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Independent, Reading, Resource

Personal Investigation – Presenting Final Images

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Experimentation

I first began by creating two virtual galleries after completing my ‘Identity Coursework Personal Investigation’, I wanted to experiment with using photoshop to see how my printed images may look when mounted up. I started by taking three images from my Robert Darch inspired shoot and exploring how different layout options may tell different narratives. I wanted there to be a synchronicity between images, as if they follow after each other in a similar location – possibly all taken in the same place but representing the different emotions of anxiety. I experimented with the sizes of each image also, seeing how when I changed the layout so one image was bigger than the other it created a contrasting atmosphere. Nevertheless, the image below is a final display of my first virtual gallery, where I decided to keep a synchronized and cohesive design which fit with the classic style of imagery, a symmetrical layout suited the images best. This was also the decision I came to when exploring my imagery from my Pictorialism/Josef Sudek inspired shoot, where I created a display using the same gallery format to compare how the different techniques of photography created a different mood when presented in the same setting. I think that when mounting up my final prints for this project I will explore a smaller size and layout of my Pictorialism images due to their delicacy and fragility, the images come across as soft and light, so I believe using a more compact layout will contrast the boldness of the Robert Darch imagery well.

Gallery 1:

Gallery 2:

Final Personal Investigation Prints:

  • Sequence One
  • Sequence Two
  • Sequence Three
  • Sequence Four

Sequence One: After creating and ordering my photobook I made a selection of my final images that I wanted to be printed for display. I planned on printing a range of A3 A4 and A5 sized photos that I could set out in sequences and narratives. I first planned how I wanted to set out some A3 prints; I knew I wanted to use my Robert Darch inspired imagery for my largest prints due to the amount of detail within them, therefore I decided to print four photos that each held different moods and atmospheres from this shoot. The first image was inspired by Darch’s photographic techniques of capturing the warmth and comfort of a surrounding that may otherwise be seen as unnerving, yet it also holds a link to Pictorialism with its soft blurred focus. I wanted to include this image as a contrast to the others, but also as a reminder of this idea of ‘seeing the world through rose-tinted glasses’ that features in the images to come – the perfect world that just doesn’t quite seem real. The other three images are sharply focused, holding small details from reflections and providing an atmosphere of escape and adventure – for me, this sequence is an introduction to ‘Wonderland’ in the way it hints at the anxiety to come, without giving away the completed book’s full narrative. I decided to mount up these images using foam board to create a 3D frame effect, first sticking my image on a piece and using Stanley knife to cut it out, and then sticking this piece on to a larger foam board rectangle which created this frame effect. When I display my images I hope to have them stuck on the wall one after the other, leaving a small amount of space between each one to separate them and keep this theme of a clean look.

Sequence Two: For my second sequence I wanted to create a display of the more ‘nightmare’ style images, having the idea to create a triptych of mirrors and clocks to introduce the idea of ‘anxiety creeping into Wonderland’. I began by choosing three images in an A5 format to print and experiment with, I then played around with the order of images and the layout, deciding to begin with the darkest image. I liked this layout due to its subtle hints towards hope, like a light at the end of a tunnel, with each image holding circular compositions that seem to lead into another world. The first image conveys clouded vision, seeing only part of a solution or problem that has been clouded over by anxiety and worry. The second is what can be seen once that fog has faded, what lies beyond the fear and doubt when we can see clearly into the future. The final part of the triptych is an image of a clock with the reflection of a candle on it, there is a dark blue hue which gets interrupted by the orange candle flame, hinting towards a brighter future or a flicker of hope in the distance. I wanted to print these images smaller than the others due to their boldness and vibrancy, I think that having this pop of true fantasy and this break from reality helps to convey a sense of fluidity between my other sequences, as if they are all somehow linked through the world they are set in. I mounted up this triptych using a long thin strip of foam board as the backing with my images also on foam board so they stuck out from the background. I really like this way of displaying photographs as I believe it gives the impression of a frame, but also allows for artistic expression as we can measure and decide how big or small, what size and orientation we want the frame to be.

