http://www.blurb.com/b/9300996-woodville
Category Archives: Coursework
Filters
Lesson Wed and Thursday…
Wednesday and Thurs this week we are running AS MOCK so you are required to work independently in the following rooms:
Wed 30 Jan
Pd 1: 13 A – LRC
Pd 3: 13C – ICT 7 – MVT will be teaching this lesson
Pd 4: 13D = ICT 7
Thurs 31 Jan
Pd 2: 13A – ICT6
Pd 4: 13C – ICT 7
Pd 5: 13D – ICT2
Normal lesson Friday 1 Feb with Mr Cole!
We will be checking in and do a register so make sure you turn up for lesson and make good use of your time. Your MOCK exam is on Mon 11 Feb and Tue 12 Feb so every lesson counts!
Unless you are working on your own laptop you will not be able to work with your images in Lightroom. So we want you to focus on writing your essay.
Interim deadline for handing in a draft essay is MON 4 FEB (next week) It is essential that you complete this task on time so we have time to read it through, give feedback for you to make corrections before Mock exam.
For help with essay go to this blog post here
The essay must be completed and added to your book layout.
I am in school Wed and Thurs invigilating so if you need any help with anything or want to hand in a draft essay, or even a paragraph please come and find me in our normal class room. I prefer a print out but you can publish essay on the blog or email me too.
You are also required to do final Self-Tracking of tasks, blog posts and your progress that MUST be published on the blog by the end of this week
Use this planner and fill in using trafic light system and write a comment on what you need to do to or improve work.
Personal-Study-Planner-Tracker-2018-19
Use colour codes and write comments
Green = complete
Yellow = needs improving + write a comment on how
Red = missing work/ not done
Save each slide as a JPEG and publish it on the blog
MR T
Family Shoot
sublime shoot 1: nature experimentation
This is my first shoot really concentrating in on looking at the ideas of the sublime, and the way in which it doesn’t have to just be presented through people but can be shows through the natural forms of nature too. these photos below I have only yet so far edited in a lighting form but have don no further experimentations of the composition itself, which I think would really take these photos further. I do belive many of these images are [powerful in some type of circumstance, weather this by by the stature of the piece itself or however more so based towards the overall lighting and perhaps a bakue effect behind the images themselves. with many of my photos I wanted to concentrate on a specific aspect and point to the images, this being evident through the concentration and focusing on different sections that I belive are most interesting to the piece itself. I wanted to experiment within how my images could be successful in colour and also in black and white. My main aim was to make my images really interesting with a combination of the interest itself of the close up light and colour and also the form in which the shapes and plants make overall.
contact sheet:
overall I belive this shoot was successful and a good place to start when experimenting within the ideas of of a powerful sense of pain which to my mind is reflected in the deteriorating death yet still occurrent beauty seen within the flowers themselves. Additional some of the close ups you cannot tell what the original flower was or what i even intend to show you, this power f mystery which is subjected upon the audience is powerful as it allows their own imagination to form the circumstance of how the images came across and to express their own ideologies of what the image personally means to them. The differing textures seen within the plants are all different and connote different tones of expression of emotions. Wether this is beauty, pain or perhaps a sense of freedom, depending on the overall composition fo the piece itself.After this shoot I will definitely go back and further expand this idea of sublime within nature through landscapes and other atmospheres and small details.
2nd photoshoot on reality
As said in my previous post I wanted to capture a almost less sentimental type of reality and include my next three main interests of, circumstances,dependency and chance. I wanted to use these conceptual ideas to relate to both my previously project on family and then also have a stronger level of signification to that of political landscape. My main original aims of this shoot was to show how to capture the movement of water as this contains many elements of the three words I am focusing on. I wanted to communicate many different angles and places which I would normally not venture. I decided it would be interesting to flip images and add lines into the images to add contextual methods into it.
shoot:
edits:
I wanted to add in these small white dots as this is what I have done previously experimented with in my political landscape alternate conceptual editing. 
within here I found a really interesting old structure of bars in a highly interesting composition,Additonally I found a water covered web of water which I thought created an area of interest.
within these water shots I wanted to capture the movement of the water itself, and sometimes even repeatedly showing the drop of water repeatedly dropping. I decided to edit these images into black and white as I did not want the colour to be a distraction of the composition of the images itself. 
