Narrative and Sequencing

What is a story?

A story is the telling of an event, either true or fictional, in such a way that the listener experiences or learns something just by the fact that he/she heard the it. A story is a means of transferring information, experience, attitude or point of view.

Every story has a teller and a listener

A story is a series of events that people either create, remember or imagine which they tell themselves because they want or need to hear it. They might create stories because they want to know or learn something, but also they might answer a question.

We are all storytellers

What is a narrative?

A narrative is a telling of some true or fictitious event or connected sequence of events, sometimes recounted by a narrator to an audience. Narratives are different from descriptions of qualities, states or situations and also from dramatic enactments of events. A narrative consists of a set of events recounted in a process of narration or discourse in which events are selected and arranged in a particular order.

There are 5 common types of narrative:

• Descriptive narrative.
• Viewpoint narrative.
• Historical narrative.
• Linear narrative.
• Non-linear narrative.

History of Magazines

The first magazine was published in Germany during the 17th century. The success of this publication led to the introduction of magazines across Europe. Great Britain closely followed continental Europe’s lead in producing magazines. During the early 18th century, three major influential magazines published regularly in Great Britain: Robinson Crusoe author Daniel Defoe’s the Review, Sir Richard Steele’s the Tatler, and Joseph Addison and Steele’s the Spectator.

Everything changed in the 1830s when publishers took advantage of a decline in the cost of printing and mailing publications and started producing less expensive magazines targeting a wider audience. Magazine style also started to transform. In the beginning magazines focused on improvement and reason but later versions focused on amusement, they were no longer only for the elite class. Publishers took advantage of they new expanded audience and began offering family, children and women’s magazines. Women’s magazines later proved to be a highly lucrative market.

The arrival of the 20th century brought with it new types of magazines, including news, business, and picture magazines. In time, these types of publications came to dominate the industry and attract vast readerships. Photojournalism, or the telling of stories through photography, also became popular during the early 20th century. Although magazines had been running illustrations since the 19th century, as photography grew in popularity so did picture magazines.

During the late 20th and early 21st centuries, the advent of online technology began to greatly affect both the magazine industry and the print media as a whole. Much like newspaper publishers, magazine publishers have had to rethink their structure to reach out to an increasingly online market.

Zine

The aim for our project was to create a 16 page zine in the Adobe software InDesign which includes images from out Islandness theme, this involves our bay and geological site photoshoots as well as out pictures from the summer project.

When creating my zine I will image a short storyline to help me pick the order that my images will be presented in my zine. This will give me ideas on the theme which will encourage visual ideas so that i can make my zine more aesthetic.

“The Romans talked of an immortal memory held within the archive, and whether any archive will last for eternity or not, they understood that by building on each other’s knowledge we can create a collective memory that last generations.”

In January of 1873, the Société Jersiaise was formed by a small number of Islanders who took an interest in Jersey history, language and antiques. After the founding memberships grew quickly and their aims soon widened to include the publication of historical documents. In 1877, the Société Jersiaise realised its aim of opening a museum. The Société identified its priorities as being the practice and collection of photography which lead to them being activities which continued to be used in significant parts of the Société’s museum and library operations. From this multiple interests in photography as a method of recording research, as documentary and scientific records and as an independent art form are maintained by Société members. The Museum and the Photographic Archive are looked after by Jersey Heritage as the Société Jersiaise is not funded by the government but is a charity.

The Photographic Archive contains over 100,000 images which are dated back as far as the mid-1840s and are the principal Jersey collection of nineteenth and early twentieth-century photography. In May of 1840 photography came to Jersey which was just 9 months after it had been published in England and France, this allowed amateur and professional photographers from both sides of the English Channel as they were now allowed to practice without patents restricting them. By having access to these images of Jersey in the 1840s-present day we can see how our island has changed and how our ancestors used to live and run the island we live on now without the use of modern-day technology.

Photographic Archives don’t need to be funded by the government or be connected to a charity like the Société Jersiaise, now in the twenty-first century, we carry these archives around in our pockets on a daily. Mobile phones and other devices store our photos, texts, videos and many other things making them an archive of our own life. Another modern way we have adapted in our lives to keep images and videos is social media which allows other people from the society we live in to see what we do and where we go.

