Gambling theme inspiration: props and attire

The inspiration for the use of my props including cards, blue brothers hat, blacked out glasses, bow tie, tuxedo and casino chips, all came from watching a movie before the start of my project. The movie James Bond – Casino Royale, is of course a successful spy movie based around a single character, however I was more captivated by the stereotypes of what is worn in a casino. During the spy  film, a casino scene becomes the main climax of the movie. The casino scene is what inspired me more than anything else, to create something using this idea of stereotypical gamblers. The props I have used all relate to this scene in the movie, with a few extra additions. The images again are taken in standard colour but edited into  black and white  because it follows the idea that the stereotype  attire for a casino is a black and white outfit, especially for those who are high rollers.

 

 

 

Fourth Shoot

This shoot was very successful, it was done at Gronez with only my female model. it was a sunny/cloudy day which made it good to photograph in however there were lots of tourists which made it difficult to photograph. The photos were all clear and i also took many landscape which could potentially be added to my book.

The first place i photographed was in a ruin as i think the walls could have a symbolic means such as no structure can protect us from the air. The sun was behind my model and it was partially hazy. These images combine a landscape image with a portrait image and it works really well to create a powerful and meaningful image. The best image out of these two is the first because my model is looking away from the camera which makes it much more dramatic and anonymous but however you can still see my models eyes which is what makes the image so powerful. I am unsure of what these images symbolize but i think they could represent being on the edge of a steep drop such as the steep downfall of humanity due to the population growing and the air slowly suffocating us and our future children. Does the world really want their children to live their life in a gas mask?

I then photographed in the arch but it was extremely difficult due to tourists and i did not notice that one of them had placed their bags in the way of my photos which is why i will not be using any of them in my book. Also my model did not pose very well and these photos relied very much on body language and she is not very good at that.I wish these images had turned out how i had planned as the arch would of created a perfect frame and representing the framing of the pollution problem in the eyes of the world. Showing them one of the biggest problems in the world which is above war because without air and a world to live on, war wouldn’t even take place. I also thing that the images did not work because of the angles which i photographed them at because i think i needed to be higher to create more of a sense of looking down on my model to symbolize loss of power.

The next area i went to was in between the ruins of the castle in which i made my model sit down and i laid on the grounds and photographed her from different angles whilst using the walls to my advance. These are my favourites images because they are more unusual than the others because i chose to do different angles to create more interesting images and symbolize that no building could protect you against the air because most buildings won’t survive a bomb. The second image is very string because we cannot see her body which creates tension within the image and makes it very ambiguous which allows the viewer to create ideas in their head about what these images mean and what my model looks life behind the wall. I think what makes these images really powerful is that they are in black and white as it makes them much more powerful and they catch the eye much more than when in colour.

  

On the way to different areas, i photographed the landscape to use a fillers in my book and so that the book is not completely full of portraits as this would be boring. I thought that the landscapes were originally poor quality as they looked boring but when turned into black and white they looked much better and more interesting. They are very natural and it is completely untouched land which is why they are very bare as it is completely natural landscape. My landscapes have no hidden symbolism as i simply made them to add to my book are splitters to make my book more interesting and not so clustered with portraits.

The next photos were taken in ruins of most likely bunkers of some sort and they worked really well to create a frame round my model. This makes the eyes focus on the model rather than the background. It also makes the image very dramatic specially in the light is coming from behind the model this is something which is considered wrong in portraiture but i used it to my advance to create a unique image. These images symbolize taking cover and hiding away from the world, trying to escape what is truly going on but the buildings only half cover my model to represent the idea that no building can protect you and soon enough the air will get to you. The second image has split lighting as the my model is half in the shade created b the sun and in the light of the sun. This symbolizes that the mouth mask can only protect you for so long before the air gets to you. The first images lighting represents the incoming storm, an afraid child hiding under their bed because of lighting but they will soon be doing this with a gas mask. The image looks almost like something which would be seen in a dream with the bright light behind it and the dark shadows which the light is casting on my model and on the ground.

