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PERSONAL PROJECT PHOTOSHOOT 6 – Drone IMages #2

The main reason I wanted to create another photo shoot was because I needed a strong image for the front cover. My plan was to get a wide drone shot of the whole bay mainly focusing on the L’Islet.

This is a contact sheet of all the images I got for the shoot:

These are my favourite images after images after editing:

The first image has the most potential for a front cover. Whereas, the panoramic photos would be good for a double page spread. There was a panoramic setting on the drone which I utilised. I add to merge them together in Photoshop using the merge feature to create one image. After, I used my normal editing techniques, which includes a camera-raw filter.

I edited all my images in Photoshoot after choosing what images I wanted to use by marking them with tags on my laptop. This image was a landscape, however I cropped it to make a more interesting composition and remove all of the distractions. Then a used a Camera-RAW filter to colour grade the image and do basic adjustments to contrast, temperature, and shadows. I also used 2 gradual filters to emphasis the orange form the sun and, blue for the water. I used a radial filter on the L’Islet to increase the shadows to that the L’Islet is more prominent.

Overall, this photoshoot was successful, as I got a good front cover image, however it can’t be a full wrap image only a front cover image. Although by doing this extra photoshoot I was able to produce an extra page in my photo-book. The final outcome was different to what I imagined in my head. I planned to go when it was high tide, sunny, and not windy or rainy. However after waiting a few weeks the conditions were never prefect so I decided to go during a mid tide and at sunset. This actually worked out better than I expected, as the orange and blue contrast is really strong and one of my favourite colour combinations.

PERSONAL PROJECT PHOTOSHOOT 5 – General Images/Bouley Bay Hill Climb

This blog post is for the images that I took whilst on other photoshoots that don’t fit into the category of the shoot, and general images of Bouley Bay.

I think these two images fit in with the project, I really like how the right image shows the playful, fun aspect of the bay. Plus, the composition works well as the rocks create a good “frame” around the paddle boarders.

Bouley Bay Hill Climb

For these photos I used a 100-300mm telephoto lens to allow me to fill the frame with the subject. I used a technique called panning to create motion blur.

These are the best edited images that I produced during the photoshoot. I made this extra photoshoot so that I could introduce character of the are into the photo-book, as Bouley Bay Hill Climb is an event which most people in Jersey know about.

Overall, this photoshoot was very successful. I was able to produce strong images and I managed to capture a panning image, which I had to match the shutter speed to the speed of the bike, whilst doing a panning motion.

Personal Study – Book Specification

Narrative

Identity, Pressure, Masculinity

Tell the story of an hypermasculinity in sports and the pressure it puts on young men and how it effects life off the playing ground.

A story about how the pressures of sport can effect individuals off the playing grounds. The story delves into how a young man finds a sense of identity on the field however struggles with the overbearing nature of masculinity within sport and the need to always put on a brave face as a young man. The narrative will begin by introducing sportsmen in action followed by juxtaposing images of them out of action. The story then follows on by introducing the main protagonist who is a young rugby player. It follows him around his life, around his home environment and begins revealing the emotions this individual feels. The story concludes by settling on this side of the narrative and lets the notion of the bleak condition linger and leaves reader with this stale sentiment.

Design

I want my book to feature a minimalist front cover possibly with an inconspicuous portrait or an object. I want this minimalist design to continue through the colour scheme on my front cover, this being no more than two earth tone colours. I want the book to have a matte texture on the exterior with the pages being Mohawk proPhoto Pearl paper. The format will be A4 portrait and will have a hard cover and be case bound and section stitched. The title for my book is ‘Big boys don’t cry’. The book will be structured with a combination of single images on one page as well as multiple collages and double page spreads with blank pages being included to create an interlude in the narrative. The images will be sequentially placed to create the narrative I intend to convey. The use of epilogues and text captions will aid in conveying this narrative.

Essay 2

Is God dead/does he exist?

No one can disprove the existence of God.  

One reason for this is because in the beginning there was an explosion and within minutes, 98% of the matter that there is or ever will be was produced; we had a universe.  

For 2500 years most scientists agreed with Aristotle’s theory of a steady state universe; that the universe has always existed, with no beginning and no end.  

However, the Bible disagreed. In the 1920s, Belgian astronomer, George Lemaitre, a theist (someone who believes in the existence of God), said that the entire universe jumping into existence in a trillionth of a trillionth of a second, out of nothingness, in an unimaginably intense flash of light, is how he would expect the universe to respond if God were to actually utter the command in Genesis 1:3, “Let there be light.” All of which points to a God that created it. For example, in the real world, we never see things jumping into existence out of nothingness. But atheists, want to make one small exception to this rule, namely the universe and everything in it.  