One Key photographer from the Photographic Archive is William Collie, he was probably the first photographer to use Fox Talbot’s calotype process in Jersey. In the 1840s Collie made a series of calotype portraits showing ‘French and Jersey Market Women’, with one being printed on salted paper which survives in a private collection. The Société Jersiaise Photographic Archive lists 157 photographs by William Collie, with the majority of them being portraits but there are a few Jersey scenes which are contenders for the accolade of the earliest surviving views of Jersey. The scenes feature the Church of Scotland on Midvale Road, houses on Queens Road, Gorey and Mont Orgueil Castle and a granite, thatched cottage. These were all dated between 1845-1850.

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By studying William Collie’s main collection of the ‘Market Women’ we can learn many things about how women in Jersey society looked and acted. These photos can help us imagine these women’s social status/class, what they were doing in the market and what groups would have been there during the late 1840s. Furthermore, Collie’s photographs of the Jersey Views allow us to see our Island nearly 200 years ago and how the island specifically structures in Jersey have developed and changed due to the natural environment and decay. Having these images could allow the reconstruction or redevelopment of older structures like the houses on Queens Road or the Church of Scotland that would have naturally started to ‘wither’ or ‘fall apart’ cause of their age.

I have chosen this image to analyse as I believe it is one of the more clearer photos that we have access to, most of the other images of William Collies do not contain as much intricate detail due to the age and how they have been transferred online for viewing. Having photographs that show ‘Market Women’ can help us understand what women during this time period would have worn and how clothing would have changed due to social class and their standing in society.

One thing I like about this photo is the intense detail that is shown in the two wicker baskets to which the woman sits next, this would have been difficult to achieve during the time of William Collie but by using Fox Talbot’s calotype process he was able to create a negative image which helped to highlight the different patterns and texture in the cloths, food and woven baskets. These many different textures create a shape to the photo as views are able to easily depict what they are and what they would feel and look like now. Another feature that relates to the texture I think adds personality to the photograph is the cracks in the wall which show the age of the market and how it might have been worn down due to the number of people that walk through there every day. Furthermore, I enjoy the contrast between the white, black and grey tones in the image as the darker parts of the tartan scarf stand out against the lighter grey background of the wall the woman was sitting in front of. In my opinion, I think the composition of this image complements all the features but still allows the ‘Market Woman’ to be the main viewing point, the photo seems organised and composed but you can see that the woman is comfortable and is in an environment she is used to.

By using the Société Jersiaise and the `Photographic Archives we can learn a lot about the history of our island and the historic meaning of many objects, people and buildings. Accumulating information like the Photographic Archive doesn’t just help us with looking back through time at old buildings or people it can also show us how the world was run at any period and how it has been developed. I believe that using these courses such as the Société Jersiaise can help further the education systems and allow for multiple generations to “create a collective memory” which will last centuries. For example, using the archives could give many photography students help on different projects around Jersey and the history of the Island and our ancestors.

History

the Societe Jeriaise’s mission is to produce and facilitate research on the Island’s history, culture, language and environment; and to share that knowledge with the broadest possible audience for the benefit of our island community. The Société holds extensive bibliographic, cartographic, photographic and research collections which act as their 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.

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The Société Jersiaise was founded in January 1873 by a small number of Islanders who were interested in the study of the history, the language and the antiquities of Jersey. Once the Société Jersiaise was up and running memberships grew quickly and the aims of the new society soon included a variety of publications of historical documents, the founding of a museum and the study of the Island’s natural history. The Société’s first Bulletin Annuel was issued in 1875 and remains the main record of their activities.

The Societe’s Museum found a permanent home in 1893 when they moved to 9 Pier Road, a large early nineteenth-century merchant’s house.  The Museum and its extensive Museum collections are now looked after by Jersey Heritage but they continue to add to its collections annually.  In 1977 they built a large extension to our Museum on the site of No 7 Pier Road to house the library and meeting rooms. Their Headquarters contains their offices and purpose-built archive storage.

The Museum and other collections have been largely built up through gifts and bequests which has ensured its preservation of many important items with relevance to Jersey including; books, manuscripts and maps, photographs, prints and paintings, archaeological finds and historical items.