The next few photographs were taken on a bank on the way down to a view tower. I asked my model to act as if she was reaching for the gas mask to imitate her struggling to breath so she needs the gas mask. The surprisingly worked well as she had good body language and her eyes made the photos perfect because they were so wide and visible. These are the best photos of the shoot. The first image symbolizes reach for something more powerful to protect her against the air because the mouth mask does not work anymore. It symbolizes desperation and panic specially in the second image as her eyes are so powerful and they are the main reason the image is so powerful. Her eyes show lots of emotion mostly panic and fear which works perfectly for my project. These images are still ambiguous because they could be seen as my model reaching for the gas mask to protect her against poisonous gas which someone has thrown into the trenches but this could link to air pollution being a form of poisonous gas which slowly kills her. The black and white makes them much more powerful as they catch the eye much more and makes the light in certain areas stand out much more and the shadows darker creating tension in the areas which we cannot see what is there.

After this i used the door to the tower and i made my model act as if she needed to get inside so as if she was banging on the door and clawing at it for someone to let her in because of the toxic air. Yet the building would not save her. These images did not appear great when in colour as they look very forced and they were very dull however when turned into black and white, they looked much better. I would like to use these images in my book as they could look powerful with a quote next to them as these images are more ambiguous, specially the first one as we cannot see her face. It creates tension as the viewers will create an idea in their head to what my model looks like  which makes the image much more interesting. However i do wish that she has used more body language and showed much more panic to represent the desperation to get inside as she believes that it will save her specially as she does not have a gas mask in the firs image. Her eyes are so important in these types of images as they allow the viewer to feel connected with the model and feel what she is feeling as she is able to portray it in her eyes instead of body language.

Finally i used a real bunker to photography my model looking out from the bunker as it has crumbled towards the edge of the cliff which made it seem like a window. These images worked really well but my model posed more like she was in a fashion shoot rather than a shoot about pollution which ruined it slightly but they look good in black and white. These images symbolize that again no building can protect you against the air specially if they can be taken down by war as the air is more powerful. The air is the most powerful thing in the world, everything in the world relies on it so if we do not fix it, we will fall victim like the 3 million people of 2012. My models pose could of been much better but she does look very sad which works really well as it represents loss of hope and faith in humanity to fix what they have done wrong. 1 million people cannot fix the world when there is 7.5 billion people in the world. Over 4 billion people will need to help change the world otherwise it will just keep going down hill.

Barbara Kruger Digital Response

I was inspired by the work of Barbara Kruger and how she uses text to make her images stronger and make a statement. After experimenting with the addition of simple text to my images using Photoshop I decided I wanted to develop this idea further by using boxed text, similar to Barbara Kruger. I was inspired by Kruger’s images featuring pop culture icons and a phrase that ran as follows “not —– enough”, these images can be seen in the header of this blog post. I wanted to experiment with the use of both monochrome and her signature cherry red.

I chose to use my blonde and beauty queen images because I felt that these were the most timeless of my stereotypes. I experimented with making my blonde photo black and white, I adjusted the colour channels to create some contrast between the figure and the background. I tried using black and white blocks behind the text as well as the red. I also created a colour version with monochrome text, which I didn’t feel was as dramatic as the black and white and red versions. My favourite of the four images above is the black and white image with the white and red text. I selected the phrase “not pretty enough, not skinny enough, not blind enough” because of the reference to Barbara Kruger’s work as well as trying in nicely with the blonde stereotype and the standards that women are held to.

I took inspiration from another iconic Kruger piece, that being a monochrome portrait of a young (around 6 years old) American child beauty pageant winner, accompanied by the line “I don’t want to grow ugly” clearly a disturbing spin on the phrase “grow old”. The original piece draws attention to the superficial nature of beauty pageants and the effects it may have on such young competitors. My image, featuring the phrase ” She had opinions, we didn’t care as long as she smiled” is suggestive of how the public speaking nature of being a beauty pageant winner, and thus an ambassador for the region, is often overlooked or simply ignored with the superficial beauty portion of the competition receiving the most publicity. I personally believe that I was selected as Miss Saint Helier 2017 because I was the strongest speaker out of all of the competitors for the role. However, other than the competition I haven’t had a chance to do any public speaking in my role as Miss Saint Helier, so perhaps the competition was more superficial and based on appearances then I was initially lead to believe.