Sequence Three: My third sequence is the combination of a singular mounted image with a diptych juxtaposition layout. I wanted to create a separated narrative that holds themes of nature, growth and evolving – allowing me to experiment with how I wanted to display each theme. The sequence begins with a singular display of one of my Pictorialism inspired images, a flower growing over a pond surrounded by the natural environment. Next I wanted to layout a juxtaposition between nature, nature left untouched compared to nature in an unnatural environment – nevertheless I also recognised the juxtaposing ideas between how colder colours would go with the ‘unnatural’ and warmer with the ‘natural’, which is of course not how I edited these photos. I really loved how these ideas contrasted each other and each image, I want the truth to lie in the message of nature in the ‘unnatural’ environment is used to adapting to change, it is able to still thrive after being cut down (holding links to my struggles with anxiety and picking myself back up again etc). The juxtaposition is not necessarily about cold and warm, or sad and happy, but more to do with the change in mood between letting go and continuing to grow. I plan to present these three prints next to each other on the wall due to their similarities in colour, theme, subject and message – there is a softness and innocence that is disrupted by coldness which I believe to be ambiguous in meaning and observing. I mounted these images onto 3D foam board and experimented with whether the diptych should be presented on a landscape or portrait strip – due to my second sequence being on a landscape strip I decided to contrast it with this portrait orientation, also allowing me to set my images out in a cleaner shape.

Sequence Four: I have named my final sequence ‘A Window into Childhood’, having the idea to present four images in a rectangular sequence depicting childhood nightmares and fears. I chose to print these four images in A4 size to set them out on one of the larger pieces of foamboard, again I wanted to use the technique of sticking each image on foamboard before onto the background piece to create a 3D effect like the images are jumping off of the page. I believe this layout and technique worked well when presenting these images as the nightmare-style imagery contrasts the Pictorialism images so much it is useful for a clean and ordered layout to not distract from the chaos on each page. I started by laying out my dark blue images in each corner of the board to set out how I wanted the disruption to occur, next I chose two soft focus images that had connotations of childhood and calmness to juxtapose these images from above, below and on either side. Altogether I wanted to create contrasting ideas of the reality of childhood, anxiety was not a constant state I was in, it fluctuated between strong and weak and it was never something I knew was anxiety at the time. The nightmares are clouded with over-exposed highlights coming from the Pictorialism images and ideas of truth vs manipulation are created – there is a sort of comfort in knowing the extent of how anxiety is effecting the images, it disappears and reappears but it is never constant. I wanted to create a window-type layout as if the observer were looking into the past, nature can seem so different in the light and in the dark, I wanted to create an atmosphere of safety and fear opposing each other so strongly that it seemed unreal – questions as to whether childhood fears were all in our head or actually haunting us daily.

Final Prints – Previous Projects:

  • Close-up Abstract
  • Chiaroscuro Portraits
  • Abstract Saul Leiter Inspired
  • Abstract Saul Leiter Inspired

The presentation of my previous final prints was important to me as I wanted to create themed responses that related to the project’s themselves. For example the outcomes from my abstract unit, where I captured close ups of flowers and the natural environment, had quite a classic format and style – the black and white filter created a vintage atmosphere around the images. Therefore, when deciding how I wanted to mount up these final prints I experimented with how either a black or white background would make the images stand out – the black background was a similar tone the the darkness surrounding the subjects of each image, so using white foamboard was the obvious choice to create the best effect behind the prints. I explored how making some images more 3D with extra foamboard would contrast others that were flatter, however due to their symmetry and composition I made the final decision to keep every image the same distance of foamboard away from the background. I really like how the black and white of the foamboard frame to the shadows in the images contrast each other, the sharp edges create a triptych with a classic and original style. From my portrait project I chose 3 images that were captured during my experiments with chiaroscuro lighting, I believe they show photographic skill without the need for heavy editing or manipulation. I mounted the first diptych on several pieces of foamboard to create a 3D effect as it complimented the style of photography used and allowed both images to stand out against the bold white. The final image from my portrait project had a mysterious atmosphere surrounding it, I knew I wanted to experiment with creating a window mount for this image so after measuring it and deciding how much boarder I wanted around the image I created this final display. During my abstract unit I also studied the work of Saul Leiter, responding to his images capturing raindrops and experimenting with soft focus and blur. My final two print sequences are mounted on black boards due to their dark surroundings and mysterious atmospheres – I wanted to try and create a window mount display of my ‘umbrella’ images, sequencing the photos in an abstract narrative and using this classic mounting technique to reflect their style. Overall I am extremely happy with my final prints from each project, there is a range of technique and style that shows my strengths and best outcomes throughout the course – altogether I think the mounting up and framing of each image reflects its style and atmosphere successfully.

