All posts by Jamie Cole

Co-ordinator of A Level Photography at Hautlieu School, Jersey

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Paris Trip response nov 2019

Task 1 : occupation x liberation

As a response to work, ideas and installations that you experienced in Paris you must create a detailed blog post that explores the work of one of the artists below.

You may be influenced to the point of basing your Personal Study on what you have experienced, seen and understood…and should aim to respond with this in mind.

Ensure that you add a clear understanding of both the concept and context of the work that you choose to focus on.

1 . Zineb Sedira : Maison Europeene De Photographie

Sedira’s work has often been largely identified with postcolonial issues and in particular with her family history, closely linked to Algeria, “A brief moment” also highlights the manner in which she explores the exponential devastation of the environment through over-production and universal circulation of people and goods.

Zineb Sedira was born in Paris to Algerian parents, and moved to London to study art. Her works are often autobiographical, addressing issues of cultural identity and the personal consequences of migration.

In Mother Tongue, 2002 the artist appears alongside her mother and daughter to show the shifts in cultural identities that have happened within her own family.

Image result for zineb sedira shipwreck

More recent works include Shipwrecks, 2008, highlighting the dangers of transit and immigration, and Sugar Routes, 2013, documenting the movement of a global commodity.

2. Yury Toroptsov

https://www.toroptsov.com/deleted-scene

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Yury Toroptsov | Deleted Scene | 2015

3. Hassan Hajjaj : MEP Paris

Image result for hassan hajjaj

HASSAN HAJJAJ is an Anglo-Moroccan photographer. He explores various aspects of tradition, heritage, identity, culture and politics via fashion, and often incorporates furniture, vehicles and more in his portraits.

His work embraces the eclectic street style of London’s most vibrant characters, whilst incorporating elements of his own North African heritage.

CLICK HERE FOR MORE

https://www.parisphoto.com/en/interviews/

Task 2 : psychogeographies

You must reflect on your experiences in Paris whilst working with Yury, and create a blog post that explores and articulates how you as a photographer can develop a connection with a place and it’s people, it’s history and innate stories.

Remember to …

  • discuss the use of archival material
  • question the validity / purpose of any pre-existing material you use
  • articulate how prior knowledge of an area and it’s history (research) can lead to certain pre-conceptions
  • argue that focusing on the problematic / negative aspects of a topic or area of exploration will yield more interesting results
  • include your images in a sequence that matches your experiences
  • include reference to psychogeographies in your blog post

YURY’S PRESENTATION…(it has been emailed to you!)

PSYCHO-GEOGRAPHY// SITUATIONISM

We have explored Psycho-geography as a concept and way of working before…during the AS Course. Many of you succeeded in developing strong ideas by following some of the ideas.

Psycho-geography is a hybrid of photography and geography that emphasizes playfulness and “drifting” around urban environments. It has links to the Situationist International.

Psychogeography was defined in 1955 by Guy Debord as “the study of the precise laws and specific effects of the geographical environment, consciously organized or not, on the emotions and behavior of individuals.”

Another definition is “a whole toy box full of playful, inventive strategies for exploring cities… just about anything that takes pedestrians off their predictable paths and jolts them into a new awareness of the urban landscape.

The originator of what became known as unitary urbanism, psychogeography, and the dérive was Ivan Chtcheglov, in his highly influential 1953 essay “Formulaire pour un urbanisme nouveau” (“Formulary for a New Urbanism”).

It has roots in Dadaism and Surrealism.

The idea of urban wandering relates to the older concept of the flâneur, theorized by Charles Baudelaire…and is similar to STREET PHOTOGRAPHY

PETAPIXEL definition of PsychoGeography CLICK HERE

Developing and Experimenting Week 4

It is important that you develop your own set of images and experiments with different photographic techniques, approaches and styles to create more visual material that you can edit from in your final sequence of images as you work towards creating your ‘zine.

Essentially we want you to develop your own visual language and create a unique set of sequenced images that reflects on how you respond to Bunker Archaeology and The Atlantic Wall.

Experiment 1: CROPPING – complete by Thurs 27th June
Using cropping tool only begin to make some radical changes by selecting areas of your images for a different visual impact. Produce at least 3 different crops for 6 images.

CROPPING can create a sense of impact and drama in an image, as well as fine-tune the composition. However…cropping can also de-contextualise a subject within the frame. This can be used to great effect…or can change the nature of an image radically.

