In groups of two (Ollie and I) we had to produce a poster that reflects on one of the key areas of Jersey Identity, we were given “Communities” to explore.
This is our poster, our main focus was the different communities in each parishes, and how each parish is slightly different which is depicted on there way of life. For example, St. Helier is very built up and Trinity is more rural and less busy.
The notes around the outside inform the reader about the how, the Honorary Police is one of the oldest police forces in existence, and embodies the best Peelian principles of policing by consent. The Parish Hall Enquiry system has been celebrated as a highly effective model for restorative justice, with minor offences dealt with at a community level in a way that does not necessarily criminalise first-time offenders. Meanwhile, the twice annual Branchage and the Visite Royale are both examples of important historic rituals that form part of Jersey’s Identity.
Under the map, there’s information about how the parishes got their name, with the correlating symbol on the map and next to the information. For example, St. Helier and how the blue symbolising the sea, and the axes symbolising the martyrdom of Helier at the hands of Saxon pirates in 555 AD.
Finally, the part under the map is based on the different languages in Jersey such as, English, French, Portuguese, and Polish. However, the main section is about the language Jèrriais, as it is in the DNA of Jersey. It’s a crucial historical aspect of our identity. To quote Professor of Linguistics Paul Birt, ‘There are few languages I know with such a richness of expression, some of her idioms are poetry… Jèrriais belongs to Jersey, and without it Jersey would, I believe, stop being Jersey.’ However, if we can agree that we should not allow Jèrriais to die, then we must fund its revival properly. Jèrriais should be an integral part of our Island Identity, promoted by Government, the States, businesses and organisations, and can be used as a unique selling point to those beyond our shores, also helping to differentiate us further from neighbouring countries. Teaching it in schools can embed a sense identification, pride and citizenship in Jersey school children, regardless of background.
French is also one of the crucial components of Jersey’s cultural heritage and identity. It is important for its own sake as the language of our nearest neighbour, and as a stepping stone to Jèrriais comprehension. Additionally, all of the road names are in French, like, Rue Due Mielles.
My projects central focus will be around the complex idea of identity. I want to explore this theme through emotional and aesthetically consistent imagery and videography. I am going to hone in on something close to me to explore the idea of identity. I want to examine the sport of rugby. I have been playing rugby for Jerseys rugby team for a number of years and have been playing the sport since a young child which will give my project the aspect of an insider documentation. I want to explore how a team conducts themselves as a whole and the notion of finding identity within a team.
Jersey Reds mini rugby coaching Sunday session
Picture: MIKE KENEALY
However the main focal point of my project will hone in on one person to explore their identity. In this way I want to focus on the idea of identity in terms of ideologies of masculinity and also the idea of escapism. I believe this is important to explore; growing up rugby has always been a sport that carries with it many stereotypical notions. I believe rugby carries pride, patriotism, brotherhood and endurance within it. It was always a measure of toughness and strength. Two elements that are held in high value. However, these notions can loose their value when seen from the wrong perspective. Often these ideas associated with rugby can mutate into very toxic pressures placed on individual players. Hypermasculinity can have quite a negative effect when talking about identity. With my project I want to explore a rugby player who resembles the stereotypical Viking-like nature of rugby players and strip the ideological walls down and explore a real identity not just the face value aspect of ones identity. I have already began collecting images that represent begin to explore this idea.
To gain insight into the task of creating a personal statement and personal investigation I explored the work of a previous student.
To full understand and ensure I would cover ever aspect of this project I looked at the grading criteria.
This helped me analyse the previous students work and give him a grade which will help me understand how to get into the top grade. To ensure a top grade and achieve all the assessment objectives, ideas need to be developed through sustained and focused investigations which are supported through contextual sources which presents a developed understanding of the project. Appropriate techniques and recourses need to be explored and sustained throughout. Appropriate evidence of recorded ideas need to be included and finally a meaningful response personal to the individual that relies their intentions needs to be made. I also looked at the students work in terms of Concept, Editing, Sequencing, Design, Narrative and Aesthetic. Further criteria to assess the students essay:
Does the essay address its hypothesis?
