What is a photo zine

A zine is most commonly a small-circulation of self-published work. It could be about many different topics: photography, illustration, design, etc…Usually zines are the product of a small group or individual people, and the primary intent is exposure rather than profit. Zines are usually created to look like magazines. A photo zine, for example, is a tool that photographers can use to tell a visual story, to inform an audience about a specific topic or issue, to showcase and advertise a new idea or simply create a preview of an ongoing project. Zines were originally called fanzines, alluding to the fans who made them. Later on, Fanzine was just shortened to zine.

History of photo zines

Zines were first created in the science fiction fandoms of the 1930s, long before the advent of the Internet, zines allowed fans to create networks, share ideas and analyses, and collaborate on writing and artwork. The punk music scene of the 1980s expanded upon the self-published format by creating a wide of array of constantly evolving zines dedicated to the musical genre that were both fanzines and political tracts. Punk zines were more than just magazines, they represented the aesthetic and ideals of an entire subculture.

Examples of photo zines

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When creating a photo zine there are certain aspects that you must think about: How you want your design to look and feel, Format, size and orientation, Narrative and visual concept, Design and layout, Rhythm and sequencing, Images and text and Title and captions. These are the aspects that I will focus on while creating my photo zine, I have also taken a lot of inspiration from the examples shown above to create my zine.

• How you want your design to look and feel
• Format, size and orientation
• Narrative and visual concept
• Design and layout
• Rhythm and sequencing
• Images and text
• Title and captions

What is a photo-zine?

A photo zine is a self-published, often handmade collection of photographs laid out in a magazine style. It can include written text and illustrations as well as photos. They are designed to display and share photo stories. A photo zine can be a single, one-off publication.

A zine is usually a non – commercial, non professional publication, kind of like a magazine but with a twist. The main difference between a magazine and a zine is that zines are not out there to make a profit but, rather, to add other, often unheard voices into the mix.

Examples of created photo-zines:

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Café Royal Books is a small independent publisher of photography photobooks or zines, and sometimes drawing, solely run by Craig Atkinson and based in Southport, England. Café Royal Books produces small-run publications predominantly documenting social, historical and architectural change, often in Britain, using both new work and photographs from archives. It has been operating since 2005 and by mid 2014 had published about 200 books and zines and they are held in major public collections

Birmingham 1960s photo-zine:

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Photo-zine moodboard:

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The pages in the photo-zine display the images side by side and create some sort of story. I am going to aim to create a photo-zine with a similar style as the Cafe Royal Books collection of zines that are described through black and white images displaying the history of Britain. I am most likely going to have all my images included in the photo-zine to be shown in black and white to try and follow the style of these older zines.

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Overall from the Le Hocq photo shoot I took a total of 266 photos which I am very happy with. Using the flagging system on Lightroom I took my 266 photos down to 96 of my best quality and favourite photos that I took from the trip to Le Hocq.

Best unedited images

These images were my favourite images that I believed did not need any editing as they were already good images.

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Best image edits

These images are my favourite images which I edited in Lightroom, these also contain black and white images, I changed multiple presences including texture, as well as exposure and contrast to make these images better looking.

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Jody Powells work really interests me in the use of layers to create an image

Noémie Goudal is a French visual artist who currently resides in London. She works with photography, film and installation.

Goudal often works directly within the landscape, sometimes inserting photographic backdrops into a scene before re-photographing it. In addition to her photography, she makes video work that is thematically linked to her photos.

Goudal is represented by Galerie Les Filles du Calvaire and Edel Assanti.

EXHIBITION

The Link Gallery is a local exhibition space which displays the work of local artists across Jersey, it is located in the Jersey Museum and Art Gallery.

Our “My Rock” work was displayed in The Link Gallery.

What is a photo zine?

A photography zine, for example, is a tool that photographers can use to tell a visual story, to inform an audience about a specific topic or issue, to showcase and advertise a new idea or simply create a preview of an ongoing project. Zines were originally called fanzines, alluding to the fans who made them.

What is a zine example?

Some examples include newspapers, fabric, images, drawn art, stickers, washi tape, paint chips.

Examples of zines

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History of photo zines

Zines were first created in the science fiction fandoms of the 1930s, taking their name from fanzine, which is short for “fan magazine.” Long before the advent of the Internet, zines allowed fans to create networks, share ideas and analyses, and collaborate on writing and artwork. The counterculture movements associated with the Beat generation of the 1950s and 1960s saw a growth of the underground press, which played an important role in connecting the people across the US. Although the underground press often involved significantly more people and resources in the production of materials, it provided a function that became a key part of zine culture in the 1980s and beyond: giving people a voice outside the scope of the mainstream media.

Art and literary magazines of the 1960s and 1970s were based on a similar need to circumvent the commercial art world, and were printed cheaply and spread through small, niche networks. Many of them combined art, politics, culture, and activism into a single eclectic publication, redefining what a magazine could be, and influencing the rise of activist artists’ magazines that shaped the punk and feminist scenes later on. The punk music scene of the 1980s expanded upon the self-published format by creating a wide of array of constantly evolving zines dedicated to the musical genre that were both fanzines and political tracts. Punk zines were more than just magazines–they represented the aesthetic and ideals of an entire subculture, a condensed version of this cultural revolt against authoritarianism.

Introduction and History

The Société Jersiaise Photographic Archive contains over 100,000 items dating from the mid-1840s to the present day and is the principal Jersey collection of nineteenth and early twentieth century photograph. Archives can be a rich source for finding starting points on your creative journey. This will strengthen your research and lead towards discoveries about the past that will inform the way you interpret the present and anticipate the future.

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There mission is to is to produce and facilitate research on the Island’s history, culture, language and environment; and to share that knowledge with the widest possible audience for the benefit of our island community. We achieve this through our active Sections, research collections, community outreach and collaboration with local and international heritage partners.