One of the founding fathers of Documentary Photography Walker Evans used cropping as part of his work.  Another pioneer of the photo-essay, W. Eugene Smith also experimented with cropping is his picture-stories

Read more here on Walker Evans and his magazine work and  his series Labour Anonymous here on W. Eugene Smith.

Walkers Evans and Labour Anonymous
W. Eugene Smith and Jazz Loft Project

Experiment 2:  COLOUR > B&W ADJUSTMENTS  complete by Thurs 27 June
Using your tools such as White Balance / Exposure / Levels / Curves / Brightness /Contrasts / Colour Balance / Hue / Saturation / Colour overlay / double or multiple exposure and make radical changes to the overall aesthetic of the images.  Try and adjust images according to your visceral quality – relating to your deep inward feelings rather than how something looks! Produce 3 different adjustments with  images

Experiment 3: MONTAGE > COMPOSITE IMAGES  complete by Thurs 27 June
Using your skills in Photoshop that you learned at AS begin to work with different montage / collage / cut ‘n’ past/ composite / Layers / Masks / Opacity / Blending modes / Brush techniques using both DIGITAL and ANALOGUE methodologies.

1. Select 5 images from your bunker shoots and produce at least 3 different collages combining two or more images / people / landscapes / text / typography / colour / shapes / textures/

2. Combine your images with images from the Photo-Archive that relate to the Occupation / Liberation of Jersey. Go to the folder below and choose 5 images that you selected on our research day at Societe Jersiaise.

M:\Departments\Photography\Students\Occupation of Jersey

3. Newspaper cuttings: Select 3 photocopies from newspaper cuttings from the JEP that relates to the subject of Occupation. Combine these with either your own images and/or archive images following the same instructions as above.

4. Print out 1 of your own  images and 1 archive images on the Laserjet Printer and manipulate the prints by destroying it in 5 different ways and re-configure  using scissors / tape / cut-n-paste / glue. Try and manipulate the printed images using your body / hand/ face etc .

JUXTAPOSE AND OVERLAY YOUR IMAGES—SUPERIMPOSE OTHER IMAGES, AND CUT-N-PASTE USING SCISSORS, TAPE, GLUE ETC…

https://www.format.com/magazine/galleries/art/best-collage-artists-portfolio-inspiration

CREATIVE POSSIBILITIES…

Noemie Goudal
Tanja Deman
Peter Kennard
Aleksander Rodchenko
John Stezaker
Luke Fowler-two frame film
cof

Look at Jonny Briggs for visual inspiration
Read more here

ONCE YOU HAVE MADE A SET OF EXPERIMENTS USING VARIOUS TECHNIQUES YOU MUST MAKE AT LEAST 1 X BLOG POST THAT SHOWS YOUR DEVELOPMENT OF IDEAS—INCLUDE YOUR INFLUENCES AND FINAL OUTCOMES

RE-VISIT AND RE-SHOOT – complete by Mon 1 July

Here are few things to consider for your second shoot

  1. Revisit a suitable location and make another shoot. Reflect on your current sequence of images and think about what is missing, or what you need to photograph to add value to the story you are trying to communicate.
  2. Collect ephemera / found objects and photograph them in-situ – how and where you found them and also re-photograph the objects as a still-life at home setting up up your own mini-studio or use Photo-studio in school.

Record sounds or video as another visual layer / audio ambience that you could incorporate into your project e.g select individual frames from video and edit as a sequence in a time line. Use audio to record conversation with people you meet or use it as dictaphone to record your own feelings in a diary form.

Duane Michaels
Wind through the Pines 1985, 1991 Hamish Fulton

Here are a few pointers – but not exclusive – please add your own thoughts/ ideas/ concepts/ brainstorm etc.

  • Abstract visions…alternative, “wrong” photographs
  • Formalism…line, shape, pattern, tone, colour etc
  • Objects | Ephemera (litter and debris)
  • Make use of your senses : see , hear ,taste, smell, touch
  • Old vs New vs Development
  • Good vs bad…subjective approach
  • Form vs function
  • Juxtaposition | contrasts | diversity
  • Unconventional beauty
  • Typography and graphics
  • Aerial Imagery / Satellite / Surveillance
  • Angles | Viewpoints
  • Poetic / personal point of view
  • Roads / paths/ walkways
  • Open space / Public realm

Remember : a sense of risk and an opportunity to go beyond the norm or unexpected is encouraged.