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Emile F Guiton

Honorary Curator of the Museum and Editor of the Annual Bulletin, Emile F Guiton is considered to be the founder of the Photographic Archive at the Société Jersiaise. He 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.

In honour of Emile and his legacy, the Societe Jersiaise decided to launch Éditions Emile, with each issue of ED.EM. They take a fresh look at a specific collection within the archive, pairing it with either another collection or contemporary work, in order to re-contextualise the images, keeping the collections active and relevant for new audiences.

The surname Guiton is said to be on the derivation of Jersey names to come from the old French word for ‘page-boy’. But, other sources suggest that while of ancient French origin, that this surname may be an occupational name for a professional guide which was a very important role when maps were either non-existent or not to be trusted.

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

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Edwin Dale

Edwin Dale was born in January of the 1880s and has left an extensive collection of photographs of the island views which were taken between 1910 and 1920 some may have been taken earlier. There is a selection in the Photographic Archive of La Societe Jersiaise and some images are also held by private collectors.

Dale made a living by running his father’s boot, shoe and leather shop which was found at 63 New Street but he still had a passion for photography, some of his favourite places to photograph were harbour scenes and steamships, churches, houses, country lanes and coastal views, sport and the railways. He also adventured into portraiture and photographs of islanders at work. Dale also had a motorcycle which he used to travel around the island to take his photographs. In the 1910s some of Dales’s images were published as a series of postcards and many were numbered among the most iconic images of the island.

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Contact Sheets

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Here are some of my contact sheets from my photoshoot at La Hoque. Contact sheets are an easy way to see all the photographs and make a prediction if there needs to be another photoshoot or not. I used lightroom and imported my images from the camera.

1st Selection (Flags)

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To help me narrow down my selection of images I first used the ‘p’ and ‘x’ tools to flag my images. The ‘p’ tool is used to put a white flag above the photo which means I have selected to use this image. By using the ‘x’ tool it put a black flag means I have deselected the image and it won’t come up in the editing selection.

Editing

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Above are three of my edited photos which I imported into lightroom to help me edit them. For my 1st and 3rd image, I kept them in colour, and I decreased the exposure and increase the contrast setting which have given the images a darker tone, but they still hold the saturated colours from the grass in the 1st image and in the rocks in the 3rd image. For the first image, I didn’t feel like I could include it in my final selection as it was a memorial bench which is personal to other people.
For my second image, I converted to black and white as I thought it would create a greater effect, especially with the sky rather than keeping it as a coloured image. To give the sky a more dramatic effect I increased the dehaze toll and decreased the exposure. I also slightly increased the contrast to make the darker tones stand out more against the white and grey tones.

2nd Selection (Colour Coding)

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To help me with my selection and finding the best for my final images I narrowed it down a second time by using different colours to differentiate photos into ‘best images’ (green), ‘average images’ (yellow) and lastly my final images which I have highlighted in blue.

Final Images

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Above I have two of my final images which I have converted into black and white. In my opinion, I think my first photo is the best out of the select that I have chosen to be part of my final images, this is because of the dramatic editing that compliments both the sky and the background with the darker rocks that contrast with the lighter grey shades of the sand and the boat in the forefront of the image. I enjoy the composition of my first image as the boat is not directly in the middle of the photograph it allows the different textures of the rocks, sand and seaweed to be seen which adds more life to the final image.

For my second image, I have edited it in a similar way to the first as I wanted the buoy to have a bright white that is very eye-catching and jumps out against the darker shade of sand. One of the things I like most about this photo is the different texture in the sand that sits in the background of the image, you can see the ripples and other seashells that add personality to the photograph. Lastly, another feature I think really stands out is the writing and sand/dirt that is on the buoy, the way I have edited the photo helped to create a darker text that compliments the white of the plastic buoy.

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Here I have the next three images in my collection of final images, I have picked my 3rd image as I feel that it gives a good representation of the different life and objects that are on Jersey beaches. In my opinion, I think that the 3rd is quite unique as it has a lot of different features to it including the colours, shapes and tones. As the photo has so many objects in it there are lots of different elements to look at which will attract people’s attention, there is a slight contrast between the warm and cooler tones as some of the rocks and shells are more of a blu/purple colour where the majority is a red/beige colour.