You may argue that in the book, The God of Delusion, Richard Dawkins says, “if you tell me God created the universe, then I have the right to ask you who created God.” But Dawkin’s question only makes sense in terms of a God who has been created, it wouldn’t make sense to apply that question to an uncreated God which is what Christians believe in. Even leaving God out of the equation, I then have a right to turn Mr. Dawkins’ own question back around on him and ask, “if the universe created you, then who created the universe?”  

As you can powerfully see both the theist and the atheist are both burdened with answering the same question of how things started.  

You may argue that Stephen Hawking, the world’s most famous scientists, and who is not a theist, has come out in favour of a self-designing universe. This is clearly shown in the quote, “Because there’s a law such as gravity, the universe can and will create itself from nothing. Spontaneous creation is the reason there is something instead of nothing. It’s why the universe exists, why we exist. It is not necessary to invoke God to set the universe in motion.”  

But, Professor John Lennox, who teaches mathematics and philosophy, has demonstrated that there are 3 errors of logic contained in that one simple sentence which all boils down to circular reasoning. Hawkins is basically saying that the universe exists because the universe needed to exist and since the universe needed to exist it therefore created itself. For example, imagine I come to you and say, “I can prove that spam is the best-tasting food that ever existed because in all of history, no food has ever tasted better”, you’d probably look at me strange and say that I haven’t proven anything. And you’d be right, all I’ve done was restate my original claim.

But when Hawkins claims that the universe created itself because it needed to create itself and offers that as to how and why it was created, we don’t immediately recognise that he’s doing the same thing. But he is, promoting Lennox to further comment, “Nonsense remains nonsense, even when spoken by famous scientists. Even though the general public assume they’re statements of science.”

I’m not trying to say that Stephen Hawking is wrong, I’m saying that John Lennox, a professor of mathematics and philosophy, has found Professor Hawking’s reasoning to be faulty, and I agree with his logic.

On the other hand, if you can’t bear to disagree with Hawkings thinking, then I suggest you turn to page 5 of his book, “The Grand Design”, where he insists, “philosophy is dead.” And if you’re so sure of Professor Hawking’s infallibility, and philosophy really is dead, then there is really no need for people to ever study philosophy and this argument is useless. 

Another point to consider is that for the last 150 years, Darwinists have been saying that God is unnecessary to explain man’s existence and that evolution replaces God. But evolution only tells you what happens once you have life. So, where did that something that’s alive come from? Well, Darwin never really addressed it. He assumed that maybe some lighting hit a stagnant pool full of the right kind of chemicals and bingo, a living something. But it’s not that simple.  

Darwin claimed that the ancestry of all living things came from that one single, simple organism, which reproduced and slowly modified over time into the complex life forms we view today. Which is why, after contemplating his own theory, Darwin uttered his famous statement, “Natura non facit saltum”, which means, “Nature does not jump.” Well, as noted, author Lee Strobeck pointed out, that if you can picture the entire 3.8 billion years that scientists say life has been around as one 24-hour day, in the space of just 90 seconds, most major animal groups suddenly appear in the forms in which they currently hold. Not slowly and steadily as Darwin predicted, but in evolutionary terms, almost instantly. So, “nature does not jump” becomes “nature makes a giant leap.”

So, how do theists (someone who believes in the existence of God) explain this sudden outburst of new biological information? “And God said, “Let the water teem with living creatures and let the birds fly above the earth across the expanse of the sky. So, God created the great creatures of the sea and every living and moving thing with which the water teems according to its kind. And God saw that it was good” – Genesis 1:20.  

Put simply, creation happened because God said it should happen. And even what looks to our eyes to be a blind, unguided process could be divinely controlled from start to finish.  

People have the right to believe what they want to believe but, it’s easy to dismiss what you don’t understand or what you don’t want to understand.  

Another argument could be said that evil is atheism’s most potent weapon against the Christian faith, and it is. After all, the very existence of evil begs the question, “if God is all-good, and God is all powerful, why does he allow evil to exist?” The answer at its core is quite simple: free will. God allows evil to exist because of free will. From the Christian standpoint, God tolerates evil in this world on a temporary basis so that one day, those who choose to love him freely will dwell with Him in heavily, free from the influence of evil, but with their free will intact. In other word, God’s intention concerning evil, is to one day destroy it.  

Contrastingly, others may argue that “one day, I will get rid of all the evil in the world. But until then, you just have to deal with all the wars, and Holocausts, tsunamis, poverty, starvation, and AIDS. Have a nice life.” You may assume that next I’ll talk to you about moral absolutes. But why not?  

