My zine has been influenced by The First March of Gentlemen by Rafal Milach. I have detached figures from the Société Jersiaise archival imagery and placed them onto my still life photographs of Occupation objects. Several figures in the zine are caged in geometric shapes as a metaphor of the restrictions the German’s introduced into Jersey when it was Occupied
I love the bold, vivid colour scheme of my zine since it juxtaposes with the historical, black and white images of the soldiers. The colourful aspect of the zine camouflages the serious subject matter of World War 2. I have also included typography inside to add a pop of colour, so there would be a constant colour scheme running throughout my zine.
The theme of the zine is looking at the different topics that we have explored during the Occupation vs Liberation project. These include portraiture, still life and photomontage. The majority of the images in my zine are montages since I wanted to present my photos in a creative way, however there is a double page that includes a portrait of Joan Tapley and two still life’s from the Jersey War Tunnels.
The front cover includes all the archival figures that can be seen inside the zine. I used the font TitlingGothicFB Skyline as the title since it’s bold and will most likely capture the viewers attention. Previously, I had the title in the colour black but decided to change it to white since there is greater contrast between the lettering and the “candy” coloured background. The background from the front continues to the back cover, where a newspaper from the Jersey Weekly Post is depicted stating “Liberation Supplement”. This was published in 1945 and shows Jersey’s Liberation from the German Occupation, creating a pleasant ending to this zine.
With regards to final prints from the occupation and liberation I selected two photographs which I believed where my strongest. I decided to print both out as A3 photographs and frame them on black card using a window mount technique. Using a more contemporary photomontage creates an intriguing and captivating embodiment of work which allows conceptual and contextual representation about the war to be clearly illustrated. I also took a macro photograph from my home sweet home project, as I felt using the strongest detailed image allows the terms occupation and liberation to be viewed in a new way. Personally, I really like the way in which they stand alone, due to them being highly impactful in terms of concept and context and present the theme in different ways, through the difference in composition in the overall frame of the photographs.
To evaluate, having my final outcomes as a dos a dos layout, meant I could successfully showcase my war images and my home images under the same categories of occupation and liberation, whilst being able to showcase the relationship between objects. To achieve the dos a dos I simply glued the back pages of each zine together to create the effect, thus I have an overall zine which is two different zines. I believe my design has strong conceptual representations which clearly showcase my intended narrative. The layout for each page has been carefully thought out and justified as to why the spread is how it is, showcasing my ability to successfully place images into a clear sequence to showcase an intended narrative. I have been able to show my experimentation process when creating the zine, which shows my ability to critically analyse my work and reject ideas which may not be successful. Overall, I believe I have created a strong photographic zine which showcase my intended narrative through my strongest imagery from the part of the occupation and liberation project.
For my first design I stuck to a normal zine layout, 16 page spread in A5 size and portrait orientation. In this design I looked at having half of the zine dedicated to the war and half dedicated to the home project. Overall, I felt that the transition between the two contexts was not clear or effective and almost spoilt the narrative trying to be presented. Below are the screenshots to this design, three pages at a time, with the page layouts being explained below with reasoning as to why these choices where made. In addition, I decided to stop this design shortly after the half way point, transition into the home, as it was not affective, with reasoning as to why, and still showed clear experimentation with new zine layout designs in mind.
On the front and back cover I decided to use the photomontage of the war objects and archival images of the soldiers. I felt as this was my strongest conceptual imagery, I believe it fit perfectly as my covers as it already held strong representation of my intended narrative, moreover the image itself is captivating through the warm vibrant colours, thus drawing viewers into the zine. For my first layout I wanted to use my strongest portrait from the Bob Le Sueur experimentation. I placed the image on the right hand side, as it showcases the subject looking over to the left, making it look more naturally placed. I then decided to add a direct quote from the interview with Bob. I felt the quote used clearly showcased the subjects opinion on the war and German’s and helped to present the beginning of the narrative, allowing a sense of flow within my outcomes. The next spread was an image which focused on detail and texture of Bob’s hands, which is emphasised through the structure and vibrance of the image, Placing this with the metallic headlight used in the war, both being whole page spreads presents the importance of the light during the occupation and the usefulness of the object. It also works alongside Bob’s quote as it shows everyone is alike, as we use the same objects for the same reason, which continues on the flow.
