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Personal Investigation – Presenting Final Images

May 17, 2022 Sophie M Leave a comment

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: 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:

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

May 16, 2022 Sophie M Leave a comment

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, Reading

Personal Investigation – Photoshoot 3/4 Josef Sudek

April 3, 2022 Sophie M Leave a comment

Initial aims for shoot:

My initial aims for this Josef Sudek inspired photoshoot were to combine the technique I discovered while on my ‘Photoshoot 2 – Pictorialism’ , creating a dream-like bur, with Sudek’s iconic display of flowers in clear vases being captured on window sills. I wanted to combine these ideas to create a whimsical depiction of nature, however showing how it can adapt to its surroundings – as if these flowers are symbols of hope. I planned on capturing my shoot using the windows inside my home, however I found it difficult to replicate Sudek’s compositions due to my windows not having such a large space underneath for the flowers to sit. Therefore, I had the plan to use my grandparents home to capture my images, a place still close to my heart that held meanings in location as well as subject. I aimed to conduct my shoot during the afternoon as I wanted there to be enough light to illuminate the subject, but not too much so that it became a silhouette. I planned on using the downstairs bedroom window which looks out onto the garden as I knew there were netting curtains that I could experiment with across the windows, I wanted to see whether this background still allowed for the observer to ‘look through’ the image. I had the idea to use an array of either singular flowers or bunches of flowers in the vase, I wanted to use a selection of types of flowers, and also a set of flowers that were more wilted to compare the effects and atmospheres they created.

Initial Shoot Experiments

This first shoot was conducted at my grandparents house, using their curtains to create a set of images with an abstract background. I wanted to mirror Sudek’s use of the rain which lined his windows/background but to experiment with a different pattern to see whether this created a similar mood. The lighting of the room was very cold on my shoot day, the sun was behind clouds which actually made it easier to capture the flowers without risk of them becoming silhouettes, however this also meant the warm pink tones that I had captured in my Photoshoot 1 and Photoshoot 2 were not replicated. I knew that I would have to heavily edit the tones and hues of these photographs in order to mirror my fantasy/dream-like theme, nevertheless I captured several images with strong compositions that I knew could be of use when creating my final selection.

Second Shoot Experiments

I decided there was a need to do a sub-shoot using the same theme and ideas, however this time using a different location where I could better reflect Sudek’s work. I discussed my idea of shooting in front of a panelled window with my friends and was lucky enough to be able to use one of their bedroom windows to conduct my shoot, it was a subtle reflection of Sudek’s location and gave me the opportunity to experiment with compositions lined up with the window panels. I began my shoot without steaming up my camera lens for a few images so when editing I could experiment with how I could manipulate the image to seem blurred in a Pictorialism style, without manually doing it on the day. I then used my technique of creating a fog over the lens with my breath to take the rest of the images, nevertheless there was still a blue hue that washed over my photos. I also wanted to replicate Sudek’s capturing of rain in the background of his images, however on the day of this photoshoot there was no rain forecast, so I came up with the idea of pouring a glass of water over the outside of the glass to look like raindrops rolling down the window. This idea was very successful and allowed me to experiment with aperture to focus on either the flower or the raindrops – I wanted to create a set of images that were delicate and soft, breaking up the fantasy world from previous shoots with hints of reality breaking down.

Juxtaposition Shoot Experiment

After going through my images from each photoshoot, I realized there were not enough nightmare style images to disrupt my photobook design, I wanted to have a book full of juxtapositions and disjointed hues of blue and peach that contrasted each other, conveying a sense of anxiety creeping in. Therefore, I decided on conducting a 4th photoshoot based on the idea of ‘nightmares’, bringing in the idea of Alice in Wonderland by photographing mirrors and clocks that could be placed next to images of foggy streams to link to the theme of escapism. I undertook this photoshoot around my home, capturing old photographs of my younger self/of family members using the blurry method, as well as capturing sharp images of them to contrast which looked better next to my other shoots. I wanted to focus some images on the idea of reflections, using a small mirror in my bedroom to act as symbol for clearing the mind, starting by capturing it fogged up and then capturing it from the same position once the mist disappeared. I used this photoshoot as an opportunity for experimentation, I knew that I would only choose a small selection of images to be presented in my final collection, however I still wanted to see how many ways I would portray the idea of ‘a nightmare’.