I also developed my “Beauty and the Bitch” image with a different font and style, more similar to the work of Kruger. I feel that this works really well with the image and the label style rectangles that the text sit on helps the words to stand out, I feel that this is really important as the words I have chosen are powerful. I want the viewer of the image to read the words accompanying the image and think about which side of the photo is the beauty, and which is the bitch. I have included both the colour and the black and white version of the image because I was unsure which of these I preferred.

 

Designing

// P O S T C A R D S    P A R T   T W O//

To present the final pieces for this project I am creating a series of postcards from my images shot of different characters around the island in response to a series of questions asked to them beforehand. The aim of this project was to create something each person can take away with them as they leave home – something creeping towards everyone i’ve photographed for this series. There are many elements of homesickness which can affect those moving away and I particularly wanted to zone in on the idea of home and places that will be missed. To visualise this, I went on a journey with each model driving around to locations of importance and significance to them, shooting as we went. This narrative timeline then resulted in a series of final images showing each person in their physical home as well as their interactions with areas they will miss when they have to leave. The sections of this project will be presented in various ways. A selection of stylized portraits will be made into prints which can be mounted, and a more extensive collection will become postcards with messages written on the reverse. These postcards can then also be made into a kind of hand made photobook using some of the handmade book stitching methods and techniques as well as a laperello design. The front of each card will be created with an image from the selection below which will be A6 in size. The next section of design for this project is to create the backing of the postcards which will be fabricated on Photoshop.

To start designing the reverse side of the postcards, research was carried out into existing designs and their formats. Below is a selection of five examples found on illustration sites, template websites and tourism sites. From these, I started to build my own collection of ideas working on aesthetics and practicality twinned together. 

The first thing to do in photoshop was work out a basic format for the card. This included a dividing line and three rows for an address to be written in. The colours are neutral and overall relatively blank. The important design elements will be the text added and the stamps which I experimented with below.

These postage stamps were downloaded from freepik and worked as background additions to the cards. When adding my own stamps, these could then become ‘standard’ looking images to fill the background as I layered up the graphic stamps made previously.This is the first basic example I created in photoshop. The layers are simple but included to show the process. I used a magic wand selection tool to isolate and duplicate the ‘Thailand’ stamp from the set above and lay it flat on the piece as a background. Over the top of this, I digitally placed one of my own graphic stamps made in photoshop. This was rotated on a slight angle to give a manual feel to the piece removing small elements of standardisation and generic formatting. The text on the left hand side, ‘Hello!’ is an idea that came from a previous piece of research into postcard design which can be viewed here [X
The picture I looked at in particular was this set of graphic postcards which use a simple generic text starting point of ‘Hello!’ in printed letters. For my postcards, the rest of the text will likely be hand written making the printed letters important in their contrast with the rest of the backing. In the address line, the plan is to include the model’s name and where it is they are leaving for (the name of the university / travel location). The font is called ‘Art Brewery’ but I may change this later on depending on styles and developments I make.

Experimenting with texts, fonts and colouring I created a second template shown below. This was then experimented on and developed further with various shapes, colours and the inclusion of images. The stamps will be separately printed on appropriate paper and manually applied for the final versions though here they are digital as an example of presentation.Above is the blank basic template for this second design. It uses the same phrase, ‘Hello!’, but a new crisper font which is clearer to read. Below I added a border and slight drop shadow between the two layers so I could add an element of colour to the design. The grey outline is the photoshop background and not part of the design. For the second postcard below, I added an image of plants – taken outside Maya’s house – instead of  colour which created a textured feel. I did experiment with various colours of text and lines but most of the time it looked childish and inappropriate so the black details were chosen as a final look.

This example mock up was made with a green border, drop shadow and black text. The stamp used features Maya and was also designed previously in photoshop. The ‘Madrid’ stamp was lifted and modified from the freepik contact sheet above and added at a 75% transparency so you can see the layered effect of the images. The address section is on the opposite side in this example to a ‘traditional’ postcard but arguably fills the space in a more graphic and aesthetic layout. This design gives space on the printed piece for the same information specified before as well as a hand written message by those featuring in the images. The next step of development for the postcard section of my design will be to finalize the stamps to be printed, fonts and colours to be used and the variations which will be backed with the A6 images.