For the next three pages I looked at the transition between war into the home sweet home project. On my next spread I placed an image of a collection of war objects in the centre of the page, doing this supports the ideology that everyone used the same objects whether they were British or German, thus showcasing my narrative of the relationship between objects and portraits. For my middle page I wanted to use a double page spread which showcased liberation of the war, which leads onto the new occupation of the home. This then lead onto the 3/4 page spread of my strongest image from the home sweet home project, which is a macro photograph of a mouth. I felt that the image almost seemed out of place and broke the narrative trying to be presented, which lead me to question the effectiveness of the design.
After consideration I decided to stop with this design as I could not find a solution to transition the war into the home within one zine, therefore my initial design will showcase my experimentation and thought process when creating my final zine design.
Design 2:
For my second design I decided to experiment with different layouts of zines, showcased on my mood board on the narrative and sequencing blog post. After consideration I decided to explore the Dos a Dos design. The dos a dos zine contains two single section zines within one cover, facing them in opposite directions, it’s a neat structure for combining two sets of material which you really want a viewer to experience separately, rather than in a sequence where one follows another. For this one I’ve combined two very different sets of imagery about my native London, one about the city’s history, and the other about it’s possible future.
For the first half of my zine I wanted to showcase liberation from the war and the relationship between objects and portraits in the sense of liberation. I decided to keep similar layouts from the first design as I felt that some layouts were successful in presenting my narrative.
Originally my front cover was black with white text saying Liberation, which juxtaposed the Occupation front cover which was white with black text. Although this worked, having my zine as a dos a dos layout meant I lost two pages worth of display so I felt I was not utilising my pages wisely. This soon lead me to digging through my edits from previous photoshoots were I found an image I took from a worms eye view of Great Britains flag, I felt the fitted nicely with the ideology of liberation.
I decided to use the photomontage of the war objects and archival images of the soldiers. I felt as this was my strongest conceptual imagery, I believe it fit perfectly within my zine as it already held strong representation of my intended narrative, moreover the image itself is captivating through the warm vibrant colours, thus drawing viewers into the zine.
I wanted to use my strongest portrait from the Bob Le Sueur experimentation. I placed the image on the right hand side, as it showcases the subject looking over to the left, making it look more naturally placed. I then places the object of the head light on the left which faces towards the portrait. This presents a strong positive relationship between the two images, showing their importance during the war. This spread took inspiration from my first experimentation as I felt that this spread was the most successful in conveying my narrative.
For my last page spread under liberation I decided to showcase the liberation of the Island when Germans left. This spread focuses on objects of Great Britain’s flag and a radio set, which were banned during the occupation of the German’s. This full page spread clearly showcases the relationship with the objects to portraits with the absence of the portrait, as it is commonly known the citizens illegally held radio systems which outlines the objects importance within the imagery.
To start the occupation side of the zine, I started from the last page and made my way up to the first page, reverse order. The Occupation front cover which was white with black text, which juxtaposed my liberation front cover which was black with white text. As mentioned before although this worked, having my zine as a dos a dos layout meant I lost two pages worth of display so I felt I was not utilising my pages wisely. I will be changing this front cover, with the final layout shown below in order to show experimentation.
Within this half I wanted to showcase the occupation of marriage within a family and the relationship between portraits of objects under this ideology.
For my first page spread I wanted to showcase a portrait of my model hands, with one of the most traditional objects to do with marriage, the ring. A wedding ring symbolises the occupation of your love and life to your spouse, and is very important piece of symbolism to many married couples. Having this images as a whole page spread showcases a lack of space, showcasing the fulfilment marriage has on the impact of our lives.