Editing

For the first flower experimental shoot I knew there would need to be a lot of manipulation in Lightroom to make the images fit my whimsical theme. I used this as an opportunity to use the different features of Lightroom that I had previously not used as much, such as turning down the clarity of the image and dehazing it to create an over-exposed style. I then saw how turning up the temperature and tint of the image would give it the same peach/pink filter that washed over my other shoots, creating this fantasy display similar to an old blurred photograph. After exploring how turning up or down the contrast/exposure/highlights of the image affected its atmosphere, I found the perfect balance of editing which created my final image. For the second flower shoot, there was still a blue hue that washed over the images due to the artificial indoor lighting being cold, therefore during the editing process I had to, again, turn up the temperature and tint of my images to fit my theme. Even though I had steamed up my lens for most of this shoot, I still used the dehaze and clarity feature to create more of a dreamlike blur over the photos, I believe this successfully replicated Sudek’s work while also bringing in my own personal fantasy style. The nightmare shoot images were mostly cold and lacked in vibrancy, however when editing the two images of my mirror I wanted to experiment with how increasing the blue hue created a mystical and dark atmosphere. All of my images have a fantasy theme, may it be soft positive dreams of childhood or mysterious dark memories rooted in anxiety – this shoot let me edit in an abstract style to separate my subjects from reality. I increased the contrast of this shoot to create sharp edges underneath the blur as there was a lot of shadows and darker tones that I could draw focus to – the circular composition of my mirror image is inviting and unsettling, which were the main ideas I wanted to convey during this shoot.

Final Sudek Inspired Images

Final Juxtaposition Images

Comparison to Sudek:

Josef Sudek | The Window of my Studio 1941-1954 | Comparison

Josef Sudek | La Dernière Rose (1959) | Artsy — *Josef Sudek | The Window of my Studio 1941-1954 | Comparison*

Sudek’s images are dark, they have a sense of mystery to them, and a sense of loss. Nevertheless, when I look at Sudek’s work, though there is loss, there is also hope – flowers are symbolic of life, it is as if Sudek (even in his confinement to his studio) is telling his observer there is still life wroth living – possibly he is trying to convince himself of this fact also. Comparing my work to Sudek’s, there is a clear link in subject and location – I have tried to replicate his surroundings as best I could with the weather circumstances etc – yet there is a contrast in atmosphere. My images are soft focused and bright, there is a content and calming mood within them as if the over-exposed highlights are beams of sunlight bringing joy and hope. Contrastingly, Sudek’s images are cold and dark – even without saturation it is clear that there is a gloomy atmosphere surrounding his subjects – hinting towards his own isolation. I wanted to create this difference to convey a sense of optimism, even though Sudek may be documenting a difficult time in his life there is still faith in nature and finding a way to adapt – this faith and hope is what I wanted to draw the most focus to in my images, they still give an impression of isolation, however this loneliness is surrounded by warmth and brightness as if its optimism for the future. Additionally, Sudek’s use of soft focus is replicated in my work, yet I have taken it to the extreme using my Pictorialism inspired technique – there is an impression of reality breaking down in both mine and Sudek’s work, with abstract shapes in the background creating an eerie atmosphere. Overall, I am really happy with how my Josef Sudek inspired photoshoot turned out, I have been able to experiment with different editing techniques and compositions, having to explore different ways of conveying a theme of anxiety, escapism and safety.