For my 4th image, I have converted it into black and white as I wanted to make the shadows in the groves of the rocks more drastic. Also, by making the image black and white it took away the distraction of colour making it easier for any viewer to focus on the different textures of the rocks in both the foreground and background. As I was quite close to the bigger rocks it made the ripples in them more prominent. Finally in my 5th photo, I have taken a photo of one of the rock pools down at La Hoque, in his image I really like the reflection of the sky and the other rocks surrounding it, I think it makes the photo more interesting and better to view. Another feature of the image that i think adds characters is the different shapes and tones, there are many different reds and yellows which appear in this photograph which I think compliments the black that lies on the rocks.

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Above I have included my 6th and 7th final images, these are both in black and white as I thought that type of editing suited the images better. In my 6th image I photographed a bunch of flowers that was attached to one of the benches down at La Hoque, I like how the bright white flowers standout against the darker background and the different shades of from the other flowers around them. Another thing I enjoy about this image is the different textures that complement each other throughout the photo. For example, the benches rougher wooden texture contrasts with the flower petals but they also somehow bring the image together.

Moving on to my 7th image, I have photographed the top of La Hoque tower white the flag. I decided to convert this into black and white as I wanted to have a dramatic grey sky sitting above the tower which I think I have successfully gotten. I enjoy how the outer areas of the clouds are darker grey which slowly go into a lighter grey in the middle. Another feature which I like about this image is the block of white that has be painted on the tower, it adds more personality to the image as it’s another key feature which attracts people’s attention.

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Above are the last two final images of my La Hoque collection. The 8th image is similar to the 7th but is takes portrait instead of landscape allowing for mor of the tower to be seen. One thing I like about this image is the composition, I think it creates a better image as the full tower has not been photographed but rather just half of it. I enjoy how the main focus is the blocked out white but there is also the natural-coloured brick that frames it in the final image. The contrast between the harsher, bolder colours of the tower and the more faded and blurred shades which comes out in background also help bring the whole photo together as it helps the tower become more eye-catching.

Contact sheets

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Above, is a couple of my contact sheets that show a wide variety of images from the photoshoot at Plemont and St Ouens. Contact sheets allow me to organise my photos and plan if I need to make time for more photoshoots if I do not have enough images.

Selecting my Images (Colour Coding)

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Above I have another set of contact sheets these are displaying how I have selected my first selection of images. As I took so many photos I needed a way to narrow down and refine my choice, so I used the colour coding tool on lightroom to help me with this. I first used YELLOW for my ‘average’ images and GREEN for my ‘best’ images. This helped me to select which ones to move ahead with and edit which leads me to the final colour PURPLE which has all been edited and that I will be using as my final images.

Editing

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I have included some before and afters of my edited images from this photoshoot. While a lot of my photos didn’t need to be changed, some of them were overexposed and I also like to have a more saturated look to my final images. In some of my edits, I have also increased the clarity as some of the original photos did not come out as clear as I would have liked them to.

Final Images

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Above are two of my final images from my photoshoot at Plemont, I have chosen my first photo to be part of this selection because of the strong composition, I like how the shoreline isn’t straight but somewhat diagonal and is broken by one of the rocks. Another key element of this image is the contrasting tones and colours of the sand and the sea. here you have warmer tones in the sand and rocks which are the direct contrast to the cooler/cold tones in the sea. For the second photo that I have selected, I enjoy that there is only a small bit of the sea that is shown in the centre of the photo, the green/blue colour majorly contrasts with all the brown and beige colours around it. The shadows are also an eye-catching feature of this image as they are so pronounced against the rocks.

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These are the 3rd and 4th images that I have selected from my photoshoot at Plemont. The 3rd photo was taken in one of the caves toward the back of the beach, I decided to photograph this spot because I liked how the green from the plants stood out against the dark rocks behind them. When taking the photo I liked how the outline of the cave made the background bolder and framed the part of the image that the light hit from above. I have chosen the 4th image because I like the different composition that the rocks make due to the varying size and shape. I think this photo has a lot of different elements for people to look at for example, the droplets of water that are caused by the water fall from above also the different colours of rocks which contrast with the dusty yellow colour of the sand. I like how the light reflects off the wet rocks which makes the photograph a lot more interesting to look at.