Summer Project: “The Atlantic Wall”

Key dates :

6 June 2019 = 75th Anniversary of The D-Day Landings and the start of the liberation of Europe from Nazi Occupation

9 May 2020 = 75th Anniversary of Liberation of Jersey from Nazi Occupation

German Observation Tower at Les Landes
(Part of the Atlantic Wall)

Welcome back to school!…please check the details, information, guidance and instructions below

Week 2: 
Mon 10 June Groups 12A and 12B
Tue 11 June Groups 12C and 12 E POSTPONED until Tues 18th June


On Location << all day photo-shoots at Les Landes / Noirmont>>
Each class will explore bunker sites on the West Coast of Jersey.
Outcome: A set of 200-300 images from photo-shoots

Schedule

8.45am Coach from Hautlieu School to Les Landes / Noirmont

9.15am-9.30am meet Tony Pike (CIOS) and discuss outline for the day’s activities / tasks / expections / orientation

10am-12pm Explore and document Battery Moltke / Lothringen

12.45pm -2.30 pm Explore and document Observation Tower and surrounding area of Les Landes / Noirmont

2.30 pm -.3.15pm Coach from Les Landes / Noirmont to Hautlieu School

Site Visit Tasks

1.Photograph : the surroundings, the structures, the contents and respond to available stimulus

2. Collect: anything that you can take away from from the environment without adversely affecting it

3. Write: your thoughts, feelings, learnings down in a notepad

4. Engage : with the place, structures, exhibits

5. Plan : how to develop your images, ideas and plan

Blog Tasks…

Create and publish a range of blog posts that reflect each stimulus point below…

Research and Influence : clearly show an understanding of the purpose and effect of The Atlantic Wall and look at a range of suitable artists that may influence your own creativity

Select and Edit : make an initial selection of your most successful / interesting images from the site visit and edit / enhance using Adobe Lightroom

Manipulate: get creative, begin exploring how you can include archival imagery, try some photo-montage and begin to think about how you can group your images (this will lead into your ‘zine production)

Present: a small range of possible outcomes on your blog using a range of display methods and print out your images / designs in the photography room…print out your images ready for our display board

Evaluate: your process, and critique your final outcomes by comparing and contrasting to your points of influence in Task 1

Independent Study Tasks

You must complete a range of photo assignments that continue and extend your experience of the fortifications at Les Landes / Noirmont during our site visits. Choose your area of study carefully by having a look at the interactive map below and then carefully photograph the location

Consider :

Composition…what are you trying to show, accentuate? Has the location got aspects of context or is it isolated? Is there a contrast or juxtapositon happening eg old/ new or urban / natural.

Exposure…employ over, under or balanced exposures. HDR? Long exposures for movement / night photography and take a tripod!

Lighting…use the times of the day or night to your advantage, think about shadows, colour casting (check WB!) USe the weather to your advantage for dramatic effect…rain, fog, storms etc

Lens…wide angle, cropped, standard, telephoto, macro etc…each have a different purpose and alloow you to explore depth of field and focus points too

References and inspiration

Please look carefully at these photographers to help you develop ideas for the forthcoming photo-shoot at Les Landes / Noirmont.

It is important that you have a personal plan of action, a vision and some ideas of your own in order to document the area and it’s structures creatively and effectively.

As soon as you can…develop a blog post to show your research and how your own visual ideas are developing

Jonathan Andrew
  1. Jonathan Andrew

https://www.jonathanandrewphotography.com/Projects/WWII-Relics/8

Paul Virilio
  • 2 . Paul Virilio

https://thefunambulist.net/architectural-projects/unwall-bunker-archeology-by-paul-virilio

  • 3. Dirk Reinartz—Deathly Still—Images from concentration camps
Noemie Goudal
  • 4. Noemie Goudal—conceptual photography, based loosely on bunker systems and other structures

http://noemiegoudal.com/observatoires/

5. Lynda Laird

Lynda Laird-infrared photographs-Normandy, France

https://lynda-qbha.format.com/

Martin Roemers

At the former Soviet naval base Liepaja an old bunker lies in the Baltic Sea.
Photo: Martin Roemers

https://www.lensculture.com/martin-roemers?modal=project-154443-relics-of-the-cold-war

Feel free to explore and find more examples !

