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Occupation / Liberation – Post 1 (Introduction to Occupation / WW2)

The Channel island were the only part of Britain to be occupied by the Germans during WW2. The island were occupied for about 5 years, from the 30th of June 1940 until their liberation on the 9th May 1945.

Life Under Occupation:

The German Occupation of Jersey began one week after the British government had demilitarized the island fearing for the safety of civilians should there be any conflict. The code name for this was “Operation Green Arrow” and the initial German Air Force reconnaissance flights mistake civilian farming lorries for troop carriers. On the 28th of June , the German Air Force, not knowing of the demilitarization, bomb and machine gun multiple sites on the island. The attacks killed ten people and wound many more. A few days later on the 1 of July 1940 General Richthofen, The Commander of the German Air Forces in Normandy, dropped an ultimatum from the air demanding the immediate surrender of the island. White flags and crosses were placed in prominent positions, as stipulated by the Germans, and later that day Jersey was occupied by air-borne troops under the command of Hauptmann Gussek.

Under the occupying forces, one of the greatest hardships was the lack of news from the mainland after the Germans had outlawed the use of crystal radio sets. A number of individuals risked imprisonment by making their own sets and spreading front line news. Horse drawn traffic became an increasingly regular sight as petrol shortages became severe, and many vehicles were converted to use gas. The price of bicycles rose, and their use was restricted to those connected to essential services. The German’s ordered all traffic to drive on the wrong side of the road. The island was also moved to Central European time. In the months following D-Day, as the Allies regained control of France, the source of supplies fueling the islands was now no longer available.

Shopping hours were reduced as goods became scarce. Food shortages on Jersey were finally relieved by the arrival of the Red Cross ship SS Vega, bringing food parcels to Jersey. Before then, substitutes had been used to replace everyday foods, with seawater replacing salt, for instance, and a mixture of parsnip and sugar beet replacing tea. During the autumn of 1944, fuel supplies were almost gone, leaving no gas, occasional electricity, and very little road fuel. Medical supplies were almost non-existent; and most people were without fuel. A Red Cross relief ship, the S S Vega, arrived in Jersey on 30 December with food parcels, and cases of salt, soap and medical supplies. The visits of the Red Cross ship S S Vega proved a lifeline to the starving islanders.

Victory on the Horizon

By 7 May 1945, the German army had surrendered and the end of the war in Europe was announced. During the week leading up to 6 May islanders had been hearing reports of Hitler’s fall in Berlin by way of their hidden radios. In spite of the fact that the island was still officially under occupation, rumors began circulating of an imminent end to the war in Europe. In June 1944, the Normandy landings marked the initiation of ‘Operation Overlord’, the invasion of northwest Europe by the Allied forces. By 7 May 1945, the Germany army had surrendered and the end of the war in Europe was announced. During the week leading up to 6 May islanders had been hearing reports of Hitler’s fall in Berlin by way of their hidden radios. In spite of the fact that the island was still officially under occupation, rumors began circulating of an imminent end to the war in Europe.  Culminating on the 8 May, the Allied military powers had been busy coordinating the necessary steps, behind the scenes, to recover the Channel Islands from their occupation. On 3 May a British Military operation ‘Nestegg’, with the objective of liberating the Channel Islands, was set in motion when a coordinated group of British Army units, collectively known as ‘Force 135’, were called to ‘Stand To’. 

On 8 May the units that made up Force 135 received their orders to move to their marshaling camps in Portsmouth. The main body of the Force was due to arrive in the islands on 12 May, however, a small contingent of Force 135, including their Commander, Brigadier AE Snow, left for the Channel Islands aboard HMS’ Bulldog and Beagle the morning of 8 May. Together with the units of Force 135, this first party consisted of a team of officials responsible for negotiating the terms of the Germans’ surrender. The front page of the Jersey Evening Post carried Jersey’s first confirmation of the Allies’ victory in Europe, and islanders were informed that Winston Churchill would broadcast the Nation’s first official announcement that afternoon at 3.00pm. Crowds began to gather at various locations to hear the announcement that would declare their liberation. Islanders waited patiently amidst the heavy air of expectation. 

Liberation Day:

At 7:15am on 9 May, on the quarter deck of HMS Bulldog, Second-in-Command for Guernsey General Siegfried Heine signed the Instrument of Surrender on behalf of the German Command of the Channel Islands, effecting their capitulation. On completion of this, General Heine was then ordered to “immediately cause all German flags and ensigns now flying in the Channel Islands to be lowered”.  At Midday an overjoyed Bailiff Coutanche accompanied a German delegation led by the island Commander, General Major Rudolf Wulf, aboard HMS Beagle anchored in St. Aubin’s bay, where the separate surrender of Jersey was to take place. Arriving at the same time in St. Helier’s harbor was a small naval inspection party sent to report on the health of the islanders, who were promptly overwhelmed by an enthusiastic crowd delighted at seeing their first liberators landing on Jersey soil.

The advanced landing party was dispatched to secure control of St. Helier and signal the liberation. Crowds greeted the liberating forces. Having wrestled their way through the hordes of celebrating locals, Lieutenant-Colonel WPA Robinson and his team eventually arrived at the Pomme d’Or; the pre-selected liberation HQ. On their arrival the swastika flag was ordered down from the hotel balcony and, at 3:40pm the Union Jack was hoisted, officially signaling the end of the occupation. At this the crowd broke into a passionate performance of the national anthem before the streams of cheers erupted.   This time, it was the Germans who were ordered to fly the white flag. The task force included many Channel Islanders who were forced to leave in 1940, and one of them, Captain Hugh le Brocq, was given the honour of raising the Union Jack over Fort Regent. As the day of liberation drew on, the celebrations continued and islanders celebrated their freedom to be together.

https://www.jersey.com/discover-jerseys-occupation-story

Identity and Place – Post 5 (Editing)

Masked Portraits

Editing Process:

1. Original image opened in Adobe Photoshop.

2. First I used the “curves” to change the tonality of the image and to create highlights, low lights and increase contrast.

