Here we see the final layout for my photobook within Lightroom. On this app I have spent a couple weeks revisiting the layout and making small adjustments to ensure the book looked how I wanted. I decided to add a slight grey tint to the pages as I found that having white pages quite bright and seemed quite bold, this concerned me as it could have drawn attention away from the actual images.
I concluded my photobook by adding my essay to the back pages. I took this option as my photobook doesn’t contain a lot of text. Having the essay helps add context to the project and it supports the ideas presented about identity through body art.
I chose these two versions of the same image to print. My idea for this is to possibly experiment with tearing pieces and overlapping them over each other.
For this image, I plan to mount this image within a window mount along with the coloured/black and white photo of the same back. I have decided to print these off in different sizes to create a contrast in the photos.
A4 images
The first image is to be displayed in a window mount alone with a large amount of negative space around it to create more of an impact that the image has.
On the side of out Identity and Community project, we have been given the opportunity to submit our work to be printed and presented in the JEP. In preparation for this, we have been asked to gather our strongest pieces from year 13 and present them in different ways: a full bleed, a collage/montage, a sequence and a juxtaposition spread.
Collage
For my collage piece, I have decided to input my collage that i made during the NFT project, this was made by hand using printed images and a canvas sheet displaying same sex models , however due to the paper material, I don’t think that the quality of the print will be suitable for the newspaper.
Sequence
These photos surrounding the middle image consists of close up images of the same models arms. This is my sequence spread as all the images have a common theme. I feel like this spread is the only one out of my project that can work as a sequence due to all the tattoos being so diverse and personalised to each individual.
Full bleed
I chose this image as a potential full bleed as this is my favourite photo aesthetics wise, this image shows a symmetric full chest and neck tattoo. This photo is what I used for my front and back covers as the image wrap will be perfectly symmetrical with the eye in the middle, on the spine of the book.
My next full bleed is a coloured image showing a variety of tattoos, with the main piece being the roman philosopher, Marcus Aurelius. I found the same broken statue as the tattoo and decided to line it up, showing the tattoo and statue together.
Juxtaposition
Here we can we can see two photos both displaying hands, however bring different essences to the photobook. the photo on the left shows an open hand with a tattoo of a day of the dead skull, this give the image a powerful and imitating demeanour. This is strange to see that an open hand gives this feel when you see more intimidating images, they include closed hand. However, the closed hand on the right has a sense of delicacy and remembrance, supported by the background writing.
My plan for my photoshoots is to set up a black back screen I have in a separate, untouched room so I can leave the set up there to keep going back to with my models, this will improve the efficiency of the photoshoots as I won’t have to keep taking down and moving the equipment place to place. My aim is to use around 10 people within my project, this will give me a wider range regarding the styles of body art and also a wider range of meanings and reasonings. This may deeper my project.
To start my photobook process, I uploaded all my images into Lightroom to start my editing. I transferred them all to their own collection I labelled photobook.
I started off the editing process by going through and ‘flagging’ the clearest and cleanest photos of from the shoot. I chose the ones that I felt extenuate and display the tattoos firmly, presenting them clearly. `This will benefit the clarity of showing the images in a book as I have experiences in the past, photos look different when not on the computer screen and sometimes unseen shadows or distortments can arise. This process took a lot of time due to taking care for how to avoid those possibilities.
Experimenting
Instead of adjusting the photos through shifting exposure, shadows etc. , I wanted to experiment on more abstract ways to present my added materials in with my photos, cooperated and intertwined with the images. Testing in both black/white and colour to see which version of the image if more powerful.
The process of this image started by tracing the few words off of the note given to me on photoshop, then pasting the phase and positioning them until they covered the whole of the black background. Next, I cut out the image of the hand using the lasso tool so then the hand and arm were isolated from the background. Then pasted it into the words. Once I was happy with the final image, I flattened it, ready to be saved.
I feel that this image is very successful and the writing in the background brings a captivating power to the image. Showing the importance of the tattoo with the repetition of ‘memory’.
For these images, I decided to experiment with archive images I collected from the models and hand written notes about the meaning of the tattoos, layering them on top of each other. This benefits reducing the amount of materials I have to include in the photobook, allowing more negative space around the images. Although this method makes the archive images quite busy as there is a lot of information the image holds, the space will become useful to break up the page.
This collection shows my original images with external materials imprinted onto them.
One of the images shows the models shoulder with a lavender plant tattooed, this led me to layer an image of the plant on top to bring some bold, bright and happy colour to the image as the model said that lavender bring joyful memories of her childhood with her brother.