Independent, Reading

Personal Investigation – Final Photobook

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Online Link: Here is an online link to my final photobook – ‘Escaping Wonderland’.

Book Specification:

Narrative: What is your story?
Describe in:

3 words

Escaping, Comfort, Reality.

A sentence

In a ‘Wonderland’ reality where everything is dreamlike and calm, often reality hits and anxiety creeps through again.

A paragraph

Within my photobook I want to convey themes of comfort, security and warmth – an ethereal display of locations where I feel at ease within nature and/or areas at home. My narrative will tell the story of my imagination, a dreamlike collection of images in a Pictorialist style that get disrupted by waves of anxiety being represented by darker colder images. My narrative will consist of juxtapositions, comparing the feeling of unease to instant comfort – the photobook will be a journey through ‘Wonderland’ (representing a world where anxiety is calmed but reality isn’t quite real, certain comforts may feel a little too perfect). With landscape images being broken up by still-lives of flowers and objects, it is as if this perfect world of calm and tranquillity is breaking down to reality; escapism can only be a comfort for so long before reality hits.

Design: Consider the following

How you want your book to look and feel?

  • Paper and ink – Premium Lustre
  • Format, size and orientation – Standard Portraits
  • Binding and cover – Hardcover Image Wrap
  • Title – Escaping Wonderland
  • Design and layout – Clean & Rustic
  • Editing and sequencing – Use of Juxtapositions, Contrasting Colours
  • Images and text – Use of Alice in Wonderland quotes & Own Writing

‘Evaluation’

Front Cover:

I wanted to create a title that summarised the key themes within my photobook; escapism, anxiety and imagination. Alice in Wonderland was always a film I loved watching, the fantasy world of giant flowers and talking rabbits was one I would find myself wanting to escape into when the world seemed scary or stressful, hence my title ‘Escaping Wonderland’ – bringing together ideas of running away to a world that is almost-too-perfect, at times unnerving. The whole concept of escaping is usually chaotic, similar to the events and inhabitants of Wonderland – therefore I wanted to juxtapose this fanciful expectation with a very simple and plain front and back cover. I had the idea to use the same soft pink colour, that was a motif throughout the images in my book, to be the block background colour. When deciding where to place my title, I wanted it to be visible, but not too imposing and bold so it kept the same soft theme. I decided to write in dark grey and use the font Times New Roman for my title as I believe it looks clean, but also quite whimsical as the letters flick at the ends.

Page Layouts:

I wanted to follow quite a classic photobook layout when I first started creating my book, placing one image on the right hand side of a double spread and leaving the left side blank. I liked how this created quite a clean and neat look, it helped with creating a calm atmosphere that I could disrupt easily with a ‘nightmare-style’ image or juxtaposition spread. Firstly, I planned on creating a display of my images that was free, without a set sequence or narrative, just a demonstration of locations where I feel safe and have positive childhood memories – I wanted the darker blue images to break up this soft display by being placed randomly on pages throughout the book. Nevertheless, after experimenting with how I could sequence my images to create a narrative, and having the idea to bring text into my book also, I found a natural storyline of exploration that I could have beginning at ‘childhood’. I knew I wanted my book to begin with an image I captured at Reg’s Garden, the public garden space I would visit with my grandparents full of fairy tales and nature, which showed a sign saying ‘please enter visitors welcome’ which I coupled with the phrase ‘a comforting invitation’ on the left hand side. I wanted the inclusion of text to be natural, but also haunting, as if the book was sometimes warning the reader of anxiety creeping in on the next page with sentences such as ‘the water is clear, safe…wait’. The next display of images in my book hints towards child-like imagination, as if I were entering this magical world through a doorway – the images after this one are all inside this fantasy world without anxiety. The layout of juxtapositions range from cold vs warm to natural vs unnatural to reality vs fantasy – I wanted these reminders of the ‘real world’ to pop up during the photobook, it was important for me to show truth in how I have dealt with anxiety, and how sometimes running off into a world of my own (my it be by overthinking or escapism) is not always the best option. I wanted to create a contrast in colours between blue and peach through the book, with phrases next to them such as ‘but it creeps in time after time’ hinting towards anxious thoughts etc. Altogether, my photobook has an ambiguous layout, there is a narrative to follow, but the reader doesn’t have to follow it if they don’t want to – there is always another story within that they may connect with more, maybe the Sudek-inspired images are more sad than optimistic for them for example, it is for the reader to decide what to take from the book.