I then wanted to keep the whole double page spread design as I liked the symbolism of the lack of space and how marriage impacts a whole persons life. I then decided to use this macro image of my models mouth who seems to be smiling, showing their teeth. The sense of black space on the left shows an emptiness and false sense of happiness, many marriages lead to relationship problems. This spread almost acts as a representation go how the models life has been taken away and how they are not happy about it but can not do much about it.
My final page spread focuses on the macro portrait of my subjects eyes. She is looking through her dirty glasses, which symbolises how she is unsure where her future is going and how marriage has lead her to not being able to freely make all decision by herself, showcasing the entrapment of marriage and the occupation it has.
Changes:
New Design
Old Design
For my first change I wanted to change the front cover of my occupation front cover, to have the same amount of symbolism and my liberation front over. I decided to use the environmental portrait of my brother sat on his bed. The sense of negative space on the left and high tonal contrast shows the negative impacts of marriage which fits the theme of the occupation of marriage and begins to showcase the relationship between objects and portraits towards this overall running theme of marriage.
New Design
Old Design
My second change was made after printing a trial run of my zine. In my initial design I turned the white space black, when printing this out the blacks came out as two different shades which distracted viewers from the conceptual representations and meaning of the spread. I decided to change this by getting rid of the artificially placed black on the left and just having it white, I felt that this change still gives off the same intended effect as the black.
Evaluation:
I believe I have made two successful experimentation of zine designs in order to showcase my narrative. I have been able to explore different layouts and the representations they held, with being able to clearly justify as to why I decided to have images in the sequence they are in. I have been able to show my artistic thought process throughout, with constant reference to my intended narrative when explaining each page layout. Overall, I believe my second design will be my final design with the changes made as I feel it’s the most successful in combining war and my home imagery.
While studying the topic of Occupation vs Liberation I looked into the three areas of Landscapes (Bunker Archeology), People (Occupation Babes) and Objects (Archival objects and photomontage). The overall process of the project taught me how to link and develop archival materials, both photographs, objects and writings, into my own work and photographic outcomes. Using the archival material also helped me to develop an understanding of how to go about finding and searching for the right archival material from the help of the Societe Jersiaise archive as well as the Jersey Archives. The use of archival material is something I feel would be useful to develop into my personal study as I feel it can add something to the already developed photographs, as well as the historical ones I feel creating a sense of context as well into the photographs which is something that I feel would be useful and enjoyable into the personal study.
Archival Material
The act of producing portraits in the studio inspired me the most as I enjoyed the simplicity of creating the photographs and the stillness and simplicity of the outcomes. The portraits portion of the project helped me to develop my skills with photographing people who I have just met and understanding the importance of getting to know them and having time taken out to speak to them and listen to them talk as to gain a better understanding of them as a person and who they are, which will eventually lead to a better portrait being taken and better final outcomes. This I feel really helped me as previously I had taken portraits of people in a character however this was speaking and photographing a real person and getting to know them I feel really helped the photographs not be so static of them just of a person. Making them, however, a lot more personal.
I feel the objects section taught me the most skills that I would want to try and incorporate further in my personal study. The objects portion of the project was able to teach me about new techniques that I previously did not know about. The use of specific object photographing tables and how to produce the right lighting around this, as well as how to photograph flat objects with my camera raised and flat above the objects.
The landscapes portion of the project was something I struggled with inspirationally however I feel the end outcome of the zine was most successful. Learning to work in different weather conditions which produced continually changing lighting was something I found difficult and the idea of framing images and what was going into frame I found harder with landscapes rather than portraits and objects. Landscapes is something I would be hesitant to reach into again in the personal study unfortunately.
The overall end outcomes from these mini projects, my zine’s I feel did turn out successful and has given me good insight into how I can go forward to develop my photo-book at the end of the personal study.
Before going into the studio to take photographs of still-life objects that originated during Jersey’s Occupation, we were first given an explanation of how the lights, set and studio itself was to be laid out, along with the camera settings we would need to use to compliment the lighting.