Week 1: photograph chosen location and add images to your Lightroom catalogue, including all edits

Week 3: Either re-visit location from week 1 or choose a new location that compliments / contrasts with your original photo-shoot

Week 5: Complete tasks and develop ‘zine

https://www.jerseybunkermap.com/

The Atlantic Wall (German: Atlantikwall) was an extensive system of coastal defence and fortifications built by Nazi Germany between 1942 and 1944, along the coast of continental Europe and Scandinavia as a defence against an anticipated Allied invasion of Nazi-occupied Europe from the United Kingdom, during World War II. The manning and operation of the Atlantic Wall was administratively overseen by the German Army, with some support from Luftwaffe ground forces. The Kriegsmarine (German Navy) maintained a separate coastal defence network, organised into a number of sea defence zones.[

Hitler ordered the construction of the fortifications in 1942. Almost a million French workers were drafted to build it.[The wall was frequently mentioned in Nazi propaganda, where its size and strength were usually exaggerated. The fortifications included colossal coastal guns, batteries, mortars, and artillery, and thousands of German troops were stationed in its defences. When the Allies eventually invaded the Normandy beaches in 1944, most of the defences were stormed within hours. Today, ruins of the wall exist in all of the nations where it was built, although many structures have fallen into the ocean or have been demolished over the years.

Organisation Todt (OT) was a civil and military engineering organisation in Nazi Germany from 1933 to 1945, named for its founder, Fritz Todt, an engineer and senior Nazi. The organization was responsible for a huge range of engineering projects both in Nazi Germany and in occupied territories from France to the Soviet Union during World War II. It became notorious for using forced labour. From 1943-45 during the late phase of the Third Reich, OT administered all constructions of concentration camps to supply forced labor to industry.

Independent Study

Personal Photo Assignments : Locations and possibilities

Bunkers / Gun Emplacements…

Towers…

Tunnels…

Slave worker / forced worker Labour Camps…

Sea defences / walls / other fortifications…

Other buildings connected to WW2 Occupation / Liberation…and surrounding landscapes too

People…the survivors, the resistance, the collaborators, the escapeees

Objects and artefacts…

Liberation…

Legacy…

Remembrance…

Useful Links for you…

https://www.theguardian.com/culture/2019/may/15/hatred-doesnt-build-overnight-behind-the-powerful-auschwitz-exhibition

https://www.cios.org.je/

https://www.jerseybunkertours.com/

https://jerseyeveningpost.com/news/2019/05/09/an-end-to-occupation/

https://www.theislandwiki.org/index.php/Noirmont

https://en.wikipedia.org/wiki/Hohlgangsanlage_tunnels,_Jersey

Journeys and Pathways—(AS Photography Externally Set Assignment)

Journeys and Pathways

As humans we constantly make journeys. We travel along pathways (both literal and abstract) each and everyday. We are fixated with documenting journeys too (travelblogs, instagram etc) and become very adept at observing unique and fascinating aspects of “our journey”.

Image result for train tracks

 

Example : Political instability can often cause mass migration of populations and considerable human distress, which provoke artists to respond with powerful visual statements. Mona Hatoum’s displacement from Palestine to Britain influenced many of her pieces that comment on her personal experiences of such a traumatic event. Ai Weiwei and Sebastião Salgado recorded compelling accounts of refugees and their plight, whilst Dorothea Lange documented the devastating effects of the Great American Depression.

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Dorothea Lange – Migrant Mother – 1936

Assessment Objectives

You should provide evidence that fulfils the four Assessment Objectives:
AO1 Develop ideas through sustained and focused investigations informed
by contextual and other sources, demonstrating analytical and critical
understanding
AO2 Explore and select appropriate resources, media, materials, techniques and
processes, reviewing and refining ideas as work develops
AO3 Record ideas, observations and insights relevant to intentions, reflecting critically
on work and progress
AO4 Present a personal and meaningful response that realises intentions and, where
appropriate, makes connections between visual and other elements.

Preparatory studies

Your preparatory studies should show evidence of:

• your development and control of visual literacy and the formal elements (tone,
texture, colour, line, form and structure)
• an exploration of techniques and media
• investigations showing engagement with appropriate primary and secondary sources
• the development of your thoughts, decisions and ideas based on the theme
• critical review and reflection.
Period of sustained focus
During the 10-hour period of sustained focus you will produce your final outcome(s)
responding to the Externally Set Assignment theme, based on your preparatory studies. The period of sustained focus may take place over more than one session. You will not be able to access your work outside of these sessions. Once the 10-hour supervised period
has ended you will not be able to add to or alter your work

Inspiration: JOURNEYS AND PATHWAYS

In his installation Nantes Triptych Bill Viola simultaneously shows three videos of people at different stages on the journey through life.