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My 5th and 6th images where talked in a car park down at St Ouens beach, I like the composition in the 5th image as i looks very neat and thought-out compared to the diagonal composition in the 1st image. Another feature of the image that standout to me is the contrasting colours of the sky to the shoreline. Youve go the warm glow from the setting sun which reflects off the sea which is set directly in the centre of the image.

Contact Sheets

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Above are two sets of contact sheets from my studio photoshoot. One is of the images using continuous lighting with a plain white background and the second is a set of images using flash lighting with a two-tone background.

Continuous and Flash Lighting

Continuous lighting: With continuous lighting, you can see how the light falls on your subject as soon as you switch it on. You don’t have to wait until you’ve taken a photo to get an idea of what kind of image you’re going to end up with

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Flash Lighting: The biggest benefit to flash lighting is that type flash provides much more power and in a shorter burst that is less disruptive to a model/object. Also, some darkness and shadows are illuminated when using this type of lighting.

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Selecting My Images (Flags)

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To help with the selection of my images I have used the different flags to differentiate between the images I want to use and the ones I don’t. To do this I used the ‘p’ and ‘x’ tools, the ‘p’ tool put a white flag at the top of each photo which helps to indicate the ones I am using and the ‘x’ tool will put a black flag which will take the photo off the list of ones that I will be using.

Editing

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Above I have put two edits to the continuous lighting photo shoot, I have put the transparent coloured sheet in front of the light to create different lighting and the other I have left the lights plain. In both, I have only slightly adjusted the exposure, but for the image on the left, I have decreased the contrasted, whereas I have increased it on the right to get the darker more exaggerated shadows. For the photograph on the left, I wanted it to be brighter and not so dull as when it was taken so I have adjusted the highlights and whites settings which have helped to get the desired look.

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Sub selection (Colour coding)

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Above are some contact sheets showing how I have colour-coded my images to help select my final images. I have used YELLOW to represent the images I think are average, which I might use in my final images and I have used GREEN to highlight the photos I think are best to be part of my final image collection.

Final Images

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Here I have the first three images of my collection in the still life project, my first photo is one of the first designs I tried with the rocks also it’s my first attempt at continuous lighting, it also uses coloured plastic sheets. I like this image as I think the pink lighting on the left side compliments the more natural, beige shade of light on the right side. Also, the composition of the image is eye-catching which is enhanced by the different lights. Another example of continuous lighting is my second image, in this final piece I have kept to the yellow/beige lighting instead of using one of the coloured sheets. I enjoy how the light compliments the colours that the objects hold. Another feature which makes the photo more eye-catching is the stream of light that shines diagonally from the left side of the image, I feel as if it acts like a spotlight on the compilation of objects. Furthermore, I feel the placements of all the different objects make a nice composition that is satisfying to look at, it has a tall structure with leaves coming off the side to give the final piece dimension.

Lastly, for my third image, I have also used one of the red plastic sheets to change the lighting which gives the photo an eerie feeling as red is normally a symbol of danger, I feel the colour of the lighting adds to and compliments the composition of the structure. The composition of the photo is the same as the 1st in my collection but I think this lighting is more eyecatching and tells more of a story than the other. Another feature of this photograph which I think draws people’s attention is the shadows that sit in the background and foreground of the image. the shadow towards the front is more defined and prominent which gives the final image a mysterious feel. The background is faded but can still be seen, it also can add a lot to the image as it gives views more to look at and analyse as well as complimenting the composition.

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Above are my 4th and 5th images from my still life collections, for the photo on the left I have kept it in colour as I feel that the different colours form the rocks compliment each other as well as the shells that sit in front of them. One feature of the image that I especially like is the composition, how the rock have been stacked and placed together with the shells ling the outside. I feel that having the good composition helps to bring the final photo together as well as the warm tones from the yellows and reds which contrast with the cooler tones from the background.

For my 5th photo I have converted it into black and white as I thought the monochromatic look would suit the composition better rather than leaving it in colour. I found that by doing this it makes the textures from the shells and rocks more prominent adding different viewing points. one feature I enjoy about this final image is the detail from the rock, it has a slight marble effect as there are some different lines that are a lighting shade the the rest of the rock. Furthermore, I also thing that the composition of the image compliments the objects that are being shown, in the foreground there is a line with different shells that are in colour order, lightest to darkest, I think this adds a really eye-catching feature to this photo.