Someone who’s an atheist, doesn’t believe in moral absolutes, but let’s say that you find someone cheating in the same exam you’re taking and gets a good grade. I bet you’ll suddenly start sounding like a Christian, insisting it’s wrong to cheat, that the person should have known that. And yet, what basis do you have? If the actions of others are calculated to help them succeed, then why shouldn’t they perform them?  

For Christians, the fixed point of morality, what constitutes right and wrong, is a straight line that leads directly back to God. And I’m not saying that you need God to be moral, that a moral atheist is an impossibility. But with no God, there’s no real reason to be moral. There’s not even a standard of what moral behaviour is. For Christians, lying, cheating, stealing, in my example, someone stealing a grade they didn’t earn is a form of theft. But if God does not exist, as Dostoyevsky famously pointed out, “if God does not exist, then everything is permissible.” And not only permissible, but pointless. If this is right, then all of our struggles, our debate, whatever we decided to do is meaningless. Our lives and ultimately our deaths have no more consequence than that of a goldfish.  

In conclusion, it all comes down to choice of believe or don’t believe, that’s all there is. That’s all there’s ever been.   

Additionally, James Warner Wallace – homicide detective was the author of the book ‘Cold Case Christianity’. In his book, a subtitle he writes was, “A homicide detective investigates the claims of the gospel.” He was an atheist at the time of his research which reduces bias. Obviously, his duties as a homicide detective includes investigating cold case homicides. He states that ZERO of his cold cases were solved through the use of DNA evidence. He states that the cases got solved by examining eyewitness claims, even ones made many years earlier. This is possible through the number of techniques that they use to test the reliability of an eyewitness such as, forensic statement analysis.

Forensic statement analysis is a discipline where researchers scrutinize the statements of eyewitnesses while looking at what they choose to minimise, emphasize and omit altogether, how they expand or contract time. By examining these eyewitness accounts, researchers can tell who’s lying and who’s telling the truth, and even who the guilty party is.

Interestingly, as a former atheist, he applied his expertise to the death of Jesus at the hand of the Romans while also looking at the Gospels as he would any other forensic statement. The fact he was a non-Christian at the time means there was zero bias or influence for his findings to support or disprove that Jesus was not a real person. Within a matter of months, he determined that the 4 gospels, all written from different perspectives, contained the eyewitness accounts about the life, ministry, death and resurrection of Jesus. Also, he considered that the 4 accounts may be part of a conspiracy, designed to promote belief in a fledgling faith. However, he states that successful conspiracies often involve the fewest number of people. For example, it is a lot easier for 2 people to lie and keep a secret than it is for 20. That is where the problem with the conspiracy theories related to the apostles in the 1st century; there are just far too many of them trying to hold this conspiracy for far too long a period of time. And far worse, they’re experiencing pressure like no other.

Everyone one of these people were tortured and died because of what they claimed to see, and none of them ever recanted their story. Therefore, the idea that this is a conspiracy in the 1st century is really unreasonable. Instead, what was found in the gospels was something James called, “unintended eyewitness support statement”. For example, the Gospel of Matthew, the passage states that Jesus is in front of Caiaphas at a hearing, “Then they spit in his face and struck him with their fists. Others slapped him and said, ‘prophecy to us. Christ. Who hit you?'”. At first, it seems like a simple request given that the people who hit him are standing right in front of him which makes no sense. Why would it be prophecy to be able to tell you who hit you? But it’s not until you read Luke that you get an answer to this. He says, “the men who were guarding Jesus began mocking and beating him. They Blindfolded him and demanded, ‘Prophecy, who hit you?'”. So, now we know why this was a challenge, the gospel of Luke tells us the thing that Matthew left out, that he was actually blindfolded at the time this took place. This kind of unintentional eyewitness support that fills in a detail that the first witness left out is very common.

After years of scrutinizing these gospels using the template that James uses to determine if an eyewitness is reliable. He concluded that the four gospels in the Bible contained the reliable accounts of the actual words of Jesus on the other hand, it may be argued that there are numerous discrepancies between these accounts. But James Warner Wallace says that that is exactly what we should expect. This is because reliable eyewitness accounts always differ slightly in the way they recall a story. “They’re coming to it from different geographic perspectives, their history, even where they are located in the room.” When Wallace examined the gospels, he was trying to determine if these were accurate, reliable accounts in spite of any differences there might be between the accounts.

Finally, he states that when he began his study, he was a devout atheist. He began examining the gospel as a committed sceptic, not as a believer. He wants raised in a Christian environment even though he does have an unusually high regard for the value of evidence. He says that the reason why he’s a Christian now is not because he was nurtured into it or because he hoped it would satisfy some need or accomplish some goal. He says he’s a Christian because it is evidently true.  