This is my third image where I mirrored and flipped the image itself, I wanted to do this as I think the final outcome it produces has an interest of simplicity yet intrigue. I wanted to capture this image originally as I though the suture of the plant was so repetitive and structurally well formed, and how this contrasted against the background,and the light tonal sky. 
anylsis:Overall this shoot was less so capturing a direct narrative and more about trying to communicate ideas of form and how to edit in interesting mannerisms to capture the conceptual of reality.
with this project I had two main artist inspirations of…one fo which was very family and pain orientated,it was quite philosophical in the questioning of no on knows what reality really is as we all have a different concept and view of our own lives and own realities. However the second artists wanted to create images which she wanted to happen or was surprised that was happening somewhere in the world in the modern 20th century, She purpose how large companies would demonstrate a country as being modern and forward thinking and ignoring the true reality of factors such as poverty and starvation. Because of these two clear divisions of ideas of family and not knowing the reality of what people are feeling and they way in which trauma can effect you, to how chance and reality can be predicted.Although I wanted to add my won these into both shoot so using archival images from my past family and then forming reality,around my house and capturing the dependency and effector different relates and possibly adding in themes if conceptual manipulation. from this I decided to brainstorm and experiment with what I think breaking reality means to me.I then got the three main ideas of, dependancy, possibility and chance. I think my first shoot was successful, I think I successful recreated the structure of the artists form and also conceptually edited my photos and to have and area of interest wihtin them. My second shoot was much more conceptual wihtin the thought of the structure and an essence of abstract structure I order to strip away any sense of reality.
Breaking the rules planning: reality
Research and notes from lewis bush article:
What I was inspired by through Lewis bush’s ‘eight rules’. The only way to tell them is to take a few risks, break all the rules and pioneer a new way of seeing the world. posing his subjects, manipulating his prints, and often becoming dangerously over-involved in his stories.But documentary is not journalism,#1 The Rule of Objectivity.#2 The Rule of Audience: audiences, of shaping public opinion and perhaps in the process shaping policy.“undermine this hierarchical, class-based relationship between images and their audience”.#3 The Rule of Manipulation, this forbids photographers from using digital editing to manipulate the meaning of their images.very stage of the photographic process is a manipulation, and is open to no less egregious misrepresentations.“I see propaganda and reality as two sides of the same coin,” she says. “Propaganda is an essential part of everyday life in North Korea, and because of that a reality in itself.”#4 The Rule of Reality“creative treatment of actuality”vents which were then, and still are, yet to transpire blend of fact and fiction “They had been forced to wear makeup and my informants had described it perfectly: bright red lips, pink cheeks and blue eye-shadow.”#5 The Rule of Technicality, Lacking the clarity of a conventional documentary image, her work hints at the uncertainty engulfing the country at a time of change.“It was about responding spontaneously to the events around me,”#6 The Rule of Ownership, His interest in these images, he says, lies in the fact that “the people who are running the show, that’s the stuff they’re working with.”#7 The Rule of the Camera“I have always understood, or at least attempted to understand, the close communion one must have with story. When the story is served by all the elements, an opening up of technique and creative possibility in how that story gets told is laid out for you.”“The body is becoming part of this new informational economy,” says Orton, whose visceral reaction to a utilitarian image is a reflection on the relationship between living bodies and their representations.#8 The Rule of Rule BreakingWhen it comes to working on sensitive topics and with vulnerable subjects, the expectations and standards have never been higher.But good practice, ethical practice, more often stems not from any formal rules of documentary
Reality: Rule number 4
I thought reality was such a interesting concept that would allow me to question its rules in many circumstances. To my reality lies between three main concepts. I believe tablo photography and a staged sense of altered reality would question the proposition of what reality is. I believe there is a sense of trust seen within reality and people believe what they expect to be reality. I could change this by doing a documentary series in a way which is not expected and also a specific small angle of what is actually the truth. E.g a study of school with the reality of how people are treated and what happens behind the scenes and when not at school for learning. My second aspect of intrigue is the concept of predicting the future, and the power of invention and to from something which is not currently real. This allows a sense of lies of perhaps what people would want in the future e.g hope. This could also incorporate into Tablo photography as it would be set up in order to create a frame that has not officially happened.I could do this through thinking of a political concept or and environmental impact, so predicting who will win the election, what changes will be soon developed to St Helier, or the deterioration of the environment. As this has not happened but the plausibility caused produce a sense fo reality to readers. This could possibly be a recreation of something that has happened or started to happen elsewhere, war, poverty and such. This creates a sense of awareness to people who are oblivious in rich areas such as jersey. My last inspiration Is the appearance of a false reality seen within an appearance or a sense of personality, this could be developed further into someones culture and what is expected of them to look and act and Additionally how someone presents themselves, through styles, fashion and makeup. I believe this is a-lot more apparent especially with young teenagers trying to change who they are in order to be and create someone who they are not. So creating a false sense of reality.