Renaissance Still Life

Into the early renaissance period, still life painting accompanied religious artworks as stylistic elements with symbolic meanings. these were usually painted in backgrounds of religious paintings and were seen in Northern Renaissance and early Netherlandish paintings. Many still life paintings were kept with religious meanings which were shown in the work of artists like the Flemish painter, Jan van Eyck.

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Other artists like Leonardo da Vinci and the German painter Albrecht Durer painted still lifes without the religious symbolism. Still life paintings were done of a variety of natural objects, some being flowers, household items or even food. At this stage during the Renaissance, still life paintings were also done to explore the natural world by observing it and painting it.

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Dutch `Still Life

Still Life painting started as a genre in the Netherlands which was termed as one of the Low Countries, which also included Belgica and Flanders. The Dutch Golden Age was a result of Dutch independence from Spain, which led to the Dutch Republic being born. Still Life was especially popular as a painting style during this time, especially paintings of flowers.

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The protestant revolution minimised the production of religious artworks, which led to other genres of paintings becoming more popular. Still life paintings were favoured because they could depict everyday scenes of people and their lives which inherited a symbolic meaning from various objects. These paintings also branched off into what was called “Dutch Realism”. This focused on the ordinary depictions of people, specifically the middle class, mainly traders and merchants. Artists painted subject matter for merchants who were more focused on depicting what they have earned during their lives.

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Paintings during this period were mostly small and done for private home display as opposed to paintings done on a larger scale for churches or altarpieces. But as this was dominantly a protestant culture, there was not a need to flaunt artworks in the same way. Furthermore, the common types of still life paintings included the Vanitas (Latin for ‘vanity’ or ’emptiness’) genre, ‘breakfast pieces’, ‘ornate’ or ‘ostentatious’ displays of still life pieces as well as florals.

Modern Still Life

Modern Still Life came about during art movements like Impressionism and Post-Impressionism. Notably, during Post-Impressionism, Vincent van Gogh brought Still Life painting to life with his flower and vase paintings.

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A French artist from Post-Impressionism, Paul Cezanne, painted Still Lifes with fruit, bread, bottle and baskets. The difference between these paintings and the more realistic Dutch Still Life paintings was that these modern artists used more expressive brushstrokes, colours and different perspectives. Skulls would also sometimes be included in the Dutch Vanitas. Still Lifes that included skulls would mainly have various fruits with pieces cut or bitten out of it, placed in front or in the skull’s mouth.

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Contemporary Still Life art has developed over the years and many artists now use photography, computers and videos as means of portraying everyday objects and food. The evolution of technology has allowed a hyper-realistic portrayal of subject matter, from painting to being computer generated.

Don McCullin

Don McCullin is one of the greatest living photographers who has employed a variety of different photography genres in his work. He has documented the poverty of London’s East End, and the horrors of the wars in Africa, Asia and the Middle East. He has also proved to be an artist capable of beautifully arranged still lifes, soulful portraits and landscapes.

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“Photography for me is not looking, it’s feeling. If you can’t feel what you’re looking at, then you’re never going to get others to feel anything when they look at your pictures.”

McCullin grew up in North London, and after his impoverished childhood, he was called up for the National Service with the RAF. After being posted to Egypt, Kenya and Cyprus he returned to London with a twin reflex Rolleicord camera and began photographing friends from a local gang named The Guv’nors. McCullin showed this collection to the picture editor at the Observer in 1959 which kick-started his career in photography.

Photography has given me a life… The very least I could do was try and articulate these stories with as much compassion and clarity as they deserve, with as loud a voice as I could muster. Anything less would be mercenary.”

For the next two decades war became a mainstay of McCullin’s career, initially for the Observer and then The Sunday Times in 1966. Moving on from war, Don McCullin’s work focused on the suffering of the poor and underprivileged and he has produced moving essays on the homeless of London’s East End and the working class of Britain’s industrial cities.

“I had long been uncomfortable with my label of war photographer, which suggested an almost exclusive interest in the suffering of other people. I knew I was capable of another voice.”

When McCullin returned home from travelling, he spent three decades chronicling the English countryside – in particular the landscapes of Somerset – and creating meticulously constructed still lifes all to great acclaim.

