FULL-BLEED:

Similarly to my photobook, I chose this image as a full-bleed spread as It’s highly ambiguous. The image doesn’t reveal any one identity but represents the actions and shared experience of much of the modern youth- D.I.Y haircuts and a lack of concern for ones appearance, as they continue to develop their identities and experiment with different experiences.

JUXTAPOSITION:

Using another pair of images from my photobook, I juxtaposed an abstract image of a staircase alongside an image of my back. The images are both presented in black and white, so as to focus on the structure and form of the photos. The regularity and structured nature of the stairwell mirrors that of the bone structure and anatomy of the human body. This is a strong juxtaposition as, despite the different experiences we go through as people, we’re all connected via our function- just as the function of a stairwell is the same no matter how it is designed or where it is located.

SEQUENCE:

My initial inspiration for my sequence piece was from the nine images from Tracy Moffatt‘s ‘Something more’. The sequence tells a somewhat ambiguous story of a young woman who, from the title of the piece, is searching for something more- bringing in themes of lost innocence and the sense that this woman has outgrown the security and comfort within her life.

My response:

For this particular sequence I used a mixture of high clarity images and low shutter speed images. The images with clarity were placed in black and white to amplify the objectivity of them. In contrast to this, the images showing bright colours and fast movement allowed for a depiction of altered states, if not caused by then at least related to the images with high detail.

MONTAGE:

My Response:

To carry through this depiction of altered states, I took a formal portrait I created and placed it on multiple layers in photo-shop. Having done this, I cropped the eyes of the layered images and placed them unevenly above or below the eyes of the original photo. This allowed me to create a portrait depicted the possible feeling of being in an altered state, to which the audience can take inference from.

Additionally, I superimposed a pack of paracetamol (commonly mixed or overdosed with) on top of the same formal portrait. Like previously, this removed the identity of my subject and resulted in an image that represents the social issue of drug use throughout the modern youth.

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During the Love and Rebellion project, there has been a possibility of producing a newspaper based on the themes of love and rebellion. I have decided to focus on designing 4 versions of a newspaper spreads using images from my photo book; dear Liw, and from my film, multiple identities. Shannon O’Donnell uses the technique of selecting key frames from the timeline in Premier and presenting them as still-images. I will also print my spreads as final outcomes for mounting.

INSPIRATIONS:

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EXPERIMENTING WITH FILM STILLS:

SEQUENCE / STORY BOARD:

Here are 9 images from my film, Multiple Identities, which display the major/ key frames in my short film. The first 4 represent the stereotypical women identity, the 5th and 6th represents coming back to a neutral identity, and the last 3 represent the stereotypes of being a man. Here is also 9 images from my photo book what compliment each other the best to create a story board.

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MONTAGE:

These two montages are what I enjoyed putting together the most, as I am able to show my creativity through them. Foe the two collages I’ve tries to mix the female and male scenes together. The one of the left is my model earring the suit but I have edited in the fur coat instead. Her hair is tied back however I’ve places earring and lips with lipstick on her. On the right is the opposite, with her completely wearing the suit but with er hair down, being more feminine.

The montage underneath was created from images from by photo book; dear, Liw. I’ve used different textured from a couple of my images to create an interesting monatge.

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JUXTAPOSITION:

This juxtaposition is one of the most important spreads in my piece. It shows the two identities that my model has expressed in the film. The first image on the left shows the stereotypical women’s identity, with ‘girly’ clothing, makeup and jewellery, while the contrasting photo on the right shows the stereotypical identity of a man, with a suit and tie, no makeup or jewellery. I think these two images contrast each other very well because they explain how one gender can express their personality and individuality in different ways, no matter what the stereotypes are. I like how their facial expressions are the same as it continues to show that they are the same person being revealed in different ways.

The images below are from my photo book. I think that the orange and the blue contrast very nicely to create a juxtaposition

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FULL-BLEED:

I really enjoyed the composition of this still image from my short film and I have decided to use it as a full bleed for my newspaper spread. The image shows my model putting on a tie for the ‘mens’ outfit, however the positioning of her hands and the soft glare feels very feminine and gentle to me, and is somewhat a juxtaposition in one image itself. I love how the shadows from the model fill the backdrop and leave a halo of light around her head, centring face as the focal point. I really enjoy how the image is mid motion, and seems very candid and relaxed. I also made sure that the models face was not in the middle of the speed to ensue the fold of the page would not distort the focus.