Does it provide new knowledge and understanding?
Is the essay well structured with a sense of an introduction, paragraphs and a conclusion?
Use and flow of language, prose, punctuation, spelling.
Use of specialist vocabulary relating to art and photography.
Analysis of artist’s oeuvre (body of work) and key work(s).
Evidence of wider reading with reference to art history/ theory, political discourse and/or socio-economical context.
Use of direct quotes, summary or commentary from others to make an informed and critical argument.
Use of referencing system (eg. Harvard) and a bibliography.
Use of illustrations with captions listing name of artist, title of work and year of production.
Considering all this assessment criteria will help me create a well structured and in depth response.
Following on from this I began a reviewing and reflecting process were I looked at an overview of what I have learned so far (both as Yr 12 and Yr 13 student) and how I intend to develop my Personal Study.
The project that has inspired me the most from the what I have explored so far is my work exploring the theme of identity and place through the medium of photography.
Through this project I explored the notion of telling a story in way in which I explored identity in terms of feeling a loss of identity by feeling like an outcast to society but finding identity by fitting into a sub culture. I approached the project through a combination of conceptual
And portraiture style responses
Through this identity project I explored more modern artists such as J grant Brittan who’s work explores the theme of identity through a romanticist style of photography. And more historic representations of Photography such as Claude Cahun, part of the Dadaist movement of photographers exploring surrealism and identity in an innovative contemporary style. Claude is a highly influential artist for me. Claude was able to massively further my knowledge and understanding of contemporary photography as well as give me a perspective on how to approach themes using my creativity through the medium of photography. I therefore also further developed my photographic skills, specifically skills relating how to create narrative with tableaux imagery and draw emotion from the subject I was shooting which has translated to my current work.
I also experimented with more low light photography which was a challenge for me however I learnt from mistakes and fixed them which advanced me as a photographer.
This previous year 12 project is why I want to focus on developing this idea of identity to construct my personal study and investigation.
Now that it’s over, what are my first thoughts about this overall project? Are they mostly positive or negative? My first thoughts about this project is that overall I think that I did well, although I know there are areas for improvement.
If positive, what comes to mind specifically? Negative? I think that some things I did well were my presentation of my ideas and my case study and comparison. I think I could’ve analysed and evaluated my own final images in more detail.
What were some of the most interesting discoveries I made while working on this project? I discovered that I prefer and find it easier to have a physical final piece that I can hold rather than an image on my blog.
What were the challenges? I think that the thing I found most challenging was my time management, and also making sure that I had everything completed to the best of my ability.
How did I come up with my final best solution? I took inspiration from a range of different photographers, but I also used my own imagination to experiment with different ideas.
What most got in the way of my progress if anything? I think that my time management was the biggest thing that got in the way of me making a lot of progress.
What obstacles did I overcome? I was struggling to come up with ideas for my final pieces, but once I had taken a break and thought about the type of message and feeling I wanted to present, I was fine.
What did I learn were my greatest strengths? My biggest areas for improvement? I think that my greatest strength was that I was able to produce two final pieces that I was proud of, despite changing my mind a lot. I think my biggest area for improvement is my time management skills, and putting as much detail as possible into my blog posts.
What would I do differently if I were to approach the same problem again? I would try to be as prepared as possible by making a checklist of everything I needed to produce and include in my blog posts, and tick them off as I went along. I would also try to make sure I had got enough done beforehand as possible, as it would put less strain on me during the controlled conditions.
How will I use what I have learned in the future? I will use what I have learned in the future by ensuring I know what is expected of me to produce, and make sure that I put as much effort in as possible.
Both photos work with the idea of identity and I think I portrayed the topic well. I made sure that the objects and things that were around me that describe me were still viable and clear.
With both outcomes I adjusted the brightness, contrast and exposure to make sure they were brighter because when I took the photos they came out darker then I thought. In outcome 2 I also straightened the picture as it was slanted.