Strongest Double Spreads:

Throughout my photobook I wanted to create both strong and subtle juxtapositions, may it be through colour contrast, atmosphere or subject – I wanted the images to oppose each other. One of my favourite examples of juxtapositions in my book is the first double page spread below, showing two images with branches creeping into the frame – one light, and one dark. There is a clear contrast in colour with these images, but also in atmosphere; the left image holds lots of highlights and bright horizons giving it a welcoming and positive mood, however the right side image holds darker connotations with its deep blue hue and silhouette-like shadows. Additionally, this juxtaposition gives the impression of ‘anxiety creeping in’, as the branches in both images are twisted and reflect ideologies around horror films/nightmares. There is a subtle overlapping of theme which I also love between these images, the hint of orange that covers the right image’s branches could be seen as a reflection of reality in this darker world – I want the images to seem like different versions of each other at different times, one optimistic and one nightmarish. Furthermore, I wanted to create a spread in the book which represented how much I’d grown in confidence over the years, trying to stop letting anxiety get to me so much. The second spread I have included is how I conveyed that idea, using two of my dream-like images of flowers next to each other, one in its natural environment and one adapting to a new space. The soft focus and pastel colours of the images creates a warm and cosy environment, however sometimes growth is not easy, which is a reminder I wanted to give. With my idea of using text throughout the book, I decided to use the phrase ‘Growth, wait’ to go along side this spread and convey the idea of ‘fear of change’ – sometimes growing too much too quickly is overwhelming, which is what I wanted to show. My final juxtaposition holds similar connotations to the first, of nightmares creeping in when anxiety seems to have disappeared. I really liked the similarity of composition between these images, there seems to be a circular space in the middle of both almost as if it leads to another world, or another escape route. The composition of these images also reflects the idea of this scene being the same, but happening in another reality of either calmness or terror, I wanted to create a contrast that was still recognisable and questioned the idea of ‘fantasy vs reality’. I am extremely happy with the outcome of this photobook, the links to my childhood and memories allowed me to explore how I could represent them through manipulation, or just capturing them as I see them in truth.

My use of Quotes:

I wanted to highlight the idea of ‘Alice in Wonderland’ throughout my book, while some images where clear reflections of Wonderland themes (such as distorted clocks and mirrors) I still wanted to use text to further these themes. I researched quotes from Alice in Wonderland and wrote down ones I thought could relate to certain images/locations I had captured. For example, the first spread below shows two strange objects which could be mistaken for different things if not looked at closely, this spread reminded me of the quote ‘Curiouser and Curiouser’ as the observer may question what these images are actually capturing. Also, the soft focus and dim light makes the images seem mysterious and unrealistic, there is curiosity in their meaning. The second use of Alice in Wonderland quotes falls next to a singular image that I captured of the branches over the pond at Reg’s Garden. I really enjoy how this image is so ambiguous, it is abstract in its composition and use of aperture to focus behind the front branches which I wanted to seem mystical and creepy. This blur also allows the observer to look beyond the main subject of the branches to see the water and landscape behind, I really liked how strange this composition was and how much of an abstract texture it created. Next to this image I wanted to use the quote ‘if I had a world of my own, everything would be nonsense’ as it reminded me of the weirdness that had been captured, the blurred focus and disjointed composition reflected this phrase entirely.