Bibliography

Solomon, C. and Konzelman, C. (2014). God’s not dead. 1st film, Greg Jenkins Productions, Pure Flix Entertainment, Red Entertainment Group.

Solomon, C. and Konzelman, C. (2016). God’s not dead. 1st film, Greg Jenkins Productions, Pure Flix Entertainment, Red Entertainment Group.

Personal Investigation – Decontructing Photobooks

Dragana Jurisic ‘YU; The Lost Country’

1. Research a photo-book and describe the story it is communicating  with reference to subject-matter, genre and approach to image-making.

The book I have chosen to look at, in terms of design and composition, is Dragana Jurisic ‘YU; The Lost Country’. The story Jurisic is communicating guides the viewer through a pilgrimage, unfolding before them a myriad of lives and emotions onto the map of where Yugoslavia once lay. Through-out the series of photographs documenting new life and the remnants of past atrocities in the former conglomerate, Jurisic rhythmically inserts with almost Wes Anderson-like technicolour shots of her travel reading, where sprawling diary notes live in the margins telling of the encounters which shook, infuriated and moved her.

2. Who is the photographer? Why did he/she make it? (intentions/ reasons) Who is it for? (audience) How was it received? (any press, reviews, awards, legacy etc.)

The creator of ‘The Lost Country’ is Dragana Jurisic, a photographer from the former Yugoslavia now based in Dublin. She decided to create ‘The Lost Country’ as she knew her homeland would soon be only a memory and she did not want to forget anything about it; she also wanted to preserve this memory for millions of Yugoslavs who would later live in exile. She thought of art as a reliving of experience.

Reviews – “It is a haunted, as well as haunting book; the fallout of the past buried, rather than faced.” (Sean O’Hagan for The Guardian)

The idea of art based on other bits of art in not a new one and a lot of current work seems to relate to pre-existing works by other people. But this is different. The show has an emotional charge that is antithesis of academicism. The exhibition uses the language of contemporary art to achieve something that is rare in a lot of contemporary art: it is emotional, frank, autobiographical and honest. (Andy Parson for Visual Artist Ireland News-sheet, January 2014)

The result of this ambitious journey is the wonderful exhibition YU: The Lost Country, a visual journey into the past and present punctuated by West’s prose and Jurisic’s own words. The attempt to answer the universal question about identity in a very personal way. And since Jurisic herself follows Roland Barthes’ assertion that “photography is more akin to magic than to art”, it is no surprise that many of the photos have an otherworldly feel to them and leaves the viewer wondering about their own memories and identity. (Jensine-Bethna Wall for Irish News Review, September, 2014)

Between the silences which seem to envelope the older generation and the ennui of the young, Jurisic’s YU is the landscape of still and mournful places, in which the weight of the past forces itself upon everything. Rebecca West valiantly fought to believe in the future of Yugoslavia. Dragana Jurisic traces the effects and aftershocks of its disintegration in the subtlety of her colours, her capacity for intimacy and the intelligence and empathy with which she sees what was once Yugoslavia. Jurisic’s YU is still a place which, in West’s words, can induce a ‘bad, headachy dream’. (Colin Graham for SOURCE Photographic Review, July 2013)

Jurisic’s work utilises style and form that resonates truthfully, yet transcends photo-journalism by creating subjective metaphors too profound to be considered objective […] This works brilliantly for Jurisic; her feelings about the disconnection from the land seem justified, merely by being photographed. Some of her works hold such movingly profound metaphors, her genius is in the relationship of what was discovered ‘as it were’ and the artists construction of what lies in front of the camera. (Sandy O’Dune for TRI-HARD, November, 2014)

3. Deconstruct the narrative, concept and design of the book and apply theory above when considering: Book in hand: how does it feel? Smell, sniff the paper. Paper and ink: use of different paper/ textures/ colour or B&W or both. Format, size and orientation: portraiture/ landscape/ square/ A5, A4, A3 / number of pages.

The book is around an A5 size, easy to hold and flick through; the cover feels rough as it is lined with a cotton material, with small ridges creating a disrupted texture. The paper smells stale and feels thin with a slight glossy quality; the edges of each page are coloured with a dark blue paint-like material that creates an overall darkness around the book. All images inside the book are in colour, with a misty theme of blues and whites – disrupted by flashes of colourful street photography dotted about between pages. Most images are formatted in the same square orientation on the right side of a double spread, the other side holds an extract of text which is usually a quote from Jurisic herself, or just showing the location in which the image was captured. This traditional layout makes the book appear clean and pure – possibly hinting towards Jurisic’s message on the opposition between how now her hometown is being neglected and destroyed.