Image result for bill viola

Other photographers and film makers are also interested in recording changes brought by the passing of time. Richard Linklater’s film Boyhood was filmed over 12 years to show the actual development of a boy into a young man.

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Christian Boltanski shone lights on fading images of people killed in the Holocaust.These suggest an interest in the journey that the photographs themselves make on a path to obscurity.

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In the book We English Simon Roberts records a two year journey in a motorhome around England. The resulting images are lyrical and calm, as he often found beauty in mundane situations and in the exploration of the relationship between people and place. He
purposely avoided the tendency to satirise the English class system in ways that have almost come to be expected by photographers such as Martin Parr.

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Walker Evans, David Meadows, Guy Bourdin, John Davies, Dorothea Lange and many other photographers have gone on extended journeys to record their view of the country or their immediate surroundings.

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Creative journeys can derive from ideas that link diverse objects in unexpected ways. These reflect the individual preoccupations of the photographer. Edward Weston’s obsession with abstract form led him to transform vegetables, chimneys and toilets into
objects of great formal beauty. Rinko Kawauchi’s image of a dead wasp on a windowsill and a drop of milk on a baby’s chin are both connected by her interest in the poetry of ordinary moments.

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The daily grind can be a test of endurance. In Tokyo Compression, Michael Wolf recorded the extreme discomfort of Japanese commuters pressed up against windows dripping with condensation on their journeys to and from work.

Dryden Goodwin, Cast exhibition

In Harlem Trolley Bus, Robert Frank showed the divisions within American society in the mid-20th century. Dryden Goodwin
took pictures of exhausted travellers on London night buses and wove a protective cocoon of blood capillaries around them.

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Matt Crabtree transformed commuters on the
London underground into 16th century portraits of praying saints.

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Richard Long walks through landscapes, making subtle changes along the way.

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Theo Gosselin documents friends / models / muses on various journeys in urban and rural areas

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J.Grant Brittain, Warren Bolster and Craig Stecyk documented skate culture throughout the 1980’s and beyond…

 

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Robert Adams, Lewis Baltz, Bernd and Hilla Becher, Joe Deal, Frank Gohlke, Nicholas Nixon, John Schott, Stephen Shore and Henry Wessel, Jr. explored man-altered landscapes…often connected by road and rail systems in the USA, UK or Europe.

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Ansel Adams – Snake River – 1942

Ansel Adams explored vast areas of America’s National Parks, preserving the notion of their grace, beauty and purity despite changes to their condition and use…

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Miklos Gaal employs tilt shift techniques to create toy-town-esque scenes of everyday hustle and bustle life in urban areas, distorting our sense of space, proportion and time.

Here are some other suggestions that may stimulate your imagination:

• trains, cycles, boats, planes, coaches and cars • hiking, camping, caravanning, hotels • obsessions, desires, pursuits • adventure trails, treks, mazes, maps, tunnels, caves • oceans, rivers, canals, motorways, bridges, corridors, staircases, packed lunches, service stations, mobile cafes, drive-thrus, airport lounges, bus stations, train stations • escapism, fantasy, science fiction, books, comics, quests • tracks, footprints, jet trails, bow waves, oil slicks • detectives, clues, pursuits, bloodhounds, foxhunting, treasure hunts, geocaching, orienteering • Pied Piper of Hamelin, Hansel and Gretel, Jack and the Beanstalk, The Hero’s Journey • internet, optic fibres, cables, communications, text messages, emails • letters, shipping containers, parcels, presents, trade routes • protest marches, processions, pilgrimages, hustle and bustle, street life (street photography)

Remember that you must : 

  • Complete 1 x response to Journey and Pathways
  • Complete 3 x Photo-shoots
  • Take 150-250 photos per photo shoot
  • Tackle each part of the marking criteria
  • Provide a minimum of 10 x through blog posts

Always ensure you have enough evidence of…

  1. moodboards
  2. mindmaps
  3. case studies (artist references-show your knowledge and understanding)
  4. photo-shoot action plans / specifications (what, why, how, who, when , where)
  5. photo-shoots + contact sheets (annotated)
  6. appropriate image selection and editing techniques
  7. presentation of final ideas and personal responses
  8. analysis and evaluation of process
  9. compare and contrast to a key photographer
  10. critique / review / reflection of your work