Third Shoot

This shoot is definitely my favourite out of the past shoots i have done as i fixed the ISO which meant none of the photos which i took were pixelated. During this shoot i also took landscapes which i could use in my book to separate the portraits. I am not the most skilled at taking landscapes as i never know what looks good and what does not. The landscapes at Noimont are very natural and untouched by modern buildings and technology, this makes me very plain landscapes which i thought didn’t look especially amazing in colour but they look very powerful in black and white specially if combined with other powerful portraits which i have created both in the studio and in the environment. I think what is powerful about these images when in black and white is that the horizon almost merges with the sea level creating a never ending path. Also each image has a different sense of depth due to the angle i have taken it at, as the first landscape has many different depths from the wall up close in the corner to the rocks at the bottom far away from the lens. These landscapes symbolize uncontaminated nature, parts of the world which we have not ruined and destroyed to create new buildings for people to work or live in.

I did a shoot on the big gun at Noimont point and the images turned out really well but the sun was very bright which made it difficult to photograph my model without the photos coming out to bright. My male model is very good with body language which is why i think these photos worked really well, as he did what i said but he also added in poses and movements of his own which added variety and a different perspective to my images. These images look very sinister in the sense that it links to the battle fought at Noimont and the lives which were lost there. The mask symbolize the battles which have been fought in the world, the wars which we will fight and the invisible wars which not everyone knows about like pollution. I chose these images to be potentially part of my book as i think they are powerful, they look like a moment in time which has been stopped such as my model trying to get up off the gun, that symbolizes the wars which we will continue to fight no matter what the set backs are, we will continue to fight. However the image of my model reaching out towards the camera symbolizes the need for help, the need for more people to join the fight, the war against pollution. I could see this image being used as a propaganda poster to join the army in WW1. The last image of my model simply sitting on the gun symbolizes the loss of hope, the loss of faith in humanity. It symbolizes giving up  as he is slouching with his hands just resting, there’s no sign of a fighting spirit like the other photos. Each image symbolizes something different in my project, they all have different meanings which will come together to link to my theme of pollution. The gas mask is the biggest symbol in my project and in each image it can represent a different struggle.

After this shoot i moved to the bunkers which were open, i decided to photograph my model in the entrance to the armory rooms as it was too dark inside. I did not change the settings on my camera which meant the photos came out dramatic and sharp, it also helped that the sun was not shining directly onto my model or me so it was much easier to photograph and the photos came out dark which added a lot of suspense. These images have a direct link to the war fought in jersey and the wars fought all around the world. All of these images symbolize that no bunker, one of the strongest structures in the world can protect us from pollution, No matter where we hide we will need air to breath and it won’t always be clean. The strongest image of these three is the second image as his eyes are very strong in the image and show a lot of emotion primarily anger but many different people will interpret his emotion differently which makes the image very ambiguous. These image do not directly link to pollution but they symbolize a war, a fight which not many people know about such as most of the people in the world have no clue that Jersey exists just like the war against Pollution. The black and white makes these images really strong, powerful and dramatic, the images need to be like this otherwise they would not stand out and their symbolism would not be so powerful. If i put these images in my book, i will make sure to put text to them to give the viewer an idea of what they could symbolize but leave the rest up to them to image and create an image in their head.

The next part of the shoot was done next to a memorial for navy soldiers who died off the coats of Noimont. This didn’t work out as well as planned as the images look too planned and bland which isn’t what i wanted for my project. This is why they are not in black and white as i do not plan on using them in my book. These images were the least successful of my shoot because they look extremely staged and my model looks to stiff as he is sat very straight against the bench which i think was the wrong pose as it needs to seem more natural or dramatic like the images above. I also feel like the link to war is too direct in these images and does not leave any room for the imagination and the images are very unambiguous which does not fit with the theme of my project. All my images will be ambiguous until fitted into the book then they will become much clearer but still leave room for the imagination of the viewers.