Binding: soft/hard cover. image wrap/dust jacket. perfect binding/saddle stitch/swiss binding/ Japanese stab-binding/ leperello

Jurisic’s book is a hardcover, without any dust jacket, lined with a rough cotton that has a printed image of trees on the front, and a blank dark blue fabric on the back. There is a use of saddle stitch binding, with five stitches up the centre of the book, joining each page together. The hardcover is of a medium thickness and is rounded at the edges due to the fabric lining, the printed image on the front appears ambiguous and sombre – a possible hint to the message inside to come.

Title: literal or poetic / relevant or intriguing.

The title ‘YU: The Lost Country’ is exciting and conveys a sense of adventure/fantasy for the audience as if it were an action video game like ‘The Lost City’, nevertheless its meaning is dark and holds links to themes of war, poverty and ruin. Jurisic has titled her photobook with a relevant phrase, literally telling her audience they are about to see the reminisce of her memories from a country that now no longer exists.

Structure and architecture: how design/ repeating motifs/ or specific features develops a concept or construct a narrative.

Each page in Jurisic’s photobook has quite a cleanly, pristine feel to it, with plain white boarders making a constant feature which surround her sharp-focused images. Additionally, her layering of text intertwining throughout the pages is always positioned on the bottom left hand side of each double spread, creating a theme of systematicity and order. This conveys Jurisic’s narrative of highlighting the devastation brought onto her country from an ever growing world of regulations, showing a continuation of both memories and identity.

Images and text: are they linked? Introduction/ essay/ statement by artists or others.  Use of captions (if any.)

Jurisic documents her journey, retracing the steps of Rebecca West’s 1937 novel Black Lamb and Grey Falcon, through what was Yugoslavia, where she was born, but a “country” which no longer exists. The text used throughout the book is a combination of phrases from West’s novel and Jurisic’s own memories, examples of the photobook’s texts; “I have learned now that it might follow, because an empire passed, that a world full of strong men and women and rich food and heady wine might nevertheless seem like a shadow-show.” (Rebecca West). “It was a flat-topped rock, uneven in shape, rising to something like six feet above the ground, and it was red-brown and gleaming, for it was entirely covered with the blood of the beasts that had been sacrificed on it during the night.” (Rebecca West). As West’s novel gets told, Jurisic links her own past to these events, her images reflect and respond to West’s ideas while still staying true to what Jurisic remembers of her own childhood in Yugoslavia.

YU: The Lost Country — Dragana Jurišić

Further information links;

Dragana Jurisic; on ‘The Lost Country’

The Backstory – ‘YU; The Lost Country’

Vimeo link – Photobook Presentation

Book Specification

Narrative – What is your story?

3 words – Grandparent’s work ethic

A sentence – This photobook will depict how my grandparents worked hard to make a better life for themselves and their family.

A paragraph – My photobook narrative will present the story of how my grandparents put their family first and worked hard to provide them with a comfortable life. This photobook will use both old and new photographic images to retell the stories that are often not mentioned in my family, such as the dedication of my grandma to help bring up my grandad’s siblings after their parents moved away, as well as my grandad’s tireless work ethic that persisted through various economic struggles. It will also touch on my family’s Mancunian roots and their move from there, for my grandad’s job. In essence, this photobook is a form of appreciation to the older generations in my family for the comfortable life and opportunities they have proved me with, as well as celebrating our strong bond and love for each other.

Design

How you want your book to look and feel – I would like the book to feel as if it were a family photo album compiled of both photographs and documents of the time.

Paper and ink – I will use the standard, classic paper for my photobook as I believe it will reflect the standard prints seen in normal family photo albums.

Format, size and orientation – My photobook will be a standard landscape size of 25×20 cm. This is as I think it will best accommodate the format of my images as well as being the same size as a normal photo album, in which many photos are attempted to feature over a single landscape page.

Binding and cover – I think that the best option for the cover of my photobook would be to make it as a hardcover, as it would produce a sturdy and professional appearance to the outside of the book, that could stand the test of time and be passed down through generations. For the binding of the photobook, I think that a standard binding would suit my layout best.

Design and layout – For the layout of my photobook I will place at least one image per page, with the exception of a few double page spreads. I would like my photobook to have a similar layout to that of a family photo album with some pages having two or more images on them, in a disjointed and collage like manner.

Editing and sequencing – The sequencing of my images will not be placed in chronological order due to the old photographs, but will instead be mixed together showing the contrast in my family then and now, showcasing how it came to be through my grandparents hard work.

Images and text – My images will be a combination of reworked archival photographs and new photographs featuring my family. With this, in my photobook I think it would aid the narrative to include small sections of writing next to some of the images, providing more context and in turn meaning to my work.