It was with pleasure and relief that members of La Société Jersiaise welcomed the return of Father Burdo from France, where he had endured many dangers and anxieties during the war without, it would seem, having lost any of his old interest in the cave or any diminution of his determination to complete the work he had so enthusiastically commenced.

The enterprise by now has become a “one man show” and from 1950 to the present moment Father Burdo has been in supreme command of the operations. Since, with such a reduced manpower, it could no longer be a question of clearing the whole width of the ravine, he opened a trench at a much lower level, 18 feet below the former cave floor. His first intention was to try and reach inside the cave the rock bottom, which had defied all previous attempts. But he entertained also a secret hope of discovering another stage of human occupation, older than that of Neandertal Man. This hope was fulfilled when, in June 1951, he struck an unquestionable Acheulian layer, vastly older than the previous finds.

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The Société’s Sections specialise in various fields of study, from archaeology to zoology. These volunteer sections produce the raw data and research which make long-term studies possible, and at the Société we’ve been doing it since 1873. The Société holds extensive bibliographic, cartographic, photographic and research collections which act as our long-term memory. These collections provide a vital resource informing contemporary study and value for the community through a greater understanding of our shared heritage, identity and environment.

Archives- Emile F Guiton

The surname Guiton is said by the Rev George Balleine’s article on the derivation of Jersey names to come from the old French for ‘page-boy’. However, other sources suggest that while of ancient French origin, this may be an occupational name for a professional guide, a very important role when maps were either non-existent or not to be trusted. This derivation is from the Old French word “gui” meaning a professional guide.

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Honorary Curator of the Museum and Editor of the Annual Bulletin, he is considered to be the founder of the Photographic Archive at the Société Jersiaise. Emile was also an excellent photographer making use of a rapidly expanding medium in the early 20th century to record important historical sites, events and objects. The Guiton family were also involved in businesses at 39 and 41 Broad Street.

The Guiton family had become involved in newspapers just a few weeks after the Jersey Evening Post had launched. The paper had been founded by HP Butterworth, who used Walter Guiton as his printer. Seeing an opportunity, Guiton bought the title and it remained in his family until 2003.

Image Analysis: The main aspect I like about this photograph is the composition and message behind the image. Firstly, I think that the placement of the men is eye catching as its clear who has excavated the cave and who are included in the onlookers. Secondly, I think that the message of a divide in social class is very evident in this image, as some of the gentlemen are dressed in average clothing and some are dressed in smarter attire, this demonstrates the lives of these men in this period as some are clearly wealthy and other not so much. I think that the high levels of contrast in this photograph are important to note as the lightest parts of the image stand out more and this draws the viewers’ attention in and makes them consider the purpose of the rest of the piece.

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In 1833 W Marston ran a stationery and bookshop at No 39. He was followed in 1841 by Peter Guiton, a wine merchant, who married Eliza Neel, daughter of Elie and Catherine Perchard in St Helier in 1822. By the 1871 census the Phinns had left and Peter Guiton and family were back living at No 39. He remained in business here and at No 41 until the 1890s. For a time No 39 was divided and the Guiton business was shown at No 39½, with a variety of occupants at No 39, including Miss Le Cordier, who ran a tract repository (religious publications) in 1874. Miss E Fawson had a bakery at No 39 for a time towards the end of the 19th century.

Ernest Baudoux

Originally from France, Ernest Baudoux (1828-1897) worked in Jersey from 1869 at 11 Craig Street and 51½, 56 and 59 New Street. In 1885 he was joined in business by his son, but two years later they sold out to John Stroud, a young photographer from London, who in turn sold his business, including many of Baudoux’s glass-plate negatives, to Albert Smith. Some of these photographs have been attributed incorrectly to Smith and the Photographic Archive of La Société Jersiaise have a project under way to attempt to correctly identify who took each of the 3000-plus images in their collection attributed to Smith.

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There are 1385 photographs by Baudoux available on line from the Société’s archive. They are mainly portraits, which was the photographer’s speciality. Many of his portraits exist in two versions, one of them retouched to hide facial blemishes and wrinkles. Baudoux also undertook photographic commissions of clients’ houses and, working with his sons, he photographed views of the island.

He was the first significant chronicler of island life in images, a role which was later to be taken up by Albert Smith, which explains why there is doubt over who actually took some of the images attributed to Smith. The gallery below shows the diversity of subjects captured by his lens; from the portraits which were the bread-and-butter of an early professional photographer, to scenes of the island and pictures of major events in the mid-Victorian era.

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Baudoux images are very collectable, and frequently appear for sale on on-line auction sites. In addition to the Societe Collection, there are two large collections of Jersey photographs and postcards in South Africa and the United States, to which Jerripedia has access. This has enabled us to build up a substantial gallery of Baudoux images, some of which are shown below, others being located on appropriate subject pages. Baudoux’s work was of the highest quality, and many of the surviving images are in superb collection. The portraits, most of which have names inscribed on the backs are supreme examples of the Victorian art of photographic portraiture. They convey the fashions of the time, both in clothing and hairstyles.

Our Gallery

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Here I have included images from out gallery at The Société Jersiaise Photographic Archive, this is composed of many different pieces from the Year 13 class work. Containing joiners and images from our ‘Islandness’ project we have been working on. I think this was a good opportunity as it gave us a final project to work to, as we knew our work would be displayed and be visible to the public. I like the way these have been arranged as it’s nice to see the different ranges of work that our year from made out of all of our photoshoots and our class trips. Furthermore, we got to view the display when we went to The Société Jersiaise Photographic Archive and this was a chance to see our work in real life which meant that our creativity was shown.

CONTACT SHEETS

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Selection Process