3. I then used the “black & white” feature to take the colour out of the image and cause the mask to stand out from the black hoodie and darker grey background.

4. I then added a tint from the colour library in the “black & white” menu to add subtle tint to the image

5. I repeated step 2, adjusting the curves after having set the image to black and white to ensure the image had slightly more extreme levels of contrast than I wanted.

6. Finally, I used the “brightness/contrast” function to actually decrease the “contrast” as i found this resulted in the shadows on the mask being smoother.

7. I repeated these steps for all 4 of my final images from this shoot.

Final Edits:


Edited Portraits

Editing Process:

1. Original image opened in Adobe Photoshop.

2. I began with the “spot healing brush tool” in order to clear the skin of any blemishes or marks.

3. Then I used the “blur tool” in order to minimise pores and smooth out the skin to make hiding features easier.

4. I selected the “lasso tool” and cut out a smooth area of the face with minimal amounts of colour differences so the cut out area is not noticable after blending.

5. Using “ctrl+J” and “ctrl+T” I resized and re-positioned the cut out area over the mouth. Then selecting “flatten image” to allow me to start blending out the border between the image and the cut out

6. Using a combination of “spot healing brush tool“, “healing brush tool” and “blur tool” I blended the cut out area in with the image to create a face without a mouth or noticeable editing lines or patches.

7. I then repeated steps 4-6 to cover the nose.

8. I selected the “black & white” feature, increasing the brightness of reds to create a paler complexion and help separate the face from the black background.

9. Finally I used the “sharpen tool” on the eyes to cause them to stand out more and bring the face together.

Final Edits:

Identity and Place – Post 4.b (Photoshoots – Edited Portraits)

Action Plan:

  • Use the single point lighting of a light box to cast soft light on subjects face.
  • Alter position of light box to give different effects on the subject’s face (eg. chiaroscuro).
  • Take photos of subject under different lighting.
  • Select well composed and focused images that show off the combination of the subjects face complementary to the light used.
  • Select best images based on editing plans.
  • Edit images.

My Response: Best Images:

Identity and Place – Post 4.a (Photoshoots – Masked Portraits)

Action Plan:

  • Select location suited to particular photoshoot (eg. woods. bunkers, old buildings, run-down areas).
  • Select area with good natural lighting (eg. window lighting).
  • Change camera settings to ensure good quality images in darker areas. (ISO, White balance).
  • Take photographs in a variety of locations or poses to give more potential final images.
  • Select best images based on editing plans.
  • Edit images.

My Response:

Best Images:

Identity and Place – Post 3.b (Planning – Edited Portraits)

Mood Board:

Features:

  • select best feature(s) to showcase
  • covered areas of the face
  • enhancing areas of the face for effect
  • not taking away from the physical identity of the subject

Colours:

  • Selecting colours to enhance chosen feature
  • black & white
  • no colours to overpower image

Subject:

  • subject facing the camera
  • centered
  • possible eye contact
  • no pose / expression

Identity and Place – Post 3.a (Planning – Masked Portraits)

Mood Board:


Mask:

  • hidden face
  • lack of identity
  • deformed faces
  • plain white masks

Colour & tint:

  • black & white
  • some images slightly tinted
  • lack of colour emphasises clothes and masks
  • high contrast

Setting:

  • outdoors
  • woodlands/fields
  • old houses (abandoned)
  • eerie locations

Subject:

  • face always covered
  • no clear emotion
  • no posing

Identity and Place – Post 2 (Influences)

Masked Portraits:

My inspiration for my masked portrait project was Ralph-Eugene Meatyard. He always believed that everyone is connected but when you use the mask, you take away the differences. Everyone is unique and individual but also the same. Taking away from the trivial importance of appearances.

Meatyard once explained his reasons for the project, saying “the idea of a person, a photograph, say, of a young girl with a title ‘Rose Taylor’ or the title ‘Rose’ or no title at all becomes an entirely different thing.  ‘Rose Taylor’ is a specific person, whether you know her nor not. ‘Rose’ is more generalized and could be one of many Roses—many people. No title, it could be anybody.” And in the same way, a mask “serves as non-personalizing a person.”

This inspired me as it allows for individuality without concern for appearances or reason so be insecure over these differences. This project allowed me to explore portraiture without a need to worry about a physical appearance, giving me more freedom to compose the images how I wanted to, and be able to photograph a person without the focus being on the face or the identity of the person behind the mask.

In a way this was liberating as I could tell a story without context or a character. I was able to simply compose the images I wanted with my own narrative. There is no opportunity to “judge a book by its cover” or judge a person by their appearance as it remains concealed throughout the project.

Edited Portraits:

My inspiration for this project came from several things. During the portraiture unit I have been drawn to obscure portraits that focus on particular facial features, especially the eyes. I have always found the eyes to be one of the things I focus on in pictures and wanted to capture this during the project.

Secondly I was influenced by images regarding covered faced. Whether the face was hidden or partially covered by something in the image or the photograph had been manipulated in some way to hinder the view of the face. I found this really interesting as similarly to my masked portrait project it involves hiding identity.

Despite wanting to cover the face up I did not want both my projects to involve a lack or hiding of identity, so combined partially hidden faces with strong and bold features. My ideas began to flow from there and in the end I combined the things that inspired me and came up with the concept of hiding the face yet capturing the strongest feature on the face which I believe to be the eyes.

My project focuses on covering up the face in order to declutter the image and keep some elements of a hidden identity but in doing so focusing on the rest of the image and especially the eyes.