Mood Board

Here I created a mood board compiled of images showing different photographic books as well as some family photo albums. This will give me inspiration on how to layout my photobook, creating a strong narrative. In particular, I found that through producing this mood board, that I would like to incorporate sepia tones in my photobook, potentially through the colour of the pages to make the book feel as if it is more of a personal family album.

Photobook specification

Photobook specification

Essay Question:

What is the relationship between photography and memory?

Opening quote:

“The lips… may be as sweet as honey and… kisses as smooth as olive oil, but when it is all over, …he leaves you nothing but bitterness and pain. …he will take you down to the world of the dead.”

Proverbs 5:3-4

Inspirations:


  • Paper and ink: use of different paper/ textures/ colour or B&W or both.

The photobook will use a classic paper since it will suit photo books of all sizes and can be used for both hardback and paperback covers. It’s a satin finish paper, which means it’s a bit more subtle than gloss-coated paper and also provides a higher level of readability.

The colour of the photobook will be coloured since it makes the book more appealing to the reader.

  • Format, size and orientation: portraiture/ landscape/ square/ A5, A4, A3 / number of pages.

A4 size, Portrait, though not all images take over one full page, some take up a section, some full bleeds allowing for each individual image to be the primary focus of each section/ page.

  • Binding, soft/hard cover. image wrap/dust jacket. saddle stitch/swiss binding/ Japanese stab-binding/ leperello

The photobook will use Lay Flat binding. This means that both sides of the book are completely flat so the pages do not turn over automatically. This binding makes it really easy to browse your Photo Book.

The cover image will wrap around the front cover as well as the back cover.

  • Cover: linen/ card. graphic/ printed image. embossed/ debossed. letterpress/ silkscreen/hot-stamping.

Printed image with silkscreen text

  • Narrative: what is the story/ subject-matter. How is it told?

The story for this is a personal one since it comes to show the good and the bad of dating culture along with how Christianity has helped certain decisions I made in these relationships.

The book will involve a series of images showing 2 same sex models getting intimate as long as “real” images of my own and archival images. As well as this, the book will show various text messages I have received along with bible quotes which have helped me through the journey.

Personal Study – Photobook Deconstruction

The Epilogue

“Mother’s Day and Father’s Day are brutal holidays in our family”

The Epilogue is a book that tells the the story of the Robinsons family after losing their 26 year old daughter and the aftermath suffered from this. The style of the work falls under the style of documentary photography, specifically outsider documentary. The photographer works closely with the family as an outsider to reconstruct a narrative surrounding the family’s lost loved one through the memories and experiences of various family members. The daughters name was Cammy and she died from bulimia. The imagery has an intent to capture the essence of absence and grief while juxtaposing this with omnipresent celebration of life. This is done through straight photography with collections of portraits as well as imagery that captures the mise en scene of Cammy’s home are used in sequential tandem to tell the story.

The Epilogue (Dewi Lewis, 2014) – Laia Abril
Laia Abril – The Epilogue | Conscientious Photography Magazine

Laia Abril

An artist, born in Barcelona, 1986, who explores notions of eating disorders, sexuality, bio-politics and woman’s rights in her work. She made The Epilogue to explore the subject of eating disorders. This has intentions of bringing to light the extent that eating disorders effect people and their loved ones. The book is made for the attention of young people, specifically young women who are living a similar experience, weather that be by the first hand or someone close to them struggles with an eating disorder. The book received a rating of 4.5 from CPHmag and received an in-depth coverage in The Guardian as well as an award from Aperture Paris and was, therefore well received.

The book has a hard cover with a coarse texture with a smaller patch of smooth paper in the centre of the front and back covers. This varying material on the front cover contains the title of the poetic and intriguing tile in a small digital style font and covers the face of the girl in the image on the front and back cover it contains the blurb. This image is assumed to be an old portrait of Cassy and possibly her younger sister on the back.

The Epilogue by Laia Abril - YouTube

It is fairly heavy for a 19 x 16 book and feels quite rugged. The first page consists of a matte paper while the rest of the book consists of a glossy paper. The use of colour is consistent throughout the book with dark cold colours being prominent in order to set the mood of the narrative. The book features inserts of old documents and letters personal to the family being documented which are fitted in sequentially in between pages.

Laia Abril, The Epilogue - Collector Daily

The book is in A4, portrait format. It is 172 pages long. It is case bound and section stitched.

The story of Cammy and the Robinsons family is told by Abril through a combination of tableaux images taken by herself, along with old family archival imagery which is subtitled and dated. These images are constructed sequentially to annotate to the narrative and are all tied together by an epilogue quoting a family member along with the occasional formal document of hand written letter relating to the narrative at the end of each sub-set of images. Each sub-set contains a combination of small single page images as well as a double page spread and the occasional blank page to allow for a sort of intermission for the reader.

