met in my first shoot – he is a customer at the Fresh Fish Company. After finding enjoyment from this he was introduced to the watercress crop, soon developing the key skills and practise and practise needed to successfully grow the crop, until he purchased his own watercress farm and set up a business with his brother. Ever since Colin has worked as the first and only major watercress grower in Jersey, supplying watercress to all of the main supermarket chains in Jersey, numerous different restaurants, farm-shops and small retailers. Colin extended to give a brief insight into facts about the watercress crop – it is considered a ‘superfood’ because of its high nutritional value – it has more than 15 essential vitamins and minerals: in contains more iron than spinach, more calcium than milk, and more vitamin C than oranges.

When we got to the farm I started straight away to take photograph as I only had a short amount of time to complete the shoot. My photographs at this first part of the shoot were fairly instinctive, and I decided at this point not to copy any particular style but instead to get as many photographs done as possible in a short space of time. Whilst I was photographing Colin gave me a general tour of different aspects of the farm. Firstly we looked at the general preparation, showing the controlled areas where all the watercress is grown, as well as a general talk on how we manages to day-to-day aspects of the business, monitoring what he does and when. Because Colin is effectively a one-man operation since his brother moved back to Liverpool he has to manage everything. He says that his working pattern is very much an early shift, starting at 5-6 in the morning and finishing at aroud about 2. The general day-to-day tasks involve,, judging different beds of watercress and planning in advance when to pick from different stations, according to growth of the crop in addition to other concerns such as predicted whether conditions and planned business arrangements to supply different patches he has promised. Colin says that this is more of a

He says that this pattern is espacially improtant in the winter when it gets dark quicker. Colin also says that years of experience picking Watercress has made him very efficient. After a brief glimpse into the size of the farm and what goes on, Colin gave me 10-15 minutes to go around getting different pictures of whatever I felt would be good for my project.

The second part of the shoot involved actually photographing Colin going about what would be his general day-to-day work, tasks such as monitoring and adjusting the seeding of the watercress (it requires a special chemical added to the water supply to help it grow more efficiently), watering the watercress, getting the depth of the swamp, and picking/stacking the watercress. Colin was happy to pose for a lot of photographs and even offered to take a few pictures of me in the watercress beds, pretending to pick the watercress, of which I have a few. This part of the shoot was more relaxed however I was still required to photograph fairly quickly and it was more of a case of documenting what I saw. I decided I did not need any formal portraits of Colin because I felt I had enough images already which showed him at work -these images I judged were strong enough without the need of any additional portraits.

At the end Colin answered a few general questions I had and said that he was happy to answer in more detail via email. He also kindly gave me a bag of watercress to take home for myself. The shoot overall I found was very enjoyable and I learned a lot about Colin’s experiences in general as well as a bit of information related to the watercress not only as a crop, but also how it is farmed as distributed across the island.

I am happy with my resulting images, as I gave good variety of photographs which explore various different aspects of the farm. However I would have like to have had slightly longer on the farm to explore it, and I have noticed that this lack of depth to my images has limited their ability to tell a collective story. Nevertheless I have 2-3 key images I believe could go towards conveying a narrative of a larger body of work. It is clear however that a short one-off visit to a farm can gather some got images and visual responses, but at the same time such a lack of quantity effects the overall quality of the work.

Research

Exit Through The Gift Shop

May 5, 2016 Leave a comment

With my project, I have created a documentary that focuses on the skateboarding culture in Jersey, and how this urban culture is looked at by other members of society. Because of this, I have researched different documentaries that look on urban culture. One of these films is ‘Exit Through The Gift Shop’ which looks at the career of famous graffiti artist Banksy, and how his work made an large impact on society in the UK and worldwide. The film follows Thierry Guetta, a french immigrant living in Los Angeles and his passion with street art and urban culture. Throughout the film Guetta encounters street artists such as his cousin Invader, but mainly on Shepard Fairey and Banksy. We see how Guetta begins to hear stories about Banksy, who is this mysterious and secretive street artist and how his art is impacting the world. When Banksy visits LA, Guetta becomes his guide of the city and the two start to become friends. Continually through the film we see their friendship grow stronger and how Banksy mentors Guetta and lets him see every aspect of how he creates his art. To many people, Banksy’s art is considered a disturbance as it persistently features on public property and he exhibits his art in the view of the public. This always causes the art to gain a reaction as the art is politically driven and sends a message some people do not agree with. An example of this in the film, is when Banksy goes to Disneyland and places a doll dressed up as a Guantanamo Bay detainee inside one of the rides. This caused so much attention that the ride had to be stopped so that the doll could be removed, and Guetta, who was filming at the time was arrested by security guards and taken into interrogation.