The next image was created through me not knowing whether I preferred the image in colour or black and white, so I decided to see what it would look like half and half. This version happened to become my favourite as it seems to present the present and the past through the colours. I see this in this edit as the tattoo is of Marcus Aurelius, whose philosophies are still used current day.
The final image I decided to take the album cover that the tattoo was influenced by and paste pieces of it on top of the image, however I feel that the image alone is stronger than the edit.
After my selection and editing process, I moved all the images I will be using in the photobook into separate subfolder to section them away from any unwanted images. I then started the book, moving the images around to fit the narrative.
Introduction (250-500 words):What is your area study?Which artists will you be analysing and why? . How will you be responding to their work and essay question?
Pg 1 (500 words):Historical/ theoretical context within art, photography and visual culture relevant to your area of study. Make links to art movements/ isms and some of the methods employed by critics and historian.
Pg 2 (500 words): Analyse first artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Pg 3 (500 words): Analyse second artist/photographer in relation to your essay question. Present and evaluate your own images and responses.
Conclusion (250-500 words): Draw parallels, explore differences/ similarities between artists/photographers and that of your own work that you have produced
Bibliography: List all relevant sources used
Structure plan
Introduction
250-500 words
Opening quote
lead with my initial idea for the project and personalise it to my experience. Introduce the artists I will be analysing with a brief summary of why I chose them.
Paragraph 1
500 words
Talk about the history of tattooing, including the value of the art to cultures to lead in Jono Rotman.
History of portraiture, including dates and locations of where this medium was first seen.
Paragraph 2
500 words
Analysis of Jono Rotman’s relevant project, including his own heritage, background context on the Mongrel mob.
include quotes from critiques and comment on them, either supporting them or going against them.
Choose one image from the project to analyse
Paragraph 3
500 words
Analysis of Danny Alexander’s relevant project.
Comment on quotes from critiques and Alexander himself.
Choose one image from the project to analyse.
Conclusion
250-500 words
Comment on similarities and differences between the two artists
Relate points made to the historical context
My work in relation to the artists (similarities/differences)
Possible essay questions:
How does Richard Todd and Danny Alexander use portraiture to represent different identities?
How does Richard Todd and Danny Alexander use portraiture to explore a persons identity?
How is intimacy created in the work of….
Can personality and identity be expressed in a portrait?
How does Richard Todd and Danny Alexander use and manipulate lighting to emphasise focus?
How to reference: Harvard system of referencing
Wolf, N (2007). Romanticism Koln ; Taschen
In text referencing ‘I did not paint to be understood, but I wished to show what such scene is like’ (Wolf, 2007, p7)
A sentence: A story of peoples’ body art and what they mean to them through a documentary style.
A paragraph: I wish for my photobook to display and take viewers through a series of images showing my families’ and friends’ body art. Expressing what these pieces’ importance to to them. I will mix in some images without any explanation or further imagery to still give my photobook a sense if subjectivity, alike my artist I studied, Danny Alexander.
Design: Consider the following
How you want your book to look and feel: hard back
Paper and ink: My photobook will use a glossed paper as I feel that for my project, it will extenuate the quality of the images better. I don’t have any large bodies of text other then the essay so there will be no negative effect on the ability viewers have on the book. I also feel that having a glossy finishes on my photos will give them more of a professional feel.
Format, size and orientation: My photobook is 20*25 cm, in portrait orientation, which is just short of an A4 paper, however not all images will fill up the page as a bleed, some will take a smaller section of the page to break up the similarities throughout.
Binding and cover: as my book revolves around such a graphicly designed topic, I will over exaggeratedly edit one of my images and use it as a image wrap.
Title: inked
Design and layout: I want the layout to be basic and spread as the images themselves have a lot to say and project to the viewer.
Editing and sequencing: pair added materials of symbols with their tattoo representation.
Images and text: I will use quotes from the models as text in or on their photos.
TIME PERIOD: Pictorialism dates back to the late 19th century, specifically thriving during the years 1880-1920.
AIM: Pictorialism was the movement revolved around taking the essence of photography away from only being used for scientific logs and develop it into a respected artform.
INFLUENCE: Photos seen from this time period look to have been influenced by the Italian renascence and have a biblical or spiritual atmosphere. The collection of pictoriality also fit in with romanticism.
METHOD: Artists added to their scenes through many methods. Vaseline was used to smear the lens prior to photographing, scratched were added to negatives later on in the dark room and painting chemicals on the photos to add a painting like feel to the photos.