research: when searching the word ‘reality’ through the concept of photography many images come up which a-lot of documentary photography in order to tell the ‘truth’ Much of which is very harsh and hard hitting and show people a scenario that is not particularly nice to look at. Such as seen within this image you can see a young injured girl who instead of people getting help they photography her for story to encourage help which they could have given. The camera is constantly manipulated and everyones truths will always be different. Because I believe every photo-lies in some manner i think to create something that is not reality will be relatively straight forward when i know my concept of my shoot.
To further what concept I should really narrow into i will do further research to see which photographers are too inspired by how a narrative is told and how lying further does not change how the camera already shows a small part of a large story anyway.
Experimentation with shutter speed and conceptual ideas.
My main purpose for this shoot is to concentrate on the following two concepts: Night traces of light within a landscape, and mirrors over faces and using fire. I have chosen this as I was inspired by the artist: I have chosen this as I think these additional camera effects will add a dramatised effect to my photos. I think fire emphasises the ideology of pain and anger and will create. I believe will will open us a new concept that allows my images to be more shocking, and possibly connecting more of the sublime which I really want to emphasis. Due to the shoot being based in town I will concentrate the political issues to surrounding the lack of community within town and the amount of crime and poverty being highlighted.
I want to use light capture in order to capture the life and reflect a reality within the movement of people within the town. The place I am taking these photos is right outside the hospital and on peoples park. This is politically interesting as where I am in jersey. This is the governmental debate as to where to place the new hospital and wether it should be on peoples park. This could clearly communicate the anger within people who live in town and next to the park and feeling as tho there voices have been diminished as others are making their decision of their future. In my previous shoot I focused on a love and connection within the area and an anger for the castle as it was a clear presentative for the past place they lived and being discriminated against as they did not have as much money as the others controlling their decisions.
Shoot images, for experimentation.
I do need to further develop this shoot as many of the images I do not think I can develop in such a way as I would like. I think shoot works for a quick experimentation but I need to come back to this shoot and area and really further develop this shoot as a whole.
Plan for second shoot
My plan for the third shoot is a clear influence from the exhibition of clare cauhn. I wanted to focus on the the political correctness of femininity and the political influence that can be shown through this girls positioning within the landscape and the fragility to the atmosphere she is surrounded by. I also want to capture more landscape images that she is surrounded by, this could be the movement and emotion of the sea and also how this movement and fluidity of the water is mimicking the women herself. I believe the impact of the sea shows a stronger connection to that of the sublime and nature having a really strong power. I could in one of my next shoot like to focus on the way someone can go into the water and see both emotions within the person and movement and aggression of nature. I believe this would exactly hit my connection of the sublime, and this will really positively effect my shoot. Being submerged within an atmosphere in which you cannot breath and is deemed dangerous shows such a string emotion within the water and person. So a clear diegetic link between the shoot and emotions based of political bias.
shoot images:
edits:
colour experiments
Experimentation:
For this edit I wanted to revert back to how I edited my previous shoot and how I focused upon the way these shapes, colours and lines can successfully impact a piece. I believe I should further experiment with the images and find more conceptual ways in which I could edit them. I do think the composition of these images are correct in the way it shapes from and connotes a sense of femininity within the images. This political bias is not necessarily seen through injustice but how the sublime environment enhances the femininity of the piece which contributes to the political factors of women rights and a stance for the power to which a gender can hold.