Exit Through The Gift Shop and Banksy’s work in general relates to my project, as they both are representations of a form of expression that the general society doesn’t agree with. Where many of Banky’s pieces have been removed and skateboarders told to leave certain areas as they are not welcome. The urban cultures that exist in our society usually are controversial or challenging to normal life, but they persist in bringing diversity within the way people express themselves.

Analysis

SHOOT 1: EDITS AND REVIEW

May 5, 2016 Leave a comment

Edits

Review

I went down to see the people down at the Fresh Fish Company on the Thursday of the first week of the Easter holidays. I started off by introducing myself and explaining what I wanted to achieve over the course of the project, and how I felt their assistance could benefit and help the direction of this. They said they were very happy to help me with.

I started off thee shoot by spending a fair bit of time walking around the shop to gain a feel of how it was set up, the sort of lighting I had to work with and generally exploring the different type of local produce on offer. My immediate reaction was to the unusual design to the shop, it is effectively shaped as a wooden arc, resulting I a strange high-low ceiling arrangement. The layout of the from was long and narrow, fit with a very long counter for a variety of fresh on the shelf produce. On this table I was impressed with the variety of food on display, classic Jersey products such as Jersey Royals, lobster and Milk especially the large section dedicated to fresh fish both locally as well as from other channel islands (in particular Alderney) as well as areas of coast of Britain. Another feature I noticed about the shop was the subtle French connection, with various hints such as a few French flags, written slogans and classic old-fashioned French furniture and designs. I think that this is very much in honour to Jersey’s own traditions as much as to modern day France. It is very true to say therefore from first impressions that this place was quirky in many ways, with an unique presence and charm.

I then started to photograph the products on display, weaving up and down the shop various times to get a variation and mixture of the type of images I took. For these specific images I tried as much as possible to keep to the style of Martin Parr, close-up images and the manipulation of lighting to create sharp images of a glossy, advertising language. The resulting images I think are fairly successful, especially my photographs based on the theme of lobsters – the bright, rich colour and interesting shape in general makes for in my view, a visually interesting photograph.

Afterwards I started to look into taking portraits of the staff who work there. There are three main staff, including a chef who prepares the fish of which I was invited into his kitchen. After photographing the chef inside and outside the kitchen I then took a few portraits of the manager, Vicky. I got a few portraits of her in her office, and a few outside, facing the entrance to the shop (which was a good opportunity to makes use of the interesting shape of the shop building to a visual effect). I then photographed the fish monger who worked at the till, both in action as well as more formal controlled images. In these portraits I tried to evoke a less vernacular style, in favour of a more formal style, based somewhat on that of Julian Germain. I felt it made my images somewhat more positive, engaged and lively.

My final section of images involved a series of portraits of a few of the customers. I didn’t initially plan this however a few of the customers were very friendly and were more than happy to help. I got a portrait of two local farmers together, as well as one of prominent former Jersey politician Terry Le Main. This was one of my favourite aspects of the shoot because it was unplanned and very much a spontaneous response. The resulting images are in my view very energetic and lively, incorporating a real sense of interaction.

At the end I asked Vicky a few general questions about the the nature of the business, in particular focusing on the different aspects of buying and selling locally – the advantages and disadvantages. I asked for different farmers it might be a good idea to visit and she gave me a list of different farmers I could get in contact with.

Overall I really enjoyed this shoot and found it to be a very fun and worthwhile experience, which a strong variety of images looking at different aspects of the shop, the people who work there, and a brief observation of a few of the customers. I got a chance to learn more about how local produce is not only sold but the different ways which the product is advertised to any potential customer. The atmosphere I noticed was very lively and friendly , quirky and traditional, and attracting very much regular customer. It is an interesting to explore how this atmosphere may effect the decision any customer has to repeatedly go there as the main supplier of their fresh produce. Maintaining a positive and friendly atmosphere is important for maintaining a viable business leads to more trust and can assure the customer truly is getting the best value of local produce.