Picture

ESA EXAM DATES

23rd April – 3 May inclusive

(dates / days to be published soon)

Final Outcomes—display and presentation

YOUR FINAL BLOG POST SHOULD CLEARLY SHOW 3-5 POSSIBLE FINAL OUTCOMES for IDENTITY AND PLACE, INCLUDING YOUR PRESENTATION METHOD

  1. sequencing of images
  2. grouping of images -grids , triptych, diptych, dioramas, predellas
  3. sculptural / multi-media approaches
  4. framing methods
  5. blog (show examples of frames / borders + process)
  6. clarity of final outcomes—which images are your final outcomes?
  7. coursework round – up and evaluation

FROM THIS YOU CAN CHOOSE YOUR IMAGES FOR PRINTING

Contemporary approaches to presentation :

Research and explore alternative approaches to presenting your final images. This should be an integral part of your concept…not a gimmick…ultimately, the quality of your photography will be the primary focus and your mark will reflect this…

Sculptural methods…

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Two-Frame / Diptych Arrangements

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Triptych (3 frame)

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Grid Layout

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Eclectic Layout

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Photo-Essay Layout

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Circular Aperture

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Diorama / pop-out book layout

 

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Using projectors  / clear acetate and transparencies

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Evidence of your final outcome + framing

Essentials

  • Remember to label each JPEG  in the print folder with your name
  • Minimum 1 x file per A3. A4, A5
  • Ensure that your final images are a direct response to your chosen photographer (s) and show a clear visual link
  • Print size images = 4000 pixels on LONG EDGE
  • BLOG SIZE images = 1000 pixels on LONG EDGE

 

 

Mock Exam Preparation : Identity and Place

Welcome back and happy new year for 2019 !!!

For the weeks leading up to the AS PHOTOGRAPHY MOCK EXAM at the end of January 2019 you will need to refer to this resource pack

“SELF -PORTRAIT and IDENTITY JAC PDF”

(to find it just copy and paste the link below into the top bar of the folder icon on your screen)

M:\Departments\Photography\Students\Resources\Portraiture\TO DO

We have included a mini-unit to help you explore opportunities with self portraiture in photography as this may become essential to your project outcomes. We will spend 1 x lesson looking closely at this and discussing ideas for you…

Remember…your stimulus for the month of January is…

IDENTITY and PLACE

Blog Posts to make :

  1. define “identity” and explain how identity can be influenced by “place”, or belonging, your environment or upbringing /gender identity /
    cultural identity /
    social identity /
    geographical identity /political identity
    lack of / loss of identity
  2. Add a mindmap and moodboard
  3. Choose a range of photographers that you feel explore identity as a theme and create at least 1 x CASE STUDY on a chosen artist (that will have an influence on your final outcomes re : MOCK EXAM)
  4. Organise and carry out your photo-shoots !!! You MUST complete a minimum of 2 PHOTO-SHOOTS in readiness for the mock exam itself
  5. Decide whether or not YOU will become a feature of your work…will you point the camera at yourself? (how important is self-portrait to “identity”?)
  6. Show your experiments and outcomes as a response to chosen artists over the next few weeks…and begin to plan how to finalise and display your ideas.

Some suggestions for you to look at…

  1. Carole Benitah…memories of childhood, loss and belonging
  2. Jessa Fairbrother…mother and daughter relationship
  3. Phillip Toledano…loss, death, memory, grief
  4. Laia Abril…loss and memory, eating disorders and body image
  5. Diana Markosian…cultural, geographical and political identity
  6. Rita Puig Serra Da Costa…death, grief, loss and family identity
  7. Yoshikatsu fuji…relationship breakdown
  8. Nancy Borowick…relationships and support
  9. Julian Germain… people as individuals vs community
  10. Corrine Day… vitality / pressures of youth

 

Image result for lorna simpson photographyLorna Simpson—gender identity

https://da.khanacademy.org/humanities/global-culture/identity-body/identity-body-united-states/v/lorna-simpson

Image result for Paul Sepuya photographyPaul Sepuya—cultural and national identity / gender identity

Image result for shirin neshat photographyShirin Neshat—cultural identity

Image result for rineke dijkstra photographyRineke Dijkstra—geographical, political and social identity

Image result for sarah mapleSarah Maple—gender identity

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Francesca Woodman—identity and belonging

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Larry Sultan—personal identity

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John Bulmer—social identity / community

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Robert Frank—social and class / race identity

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Robert Frank—social and national identity

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Tish Murtha—social deprivation and geographical identity

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Skate Culture https://www.huckmag.com/outdoor/skate/inside-londons-skate-scene/

 

YOU NEED MORE IDEAS…?