ARTISTS ASSOCIATED: Paul Strand, Alfred Stieglitz, Peter Henry Emerson.
Alfred Stieglitz
Peter H. Emerson
Paul Strand
Realism/ Straight
TIME PERIOD: Realism was first pictured around 1915 and has continued to be used to this day.
AIM: To except reality and to show what is seen through the lens without any manipulation.
KEY FEATURES: Photographs during this style usually incorporated geometrical shapes, high contrast, rich tonalities and a pointy focus. These photographs often showcased seemingly mundane objects and landscapes, with the aim of the photograph to supply an accurate and descriptive record of the visual world. Photographers of this art movement didn’t want to treat photography as a sort of monochrome painting.
ARTISTS ASSOCIATED: One of the pioneers of this photographic movement was Paul Strand, said to possess brought new perspectives to often overlooked subjects, who studied under photographer Stieglitz . These two photographers were said to be influenced by European avant-garde art movements, which may be seen in there abstract and geometric images. Walker Evans also helped to develop this genre, instead that specialize in portraits containing detached and disinterested expressions from the themes.
METHODS : Most of the time these photographs aren’t manipulated and believe the attention of the photographer. These images were often taken in an abstract manner and from unique angles. so as to require these images, photographers used crisp focus with a good depth-of-field, contrasting with the design of Pictorialism.
Paul Strand (1917)
Modernism
TIME PERIOD: Early decades of the twentieth century
INFLUENCE: Modernism is often identified as a term that encompasses the broadness of all the avant-garde isms that were seen within the beginning of the 20th century. This new movement was a reaction to ‘the enlightenment’, which saw science and reason become more prevalent in society than spiritualistic beliefs. This dramatic change of thought cause many artists seeking answers concerning fundamental questions on the character of art and human experience. Many came to the conclusion that art needed to renew itself by confronting and exploring its own modernity. Works during this style were often supported idealism and a utopian vision of human life, also as society and a belief ongoing .
ARTISTS ASSOCIATION: Ansel Adams is often described as an early modernist photographer, together with his dramatic photographs of North America’s vast landscapes that showcased large contrast in tones. Stieglitz was known to even be a modernist photographer also , taking photographs that displays striking architecture with a pointy focus, after moving faraway from his soft edge pictorial style.
METHODS: There were not many key defining techniques that were in constant use throughout this movement, however modernist artist usually experimented with form, technique and process. This was in contrast to purely that specialize in subjects, believing they were ready to find how of reflecting the fashionable world.
How does Jono Rotman and Danny Alexander use portraiture to represent different identities?
“The feeling communicated by this body of work is that its subjects are hanging onto their identities by a fragile thread” (Roswell Angier in Train Your Gaze, 2007)
I wish to explore the intimacy that portraiture allows the viewer to have with the subject model in the photograph, with particular focus on body adornments such as tattooing. I chose this topic as I have recently been exposed to some discrimination and negative feedback over having four tattoos myself at a young age. I wish to challenge these views and demonstrate the meaning and importance of tattoos as art and show why someone would choose to mark themselves with their memories.I will be analysing specific images by Jono Rotman and Danny Alexander. I chose these artists as their work is just as different as they are similar; both artists have their subject models in a neutral setting to emphasise the focus of the tattoos. For example, in Rotman’s work, clothing is used within the photograph, which makes the body art less subjective, allowing viewers to connect the images of the member with all the factors and aspects within the photograph. However, Danny Alexander uses softer, more direct lighting to Rotman, with plain, black clothing, this effect opens the meaning of the art up and almost leaves it to the viewer to piece the clues together and create what identity they think the model portray. Considering the topic in which I have decided to dive in to, I will be looking deeper into how these aspects of portraiture represents one’s identity, including the accuracy and inaccuracy of meaning. Within this project, I will be exploring the photographic gaze of my models, experimenting with different expressions, poses, settings, styling (clothing and make-up), angles and lighting techniques. I intend to photograph in the style of Alexander, to bring a more plain, monotone atmosphere of portraiture, with a mixture of wide and short frame photos, to focus in on individual pieces, pairing them with an image of handwritten note (by the model in the photo) of what they mean to them or to why they got it. Identity is the way we perceive and express ourselves. People’s experiences throughout their lives can alter and change their identities. Their identities also influence the decisions they make: Individuals choose their friends, adopt certain fashions, and align themselves with political beliefs based on their identities. Many artists use their work to express, explore, and question ideas about identity. Portraiture is the best technique to capture the essence of one’s identity due to the uses of lighting, backdrops, instructing the model and all round, gives both the photographer and model to have control of how little or how much insight is given into one’s identity. Portraiture is an old art form going back at least to ancient Egypt, where it flourished from about 5,000 years