Independent, Reading

Personal Investigation – Photoshoot Two Pictorialism

April 2, 2022 Sophie M Leave a comment

Initial aims for shoot:

I wanted to create a set of images that combined the work of Robert Darch and Josef Sudek, mirroring techniques and themes used in Pictorialism photography. I plan on using the main location of Reg’s Garden, a community garden that I used to visit as a child with my grandparents, capturing areas where I would escape into imaginary worlds. I also plan on using my grandparents home for several images, using locations such as the kitchen, hallway and spare bedroom. In these rooms I hope to capture a sense of memory, past and nostalgia by photographing mirrors and doorways, windows that look into the past and provide a view to the future. The theme of safety is one I want to focus on in this shoot, the Pictorialist style will hopefully create a mystical yet welcoming atmosphere, using a soft blurred focus to distort any harsh textures or shadows in each image. I plan on conducting this photoshoot during the mid-afternoon, I want to take full advantage of the bright weather to create exaggerated highlights in my images. Experimenting with the Pictorialism technique is something I really want to explore in this shoot, I plan to bring Vaseline with me on the day to smear over the camera lens, however I would like to try using different materials to create the staple blurred filter over my images. This shoot will serve as an exploration of childhood imagination, physically capturing the Wonderland-like world I escaped to, whether I was happy, sad, confused or anxious – I want to display the dream-like state of ‘playing make believe’.

Editing:

I began editing in Adobe Lightroom, going through each image and flagging it if it portrayed the right atmosphere and theme I wanted to put across. Aesthetics was a feature that had importance in this shoot, I wanted my images to have a whimsical fantasy style that gave the impression of an almost ‘too perfect’ world. I looked for warm tones and orange hues when flagging my images, I found they were more successful when resembling colours of late evening sunsets as it created a cosy and welcoming atmosphere. After flagging my favourite images, I went through them again rating them from 1 -5 and focused on finding the meaning behind each image, when I took this image what did I have in mind? Does that message/idea come across successfully? Additionally, I wanted several images to hold a sort-of ‘escape route’ within them, may it be a door or a window, a clearing in the trees or a bridge to walk across – anything that could lead to this mystical world. Negative space that I captured in my images sometimes served as this ‘escape’, when sorting through and choosing which would be my final images to edit it was clear that keeping this fanciful narrative helped create my desired effect. Below is my selection of 5 star images, I considered colour, composition, meaning and light to create this selection and give the impression of an idyllic world full of imagination.

How I replicated Pictorialism:

I had planned on using Vaseline smeared over the camera lens to mimic that of Pictorialism, nevertheless when I began setting up for this shoot I though of a different idea and technique to create this imagery style. I wanted to create a gradual blur, some images slightly misty and foggy and others completely distorted, to compare how much I wanted to change the atmosphere of my surroundings in each image. Using Vaseline, although effective, was not the most practical material to create this gradual effect, as I would need to keep removing and reapplying the gel to the lens when I wanted less or more blur. Therefore, I thought of using my breath to steam up the lens, as the effect would ware off after a few seconds and I could take multiple shots of the same location as it gradually loses its blur. This allowed me to experiment with how much the lens should be steamed up when photographing to create enough blur to be distorted and dream-like, however not so much that the subject cannot be recognised as a bench or statue. As this project has such a personal connection to me, it was as if I was breathing life into these images to create this other-worldly effect – experimenting with how an image can be manipulated without editing it harshly in Photoshop or Lightroom was something I really wanted to explore. This Pictorialism imagery gives the impression of memories, foggy and blurred but still remembered as happy and content – there is a calmness to this shoot that when mixed with the oil-painting-style imagery portrays an imaginary world where anxiety disappears and childhood can live on.