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Selection 1:

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To create this selection of images, I chose the ones that best represented, to me, the aspects of youth culture. By including a portrait of myself making direct eye contact with the camera, I can personally address the audience. By having the remainder of my subjects facing away from the camera, it is clear that the project shows the characters within my life rather than depicting their own lives.

I converted all the images into black and white to give a timeless and archival feel to the images. The lack of colour allows the focus of the images to be on the concepts behind it. For example, the portrait depicting the back of my subjects head (when in black and white) shows the nature of his haircut- impulsive, choppy and d-i-y.

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I felt that this selection of images presented themselves quite randomly and didn’t link together the way I had aimed them to. To rectify this, I decided to include the use of Polaroid images so as to amplify the archival feel of the set. Not only did this show the personal aspect of the images, providing an insight into the creation of the images and the nature of the project. An additional advantage of adding these images to the set is that it allowed me to place the images in a closer proximity to one another, which, in turn, amplified the link between the images. The lack of space from one image to another implies a sense of immediacy which shows the chaotic and frenzy-like nature of youth.

Selection 2:

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For the second selection, I aimed to shift the narrative of the images from youth as a group to the life on one individual. Filler images, such as location and alcohol use, provides an account of the subject’s life and aids in giving insight into the lifestyle of the individual pictured.

When creating the layout of the images, I decided to maintain a sense of anonymity about the individual, by keeping the portrait taken of their back and removing the portrait where their face can be seen. My reasoning for this is to provide a sense of intimacy, as the person can only be recognised by others if they have been seen first-hand with this same intimacy. However, paired alongside my photo-book, the audience will already have knowledge of the identity of the subject and so the collection of images provides a new perspective as well as the possibility of a new narrative.

Choosing A3 for this portrait immediately establishes its importance in the narrative of the selection. I chose a second image to print as A3, a candid photo depicting three male individuals, whose focus is pictured away from the camera. This composition provides a sub-narrative, one of which implies promiscuity in accordance with the intimate portrait pictured alongside it. Having both these images as establishing shots creates a clear link between the two. The ambiguity of this link provides several different narratives to which the audience can interpret- The strong and dominating stance of the males (due to low camera angles) is contrasted by the fragility and vulnerability presented by the second portrait (due to the fact the subject is facing away from and possibly oblivious to the presence of the camera)

A3 Landscape

For this image I dropped the saturation near to 0 in order to create a dull effect. I did this to emphasise the lack of happiness and enjoyment that the subject feels about the world and him self. The image itself is meant to depict the detachment and hatred the subject feels toward himself due to his reflection not matching his actions and staring back at him.

A3 Landscape

In comparison with the last photo, this image has a high saturation with a bright colour pallet seen in the t-shirts, poker chips and the cigarettes. This image is meant to amplify the commonality of smoking among young male adults. Many images from my photo-book represent the same subject carrying out actions considered ‘taboo’ with a sense of normality and this specific image is the strongest both visually and conceptually.

A4 Landscape

This image is a link to the few things that stay with us from childhood through to adulthood. I created this image with intense colours to emphasise the enjoyment felt by the subject. The subject himself is repeated to amplify that his identity is not needed in order to understand the meaning of the photo

A5 Landscape

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Finally, these three images were used to draw attention to the use of the objects in their respective images as it may have otherwise gone unseen. The photos themselves have clear meaning and are presented with no distractions in an attempt to fully emphasise this meaning.

This process had to start with a careful run-through of the finished film in Premiere Pro and, using the frame capture tool, I selected roughly 30 individual frames that I felt worked well not only as single images but also with each other.

I then imported them into Lightroom in order to continue with the selection process and later the editing process. The first move was to go through using the Colour Label tool and rate them all either red, yellow or green.

Then I went through and filtered out all the “red” and “yellow” ones which didn’t work out or were near-duplicates of other images/frames. After I re-evaluated my chosen images and removed any that didn’t particularly fit in well with the others.

Next, I organised them around, experimenting until I came up with two different layouts, with different concepts but both utilising the chronology of the film and with varying image sizes. Because I’m using an odd number of images (9) they both are more oriented circularly, but the differences are that while the second is central to a single image, the first version revolves around a chronological group of three images, with the remaining ones grouped around them in groups of which are most aesthetically pleasing together.

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After careful consideration, I am choosing to use version 1 for my final print layout, because I think it has a more interesting organisation and spacing and the images are more varied in terms of sizes. It also follows the theme of pairings of threes that I used in the actual film, so it stays close to the source material and my original ideas.

i have used my best images from my photobook to make some newspaper spreads, on indesign.

full bleed

juxtaposition

montage

sequence