ago. Before the invention of photography, a painted, sculpted, or drawn portrait was the only way to record the appearance of someone. But portraits have always been more than just a record. They have been used to show the power, importance, virtue, beauty, wealth, taste, learning or other qualities of the sitter. However, there are those that have different views on art. Some Christians misinterpret passages from the bible, for example in Leviticus 19:28 “You shall not make gashes in your flesh for the dead, or incise any marks on yourselves.” (James 2016) As to the bible demonstrating the sin against many forms including tattooing, but the truth of this verse is to example the sin of ancient practises of witchcraft. The form of portraiture that I am focusing on relates the most to the realism movement which rejects imaginative idealization in favour of a close observation of outward appearances, therefore based more directly on what someone looks like without artifice. This relates to my subject matter as the artists I have chosen to study traditionally follow, perhaps unintentionally, realism in portraiture, rarely steering off into other movements. Unlike pictorialism which was the movement of art that was the construction of an alternative reality, realism focuses in on what is there in front of the lens.
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Jono Rotman uses portraiture to explore different identities in his book Mongrelism. Throughout his photos, he photographs mob members in natural lighting within their own environments and within their own clothing, with some photos highlighting jackets, helmets, and their own children. This allows the members to feel more comfortable as the Mongrel Mob has a stringent code against outsiders, having the photoshoots in their territory prevents stripping the mob of their power and therefore identity, making the final book more powerful and intriguing. Rotman also included the members in the editing process and how the work would be used. In relation to my subject matter, Rotman focuses on their tattoos. To the Mongrel Mob, tattoos signify stories of their cultural past. One tattoo seen frequently across members is of the mob ‘patch,’ this is the infamous British bulldog wearing a helmet, tended to be presented to those considered loyal and trustworthy enough to be in the gang. This loaded iconography emblazoned across their faces reflects both an aggressive response to their feeling of long-standing mistreatment and the gang’s commitment to offending mainstream society. The fact that this project has a documentary approach adds to the ideas of the project being an extension to their personalities, showing a fair and balanced view to their lives due to Rotman going forward onto this with no judgement, only investigating a certain lifestyle. Rotman himself, has said that, ‘he felt the weight of precedence of photography depicting people seen as other” and Mongrelism works to address photography’s historical sense of entitlement.’ (Rotman). What Rotman is alluding to here, is the fact that photography, and in particularly documentary photography has from its outset always tended to turn the lens on groups of society which are marginalised. In other words subjects are photographed to represent a stereotype, which Rotman himself is very aware of in his work.
Shano Rouge, Jono Rotman
This photograph of Shano Rouge from chapter MMX. The member is sat hunched over with his hood up, this shows the power and intimidation this person holds over the photographer, however, due to the camera angle, the photographer and member are at the same level, this can resemble the bond and trust that Rotman formed with the mob during the project. The photo is taken on a wider frame to his other pieces to collect all factors of the member in one photo, these being the jacket covered in the mob patch, the old black hoodie and leather trousers, also suggesting his role of the mob of being a biker. Focusing in on his face, it is clear of his loyalty to the mongrel mob. Over his face, you can see the words dog, mobster, and rouge, which we know is either his last name or position/ title from the caption on his page. The way that the member stares directly down the camera lens demonstrates that the member has a connection to the camera as well as the photographer, potentially projecting the bond formed with the model and photographer and shifting it to the model and viewer, showing a sense of vulnerability and reminding the viewer that the mob members are still people with emotions and their own identity, not one that is assumed by society due to stereotypes. “While some of the photos do contain the feeling of menace and bravado expected from one of New Zealand’s most notorious gangs there are also signs of sadness and despair, especially from some of the older members.” (Black, 2019). I feel as if this statement relates to quite a few members, including the one photographed above, I see this statement in the way in which the member is almost hiding in the shadows of his hood, still fearing the disgrace and judgement that could be projected onto him; the fact that this is an older member showing these behaviours is more powerful as it demonstrates that he may have been experiencing this fear throughout his career in the Mob and has never fully accepted other people’s views of them. After reading this comment, it is more apparent looking back over the project that it is more of a common theme then we thought. Justifying this is the last part of the book; The barks as Rotman has labelled them as . Throughout, Rotman has censored parts of the conversation with a red block. Perhaps because the content is too explicit, or too gory, or in fact done for the Mongrel Mobs safety those who disapprove of their ways, or perhaps the colour red is symbolic of their gang colour red that symbolise, a blood bond between members and gang affiliates similar to meaning of ‘blood’ between members of the same family.