Personal Inversigation – Artist References

Robert Darch

Robert Darch (1979 – present) is a British artist-photographer based in the South West of England, he studied at Plymouth University and holds an MFA with distinction in Photographic Arts and a MA with distinction in Photography & the Book. He also has a BA with honours in Documentary Photography from Newport, Wales. A quote from Darch’s website about his work reads ‘His practice is motivated by the experience of place, in which the physical geography and material cultures of places merge with impressions from contemporary culture that equally influence perception. From these varied sources, both real and imagined, he constructs narratives that help contextualise a personal response to place.‘ This statement is what initially drew me to Darch’s work, his way of capturing a sense of a person’s identity within a place is something I would really like to respond to and reflect on. In 2018, Darch released his first published photobook titled ‘The Moor’ which depicts a fictionalised dystopian future situated on the bleak moorland landscapes of Dartmoor. Drawing on childhood memories of Dartmoor alongside influences from contemporary culture, the narrative references local and universal mythology to give context but suggests something altogether more unknown. I see Darch’s work as a subtle hint towards romanticism, showing the misty, idyllic and aesthetically pleasing areas of the English countryside while holding deeper meanings surrounding mental health and societal issues.

Vale – By Robert Darch

Darch’s project ‘Vale’ has been the most inspirational source for my personal investigation, at the age of 22 Darch suffered from a minor stroke, followed by a period of ill-health which would affect him for the majority of his twenties. As a coping mechanism during convalescence, he retreated into a world of fictional narratives, of indoor spaces and eventually a physical move back to his familial home of Devon. Slowly, he began to reset his narratives, his place in the world, and the expectations of his youth. An unseen enemy threatening his own body and psyche was mitigated by escapism and wish-fulfilment. They way Darch captures fantasy juxtaposed with realism in his work is something I would really like to replicate during my project. While Darch’s illness had more physical effects on his body, my project will focus on the mental effects of illness – I believe his work still relates to the mind and can be viewed in several ambiguous lights. An extract from Darch’s website on Vale reads; “The fictional worlds into which Darch escaped, exhibited characteristics which were at once benign and threatening. An interest in the English sense of the eerie had been with him since childhood, notably the writings of James Herbert, the Dartmoor of Conan Doyle and such touchstones of ‘coming-of-age’ cinema as Rob Reiner’s Stand by Me. As Darch’s period of retreat from the world lengthened, further influences were incorporated into this mix, from British standouts such as Jonathon Miller’s Whistle and I’ll Come to You (1968) to the Italian Giallo film movement of the 1970s and the atmospheric and psychological Japanese horror revival of the early 2000s. Vale is a result of this percolation and loss. It is the fictional space where Darch is able to relive and re-imagine a lost period in his life, journeys with friends both through physical spaces and through time. On one level its subjects could act as stand-ins, allowing him to explore winding rivers in late summer evenings, empty country roads and ancient English woodlands. But as the journey continues, multiple readings quickly become apparent. Despite possibly providing a positive escape from Darch’s ‘vale of despond’, it is the sense of the eerie which becomes unavoidable.”

The whole concept on Darch’s work in ‘Vale’ has inspired me to create images that follow fictional narratives, a story to escape the frantic modern world similar to ones I’d create as a child. Bringing back memories of places I would go to get away from the trivialities of life, woodland walks, rooms around the home, family gardens etc – I would like to revisit these places and create a sequence of fictional realities. The topic of anxiety in children and young people has often had simplified and quite belittling representation, in this project I aim to take inspiration from Darch to show these issues through landscapes and abstraction, provoking thoughts from the observer on the topic.

‘Vale’ Images –

Josef Sudek

Josef Sudek (1896-1976) was a Czech photographer, extremely well-known for his work on still-life photography as well as black and white images of Prague, interiors and landscapes. Prior to taking an interest in photography, Sudek worked as an apprentice bookbinder before serving in the Austro-Hungarian Army during the First World War, when he was wounded and subsequently lost his right arm to amputation. He was a member of the Prague Club for Amateur Photographers from 1920-24, and studied photography at the State School of Graphic Arts in Prague from 1922-1924. Much of Sudek’s early work was inspired by that of Clarence White, who espoused a Pictorialist approach to light and form – something I would like to experiment with during my personal investigation. Many of Sudek’s most memorable images were taken from the window of his small studio, documenting his humble courtyard during changing weather and light conditions. During the 1920s, Sudek created a series of photographs of disabled Czech soldiers; in 1927 he was one of the founding members of the renegade Czech Photographic Society, dedicated to documentary photography. His series of photographs of the renovation of the St. Vitus Cathedral in which he juxtaposed architectural details of the cathedral with the abstract forms of workers’ tools won him the title of official photographer for the city of Prague in 1928. Nevertheless, the area of Sudek’s work that intrigues me the most is his documentation of flowers, usually stood in clear vases near his studio windows. The way Sudek documented changes in weather, atmosphere and seasons in his still-life images portrays to me the idea of as the surroundings change, reality changes too. Sudek once said  “Everything around us, dead or alive, in the eyes of a crazy photographer mysteriously takes on many variations,” he explained, “so that a seemingly dead object comes to life through light or by its surroundings.”