Record

FRESH FISH COMPANY SHOOT: CONTACT SHEETS

May 5, 2016 Leave a comment

Record

WATERCRESS SHOOT: CONTACT SHEET

May 5, 2016 Leave a comment

Evaluation

Review: Final Evaluation

May 5, 2016 Leave a comment

What have I learned over the course of this project?

I have learned lots of information, ideas and concepts over the course of this Exam Project.

I learned about the ways truth and fiction can be defined and interpreted. Photography and photographs serve in many ways as a boundary/conflict of truth and fiction, because whilst a photograph is technically a recording of something, and therefore always contains a degree of truth, it must nevetheless be recgonised that the intent of the photograph is not always to document in an objective way. Therefore in searching for the truth in photographs I learnt that it is important not to look directly at the photograph but instead try to make links which may direct focus towards the viewers intent

Secondly of all I learned a lot of information about Soviet Propaganda, a period of History I found fascinating in general. It was interesting therefore to look into this period from the perspective of how it shaped and inspired artists, living in the worlds first Communist State. Furthermore, I linked these findings, for example the study of constructivism and experimental propaganda films, to a broader study of commercial advertising which arose greatly into prominence in the 1920s. These two topics linked in the sense they both played on the idea manipulating people in finding a product/concept attractive.

I learned about two photographers in great detail, Henk Wildschut and Martin Parr. It was interesting to find the contrasts between these two styles and how the principles of their respective work focuses on entirely different themes; Wildschut looking at the theme of factory farming in a very intentional and directly expressed manner, whilst Parr’s work is much more symbolic and subtle, using his colourful ‘advertising style’ to hint indirectly along the lines of advertising. I found it was very interesting to take influence from the style of these to photographers. Evoking aspects of Wildschut’s style gave a direct sense of focus to my work, and Parr’s added a sense of subversion and playfulness.

I also expanded my understanding of how to make a photo-book. Knowing I had to make a series of images to then go towards making a narrative meant I took my images in a really directed and concise way. On reflection I found it was better to take a handful and carefully considered images then it was to take hundreds of images simply for the sake of it.

What did I enjoy about this project?

I enjoyed doing this project because my overall intent was very straight-forward. Although a lot of research has had to take place, the main idea was a very simple concept: to photograph and find out as much as I could about local Jersey produce.

In addition, this project involved meeting and working with a variety of different people. I enjoyed this because I at the same time as photographing, I was able to really find out about the view of people concerning farming and the whole idea of ‘Genuine Jersey’, from those involved in local farming, as well as the opinion of ordinary people. This was both helpful for my project as well as being interesting in general.

This project gave me the opportunity to explore a theme I had not looked at before. It was an interesting project because it was related to not just to food and advertisement, but also a critical look at the Island in general, documenting it in a way which both embraces as well as to a degree challenges it i.e. through the vulgar Parr-like close-ups of local produce.

I have enjoyed having another attempt at making a photo-book. The on line light-room method is extremely easy and allows a degree of creativity to experiment with images.

What image best sums up this project?

I have selected this image, of a cow at Tom Perchard’s Farm (Shoot 3) in relation to this particular question because I find it works well in various different ways.

Firstly it is has a natural, and slightly vernacular style which links well to the sense of objectivity and rawness I wanted to bring into focus over the course of this project.

Secondly, it also works well in the sense that it brings a slight sense of conflict and tension by representing to a degree, the viewpoint of the cow. It shows the cow walking along a slightly dirty path which would imply the cow is not completely happy. This might to some degree, raise questions within the viewer about their personal opinion of cattle farming.

Thirdly the image is very well composed, making use of soft lighting to give a light and nostalgic mood to the image. In contrast to the slightly vernacular feel of this image, this creates a sense of balance, whereby the image is ‘in-between’ two different styles.

Research

Music and Skateboarding

May 5, 2016 Leave a comment

Within the documentary I have created about the skateboarding culture in Jersey, I have featured music that I have created to use as background music. The music I have created suits the style of the film as they are hip-hop style instrumentals, and this urban genre of music goes hand in hand with skateboarding, as they are both subcultures of our community. Ever since skateboarding first came around, music is something that has played a big part in all aspects of the sports. From featuring in skateboarding edits to skateboarders being in music videos. In many cases, musicians are also skateboarders themselves. One example of this is the rapper Tyler, The Creator.