Independent, Task

Newspaper Evaluation

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IDENTITY & COMMUNITY Newspaper

The images seen on the pages of this newspaper supplement are extracted from a variety of projects and final outcomes produced over a two-year academic programme of study by a group of A-Level photography students at Hautlieu School. In their final year the themes of Identity and Community offered a specific focus and through a series of creative challenges students developed a body of work that were inspired, partly from visiting heritage institutions to learn about aspects of Jersey’s unique history of immigration and exploring migrant communities and neighbourhoods in St Helier in a series of photo-walks. In the classroom additional inspiration was provided from workshops on NFTs (non-fungible token) and digital art, embroidery and textile art, animation and film-making, zine and photobook design led by professional artists, designers and teachers.

As part of the research and contextual studies students were asked to engage with some of the key questions raised by the Government of Jersey’s Island Identity project and explore through their own photographic studies how they interpret and identify distinctive qualities of island life. What can we learn from looking at a set of photographs produced by young islanders? At first sight they show us a seemingly random set of images of places, people and objects – some familiar, others surprising. On closer inspection each image is a visual sign and also a conundrum. For example, a fish stuffed in a plastic bottle may ask us to consider more closely our marine environment, commercial fishing or food consumption. As a combined sequence of images they represent different views that in many ways comment on a wider discussion on some of the primary objectives explored in the Island Identity project, such as ‘how we see ourselves’ and ‘how others see us.’

The newspaper was kindly sponsored by Deputy Carolyn Labey, Minister for International Development and Assistant Chief Minister who in her foreword shares her personal thoughts on what makes Jersey special to her in context of the Island Identity project led by her department. She says, ‘identity involves searching our soul, engaging with difficult issues, and asking not only who we are, but how others see us and what a vision for the future might look like. The perspective of students and young people in this debate is critical. Identity is a broad and far-reaching concept, one unique to all of us. This collection of images recognises both our differences and our commonalties. These times may be uncertain, but in my view the topic – ‘what Jersey means to you’ – is a fundamentally optimistic and forward-looking one.’

The Identity and Community newspaper is the fourth supplement produced in collaboration between Hautlieu School Photography Department and Jersey Evening Post. In 2018 the first issue was The Future of St Helier and last year the themes of Love & Rebellion explored experiences of isolation and lockdown during the coronavirus pandemic. Photographer and teacher Martin Toft, comments: ‘The question of ‘what makes Jersey special’ matters a great deal to every islander and as visual signs, the images printed on these pages are an attempt – not so much to provide answers – but rather asking questions about the essence of this island we call home, and how it actively will overcome current challenges in shaping a prosperous future for all.’

Various workshops and school trips for inspirations, recording and experimenting with new images and ideas of making

Evaluation:

  • My image on the right
  • My image on the right
  • My image on the right
  • My image on the left

Task: Write an evaluation, reflecting on the experience of being part of making a newspaper and working on IDENTITY & COMMUNITY project and put it here at the top of the blog post, titled: IDENTITY & COMMUNITY. Specifically, select your images and spreads for comments.