Firstly, we documented the layout of the set, which consisted of a curved white sheet of reflective plastic propped up by a frame. The sheet was curved in order to blur any possible corners so that the background looked like a single toned white background, therefore making sure not to divert any attention away from the subjects, and to make sure there was no cut/line in the background.
3 lights were used to light the subject in the centre; a filler light, a key light, and a back light. The key light was the most important light, as it highlighted the form and dimension of the subject, and provided a basis for all other lights to be added on afterwards. The filler light was used to reduce the sharp shadows created by the key light, and therefore reducing the harsh contrast and making the subject seem more realistically lit. Finally, a back light was used to slightly highlight the subject from behind to allow for an increase in depth in the image.
The camera was set up on a tripod to ensure that I did not create a blurred effect on the image due to camera shake, and a remote switch was plugged into the camera in order to take the photo while not having to touch the camera itself (meaning the camera remained as still as possible).
The camera settings were altered to give the best possible outcome of the image. The camera was set to manual (to allow for manual adjustments of zoom and focus) and the white-balance was set to Daylight, in order to compliment the blue-light setting of the filler light. The IOS was set to 100 due to the light intensity of the studio, and the shutter-speed was set to 1/4th of a second (although after a number of attempts, this was altered to 1/2, 1/8 and 1 in order to see the difference in the images). Finally, the aperture was set to F16, in order to slightly reduce the amount of light coming into the lens (due to the intensity of the light in the studio itself),and the shutter-speed was set to 0.5/0.8 (depending on the reflection of the objects).
After the camera settings were adjusted, it was possible to take the photographs of a range of subjects and objects loaned from the Jersey Archives, including many items originating from 1935-45.
For the second setup, a tripod was positioned horizontally over the objects (placed on a white table) in order to give a birds-eye-view image of the objects straight on (this was a better option for images with slightly with less depth (such as books and ration coupons). A weight was used on the other end of the tripod in order to balance the structure, and the images were also taken using a remote in order to keep the camera as stationary as possible during the photo.
In order to create my photomontages I exported the original images as JPEG’s and then imported them into photoshop, where I created the montage. These outcomes are inspired by Milach who created similar imagery to contextually presented the children strike.
Design 1:
To create this design I opened up archival images of German soldiers, using the quick selection tool I cut out the sliders and placed them onto the still life photograph. Using the transformation tool I adjusted the size and positioning of the soldiers. I then used the rubber tool and went around the cutting making the outline smooth and more naturalistic. I then added a whole solider image in the light, which was done by cutting out the centre of the light and using the blending mode tools to combine and create this overlay of the two layers. I believe that this outcomes is the most successful from my further experimentation with my still life imagery.
Conceptually I wanted to convey the restrictions the German’s bought in on islanders when Jersey was occupied over the 5 years. The objects in the frame are minimalistic and basic suggesting how restricted Islanders where, as well as the ideology of lack of communication on the island which is shown by the radio set in the centre, contextually Islander where not allowed radio sets or contact with the main land which influenced the restrictions of objects the islanders where allowed. The soldiers represent the restriction and how the German’s were always around making it hard to have the contraband without being caught, creating a sense of authority and entrapment. On top of this, the soldiers in the light represent the unknown, when the war was occurring islanders did not know where they stood and who was winning due to the lack of communication
Visually, the image is busy creating a sense of chaos and lack of space, showcasing the conceptual meaning on how Islanders where restricted. The colours contrast the archival photographs, creating clear juxtaposition which reinforces the conceptual and contextual meanings outlined above. Everything is central in the frame, making it the main focal point. The lack of shadows and simplistic background supports this being the main focus point. On top of this, the main formal elements presented are colour, space and texture which is presented through the positioning of the composition.