However, Danny Alexander takes his portraits in a studio setting, with a black back drop, artificial lighting, and clothing requirements. This allows for the only focus in the frame to be the persons tattoo, reducing how much of their identity seen and subjectively presenting their body art. Alexander tends to use flash lighting in his photos, with the exception of a strip light for an aligned spine tattoo. Flash lighting is beneficial for this form of topic matter as it limits the cause of any shadows being cast on the tattoos. Alexander has also said himself that the Skin as Canvas project is to “highlight the dualistic nature of body art; on one hand body art can be and often is self-expressive but much like any art can be interrupted differently by each viewer.” (Alexander 2015) Showing his intentions of the subjectivity of this project.
This photo by Alexander demonstrates model with an align spine tattoo as the focus. The light source is positioned in a way to extenuate the tattoo and draw the viewers’ attention to the focus. The little soft lighting seen gives an unusual innocence that is not usually associated with tattoos, challenging the negative viewpoints, and allowing the subjectivity of body art. The studio lighting causes a contrast as it allows the photographer to move and angle the light however, he wants, it also allows the models silhouette and surroundings to be seen, this may be done as a reminder to the viewer of the person, showing that the tattoo is a part of someone’s identity. Lighting only the tattoo represents the darkness of space around the solar system and how broad it can be and how small we are to our surroundings beyond earth. This could possibly reflect how we see others around us and how we do not know the depth of all the identities around us. As the model is wearing all black clothing, it leaves viewers focusing on the tattoo. This also means that the neutral clothes give no insight to the viewer seeing their personalities or styles, leaving tattoo meaning up for interpretation by the viewer. This gives the opportunity for them to connect to the model based on the own interpretation and therefore viewing it more personally.
Overall, I believe that Jono Rotman and Danny Alexander successfully use portraiture to represent different identities to a certain extent. Personally, I feel that Alexander could have explored his idea more in detail, expanding on his use of other camera skills, like angles, abstract views and lighting techniques. But with his idea of the project being an open interpretation contradicts those negatives, allowing everything to be seen and exposed to the viewer and leaving the thoughts in their own hands, giving a hazy and unsure identity. However, Rotman uses his techniques to instead leave the emotions of the model open for interpretation instead of their identity, presenting a clear projected, external identity, meaning that he is showing the viewer exactly who they are and what they do, but less of an internal identity within themselves. I will be using a mixture of aspects from both photographers depending on what is necessary, moving forward with Alexanders statement of body art being subjective to the viewer. However, to follow up on contextual issues regarding tattoos, most of all the images I make will be found next to either a photo of a person, object, or hand written note. Showing the memories these pieces have and their importance to their person.
The book Mongrelism by Jono Rotman displays portraits of people within the gang, focusing in on their clothing and tattoos, along with photos of correlating objects, scenery and towns. Showing the identity of the gang members in hope to make viewers more vigilant to their traditional beliefs and values. Rotman’s desire for completing this project lead from his interest in power and its representation in society. His approach to image-making was to carry out the sessions without any styling or direction from Rotman, this way each sitter had control over his representation. All of the portraits were shot with a large-format camera, against a dark background with available light. This photobook received the Images Vevey Book Award. The layout of the book is described by a reviewer as having a ‘simple clean design, aimed at keeping our full attention on its content.’
The book cover is a red, linen material with an emboss of a traditional adaptation of a self-portrait whakairo carved by Little Man Rogue, filled with gold leaf. The name and book author is also embossed with gold leafing on the spine.
The first half of the book shows the photos Rotman took on his project, including portraits of mob members, landscapes of the areas they are from and object images of things members of the mob uses. The paper used for this half is glossed, thick photograph paper, with one photo on each page along with their names and the county of New Zealand they are based.
The second part of the book includes texts, and a series of documented conversations between Rotman and various members, during his tour. These pages are a newspaper like texture, with each interview in a chapter format. My favourite aspect of these pages is that Rotman censored with red blocks what seems to be personal or disturbing information, I like this as it shows the respect that he has for these members and it shows the relationships he has formed during the project.