The next part of my shoot was also done on a bench but it was much more successful as it included much more landscape such as the bunkers in the background. The photos appear to be much more natural looking than the ones above which is why i have changed them into black and white as i want to use them in my book. I think these images turned out really well as they are strong in black and white creating a very dramatic image. These images are fairly ambiguous on their own but hopefully they will make more sense if they are placed in my book. The most powerful image out of these two is the second one because of the low angle making my model seem powerful, the image is very strong because we can only see a limited amount of the landscape which adds tension to the image as the viewer will make up what the rest of the landscape will look like. These images symbolize the calm before the storm, the laid back approach that the world is taking to pollution as they do not see it as a serious issue like the war in Afghanistan. They represent the landscape which we have only altered so we can view it, the landscape that we haven’t not destroyed for the “benefit” of Jersey.

For the next part of this shoot i found some metal bars sticking out the wall which was mostly likely used as steps at one time but i thought these would create interesting photos of my model hanging from them and climbing them. The photos turned out really well but the sun was shinning on part of the wall by the bunker which partially ruined the photo as the composition did not look right as the light did not match how dark the area was. These images are a combination of Abstract, tableaux and landscape photography. They are my favourites of my shoot but they could of been greatly improved if the light in the background was not there as this ruins the consistency of the composition of the images. However, in the first image the light works well as a model is in a pose which replicates the angle of the light which makes it much more interesting but the other two images would be much more powerful if the light was not visible, i tried to work around it by photographing my model up close but it did not work. All these images have the same meaning of clinging onto the hope that the world will change, the world will heal itself if we help it like a toddler learning to walk, they simply need help to start with. The pegs in the wall represent the ladder which we need to climb to help the world, the steps are broken, twisted and rusted because the journey will not be easy to fixing the world just like how the war wasn’t easy yet we still managed to do it, so what’s different not?

The last part of my shoot was done underneath a ramp which was most likely used to push the gun up, the light was not shinning directly on my model or me which meant the photos came out fairly dark and sharp which works really well for this project as it is all about how pollution is affecting the world. My model crouched down in front of an opening which i am not sure what it was used for but it worked well to frame my model in the center of the image. The images are very simple but they are lots of meaning behind them in the sense that no amount of hiding behind walls and instead caves will protect you from pollution. No mask will protect you and eventually there will be a memorial with your name on it. Pollution killed 3 million people in 2012, those numbers will only rise with the more cars and buses we put on the roads, the more forests we destroy who suck up all our carbon dioxide and buildings more buildings so that the population which keeps growing will have space to live but actually most of them won’t be able to afford it so the building will be for let for months or years.

Final Results: Photo-book – Layout & First Design

After arranging how I want to present my final prints and deciding which photographs are the most important for the message of my project, I am ready to begin working on the layout of my photo-book. To start with, I have decided to have my book as a standard portrait size of 20cm by 25cm. This is because, as with my last photo-book, I have multiple portrait images that will fit nicely on a single full-page, as well as quite a few landscape shots that will work beautifully as double page spreads. For this ‘environment’ project, we were informed that our final results must be presented in a thoughtful, careful and professional manner demonstrating skills in presenting with either window mounts, picture frames, foam-board, etc. As well as doing this, however, I think my photo-book will be a really nice finish to bring all my outcomes together, showing my journey as well as thoroughly getting across some environmental awareness.

When putting together my first layout in Lightroom I spent a long time tampering with the order and sizing of all my final outcomes. Whilst doing this I found that a few of my shoots did not fit in with the dramatic theme. These excluded results include the ones from my beach clean ups, my second plastic portraiture shoot, and my results from the La Collette recycling centre. Although I feel like these are still an important part of my project, they do not really contribute to the strong messages shown throughout my book and therefore will just remain a part of my supporting studies. Below is my first design laid out in the order I wish to present it (apart from a few final changes). When putting this together I thought about how many blank pages I wanted to leave, sequencing, the way it shows the narrative and the juxtaposition of certain images. The blank pages left between each subject (cigarette waste, plastic pollution, ocean pollution and Jersey waste disposal), as well as a few others, will later be filled with subheadings, messages and facts. The contact sheet below shows my initial design presented as a contact sheet of screen shots…