Both photos do not have the same undertone due to the initial lighting used however if I was to present them I would not put them together and would only keep one. Outcome 1 is more cool toned which I do not like as much because I think it makes it personal and makes the mood cold. Whereas Outcome 2 is warmer and gives it more life.
Alec Soth
Image 1
Image 2
Image 3
Outcome 1
Outcome 2
Outcome 3
All three of these photos have the same positioning of Alec Soth’s image where he has a main subject in the centre and the background is plain. I have also incorporated the split horizontally to split the images into two. The story with outcome 1 and 3 is that I wanted to portray a sense of lost identity and emptiness. The location being Corbiere has a deeper meaning that links to me personally because it is an important place to me as it reminds me of my grandparents.
When editing Outcome 1 and 3 I cropped the images so that the bench would be in the middle. On all three outcomes I adjusted the brightness, contrast, exposure and gamma correction. I made the sky brighter and adjusted the exposure of each image to make sure the sky was plain but then adjusted the contrast higher so that the land was still darker. I also adjusted the gamma correction so that the land would still have colour and not be washed out. On outcome 1 I used the clone tool to get rid of some rocks that were in the sea in the bottom left so that the background was plain.
Image 4
Outcome 4
When taking this photo I wanted to focus on the topic identity and how these images are about Corbiere and my grandparents. When they visit they sit on the bench photographed in the above image which is what I associate with the location.
I adjusted the brightness, exposure, contrast and gamma correction so that the background was lighter and clearer but the land was still clear.
I will be taking photos of landscapes and buildings so I will not need anyone to be in the photo. I will be taking the pictures.
What
I want to take pictures of important places/landscapes and buildings around Jersey that are linked to me and my family.
Why
I want to focus on buildings and settings because I want to show more about how the location I live in affects me and what places have meaning to them. I want to show that the history and memories of certain places can impact how we view something and how it can relate to specific people.
Where
I will go to Corbiere Lighthouse because my mums parents (my grandparents) favourite place is Corbiere and they live in England so I associate Corbiere with my grandparents, which is part of me as my grandparents are part of my family history. Corbiere also has an impact on Jerseys identity and history as it is surrounded by bunkers from when the Germans occupied Jersey.
When
I will go on a day where the sky is grey and there is no sun because I want the images to feel isolated. I also want to have one main subject of the photo and the background to be empty and simple.
How
I will be using a digital camera.
Contact Sheet
I chose to go on a day where it was misty and foggy because I knew that the sky would be empty and smooth which is what I wanted, it also added a sinister mood to the photos. When taking the photos I tried to focus on the positioning as I wanted the same horizonal split shown in some of Alec Soth’s work. I found a bunker with a bench on the top which I thought would be good to photograph as it links to the idea of isolation especially as it was facing the empty sky. To take the above images I used my phone because it was too damp for my camera however the images still came out how I wanted.
My idea for my second shoot is to explore the theme of gender identity. In order to portray this theme effectively, my plan is to use a handheld projector to project different images onto my subject’s face and body. After I have printed these images out, I will use a needle and various colours of thread to sew around different parts of the photograph. I think that this will be a successful way to show the concept of gender identity because I will be able to portray how people can choose to hide behind their presumed ‘identity’ in order to conceal who they really are. Additionally, it will also be able to show how members of society can sometimes project their views and opinions on others.
INSPIRATION
FIRST CONTACT SHEETS
For this shoot I used a handheld projector against a plain white background, which helped to create my desired three dimensional effect. I chose and downloaded different images from the internet to project onto my subject because I wanted a range of dark and light tones. Additionally, the different images create contrasting moods and feelings. In order to ensure that my images are the best quality possible, I will edit and adjust some of the colouring on PhotoShop, as well as the sharpness and shadows.