PERSONAL POSSESSIONS x IDENTITY

CREATIVE IDEAS LINK CLICK HERE

Always ensure you have enough evidence of…

  1. moodboards
  2. mindmaps
  3. case studies (artist references-show your knowledge and understanding)
  4. photo-shoot action plans / specifications (what, why, how, who, when , where)
  5. photo-shoots + contact sheets (annotated)
  6. appropriate image selection and editing techniques
  7. presentation of final ideas and personal responses
  8. analysis and evaluation of process
  9. compare and contrast to a key photographer
  10. critique / review / reflection of your work

Picture

Always explore, describe and explain :

  • who (is in the photo / took the photo)
  • what (is the photo about?)
  • why (has the image been made / displayed / connected to other images or text)
  • where (was the photo taken)
  • how was the photo taken (technical attributes)
  • when (was the photo taken)

PRINTING : choose at least 1 x outcome for each of the following…

  • response to “identity and place”
  • response to photo-montage
  • response to tableau / staged reality
  • response to studio lighting
  • response to street portraits
  • response to environmental portraits

LINKS to high scoring A GRADE exemplar EXAM PROJECTS 

CHARLIE CRAIG YEAR 13

TOM WEBSTER YEAR 13

STANLEY LUCAS YEAR 13

NICK GALLERY YEAR 13

ORLA WORTHINGTON YEAR 13

7. Constructed Portraits | Photo-montage | Composite | Collage | Creative

This week’s tasks are designed to encourage you to explore  your creativity by looking responding to Constructed Portraits.

  1. Photo-montage
  2. Composite portraits
  3. Collage

History of Photo-montage (Europe 1910 onwards)

  • A photomontage is a collage constructed from photographs.
  • Historically, the technique has been used to make political statements and gained popularity in the early 20th century (World War 1-World War 2)
  • Artists such as Raoul Haussman , Hannah Hoch, John Heartfield employed cut-n-paste techniques as a form of propaganda…as did Soviet artists like Aleksander Rodchenko and El Lissitsky
  • Photomontage has its roots in Dadaism…which is closely related to Surrrealism

Raoul Hausmann, ‘The Art Critic’ 1919–20
Raoul Haussman

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Hannah Hoch

Adolf Hitler addresses the German people on radio on 31st January, 1933
John Heartfield

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Man Ray

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Grete Stern

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El Lissitsky

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Aleksander Rodchenko

Pop Art developments (USA and UK 1950s-)

  • Photomontage was also used to great effect by various Pop Artists in the mid 20th Century
  • Pop art was a reaction to abstract expressionism and was similar to DADA in some ways
  • Many Pop Art images and constructions tackled popular consumerism, advertising, branding and marketing techniques
  • Pop art also explored political concerns such as war, and gender roles too

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Richard Hamilton

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Peter Blake

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Robert Rauschenburg

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Andy Warhol

Examples and Inspiration

  • richard hamilton / kurt schwitters / peter blake /
  • soviet art
  • sammy slabinck
  • john stezaker
  • jesse treece
  • jonny briggs
  • david hockney
  • hannah hoch
  • Annegret Soltau
  • Brno de Szou
  • Joachim Schmid
  • Jesse Draxler
  • Peter Kennard
  • Eugenia Loli
  • Sarah Eisenlohr 
  • Grete Stern
  • Jerry UELSMANN
  • Duane Michals
  • Edmund Teske
  • Man Ray
  • El Lissitsky
  • Martha Rosler

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John Stezaker

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Peter Kennard

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Annegret Soltau

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Street Poster—Jacques Villegle

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David Hockney – joiner photographs

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Christian Marclay-Album Covers

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Soviet war art and propaganda

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Joachim Schmid

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Jesse Draxler

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Martha Rosler

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Jerry Uelsmann

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Sarah Eisenlohr

In her artist statement Montana based artist Sarah Eisenlohr explains that her collages use places of existence to create fictional ones in an effort to demonstrate the ways in which humans have transformed the earth. These scenes often carry undertones of spirituality and faith. “I consider the figures’ desire for shelter, warmth, and something stronger than themselves as symbols of serenity that I seek through spirituality, while the use of sublime in my work points to a relationship with the divine,”

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Eugenia Loli

California based artist Eugenia Loli draws inspiration for her surreal art collages from vintage magazine images. Loli intends for her images to serve as a snap shot from a surreal movie from which the viewer can create his or her own narrative.

