At this point I realised I should crop the images down to the size I want them to come out the printer. So I went back and resized the others.
I stopped screenshoting everything after this because I was doing the same thing over and over except with different blend options.
I wanted to edit in different ways to get a range of images.
I’ve decided to edit the images into black and white because a lot of Carinthia West’s images are in black and white. I also plan on editing some in color because some of her images are in color and are really vibrant to I’ll play with vibrancy in Photoshop. I will then go on to experiment with how I want to edit them for the exam.
What I like about the two images above is the fact that they show an appreciation of nature which goes against the stereotype of a teenager staying in doors, being obsessed with fake things and social media.
The reason why I included the two images of the dog was because of the phone in both images. This is because as teenagers of the 21st century mobile phones are prominent in our lives due to social media. Which is different to the youth in West’s images in the way that they were always alert to what was happening around where as in these two photos you have this dog, something you’d think would take up all of our attention, howeverthere’s always a phone with us to take that attention.
After finally finishing my first project on The Boyle Family, i wanted to look further in another artist that i could be more influenced and inspired by when producing my final pieces. The next step was finding this new artist, after looking around at previous artists and recommendations I came across a man called Stephen Gill. This is who i have decided to look further into and try base a lot of my work of. Now that i had selected my final artist that i wanted to concentrate on the next step was creating an action plan in order to create the most beneficial final piece and course work.
Things to consider:
After considering all factor when going in to this project it was now time to answer them. By doing this process it will enable me to stay focused and concentrate on what i need to do in order to crate the best final pieces
WHO IS STEPHEN GILL-
Stephen Gill is a British photographer, who main inspiration comes from his immediate surroundings of inner city life in East London and more recently Sweden with an attempt to make work that reflects, responds and describes the times we live in.
His work is often made up of long-term photo studies exploring and responding to the subjects in great depth.
After working mainly in black and white from 1984, his practice since the mid 1990s was mostly in color. Stephen Gil is also know for his bazaar technique when creating an image. For example, some of Gills technique to get particular effects on the image were, by using a magnifying glass to concentrate the sunlight onto some of the negatives in order to etch markings directly onto the image or sometimes Gill would even dip his negatives into the sea.
THE WHERE-
Wen looking into Stephen Gills work a large selection of his images were simply just landscape in which he had then con onto manipulate to create the final product. Finding landscape appropriate in Jersey was no a challenge it was the time of day that I needed to consider as well as-the weather.
After careful consideration for my first photo shoot i decided to head to St Ouens as sunset and see what I could find that deemed appropriate, and for my second photo shoot i wanted to completely contrast this idea so i headed into some local lanes just after sunset and where the lighting was much darker and required flash
HOW AND WHAT-
I had now selected my artist, where I was going to take my photos and how many photo shoot I was going to have the next was what I am going to photograph. As previously mentioned Stephen Gill was a very intricate artist and often used landscape photos and then over laying other images on leaves and plants. So I decide to consider the following when going out on my photo shoots: Landscapes, including the sea and sea walls, plants and trees that I deemed appropriate when thinking of Stephen Gills work or anything else that catches my eye. Finally the camera, I took out my canon camera with a 18mm-135mm lens, this provides a wide range and will give me better focus control.
“My collages embrace the imperfection of old, used, discarded and damaged paper. These papers depict moments in time – often bearing marks and traces of a past life and the human hand. I ‘rescue’ these unwanted fragments, creating layers and building connections into some sort of new, elusive and unpredictable thing. The process is wholly tactile – nothing is digital. I like the restrictions that this creates… the hand-cutting and gluing down, the use of only original papers and ephemera. Elements are added or removed, or covered over and reworked. Ideas and narratives may emerge, but often a series is initiated through the acquisition of a certain type of raw material – an old photo album, a stash of old maps, a pile of old postcards…”
To add another dimension and altitude to my final pieces I decided to experiment with overlays and tracing paper. I chose tracing paper over acetate as it gives the image underneath a hazy, unclear, almost forgotten demeanour to it – like the memories I’m reminiscing over that I can barely remember without great brain power and strength.
Starting out, I printed the collages that I had edited on photoshop, and then proceeded to layer tracing paper over the top of each one. Before this I visualised the whole entire photograph and noted the most eye catching elements of each. Using a black ink pen, I carefully traced what was underneath of the tracing paper, often making sure to check that it was lining up with the original print out.
Below are the final outcomes without the original image underneath.