Technically, the camera settings are simplistic and similar to Milach’s photography. The ISO was kept on 100 as well as the shutter speed being quick. The aperture was F16, allowing no depth of field to be showcased, but still allowed enough light in. The lighting was two artificial flash heads, reducing shadows in the background, which worked with the colour accuracy of my white balance used. Overall, I believe I have managed to produce successful imagery with strong conceptual and contextual representations.
Design 2:
For my second design I followed similar steps as to my first photomontage. When creating this image I selected an archival image of a solider and used the quick selection tool to cut it out. I then placed and positioned the the solider to look at the light, creating a minimalistic and simplistic documentary photomontage. Although this imagery is still successful and rich with conceptual land contextual representation, I do not believe it is as strong as the imagery created above.
Exploration Edit:
For my next edit I decided to select my top photograph which captured a singular object at a straight on angle on the white background. For my first design I created a colour version of this. I achieved the look by adjusting the contrast, structure, white, blacks and shadows allowing the colouring to be emphasise, making it the main formal element being presented in the outcome. There is clear highlighted areas which create a contrast in tonal regions, which compliments the rustic feel towards the imagery. A vignetting has been used to draw attention to the centre of the frame, almost creating an artificial depth of field. I find the colour edit visually pleasing to look at due texture and colour of the object to clearly be illuminated.
For my next design I wanted to create a black and white variation of the same image. To achieve this I started by making the image monochrome, and similarly adjusted the sliders of contrast, blacks, whites and shadows like the colour edit above. Doing this allowed a clear comparison as to if the image presents itself better black and white or in colour. Personally, I prefer the black and white outcome due to a ore metallic feel and the texture of the object to be showcase more, which helps to emphasise the contextual representations of the object more clearly.
I then decided to make a third edit, which really emphasised the texture and tonal contrast of the object. Utilising the image above I then went on to moving the sliders to the extreme, at the bipolar ends, allowing the metal to be clearer and showcase more tonal contrast. Doing this also allowed the shadow of the object to be presented, which I think compliments the object and outcome. In addition, it has allowed the backgrounds to be multiple tones of white and grey, which does not distract viewers from the background, making a more intriguing representation of the object. I believe that this outcome is the most successful from this photograph due to the overall atheistic it brings and the strong conceptual and contextual representations it holds.
Most Successful Outcomes:
Evaluation:
To evaluate I believe I have been able to show clear further exploration to my still life imagery, through using inspiration from artists and experimenting on Lightroom to produce different outcomes of the same image. Doing this has allowed me to develop my project and understanding of still life, as well as produce outcomes which I would not have initially created. I have shown my creativity through my photomontages and ability to use photoshop to create such design. The two successful images, are definitely images which I will be using in my new zine which explores objects and people. To conclude, I have successful produced further exploration to still life which showcase my ability to think about conceptual and contextual meaning when creating the imagery.
In preparation for my second photo shoot I reflected back on my previous shoot, looking at lighting techniques which worked and looked over the camera settings in order to capture effective imagery. For this shoot I decided to take a more contemporary approach by adding colour backgrounds to my straight on angle photographs, allowing an inspiration link to Rafal Milach’s work, developing my response to still life photography. I also wanted to explore more using singular objects of the complete white background, working on my manual focusing skills. I will again be using two set ups, the first for more flat objects (Birds Eye View) and one for 3-Dimensional objects (Straight on Angle). These two set ups required different lighting rigs, which is explained below. With my camera settings I put the mode to Manual, the ISO to 100 and the aperture to F16, allowing a wide depth of field to be utilised. The shutter speed for the Birds Eye View was between 1/250 – 1/200 and the straight on angle’s shutter speed was 0.5 – 0.8. The white balance for both was set onto daylight, with manual focus being used.
I used two flash head lights, set on a 2.0 power output. The lights where paced either side of the table, slightly facing downwards towards the object. On my camera I used a transmitter which triggered the flash heads to operate as I captured my imagery. In addition, I also used a pilot light in order to position a and frame my composition, this was located at the back of the table (on right) and did not affect the colouring or the outcomes of my image. The camera itself was placed on a tripod facing straight on at the table, with adjustments allowing me to have control over the composition of my imagery.