The 4 of my images that have been used in the newspaper are placed in contrast next to other students work. I really like how the first spread hints towards ideas of our environment being tampered with and destroyed, the juxtaposition between a lighter and a flower implies themes of global warming and climate change. Additionally I think the contrast is strong due to texture and colour, with the other students image on the left being harsh and focused compared to my Pictorialism style – it connotes ideas of the fragility of nature, being something we need to keep safe. The second spread, with my image on the right, has an atmosphere of power – contrasting old and new, abandoned and governed. I like the way the spread shows the power of nature compared to ‘man’, yet the irony of a strong independent woman by its side – parodic representation of ‘the human power’? There are similar warm tones in both images, yet a darker and colder atmosphere surrounds the image on the left, juxtaposing the content mood of my photograph. Altogether I really like how this image has been displayed next to one so different, yet holding subtle similarities. The third spread uses an image of a greenhouse which I took during our Year 12 Anthropocene project, displayed next to another students image of bricks. There is a clear contrast in colour with these images, the left holding red and orange hues juxtaposing with the desaturated greens and blues of my image – implying a sense of nature vs man. The abandoned nature of both images creates the impression of being forgotten, desolate landscapes disrupted by mans creation – yet my image hints towards nature fighting back, this contrast strongly shows the power of nature even when hope seems lost. The final spread uses an image of a tree branch from my most recent project on the left, placed next to two images from another student of expansive landscapes. All images on this spread hold strong orange tones and display features of the natural environment – yet there is a sense of looming fear and destruction. Each image is a sort-of hint towards a more industrialised environment, my image starting the set with a dark mysterious atmosphere around nature, moving across to an image showing mankind within natures freedom, then finishing with a futuristic display of when this ‘nature’s freedom’ no longer exists.

Independent, Resource

Community NFT – Final Image and Video

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Link to video;

Womankind

https://web.microsoftstream.com/video/ebad8b1c-a10f-4ba2-b4bd-803164699d50?list=studio

Final Image;

Evaluation

Overall, I believe that our final image and film have turned out very successful as they relate strongly to our initial intentions of commemorating the women who have fought for their own rights throughout history. I am really proud of what we have accomplished during this project, learning new skills on different software such as Premier Pro has been really beneficial in discovering the limitless elements of photography and all we can do with it. I believe our final film succeeded greatly due to our setting, lighting, camera angle and casting – using a model who has such a timeless look helped us portray different decades and styles which all together sustained the aesthetic of our film. Additionally changing our idea to using a static camera shot, instead of panning along as the model moved, assisted with the fluidity of each video; we developed our ideas well as a team by working together and listening to each other’s input. I believe that our message comes across clearly in our film through our use of visual imagery and audio, the idea to use clips from historical interviews helped focus on our main objective. Our final image was created by choosing our 4 favourite images from our shoot and editing them together to form a collage as if our model were seeing different versions of herself through a mirror. I believe we really captured a sense of pride in this image, it represents looking back on the empowerment and rights we have been given by our ancestors, feeling confident in oneself of all that has been accomplished. One part of this image that I think works particularly well is its repetition of the colour orange, symbolising strength and confidence being such a bold colour while also keeping a theme of regality throughout. If we were to have more time on this project I would have liked to improve my skills in digital animation using Adobe After Effect, we brainstormed how we could use this software in our final film but couldn’t come up with an idea of the right standard. Nevertheless, I am extremely pleased with how our final film and image have evolved and developed – I believe they represent a fight for gender equality and female empowerment successfully.

Statement

The evolution of women’s rights into the future Metaverse, a time when diversity and equality are the norms, where a woman can choose what she does with her body without the input from the government and society around her. The concept of our NFT film is to explore the three major waves of feminism in the last 100 years and to celebrate the women who have fought for women in the present to have equal rights to men. The name of our film came from a play on words for Mankind, because as a society in general we are referred to regarding men, by switching the prefix Man to Woman we are making a statement on the power of women collectively. We capitalised the K as an ironic reference to the stereotype of women being gentle and sweet-tempered. Conveying ideas about women’s rights throughout the years, suffragettes, protesters and so on, we show the cyclical theme of women standing up for what they believe in and gaining confidence, that we should all have, in themselves.

Independent, Reading, Task

NFT Community – Evaluation

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Our project based on highlighting ideas about the metaverse and the idea of ‘2 Lives’ was an overall success. We were able to complete the project within the time frame to a sufficient standard. My artistic intention was to deliver a project which used a-lot of digital techniques to relay a futuristic aesthetic. I believe through the use of animation and various other effects, along with the sound-design we achieved this artistic direction.

I feel we effectively spread the workload amongst the whole group. Everyone had something to do at all times when working on the project.

  • Matthew
    • Camera man
    • Animator
  • Reuben
    • Actor
    • Secondary editor
  • Ollie
    • Director
    • Manager
  • Myself
    • Main Character
    • Chief Editor

This was valuable as the editing process was intricate.