Experimentation:

The images above and below were both taken in my grandparents home, it was the secondary location to Reg’s garden, holding memories of childhood and happiness. However, during the time of this shoot the lighting and weather was dull and cloudy, blue undertones and shadows made the images seem desolate and forgotten – which was no the atmosphere I wanted to create. When photographing I though of changing the ISO and white balance to create a warmer tone, however I was undecided as to whether the images would make it into my final selection, so did not make the changes. This gave me opportunity while editing to manipulate the highlights, temperature and tint of these photos in order for their colour pallet to match the rest of the blurred images. Instead of keeping the cold blues and putting these images with the ‘nightmare-style’ shoot, it made no sense to take a photo of a happy, loving place and change its whole meaning – therefore slightly warming the temperature and tones helped create my desired mood of welcoming. My grandparents home has always been a place where I have felt safe, as a child I would create stories in every room and escape from the outside world, using props such as cutting boards for boats or shields and curtains to keep the ‘monsters outside’ – all of these memories are now foggy yet still so clear, I wanted to use a Pictorialist style to show this.

Final Edited Images

Overall I am very pleased with how the final edits of this shoot turned out, using breath to manipulate the camera lens and capture a distorted scene allowed me to experiment with how a Pictorialist style can represent a fantasy world. Themes of serenity, perfection, calmness and persuasion were all ideas I wanted to keep in mind during the shoot. Using the style of Robert Darch by capturing nature in all of its beauty, and of Josef Sudek by taking his use of misty blurred surroundings, altogether created this display of fantasy. Using pink and orange tones that replicated a sunset throughout created this warm welcoming atmosphere, which will be disrupted by the harsh ‘nightmare’ shoot images which will break up my photobook. I am using Darch’s technique of progressing narrative through colours and tones, in The Vale of Despond by Dan Cox he describes this in Darch’s work; “A change in the palette of the images, another influence from the cinematic, signals this move, with cooler blues and yellows fading into greys, as the space becomes increasingly hostile.” I plan on creating a third photoshoot delving more into the world of Josef Sudek, being influenced by his study of flowers on a window sill and linking it to themes of adapting to my surroundings and to change. I want to progress these ideas further by experimenting more with the Pictorialism blur and using it to capture scenes in Sudek’s style.

Independent, Reading, Task

Personal Investigation – Photoshoot One Robert Darch

April 1, 2022 Sophie M Leave a comment

Initial aims for shoot:

During my initial planning for this photoshoot I aimed to create images focused solely on nature and the environment, I wanted to capture specific areas around the island where nature has felt both comforting and unnerving to me- juxtaposing ideas of contentment and anxiety. I planned on keeping to locations where memories of childhood lay, such as St Catherine’s Woods and Le Creux Woods – I knew there were possible photographic spots full of twisted trees that I wanted to capture so I made sure to shoot on a bright sunny day to take full advantage of the shadows that would be created. I wanted to reflect the work of Robert Darch using natural sunlight to create a sense of optimism and hope in my images, I planned on beginning my shoot early in the morning to capture some more golden tones around the landscapes. Similar to Darch’s style, I will use an aperture setting of about F/16 to create a balance between depth of field and sharpness ensuring that each element of the image is in focus. Nevertheless, to contrast this and provide a break in the synchronicity, I plan on capturing several ‘nightmare-style’ images with cold blue hues and darker tones throughout. In these images I will experiment with using a wider aperture of F/2.8 to focus on a specific branch or leaf, then using a very narrow aperture to compare which style creates a more eerie atmosphere.

Editing:

I began editing my images in Adobe Lightroom, flagging the images I liked best due to composition, lighting, atmosphere and repetition. I found that the images I captured at St Catherine’s Woods were more successful then those taken at Le Creux due to the location holding more expansive landscapes that related to Darch’s work greater. After flagging my images, I rated them from a score of 1 to 5 to create a final selection of the strongest ‘unedited’ images – then I went in and touched up exposure, vibrancy and contrast to enhance the comforting ‘dream-like’ atmosphere I wanted to create. The theme and intertextual idea of Alice in Wonderland came to me during this shoot, I thought of combining a series of the whimsical Josef Sudek photos with vibrant Darch inspired landscapes to create this fantasy ‘Wonderland’ influenced world where one could escape to in times of panic. It was always an idea I wanted to portray however I didn’t yet know how ‘make’ this world, throughout this photoshoot I tried to capture areas that seemed a little too perfect to stay compatible with ideas of Wonderland and dreams.