EDITING PROCESS
PHOTOSHOP EDITING
To start with, I adjusted the brightness and contrast on all of my base images until I got an end result that I was happy with. I did this by selecting the image tab at the top of the screen and clicking adjustments, then brightness/contrast. For my second and fourth images, I brought the brightness most of the way down so that the shadows across my subject’s face would be more noticeable. Next, I decided to adjust the vibrance of my images, by selecting the image tab, then adjustments, then vibrance. I did this because I wanted all the colours in my photographs to be brighter. Then, I adjusted the saturation by selecting the image tab, then adjustments, then hue/saturation. I increased the saturation the most in my fourth image, as I wanted the viewer to be able to see the orange-toned colours more clearly. After that, I wanted to change the colour balance of my images. I did this by selecting the image tab, then adjustments, then colour balance. I slid my mouse across all three of the different colour scales until I was happy with the result, and the right colours had been emphasised.
After I had made all the adjustments to my base images, I selected the one which I liked the most to use for my final image. I chose my second image and opened it in PhotoShop. I decided I wanted to duplicate my subject and have three of her all next to one another. To do this I selected the layer on the right hand side of my screen and duplicated it by pressing control c. Now that I had two layers I selected the new one and used the object selection tool to pick out my subject. I then copied the area outlined by the object selection tool and pasted it onto my background layer. I did this once more to get three subjects, and I then moved and adjusted them until I got an end result that I was happy with.
After I had finished duplicating my subject and arranged them into the position I wanted, I decided to add something else to my image so that it wouldn’t just be plain. I selected the brush tool and changed the size and hardness using the corresponding scales at the top of my screen. I then selected the soft round brush from the different options. I used the eyedropper tool to sample one of the colours from my image; I chose a pale blue colour which is as close to white as I could find. I began to trace the outline of my subjects with the brush, making small horizontal dashes which were close together. To finish, I adjusted the sharpness of the photograph by selecting the filter tab, then sharpen.
My idea for this first shoot is to explore the concept of identity loss. In order to portray this theme effectively, my plan is to create a collage of my subject’s face using different materials such as old photographs, newspaper and magazine clippings, and paint. I think that this will be a successful way of showing identity loss as the end result will be an accumulation of many different factors, but it will also show how confusing identity can sometimes be, and that it is not just made up of one thing. Additionally, it will allow me to present various creative skills and ideas.
INSPIRATION
FIRST CONTACT SHEETS
For this shoot I took some normal headshots which I will use as the base / background for my collage. I took these using different colour plastic sheets over an L.E.D light so that I would have a variety of images to work with. I then photographed close up images of my subject’s face, which I will cut out and arrange in different shapes, patterns, and orders over the base to create the look that I am aiming for. I will edit some of the photographs on PhotoShop into a black and white effect so each collage has a unique look and feel.
EDITING PROCESS
COLLAGE MAKING
Firstly, I printed out some of the various close-up images I took of my subject’s face, and cut them up into squares and rectangles. I then printed out the pre-selected three black and white base photos. I experimented with placing and layering the close-up images on the bases, using a mixture of black and white, normal, and the two different colour options. I did this for about half an hour before I decided to try another idea, as I didn’t feel that it was going to plan. I looked through different newspapers to try and find different buzzwords which could relate to identity loss. The words that I found were; ‘nightmares, prisoners, shallow, change, madness, crisis, online, oddity, scrutiny, fraudster, images, judging‘. I then ripped out pages of the newspaper which were covered in text to use to mask my subject’s face. I experimented with the placement of the newspaper, originally deciding to cover their whole face, but after trying several different options, I decided to only cover the bottom half and a little bit on the right hand side, leaving their eyes completely exposed. After I had glued down the newspaper, I arranged the cut out words around my subject’s face and tested different angles and placements until I was happy with the final result. I then cut out a piece of plain black card which I used to back my piece.
Claude Cahun (1894 – 1954) was a French surrealist photographer, sculptor and writer. Born Lucy Renee Mathilde Schwob, they adopted the pseudonym Cahun in 1917, and are best known for their self-portraits, in which they assumed a variety of different and eclectic personas. Cahun’s work challenged the traditional concepts of gender roles, and in their autobiography they state: ‘Masculine? Feminine? It depends on the situation. Neuter is the only gender that always suits me.‘ It is likely Cahun would have identified as non-binary today.