Evaluation: Overall I do think this photoshoot is a clear presentation of my inspiration from claude chaun and additionally is successful in the recreation of softness and emotion within the landscape itself.
analysis from shoot 1 and investigating the sublime
Overall I chose these images as they connoted the strongest emotion within the image itself. I chose 20 final images to further develop depending on their strength and mimicking the emotion. What I think I developed well on this piece is the overall composition of placing the body and how I have used this in order to create a sense of emotion and impact. I wanted to use photoshop editing in order to really over-exaggerate the tones so changing the colour of areas within the piece too.
The sublime:
Is said to be ‘an aesthetics, the sublime (from the latin sublimins) is the quality of greatness, whether physical, moral, intellectual, metaphysical, aesthetic, spiritual, or artistic. The term especially refers to a greatness beyond all possibility of calculation, measurement, or imitation’
To measure an environment by how sublime it my feel or be perceived is interesting. As seen above there is a connection to physical greatness and spiritual and artistic elements. This to me is a clear indication of the wide range of possibilities this word has to offer. As said previous I am interested within the philosophy and how to conceptual human emotions into a landscape, I believe developing this further into the sublime would be useful to my project. I have further developed research of emotions within the sublime and researched emotions within landscape will use this inspiration to power on my ideas further.
when sublime is connected to issues of emotion it focuses on a deep threat and a harsh reality of weather, this being seen through a storm or the deep seas. Many piece that include people are them diving into water and how being submerged into a world is abstract and different from the world to which we know and view as normal above land. It combines natures power of man and also the lack of breath and cruel reality fo nature to be something of greatness and also concern. My question is what is the sublime and how can i show this through my themes of emotion, politics and landscapes? Is sublime about a feeling, event or a persons state of mind? It means to be raised and on top but also further defined as having a quality of greatness and magnitude. I want my pieces to be temporarily overwhelmed by anyone who sees them. A quote about the sublime really stuck out to me, this was ‘by a kind of pleasurable terror’ This echoes the social conventions of politics and freedom to me,It demonstrates an image of people wanting to escape and taking a deep risk due to their political or negative governmental conditions.And how a big leap or jump for freedom is pleasurable to escape but filled with terror when alone and surrounded with a landscape that is not familiar.
The sublime was associated in particular with the immensity or turbulence of Nature and human responses to it. Consequently, in Western art, ‘sublime’ landscapes and seascapes, especially those from the Romantic period. To my mind this means a clear representation of vast storms and seas, it is a mixture of beauty found in a life Threatening position. I believe through my work it would be tangible for me to create a scenario like this but as a false sense of identity. I would create a constructed narrative set almost as a tabloid to make the image look dangerous and have a feel of the sublime but not being so. This is not possible when it comes to going outside and capturing a storm but it is when creating an infliction of worry which as someone underwater, or moving quickly in a dark space. I think the sublime should no longer be just considered a natures act and a landscape but allowed to be pulled into someones emotion ,reaction and cause fro distress clearly portrayed within themselves.
An artist who uses politics to effect and emotion and create sublime work is the artist Damien Hierst. His work focus on the notion of the contemporary sublime ,so removing the previous style fo only using a landscape of a storm.The starting place for tracing such returns of the natural sublime is Damien Hirst’s art work, The Physical Impossibility of Death in the Mind of Someone Living 1991. he is such a symptomatic artists who’s work is uneasy and contradicts with what is expected within society. it is said that ‘His best work condenses our lived contradictions into perplexing, unforgettable, iconic images, in just the way that dreams do’ This allows his work to have such a huge impact on the audience it is viewed as a terrible going against what is expected and perceived as normal but yet alongside with this is so fascinating. His work clearly echoes inspiration from within the body, mortality, violence, pain and power.a ‘universal trigger’. Hirests taste that it works as a powerful sublime piece as ‘everyone’s frightened of sharks, everyone loves butterflies’. however the shark carries a powerful charges frisson and forms a universal response reaction of the sublime.
My Edits Of My Response To Political Landscapes
I have chosen to use the technique of pasting and cropping photographs over a base photographs and placing them in different places in order to align with the base photographs in order to create an interesting and contrasting composition. This allows me to be creative with the selection and placement of the photographs in order to emphasise as much as possible the differences and similarities between the past and present uses of the land. I will also be incorporating technique 3 into this by using natural frames such as mirrors and windows around the house in order to provide a more personal and interesting touch by showing how the fashion and style of property design has changed through time.