Task 1

  1. Create a blog post that includes a clear understanding of the history and background of photo-montage.
  2. Include a moodboard / mindmap
  3. Add examples of Early – late 20th Century Photomontage eh Hannah Hoch

Task 2

  1. Choose a specific photo-montage artist and write/create a CASE STUDY
  2. Include a detailed analysis of 1 x key image by the artist
  3. Add TECHNICAL -VISUAL-CONCEPTUAL-CONTEXTUAL understanding

Task 3

  1. Create a set of 3-5 photomontage using a mixture of your own imagery (portrait) and “found” imagery….(this could be archival imagery)
  2. Ensure you  include a sense of identity and place
  3. Show your process clearly…remember to add screen shots etc
  4. Evaluate your process…describe and explain

HUCKMAG LINK HERE

Complete over the Christmas Break…and see you all on Tuesday 8th January 2019


KEY COMPONENTS AND DISTINGUISHING FEATURES of PHOTO-MONTAGE

  • A NARRATIVE, CONCEPT OR THEME (A MESSAGE OR A COMMENT)
  • ARCHIVAL / VINTAGE IMAGERY COMBINED WITH OWN IMAGERY
  • SUBVERSION OF MEANING—-POSTMODERNISM

SOURCE MATERIAL YOU CAN USE

  • NEWSPAPERS
  • MAGAZINES
  • ORIGINAL IMAGERY (from studio, tableau, other portraits etc)
  • INTERNET-SOURCED IMAGERY
  • BOOKS

TECHNIQUES

  • MANUAL CUT-N-PASTE (SCISSORS, SCALPEL AND GLUE)
  • PHOTOSHOP –
  • selection tools (to cut and move elements of images)
  • free transform (CTRL T)– to move, re-size and shape elements
  • layers and layer masks
  • opacity tool
  • blending options
  • distortion
  • proportion
  • scale

Ensure you have enough evidence of…

  1. moodboards
  2. mindmaps
  3. case studies (artist references)
  4. action plans
  5. photoshoots + contact sheets (annotated)
  6. appropriate selection and editing techniques
  7. presentation of final ideas and personal responses
  8. analysis and evaluation of process
  9. compare and contrast to a key photographer
  10. critique / review / reflection of your work

Ensure you discuss / describe / explain your images using key words and vocab…

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AS Photography | Mock Exam | Jan 30th and 31st 2019

You will be completing the PORTRAIT UNIT during a day of CONTROLLED CONDITIONS (exam rules apply) at the end of January.

The preparation period begins NOW and continues through the month of January.

Your stimulus is IDENTITY AND PLACE.

We will be exploring tableaux vivants, composite / cut-n-paste / collage portraits, self -portraiture and more over the coming weeks to ensure that you have successful final images ready for your exam.


Exam Arrangements

Periods 1-5 | Breaks as normal | Exam Starts at 9am each day

Group 12 C | Wednesday 30th January | Photography 1

Group 12B | Wednesday 30th January | ICT- MEDIA

Group 12E | Thursday 31st January | Photography 1

Group 12A | Thursday 31stst January | ICT-MEDIA


What do you do in the exam itself…?

  1. Select your final images
  2. Edit and manipulate your final images
  3. Add your final images to the print folder
  4. Show the above process clearly in your blog, including screen-shots of your editing AND annotations

PRINTING : choose at least 1 x outcome for each of the following…

  • response to “identity and place”
  • response to photo-montage
  • response to tableau / staged reality
  • response to studio lighting
  • response to street portraits
  • response to environmental portraits
  • Print size images = 4000 pixels on LONG EDGE
  • BLOG SIZE images = 1000 pixels on LONG EDGE

Ensure you have enough evidence of…

  1. moodboards
  2. mindmaps
  3. case studies (artist references)
  4. photo-shoot action plans / specifications
  5. photoshoots + contact sheets (annotated)
  6. appropriate image selection and editing techniques
  7. presentation of final ideas and personal responses
  8. analysis and evaluation of process
  9. compare and contrast to a key photographer
  10. critique / review / reflection of your work

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