Initial Photo-Book Design:

The design above shows all of the pages I plan to have featured in my end result. The only definite change I will be making to this layout is to remove my single beach clean-up image, bringing my book down from 60 pages to 58. As well as this, I will be adding in subheadings, messages and facts to the blanks pages and at the start of the book; a second title page and a preface/quote. Although I have mixed up and joined together a lot of my shoots, my book will still be presenting four different sections looking at cigarette waste, plastic pollution, ocean pollution and Jersey’s waste disposal. My first decision for the design of my book was to make all the pages black, emphasising my more symbolic photographs and giving the book an overall dramatic tone. For the layout I have decided to show my journey through exploring the Islands pollution by presenting my themes in the order I completed them. The first and shortest section introduces the dark tone that is displayed throughout my book whilst only showing one style of studio photography. The next two plastic and ocean pollution sections, however, depict an array of symbolic, documentary and abstract images that, together, really do emphasise their meanings. Lastly is my Jersey waste disposal shoot which, like the first section, only shows one type of photography to tell the story. I love the variety of double page spreads, full bleeds, and mirroring techniques I have used throughout this layout and feel as if this book will be an informative and inspiring part of my final pieces.

Symbolism: Final Prints – Layouts & Designs

After creating, experimenting with, and evaluating my final presentation plans for my documentary outcomes, I next moved on to deciding how to portray my chosen symbolism results. Below I have taken all the outcomes I had decided to use in my previous ‘selections post’ and organised them as well as slightly narrowing them down. These designs are mock-up versions and experimentations of my favourite symbolism outcomes and how I want the final printed versions to appear when presenting my project. From my knowledge of printing final images in previous projects, I will be asking for my A4 and A5 prints to be on gloss paper and my A3 on matt. The red cross’ below indicate that I will definitely not be using this version of the display to physically recreate and the question mark means I am still unsure. To create these I simply used layering tools in Photoshop to make black and white backgrounds give off the illusion of window mounts, triptychs, and diptychs…

Symbolism – Final Prints – Presentations :

My first symbolism presentation above depicts the problem of cigarette waste and represents the message of ‘man vs nature’. These computer generated displays depict how I am intending to display my results in a classic black diptych window mount. Because of the dramatic black background of these pieces, I will be requesting they are printed off size A4 so that they can appear on gloss paper. Although I am fond of my symbolism piece using a human hand as the subject matter, I have found that the more simple mirroring effect of the two flower images looks much more dramatic and stylish. To create this display above I actually had to go back and re-edit these two images in order for both to appear in colour with the same tone and lighting effect. To make the window mount simulation above I used a very thin frame of white background before the black to create the illusion of the black frame having a bevelled edge.

For my next pieces presenting my creative ocean pollution symbolism finals, I will be presenting two sets of diptych images backed onto large white foam boards. Because these will all be A3 prints I originally thought about backing them onto foam board and simply displaying them as four separate pieces. However, because the images are quite similar in colour and subject matter I decided that they are best off displayed together in the hopes that they will compliment one other. I particularly like the two examples on the left together because they are a simple/abstract version of the same jellyfish-like creature. As well as this the fish and wave outcomes also work well together as it is an obvious symbol of ‘under the sea’. To re-create the Photoshop examples I have displayed above I will be first backing them onto black foam board separately (giving them more visual weight) to then arrange them side by side.

Lastly, for my surreal and abstract outcomes above, taken during my documentary ocean pollution shoot, I have decided to put together my most complicated window mount so far. This presentation will be paired up with my black and white documentary outcomes depicting the pollution I used to create these images. As with those outcomes, these were taken on an iPhone and therefore will also have to be printed off on A5 and A4 gloss paper. The reason I am unsure whether I will be using the five image window mount on the left or the smaller one with four is because I first want to judge the quality of the top abstract piece to see if its good enough to display. When recreating one of these examples I will most likely crop the A5 pieces to the same size in order for them to appear more professional. To create this complicated window mount will take a lot of planning, however, when finished, the end result will accentuate my photographs and present a visually stimulating collection.