Tyler, The Creator is a rapper who grew up in California, USA, and has been skating and creating music from a young age. He has featured sound effects from skateboarding within his music, and regularly skates in the California and LA area. As a way of bridging the gap between music and skateboarders, Tyler’s music has been a way for different subcultures to connect as they all have things that they can relate to when listening to his music or watching him skate. As well as making music and skateboarding, he also designs his own clothing line that musicians and skateboarders alike wear. I feel the reason why he has been able to connect with all these different groups is that they feel he is a voice for the youth and is saying things that are considered quite controversial. As he has said in interviews, he doesn’t care if people become offended by the things he says as they are just words, and if someone was to use derogatory terms agains him he wouldn’t be offended.

With the music I created, I took inspiration for the style of music that Tyler makes as it is something that really reflects the urban society in today’s world. I also wanted to create my own music as its something that came from Jersey, and my whole documentary is about Jersey and its effect on young people.

I created the music for the film using the program Logic Pro X. I started out by using a synthesizer and playing in a chord sequence. I then edited the synthesizer sound until I got something that I was happy with and suited the genre. The next thing I did was write in midi drums to create a beat to go with the chords. I then experimented with dropping the drums in and out for effect. I kept the instrumentals I created quite simple, as the type of hip hop I was going for is usually like this.

Research

Allan Kaprow

May 5, 2016 Leave a comment

Allan Kaprow, was a photographer who pioneered in establishing the concepts of performance art. In this performance art, he also developed the Environment and Happening in the 1950s and 1960S. Kaprow coined the term ‘Happening’ in 1957 at an art picnic at George Segal’s farm in a way of describing the pieces that were going on. The pieces usually consist of artists performing their art in public spaces, where these performances may be considered out of the ordinary. The performances challenge the normality and regulations of society, by being an unconventional form of expression, which goes against what people believe to be normal. Happenings also regularly involve audience participation as the artists want their art to be something the audience can engage in, which breaks down the boundaries between the artwork and its viewer. The happenings first started out as scripted events, where the audience and performers followed cues to experience the art. Kaprow describes the happenings as “A game, an adventure, a number of activities engaged in by participants for the sake of playing.” The happenings represent what is now called New Media Art, which is participatory and interactive, with the goal of breaking the fourth wall, where the audience becomes part of the art. One of the works by Kaprow was titled “Eighteen Happenings in Six Parts”, which involved an audience moving together to experience elements such as a woman squeezing an orange and a band playing toy instruments. From this, Kaprow’s work evolved and became less scripted, and began to involve more everyday activities. Another happening, was where he brought a number of people into a room containing a large quantity of ice cubes, which the people had to touch, causing the ice cubes to melt.

Kaprow’s work has inspired many performance photographers such as Tom Pope to challenge the normality of society and what people believe to be the truth of what life should be like. Kaprow’s work directly links with my project as skateboarding is a type of happening, where a group of young people meet up to go and skate. The way they skate the streets challenges what the community believe to be acceptable, so many people such as the police, usually tell the group of skateboarders to stop skating as its not the ‘right’ thing to be doing. Skateboarding and Kaprow’s work are very similar in these instances as they both are a subculture of society, that take their art into the public world, and actively connect with the environment and people around them

Uncategorized

Exam – Truth, Fantasy or Fiction:

May 5, 2016 Leave a comment

Exam Criteria:

This has been taken from the exam paper that we have been given for this year’s photography exam. I decided to add this in as it is important to keep coming back to the specification to make sure that we are doing what they are asking of us.

The theme: Truth, Fantasy or Fiction:

The ability to reproduce a true likeness by hand hands a magical fascination; as testified by the subconscious urge to view the work of any artist caught working ‘en plein air’. Certain artists’ candid honesty create disturbing imagery wether illustrative or political. Jenny Saville’s self – portraits and Otto Dix’s Stormtroopers Advancing Under a Gas Attack are examples. The latter painting exploits abstraction to emphasise the true reality of the horror of war.

The desire to produce a true representation of objects, people and landscapes has been one of the driving forces behind the refinement of a wide range of media available to the contemporary artist / designer. Some of he most notable advances have been oil paint, originally developed from the 15th to the 19th century, and more recently, plastic – based paints and synthetic resins. The photorealist paintings of John Baeder and Ralph Goings, along with the super – realist sculptures of Ron Mueck, demonstrate just how sophisticated these developments have become.