In 1937, they settled in Jersey with their partner Suzanne Malherbe (pseudonym Marcel Moore). Following the German occupation of the island in 1940, both Cahun and Moore became active as resistance workers and propagandists, working extensively to produce anti-German fliers, which they would place discreetly in soldiers’ pockets or in cigarette packages. Their resistance efforts were not only political, but also artistic; using their creative abilities to undermine and manipulate the authority they hated. In many ways, Cahun’s life was marked by a sense of role reversal, and like many early queer pioneers, their public identity became a commentary upon the public’s opinions of sexuality, gender, beauty, and logic. Their adoption of a gender neutral name and their androgynous self-portraits display a revolutionary way of thinking and creating, experimenting with the audience’s understanding of photography as a documentation of reality.
CINDY SHERMAN
Cindy Sherman (1954 – ) is an American artist whose work consists primarily of photographic self-portraits, depicting herself in many different contexts and as various imagined characters. In 1972, Sherman enrolled in the visual arts department at Buffalo State College, where she began painting. During this time, she began to explore the ideas which became a hallmark of her work: She dressed herself as different characters, cobbled together from thrift-store clothing. Sherman works in series, typically photographing herself in a range of costumes. To create her photographs, Sherman shoots alone in her studio, assuming multiple roles as author, director, make-up artist, hairstylist, wardrobe mistress, and model. She explained to The New York Times in 1990, “I feel I’m anonymous in my work. When I look at the pictures, I never see myself; they aren’t self-portraits. Sometimes I disappear.” She describes her process as intuitive, and that she responds to elements of a setting such as light, mood, location, and costume, and will continue to change external elements until she finds what she wants.
Sherman’s work is often linked to feminism, since her photos call attention to the objectification of women in the media. Sherman’s 1981 series Centerfolds contains pseudo-voyeuristic images of young women. Her 2008 series Society Pictures addresses the obsession with female youth and beauty in American society. Her most recent series, the 2016 Imitation of Life, explores the glamour that can be found within mature women. By using stylized, vintage costumes and heavy makeup, Sherman is rendered as a subject that looks almost artificial, aside from her conspicuously-placed, aged hands, which point to the reality behind the illusion. Sherman has identified an uncertainty toward the Untitled series’ relationship with the male gaze.
IMAGE COMPARISON
Despite the fact that these two photographs were taken almost 50 years apart, the message behind each of them is strikingly similar; that identity can be whatever you want it to be. Both photographers explore what it means to be perceived and judged by others, and, perhaps more harshly, by yourself. They have stripped themselves of all things, both physical and emotional, in order to transform themselves into re-invented and more developed versions of their previous selves, with both of them taking on the roles of various different personas and characters. For the brief moments during which they are in front of the camera, they are able to let go of what they and society thinks they ‘should’ be, and express themselves through their art form. Both images have been shot in plain black and white tones, with Sherman adding the effect in order to accurately portray her character’s time of relevance. They have also both been shot against a black backdrop, which means we can assume that they were captured in a studio of some kind. The black backdrop also allows the viewer to see Cahun and Sherman clearly, with nothing in the background of the images becoming a distraction to the eye. Additionally, it strips the photograph of any depth, making both images appear flat and two dimensional. Furthermore, the two subjects have very pale complexions, which contrasts heavily to the dark background. As these pictures were captured in a studio, it is highly likely that artificial lighting was used to illuminate the subjects, and we can see that by the way the light is spread evenly over Sherman, we can assume that 3 point lighting was used. Another similarity is that both Cahun and Sherman have used makeup to exaggerate their features as a way to emphasise their respective characters. For example, we can see that Cahun has drawn on her bottom eyelashes in order to make her eyes appear larger and more doe-like, and Sherman has applied a heavy amount of contour to her cheekbones. This can be linked to the theme of identity as makeup is often used by people to create an entirely new face, or alter the one they had before.