Sudek’s Pictorialism Influences

Sudek was influenced by the concerns of Impressionism, Pictorialism, and Czech Poetism, but throughout his life, remained faithful to his own stylistic and emotional proclivities of introspection. His work holds the same dream-like, soft atmospheres that many other Pictorialist photographers captured, for example the work of Alfred Stieglitz and his study of clouds in ‘Equivalents’. Sudek’s use of windows, documenting overcast foggy days through frosted glass, additionally adds to his Pictorialist style – his use of light and aperture settings creates this soft blur around his subject flowers, almost replicating that of an oil painting. As Sudek was creating and photographing during the change of an art movement from Pictorialism to Modernism throughout the 1920’s and 1930’s, his work holds an almost vintage feel when compared to those being created during the same time period. I believe his photography has a mystery and ambiguity to it, the images can be observed and analysed in such different ways as his influences at the time were slowly leaving what was ‘in fashion’ or expected during this development in art movements. The soft blurs and focus of Sudek’s still life photography is something I would like to experiment and work with during my personal study, however I have the idea to not use the same sepia tones as Sudek, and instead try editing in a less vibrant, toned down colour to relate and link up more with the work of Robert Darch, representing escapism and realities.

Sudek’s Still Life Images –

Artist’s link to physical illness;

Both chosen artists have gone through difficult points in their lives, with Darch suffering from a stroke at a young age and Sudek losing his arm during the war. In respect to my project, both artists have used photography as a method of escapism from an illness/disorder that had impaired them throughout their life – I would like to explore how elements of their images may have deeper meanings in regards to symbolism of weakness or hope. Although Sudek’s images are not known to have been made with his impairment in mind, I can still recognise themes of optimism in a time of ill-health through his project; as if the flowers are symbols of life continuing, adapting in a new environment after being cut down from their home plant – they are still able to live in a singular glass of water, therefore hinting towards hope. Nevertheless, Darch’s work noticeably conveys a sense of escaping from reality through vibrant colours, dream-like compositions and golden hues that relay this idea of ‘the light at the end of the tunnel’. Though Darch reflects his sickness throughout his project, it is done subtly, with Darch himself stating ‘during the illness I no longer wanted to turn the camera inwards, to linger on the reality of my situation, preferring to lose myself in fictional constructs of the mind’. This fictionality in his work is honest and raw, giving the observer a glimpse into his mind where he would create narratives to escape from his own dismal one, yet still showing his optimistic outlook on life. Though these artists focus on physical illness, I would like to use their style of photography, however looking at the effects of mental illness throughout my life.

Links to further resources;

Biblioscape on ‘Vale’ by Robert Darch

Sudek’s book ‘The Window of my Studio’

An interview with Robert Darch on ‘Vale’

book specification

PHOTOBOOK: Write a book specification; narrative, concept and design + mood board of layout & design ideas.

NARRATIVE

Narrative is defined as ‘a spoken or written account of connected events; a story‘. The narrative of a book, film, or piece of art is an integral part of getting your audience to understand and empathise with the piece of work, and to bring out the intended emotions behind the piece. For my photobook, my narrative will not follow the traditional, linear route, but rather be a mix-match of images from various points in my life, such as old photographs of me when I was a child, to more recent images of me and my friends. My reasoning behind setting out my project this way is that most people consider their childhood to be a blur of memories all jumbled up together, with only a few defining moments that stand out to them. By doing this, I hope to allow members of my audience to relate and empathise with my project in a more personal way than if my photobook were a conventional, straightforward story about growing up.

DESIGN

For my project, I have taken inspiration from various artists who have published their own photobooks, such as Jim Goldberg (Raised By Wolves), Carolle Benitah (Photos Souvenirs), and Larry Clark (The Perfect Childhood). I was intrigued by the layout of these photobooks, especially Jim Goldberg’s Raised By Wolves, which includes old photographs and objects integrated between the new images of his subjects. In doing this, Goldberg allows his audience to empathise with his subjects in a more meaningful way. In my photobook, I will use different page layouts, such as some full-bleed pages where my image takes up the entire space.

MOODBOARD