In order to provide myself with more photographs/frames to work with I have conducted an additional mini photoshoot within my household in which I photographed more frames and decorations within the house. I can use these photographs to broaden the variety of edits in my final outcome and to further show the current fashion and style within households.
In the edits I have used photoshop to alter/crop the montage photographs or archival photographs to fit within the natural framings that I photographed around my household and then placed the montages within the frame. I have done this to create a sense of personalisation within the edits as well as delving deeper into the theme of political landscape by showing how the inner decoration of the land changes over time, as well as the buildings themselves. The mixture of new and old photographs along with the modern decorations allows for the changes and developments over time to be shown as clearly as possible.
The majority of the photographs show the different sections of the houses and their developments through the use of montages but I have devoted one of the photograph edits to only the archival images within the frame in order for these photographs to be appreciated as they are without the contrast with the new photographs distracting the viewer from it. I have also included an edit which shows an archival photograph of me and my dad on the property in order to show that political landscape includes how the people involved in the change of land develop.
Analysis
In this photograph natural lighting was used in all aspects from the photograph of the frame to the photograph of the house from 1873. This use of natural lighting has allowed for the natural shadows of the structure to be shown which helps to create contrast between the different shapes and angles in the structure of the house. There is a very wide tonal range in this photograph due to its montage nature – the bright white paint of the newly refurbished house contrasts against the black hole that is the window being renovated, this helps to create multiple viewpoints and areas of interest of which all contrast with eachother. A deep depth of field is used for all of the photographs involved in this montage as the whole of the photograph is in focus which allows for all the small details of the contrasts between the old and new to be seen. A shutter speed of 1/50 was used to capture the mirror frame along with an ISO of 200 as I wanted the frame to be of as high a quality as possible in order for it to compliment the photographs within it. For the photographs within the frame a slightly quicker shutter speed along with a lower ISO will have been used as the photograph was taken outside so the shutter did not need as much time to allow the light to enter the lens. The photographs are all correctly exposed but the exposures between the different photographs in the montage contrast with eachother to show the differences between them.
The colours in this photograph vary greatly due to the nature of the montage – the frame shows a dark gold and brown to contrast with the predominantly black and white montage. In the predominantly black and white montage there are splashes of colour through the inclusion of the photographs showing the current state of the house. These splashes of colour create a more interesting viewing and reminds the viewer how much technology has changed overtime to go from black and white to colour photography as well as the landscapes. There is a slight 3D effect to the montage as the closer corner of the house enters the background with the far corner being pushed towards the background – this 3D effect is further added to by the frame surrounding the montage, which creates a much more interesting and intriguing photograph. The frame is positioned directly around the centre of the photograph to allow the viewer clear viewing into what the frame is showing. This centralisation of the frame looks very orderly and neat which contrasts with the chaotic structure of the montage that it contains. The montage is placed within the frame in a way that shows as much of it as possible in order to convey my ideas within political landscape further. There are lots of viewpoints within the photograph as there is so much going on – which is possibly a bad thing – but I feel that there is a lot being said through this photograph so that fits the busyness of it.
This photograph is made from a collection of archival photographs and new photographs of my house. This collection of photographs represent the history of the house and the changes that it has gone through. I have incorporated both archival and new photographs to demonstrate how the genre of political landscape links to these photographs. The house has many similarities to cod houses through the shape and style – these cod houses were built in the 18th and 19th century from people who made their wealth through the North Atlantic cod trade which can be seen as one of the initial sources of wealth within Jersey. After research on the house I could not find any evidence that this is a cod house but the similarities and shapes are very close. This photograph has strong links to political landscapes and Guillame Bression and Carlos Ayesta’s work due to exploring what humans can do to a landscape and how drastically landscapes can change over a time period.
The idea behind this photograph is to show how even though fashion and trends come and go, they always come back around. This photograph shows sections of the house through photographs that are taken nearly 150 years apart – even though they are taken so many years apart the structure and shape of the building has remained. In the 1870 period only the people who could afford to would plaster their houses, but then later on it came into fashion for houses to have granite showing (as seen in the photograph) so the house was stripped of its plaster to reveal the granite structure. In the current state the house has been re-plastered in order to meet fashion trends and in order to show some inspiration from the original style of the property. This loop of fashion and trend shows how political landscapes often take inspiration from the past whilst putting a modern spin on them.