I have used the studio to create a selection of imagery using a camera and objects to do with occupation and liberation. For this photoshoot I have used two different lights on the objects. One of these lights was on and I used a diffusing light so that the objects shadow created from the light was minimized while keeping the object looking as though the light was still coming mostly from one side.Below are a selection of the best images I have taken using this method.
Studying the theme of Occupation and Liberation so far has allowed me to explore different areas within the second world war, from bunker archeology to war veterans. Starting off this project I was able to look at the importance of archival imagery, after visiting Societe Jersiase. On this trip I was able to search through imagery which enriched my understanding of the war, providing social and historical understanding which I previously did not know. After this I produced an essay exploring the importance of archives, with references to artists and how archives have developed into modern day society. Soon after, I was informed about the history of the island’s Bunkers and there uses, which lead me onto exploring landscape photography, with experimentation of natural lighting and the environment. After conducting three different bunker photoshoots, in three different locations, I believed that I was able to show my ability to showcase Jersey’s history within imagery. This lead me to learning about photomontages, and how manipulating my images can lead to strong conceptual representation allowing my project and photographs to be further developed. This also lead me to learning about the Jersey War Tunnel and other tunnels around the Island used for different reasons, enriching my understanding of the war.
After this I then conducted research into what a zine is and zine making within photography, specifically as Sam Ivan. In this I learnt the importance of narrative and sequencing and the importance of the layout within a design. This lead me on to gaining an understanding of the software InDesign, allowing me to create my own photographic zine for the bunker imagery produced. When creating this I learnt that I could add archival imagery to help convey my conceptual and contextual representations. Creating my zine, showcased my landscape work in a way which shows my understanding of the war and the links to Occupation and Liberation
This then lead me to moving my focus onto portrait photography where I began my investigation look at a classical and contemporary photographer, Francis Foot and Michelle Sank. Researching these photographer gave me an understanding of what makes a successful portrait, through positioning, lighting and composition of the frame. This lead onto me conducting a photoshoot of Bob Le Sueur. Doing this thought me how to photographer someone who you have only just met, and the importance of trying to form a rapport with your model to try and showcase their personality and true self. I was able to learn about Bob’s stories and memories during the war, which influenced how I captured him in the studio. This then lead me to starting the Home Sweet Home project which looked at photographing the occupation within my house. Within this I learnt different styles of portraits, from environmental, candid, macro and establishing a shot, which were influenced by different artists such as Martin Parr. I also decided to look into my own family archive, giving me an in-depth understanding of my families history, thus influencing what I captured.
After looking at portrait photography I looked at objects, an area in which I have not done much research in previously. From this I learnt symbolic representations of different objects in a classical painting, and how the symbolism has transferred into todays society. This allowed me to learn the importance of studio lighting , with flash heads and consistent light sources when capturing at different angles. In addition, it reinforced my skills of capturing images on a tripod using a 50mm lens. This then allowed me to revisit photomontage where I explored the work of Ralph Milach, who combined portraits and objects to create a narrative, this style of documentary photography I much enjoyed producing. This then influenced a new photographic zine which combined portraits and objects in order to portray a narrative, reinforcing my knowledge of Indesign and narrative and sequencing.
To conclude, my photographic skills has significantly developed over the past couple of months, as I explore different areas within photography and different software to edit and display my work. I have personally really enjoyed the units which looked at landscape and objects, as I personally believed I managed to produce the strongest outcomes in these styles. I also think my contemporary outcomes, mainly photomontages with objects, have also been successful in presenting clear conceptual and contextual representations. These two areas in photography are the areas that I would like to mainly loom at for my personal investigation.
When creating this zine, I had to think specifically the layout and order of my images as I wanted them to tell the story of the occupation through pictures. So I started it off with montages relating to the time during the occupation then slowly moving on to what was left behind after we liberated, so the people and the objects and I paired up objects that related to an individual to help tell their story of terror. For my front cover I found a quote when visiting the archive that I liked so I photographed it and then later decided to use it as my front cover, as it helps set up the zine with meaning and allows you to really think about those lost when you are looking through the images. Then on the back cover a montage of different images that were taken during the occupation to give people an understanding of what the soldiers conditions where liked. After printing my zine, I put together a small montage of people who survived the occupation of lost their lives and printed it out on acetone paper and places it in the centre of my zine, as those people are the centre purpose of my zine, as it is a piece of remembrance.
Throughout this personal study, I intend to explore the idea of hiding in plain and my sense of belonging in the environments around me. Through previous experiments last year exploring portraiture I covered the topic of concealment and following an unwanted path, so I wish to recycle these images due to their relevance in narrating my current story. These images are revealing a completely different side that’s never reflected in a normal every day setting. I will also continue this theme and expand on how I think and express myself now compared to how I historically thought.
Realism:
Realism, sometimes called naturalism, in the arts is generally the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, or implausible, exotic, and supernatural elements. Realism has been prevalent in the arts at many periods, and can be in large part a matter of technique and training, and the avoidance of stylisation. In the visual arts, illusionistic realism is the accurate depiction of lifeforms, perspective, and the details of light and colour.
The development of increasingly accurate representation of the visual appearances of things has a long history in art. It includes elements such as the accurate depiction of the anatomy of humans and animals.