When undertaking the 1-5 rating of my images I focused on selecting those that best gave the impression of escaping into another world, may it be over a bridge or through a gap in the trees – I wanted each image to have a sort-of ‘clearing for an escape’. Composition wise, I looked for geometric shapes within my images, many had hints of circles that opened out into an expanse of sky, or distant trees. I was really drawn to these photographs as I believe they tell a greater story for the observer, like there if still more to be seen beyond the image – yet it also allows them to come up with the end of this story themselves. I also aimed to include images with lots of repetition, to keep with this ‘too perfect’ idea, like this magical world is not all it seems to be. Images with repetitive trees contorted around each other that seem to just keep going and going into the background of the image always fascinated me and made me think of fantasy worlds – I wanted to include the themes of escapism, but through natures captivating features. Hues and colour pallets in each image we mostly warm and vibrant, I did minimal editing to keep a cohesive pallet throughout of oranges, greens and yellows. However, when shooting the more ‘nightmare-style’ photos I wanted to use colder, more blue hues. I edited my images, which were taken late evening, by turning down the temperature and adjusting the amount of shadows and highlights to create a more mysterious brooding atmosphere. I aim for this contrast to confuse the observer, making them think of why such warm and welcoming images have been disrupted by these dark reminders of reality and fear creeping in.

Experimentation:

This was one of the first images I captured for my project, on a walk through a familiar woodland one evening I found this branch covered in raindrops. At first I was focused on its beauty, I tried capturing it from different angles and using a wide aperture to blur the background, however when it came to editing I couldn’t decide which atmosphere it created more. Looking at the image it made me feel quite unnerved, the branches closing in from the right have an almost claustrophobic feel to them, I saw a more ‘nightmare-inspired’ atmosphere than a calming one. Nevertheless, this meant editing had to be more thorough to fit with my idea of harsh blue tones breaking up the warmth of other images. I began by decreasing the temperature to -68 so I was able to work with the blue tones, I then increased the contrast to create a sharper image and decreased the exposure slightly however the image had too many purple undertones from the original sunset haze. Therefore I slightly decreased the tint of the image to create more green undertones so the image wouldn’t look too unnatural. After touching up the dark and light tones in the image I was really happy with how it turned out, from beginning my edit with a pink, soft image which I had edited to fit with the ‘dreamlike’ photographs, it was interesting to then completely try to change the mood by using a colder palette.

Final Edited Images:

So much inspiration was taken from Darch’s photobook ‘Vale’, I wanted to create that same welcoming but also disconcerting atmosphere. Some quotes that inspired me, from critics discussing ‘Vale’; “Vale is the latest photobook by the artist, which he has self-published. Images of old trees, verdant valleys and hot summer hazes denote an archetypal British countryside and typify the narrative. Alongside this, disconcerting elements peek from behind; something can be felt amongst the trees. The beauty of nature faces a ghostlike, fractured, and melancholic stillness. There is more at play under the surface of this pastoral landscape.” “The work draws from the lived experiences of ill-health. Darch found comfort in fictional worlds, domestic interiors, and the natural landscapes around him. Vale is a compilation of these multiple worlds, allowing the realities, dreams, fictions and memories to blend together in a space of escapism and meditation. Vale cannot be found on a map. It is not a topographical reality, but a semi-fictional one Darch has lived in for the last decade.” – Isaac Huxtable – 2021. It is these fictional worlds that I wish to continue creating in each photoshoot, I plan on undertaking my second shoot by focusing on this theme of ‘dreams’ and using a pictorialism influence to make some Robert Darch inspired images seem even more mystical and unreal.

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Personal Investigation – Decontructing Photobooks

March 6, 2022 Sophie M Leave a comment

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.