Although class time was used effectively in this way, I do feel more out of class work could’ve been done to help iron out any creases in the film as I do think it has room for improvement. For example some sections of the film do not flow seamlessly but rather cut quite chaotically and therefore more out of lesson time could’ve been spent on transitions.

Our project represented the idea of having social circles online and in the physical world which reacted to the theme of community well.

Our work was inspired by artists like Beeble and I feel we effectively displayed this aesthetic using the digital style of work

Resource, Task

Statement and Evaluation

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Statement

Title: Online / Offline
The concept behind our NFT video is that two friends each have two separate lives; one offline and online. Our video shows how anything can happen on an online medium, but real connection and friendship occurs in real life. As technology develops relationships of all kinds are growing apart. An example of this occurred in the height of the Covid-19 pandemic lockdown. People only experienced contact with family members in the same household and the only way to speak to people outside was via an online medium. This effected the mental health of everyone and looking back on the first lockdown we can see how much we relied on technology to keep connected with family and friends.

Creators: Oliver Shiplee, Matthew Brown, Michael Kenealy and Reuben Jeanne

Evaluation

Overall, I think that the film looks good and covers our original intentions, which was to show how you could know someone in real life, but they can be completely different online. In addition, how the online world brings people together in unusual times, such as Covid-19.

The quality of the video is decent, this is because the clips go together and work well with the animated videos. However, the camera shot videos were a bit shaky, which meant they were harder to edit, for example the half-real life, and half-animated side.

Furthermore, Michael and Reuben did a good job editing the film together, especially to the beat of the music. The special effects really help convey the meaning and direction the video was going towards, which is the online/offline comparison. For example, the loading… effect helps show that Michael is travelling into the Meta verse.

The two things I think worked really well, and made the video ten times more interesting, were the drone shots and the animation. The drone shots really provided a unique cinematic angle, which made the film, feel more professional. The animation is a unique feature, which I think separated our film for others.

Personally, I think that the film could have been a little bit longer, at least 30 seconds. This could have been achieved by making the editing a bit slower, which would have helped the viewer take in the film and what the message was. Instead, we made the editing over the top to make it seem futuristic.

In conclusion, I think that the overall outcome is good and both the film and digital image relate to the original message. The animation art style is mostly in the style of the artist/digital artist that I studied, however there are some differences, as we decided to use a low-poly art style, as it emphasises the digital world more than making it look realistic.

Independent, Reading

Identity and Community – Complete Zine

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Final Evaluation of Zine:

Here is a presentation of my final completed Zine, I have titled it ‘Street Stories’ drawing in connotations of street photography and community. I wanted to display the lives that are unknown, the people we see and know nothing about, their lives are a mystery but we can make guesses and make up stories we think would fit. Juxtaposing these candid images are reflections of environmental portraits, market workers and record salesmen giving us a glimpse into their working environment and engaging with the camera naturally. When I took these portraits I didn’t as for a pose or smile, I left it up to the subject to decide how they wanted to be seen. I believe this truthful display can never be entirely real, not as real as a street photography portrait, but it gives the observer a better chance to see who these people are, or how they present themselves when the camera comes out. As I spoke about in my previous post, the narrative and sequencing of my Zine shows the similarities and differences of St Helier streets, of people and of architecture – I wanted to use a mix black & white and colour images spread out across the Zine, linking back to ideas of old and new throughout time. I really enjoyed created this Zine, the presentation style is not one I had come across before and I believe it’s small size and orientation strongly helps with relaying the idea of a close community of people who ‘are not all so different’.

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ANTHROPOCENE, Controlled Conditions, Independent, Reading, Task

Anthropecene Evaluation

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My original intentions where to shoot more landscape images with a wider perspective. Although I did manage to complete this for a few images, my focus shifted more towards a more close up look at Anthropocene landscapes and more abstract methods of capturing the argument between man and nature.

I believe the process of researching and reacting to Anthropocene in a creative and technical manner as a whole was sacksful as I gained a lot of knowledge about the topic and developed my skills in terms of how to react to it. I believe I gathered and edited a successful range of images which react to the topic well.