Shoot 3 finals:

My third shoot is based on the same thing as the second shoot, however it will be shot in a different location. The third shoot will take place in St Brelade’s in the woodland area on the left side of the bay. I have decided to take images in this location to create more variety of images for my London connection photographer, this way it is easier to respond to the images that I have taken. The inspiration for the use of my props including cards, blue brothers hat, blacked out glasses, bow tie, tuxedo and casino chips, all came from watching a movie before the start of my project. The movie James Bond – Casino Royale, is of course a successful spy movie based around a single character, however I was more captivated by the stereotypes of what is worn in a casino. During the spy  film, a casino scene becomes the main climax of the movie. The casino scene is what inspired me more than anything else, to create something using this idea of stereotypical gamblers. The props I have used all relate to this scene in the movie, with a few extra additions.

Editing this image I decided that the full composition needed a lower exposure to light to ensure that the subject can be easily seen in the background of the image, I have also used a low exposure to allow the trees and the ground to stand out through the light circles that hit the ground. From the shoot the light is totally natural, the image was taken on an overcast day. When the weather is overcast in my opinion it gives the best light since it will not over rule the rest of the details in the image.

This image used the same composition as the previous image however after experimenting on the shoot I decided to take a closer image of the subject. Nothing has changed otherwise in this particular frame. Putting the subject in the middle of the path was set up in a particular way, as you can see the subject is standing in the only light part of the path. This ensures that he is not absorbed by the other areas of darkness, and he can stand out more. During the shoot I took one image from a further distance and followed up with the same image in a closer shot. 

Walking back through the woodland area to leave, I got lucky with an image of the subject casually walking away from the camera. The shot gives a sense of motion since the subject is clearly walking. Also this image combines nature with natural behavior. giving extra meaning to the shoot. The sky is not visible in this composition again so the frame is completely filled with the surrounding nature.

Other finals: 

This is one of my favorite images from shoot 3. This is because the composition was made using a wide angle lens which allows me to show a more vast area of the woodland. The subject is standing on the edge of an inbuilt bunker from the world war which has been left to grow into the environment. Having the bunker in this image creates the sense of how man has built into the environment and just left the creation as a stain in the natural woodland.

 

 

 

 

Post as a performance?

// P E R F O R M A N C E   A R T  |  F L U X U S //

Fluxus is an international group of musicians, artists, designers, poets and creators who shaped themselves in the 1960s and 70s. Describer by art critic Harry Ruhé as “the most radical and experimental art movement of the sixties”, it is known for its experimental nature and ability to expand and evolve. Generating a variety of new art forms that were created by Fluxus artists such as intermedia, concept art and video art this movement gave way to a whole wave of new art forms. Three main continents were involved in this dramatic and historic movement; Asia, Europe and North America. “Performance events” were a large part of this artistic movement and lead on to a series of pieces created world wide which eventually became time-based design. The main notion is that one should embark on an artwork without a conception of its final form. There must always be a relationship between the audience and artist ad the finished product is only a snapshot of the entire process of creation. This process of creation was valued highly over the finished product itself. It was actually George Maciunas, a co-founder of this fluid movement, who eventually coined the name Fluxus in 1961 to title a proposed magazine. Meanwhile Marcel Duchamp, a french artist, was a large influence for this movement focusing mainly on the ‘readymades’ he created.

These ‘readymades’ created by Marcel Duchamp were ordinarily manufactured objects that were selected and then modified by the artist. He self-labeled the process “retinal art”. By choosing a object, or selection of such pieces, repositioning, titling and signing the piece; it became art.

Above: Ray Johnson setting up a moticos installation, autumn 1955 and Suzi Gablik surrounded by the same pieces.

Ray Johnson’s early performance art was created through interactive installations which could then be represented through photography. Above is one of these first performances which took place in the autumn of 1955 and featured a variety of his moticos pieces in a street installation.

Many experimental artists of the 60s took part in the Fluxus movement either through the creation of their own art or through their participation in other’s performance pieces. Examples of artists who joined into with these Fluxus activities inclue: Joseph Beuys, George Brecht, Robert Filliou, Al Hansen, Dick Higgins, Bengt af Klintberg, Alison Knowles, Addi Køpcke, Yoko Ono, Nam June Paik, Daniel Spoerri, and Wolf Vostell.