Edits:
First Edit: Flagged
Second Edit – Star Rating
Third Edit – Colour Rating
Outcomes:
The three outcomes below are my top photographs from the shoot, which clearly showcase my inspiration and application of Milach’s work into my own. I explored with coloured background, which complemented one another, allowing a more ameliorative tone towards my final outcomes. I felt that it was important the the colours were vibrant and bright, almost welcoming, in order to draw the eyes into the objects located in the centre of the frame, I really emphasised this when editing. I started off by adjusting the whites, darks, shadows and contrast, allowing the objects to show clarity and tonal contrast, on top of accurately making the background vibrant. I then used the spot removal tool, to ensure a consistent coloured background, so that the viewers attention is not drawn away from the objects presenting the concept, a lack of simple supplies that citizens had to live off when the German’s occupied the island, of the imagery. I also selected another photograph which used the plain white background and experimented with attempting to get the text clear and bold, making it the main focal point, which was done by adjusting the clarity, structure, blacks and whites.
Evaluation:
To evaluate I believe I have been able to produce strong imagery, which clearly convey my understanding of Milach’s work and ability to apply his techniques and designs into my photographs. In addition, I have been able to explore a new way of capturing still life, furthering my exploration with this style of photography allowing more conceptual and contextual outcomes to be presented. To further my exploration even further I now intend to create photomontages with the coloured outcomes to make stronger links with Milach’s work, as well as creating different edits of the same photograph to showcase my exploration.
After finalizing the editing for all of the photographs I took over the course of the project, and reducing my selection of images to the ones that I wanted to use as final images, I was left with the below images:
These would be the images I would use in my zine, and I felt like these images could all be linked together using a narrative. My first thought was that the contrast between the portraits (clearly taken in modern time) and the images of the archival, old objects would work to add to a narrative that represented the reflection between the present individuals who still deal with the trauma of the occupation, and the reality that the occupation is still a very important and present part of the history of Jersey (as clearly the objects have been looked after and archived to preserve them and their importance). I decided to develop a narrative that would help to link between the past and present, and show the differences and similarities that could still be found within past and present representations of war and occupation if they are actively sought out.
The first 2 images I decided on to place side by side were a portrait and a photo-montage. I feel that placing these 2 images together shows a contrast between the bold colours on the right, and the dulled, somber colours of the left. I specifically placed these images together due to their contrasting colours which would draw attention of the viewer, but also the fact that the subjects of both images are looking in the same direction, showing a connection between the two images, and drawing attention to the fact that the subjects of both images, although presented very differently, still hold experiences of war and trauma that they deal with in their own way. I made these the first images to immediately draw attention to the similarities between old and new.
third image
thirteenth image
I then began sequencing the next images, to show a subtle decent into a set of images that focused more on the historical aspect of the war, drawing attention to archival images and photo-montage representations of how war influenced those involved in it. I did this by placing an image of a single subject that has been edited to look slightly ripped. I did this to show a decent, as if tearing away the present to reveal the past reality of the war and occupation. I then placed a series of objects and photo-montages, progressively becoming darker and bolder in colour as well as theme, in order to represent the growing despair and hopelessness of the occupation.
As seen in the gallery of images above, the sequence moves from lighter, studio photography of objects, towards more raw, darker tones images of objects in the environment in which they would have been found during the occupation. I did this to emphasize the reality, in which archival objects themselves struggle to tell the full story, unless the reality and truth of the occupation itself is considered, and the objects are seen in their real, frightening and more disturbing setting.
I decided to use this image as my final image. I feel like the tones of this image encapsulate the sorrow of the war, as the contrasting black and whites present a stark and harsh contrast, with the subjects presenting neutral faces (rather than happy). I used this as my final image to bring attention back to the present, where individuals present during the Occupation still deal with the negative memories of the Occupation, and I feel that this image reflects the dark struggles that the subjects still deal with every day.