Baudelaire suggested that artists must be truly faithful to their own nature. Artists have often been singular in pursuing their personal vision of the world. William Blake argued that he did not want to observe the human figure because that would get in the way of his own inner vision of how people looked. ‘I will not reason and compare: my business is to create’.

Artists in many other cultures such as Aboriginal, Inca, Aztec and Polynesian seem to consciously resist trying to produce faithful likeness of their subjects. Their objectives often intend to depict spiritual qualities, perhaps in response to a fear that any accurate rendering of a living being may somehow capture its soul or spirit.

Scientific analysis and documentation has resulted in some exquisite studies of both flora and fauna. The faithful rendition of insects in William Jones and Cath’s Hodsman’s paintings, for example, demonstrate meticulous observation and sensitivity. Leonardo Da Vinci, Rodin and Michelangelo’s studies of the human form also demonstrate these qualities of analysis and discovery. Contemporary artists Danny Quirk and Gunther von Hagens continue to be driven by this fascination for human anatomy.

Written propaganda has been used to influence and steer public opinion with many political and religious movements claiming to possess the only true path or philosophy. Each movement has commissioned artists to embellish texts and illustrate their beliefs for public consumption and maximum impact. The communist and fascist posters of the early 20th century exemplify the power of this form of communication.

Here are some further suggestions related to the theme that might inspire your journey:

– life, death, interrogation, torture, war, intolerance.

– discovery, dissection, archeology, astronomy, astrology.

– magnifying glasses, microspes, binoculars, computers.

– mirrors, reflective surfaces, lights.

– love, trust, marriage, divorce, conciliations.

– synagogues, churches, mosques, cathedrals.

– conspiracy, slavery, politics, corruption, money, power.

– detectives, police, law, justice.

– science, maths, theories, measuring instruments, calculators, books.

– folk tales, myths, sagas, poems, tapestries.

Ideas, Planning, Research, Uncategorized

Kessel Krammer: Singletown

May 5, 2016 Leave a comment

SINGLE TOWN

Date: 14 September – 23 November 2008
location: Venice Architectural Biennale

Invited by curator Aaron Betsky, artist Droog was asked to participate in the Architectural Biennale in Venice, September 2008. Teaming up with Dutch communication agency KesselsKramer, we developed SINGLETOWN. SINGLETOWN focused on the world of contemporary singles. Its relevance is broad, as all of us are likely to belong to this group at some stage in our lives — and likely more than once. In fact, some sources predict that a third of people in developed countries will be living alone by 2026. SINGLETOWN was an exhibition as well as a town, an abstract interpretation of a new kind of urban space.

Visitors could walk its streets and interact with the products in order to put themselves in a perspective of someone who is single. In some ways this could truthfully represent the perceptions of people who are alone, or isolated – a false presentation of what single people actually are. I find this exhibition very controversial and conceptualised as you really have to be the type of ‘single person‘ KesslesKrammer represents.

2016 Photo A2 Exam Blog

Daily Archives: May 5, 2016

Filters

Shoot 4: Investigating the non-traditional side of love part 2: Emma

Shoot 4: Investigating traditional relationships through family part 2: Mum and Dad

Shoot 3: Investigating traditional relationships through Family Part 1- Nanny and Pops

Staged analysis

Review: Photo-shoots

Staged edits

Shoot 4,5 and 6 – Image Analysis (Responses to Martin Parr)

Freedom Tree | My Experimentation

Scared Sh*tless | My Experimentation

Not My Wardrobe | My Experimentation

Locked Up | My Experimentation

Artist Reference | Cindy Sherman

Review: My Best Images

Shoot 3: Image Analysis

Mother Where Are You | My Experimentation

SHOOT 2: IMAGE ANALYSIS

A Note On Mental Health | Short Film

Flip Book | Experimentation

Shoot 1: Image Analysis

Making A Flipbook

Shoot 3 – EDITS AND REVIEW

Paradise Lost: Filming and Editing

SHOOT 2: EDITS AND REVIEW

Exit Through The Gift Shop

SHOOT 1: EDITS AND REVIEW

FRESH FISH COMPANY SHOOT: CONTACT SHEETS

WATERCRESS SHOOT: CONTACT SHEET

Review: Final Evaluation

Music and Skateboarding

Allan Kaprow

Exam – Truth, Fantasy or Fiction:

Exam Criteria:

Kessel Krammer: Singletown

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