The varied nature of the Fluxus movement involved a community of friends who would work and create together and maintain the movement as an idea. There were many different ideas about art and its role within society however which caused some debate. One co-founder actually proposed a manifesto for the way Fluxus was defined but none of the other artists agreed with it leaving the part in a varied and undefined state. Many artists didn’t even consider Fluxus to be a movement at all so instead it became a loose but robust community which earned  a name for itself through experimentation.

Mail Art

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Looking into the theme of ‘Mail Art’ and its place in historic and modern creative movements, the name Ray Johnson was a quick one to appear. the twentieth century artist was popular following his activity as part of the downtown art scene in New York in the early 1950s. Johnson painted geometric and abstract images heavily influenced by his previous professor, Josef Albers. The crucial thing about Johnson’s work was not just how he created it but later his destruction of the same pieces. Most of his pieces were destroyed in his personal process of creating collages which resued this original artwork. In 1954, these small-scale collages were labeled as “moticos” and featured irregular shapes and images from popular culture. Some of these celebrity influences included Elvis Presley and Shirley Temple as well as regular department store models. Much of Johnson’s work in this area anticipated Andy Warhol’s pop imagery which started to appear in 1960. Despite artistic similarities, Johnson’s approach to work and fame was drastically opposed to Warhol’s and he was known for dodging it being labeled as “the most famous unkown artist” by Grace Glueck in the New York Times (1965). His deliberate elusiveness was a popular debate and added to the interest of his character. 

Much of Johnson’s work started a modern understanding of performance art such as his tendency to share his moticos around New York with strangers in the streets, train stations and cafes. These performances were even sometimes self recorded in order to collect public reactions to his work and each intricate creation. Much of the work used in these sessions of self publication were later supposedly burned.

Jonson reused his moticos by cutting them up and creating new tiny compositions with them which could then be inked on, painted and sanded to create new pieces of work. These new collages were extremely complex and had an underlying emphasis on structure repetition and semi-geometric forms and shapes. Johnson can easily be seen as an early instigator of performance art acting in other’s pieces and creating his own such as the staging, “Funeral Music for Elvis Presley”. 

“In his typically self-deprecating way, Johnson would say that he did not make Pop Art, he made “Chop Art”.”

In 1995, Johnson was witness dressed in black as he dived off a bridge in sag Harbour, Long Island before backstroking out to see. This suicide was heavily speculated and many aspects of his death seemed calculated such as the repetition of the number 13. The date of his death, the 13th January; his age at the time (67, 6+7=13) and the number of the motel he had checked into earlier that day, 247 (2+4+7+13).

“There was much speculation amongst critics, scholars, admirers, and law-enforcement officials about a “last performance” aspect of Johnson’s drowning. After his death, hundreds of collages were found carefully arranged in his Long Island home.”

Ray Johnson is still considered one of the major artistic innovators of the second-half of the 20th century within the critical community but his work remains mainly unknown and heavily under-appreciated by the general public. Some of his relevant pieces are selected below and will be used as starting points for further experimentation with my postcard images.

Working from these ideas, I intend to print a selection of my post card images and effectively graffiti them with block colours and shapes in a similar style to Ray Johnson’s work above. To do this, I will print them on standard 80gsm paper and use ink pens to illustrate them with words and text. I printed four of the postcard images onto sheets of paper with a white border which allowed me to work slightly around the image as well as directly onto it. I also printed all eight of my stamp experience to work with as a test influenced by this artist. I started by drawing rough doodle-like images directly from Ray Johnson’s work onto a plain sheet of paper before starting on the images. The sayings, words and illustrations used are all heavily influenced – if not directly lifted (such as the legs below) from Ray’s own postcard projects as part of his Mail Art series.Below are a series of small tests on my own images. They were printed out on a normal copy printer so are not a high quality and were manually deformed with pens and ink markers. 

I also used this experimentation technique on some of the stamps I created in photoshop after they were printed out. Again, they have been manually manipulated rather than digitally and feature a mixture of original ideas and influenced doodles for Johnson’s own project work.