Further information links;

Dragana Jurisic; on ‘The Lost Country’

The Backstory – ‘YU; The Lost Country’

Vimeo link – Photobook Presentation

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Personal Inversigation – Artist References

March 1, 2022 Sophie M Leave a comment

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’

Independent, Resource

Personal Investigation – Statement of Intent

January 17, 2022 Sophie M 1 Comment

Identity Mind-map

Identity Moodboard

Write a Statement of Intent that clearly contextualises;
What you want to explore?
Why it matters to you?
How you wish to develop your project?
When and where you intend to begin your study?
Make sure you describe your chosen theme (IDENTITY & COMMUNITY), subject-matter (topic, issue), artists (inspirations, references) and final outcome (photobook, film).

Statement Of Intent

The discussion of teenager’s mental health is growing in everyday society, some disregard it and some understand it’s increasing prominence; I wish to create a study on the theme ‘Identity’ surrounding the topic of anxiety. I have personally suffered from generalised anxiety disorder from a young age, it has always been a part of my life and I am still learning to deal and live with it, however it is not something I am ashamed of. I am grateful for the knowledge I have that I am not alone on this journey, many of my friends and family are also affected by it so can understand and help each other through any days or moments in life that are particularly difficult. I really want to use photography as a medium to explore how I have coped with anxiety throughout my life, focusing on the idea of finding safety and comfort in certain places around my home, family member’s homes and areas around the island that have always made me feel less anxious. The whole concept of anxiety has been quite normalised in today’s society, having both positive and negative effects, as some feel less alone while others feel less seen. Highlighting this topic, by studying the positive areas of life where I have felt most safe, is very important to me; what matters to me most is creating a truthful display on a personal topic. My ideas for the development of this project are to capture some still life images around my home, using windows in many compositions with reflections of sunlight being a reminder of hope. An artist that has interested me while researching this type of imagery is Daniel Blaufuks, whose are naturalistic yet orchestrated scenes in his images hold questions around memories and nostalgia. Additionally, I have really connected with the work of Robert Darch and his project ‘Vale’, where he documents rooms in and around his home that he has lived in isolation with throughout his struggles with illness. I would really like to develop my project by taking inspiration from Darch’s photography, possibly capturing moments of countryside walks I would go on when feeling anxious during lockdown or visiting the woodlands I would explore as a child – highlighting the idea of ‘escaping reality’ through made up stories and games to keep my mind away from getting worried or scared. I aim for my final outcome to be a photobook that is able to capture and focus on the positive memories dealing with anxiety, where I’ve felt safe and loved by those around me while also showing moments of fear and realism to contrast.

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Personal Investigation – Reviewing and Reflecting

December 7, 2021 Sophie M Leave a comment

1. Describe which themes, medium (photography, film), approaches (documentary, tableaux, conceptual), artists (incl contextual references to art history, movements and isms) and photographic skills, processes, techniques and methods (incl learning new software) inspired you the most and why.

2. Include examples of both previous and current experiments and imagery to illustrate your thinking.

3. Produce a new mind-map and mood-board based around how you interpret one/ or both theme(s) of IDENTITY & COMMUNITY using new artists inspirations and visual references etc. Reflect on the Island Identity project and also consider themes more broadly (see below)

Inspirations throughout the course;

During the photography course, in both year 12 and 13, we have learnt a considerable amount of photographic techniques around portraiture, landscapes and abstract images. My favourite medium to use is taking still shots on a camera, although I have enjoyed learning about film making and taking moving shots I believe my skills lie more in the world of static photography. I believe I do well in portraying a certain storyline or narrative with my images, it is something I wish to continue in my personal investigation – I was very inspired by the work I created in response to photographer David Hilliard during my Identity and Place project. I enjoy the way he captures naturalism in his images, they connote a sense of normality and honesty that I really loved recreating. I have taken lots of inspiration from the documentary technique of photography, I believe it allows the observer to understand the subject more within their storyline. I really enjoy using natural lighting in my images, I have used it during the course a lot more than artificial lighting and am therefore more confident photographing with it.