Don McCullin Still Life

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To help me create the 3D sculptures I first picked out my best images from Plemont and stinky bay, these images are presented below, I decided to choose these images as I felt they fit best together and will make aesthetic sculptures. After picking my images I printed them out and started to make the layout and plan for my sculptures.

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Experiment 1

For my first experiment, I took inspiration from Letha Wilson who is known for her unique photography and sculptures. She prints images, embeds them in the surface of her work and manipulates them into various compositions. She uses images that include desert sunsets, different rock formations and a range of different trees which are mainly taken in Hawaii, the American west and Iceland. The natural world is a big concept in her work and is the main focus of all her projects.

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Wilson was born in Honolulu, Hawaii but was raised in Colorado, she now lives in Brooklyn, New York where is earned her BFA from Syracuse University and her MFA from Hunter College. Letha has done many outdoor excursions which include the Rocky Mountains which have placed the natural world and its photographic image at the root of her artistic interests.

Letha Wilson’s work has been featured in solo exhibitions at GRIMM, Amsterdam and New York. As well as many other places around the world. Wilson has also participated in group exhibitions at the New York public library, The Henie Onstad Triennial for Photography and New Media.

Below I have shown some different angles of my first experiment. To make this sculpture I first started by printing out 6 different images that I had chosen from my Plemont and Sticky bay photoshoots, originally I only wanted to use 4 photographs and have two boards attached together but as I was experimenting I decided it would look better with 3 and have a more unique aesthetic. When actually building the sculpture I first started with 3 pieces of mount board which I then glued my chosen images onto so that could make two slits in the bottom so that it would be a standing object.

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I like this sculpture as it allows me to display a good amount of my final images in a creative way that is also pleasing to look at. This project allows me to get more experimental and creative with how I present my photographs which I think is useful when it comes to our overall ability in photography. Furthermore, I enjoy how it allows us to get. more hands-on with our images and away from the computers, it also helps us to display our own personalities to some extent.

As well as liking this sculpture and thinking it is a good first attempt, there are also some things that I would do differently if I could re-do it. Firstly, I would measure out the photos and the mount board more carefully as I think having neat edges can really make a difference to the quality of the final sculpture. I would also measure the splits accurately so that they are not too loose which causes the whole sculpture to move, this also makes a difference when it comes to the overall analysis and critique of the project.

Experiment 2

For my second experiment, I looked at the work of Joseph Parra. Parra was born in South Florida but now resides in Baltimore, Maryland which is where he received a BFA at the Maryland Institute College of Art with a major in painting and a minor in Art history and finally a concentration in Printmaking. Joseph always had an interest in working with the aspects of identity in relation to the human figure and his work challenges the traditions of portraiture through acts of concealment and exposure. Parra also studied at the Marie Walsh Sharpe Summer Seminar and The International School of Painting, Drawing, and Sculpture in Umbria, Italy.

Joseph Parra is most notably known for his exhibition in the National Portrait Gallery in Washington, DC as well as the Margulies Warehouse in Miami, he also has had his work shown in many other galleries.

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Below I have presented my second experiment, which shows the different angles of my sculpture. For this experiment, I have tried to make a 3D triangle to display my photos, to do this I first printed out my chosen images which I felt would fit nicely together and they would flow to create an eye-catching sculpture. Secondly, I glued these images on to mount board so that they had a firm structure to stand up on and that won’t be flimsy and bend when trying to construct the sculpture. Thirdly, I used masking on the inside of the sculpture to connect all the images together and lastly I added a plain piece of mount board to the top and bottom of the sculpture.

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I like this sculpture as it is an easy but interesting way to showcase different photos from all angles. It is also easy to add to as a sculpture as it is such a simple design that it can be enhanced in many different ways. There are a few downfalls to this sculpture such as the measurements of both images and the mount board. If I could re-do this sculpture I would take more care in measuring each photo to fitting the mount board, also making all the measurements even as I feel it would look a lot more sleek and aesthetic. As you can see in the middle image, the board on the right is slightly taller than the left which is very noticeable and is a big disadvantage to those sculptures.

I have taken inspiration from David Hockney and have made my joiners of Sticky bay and Le Pinacle. Below I have included some photos to help explain how to make these joiners. First I would export them from Lightroom and into photoshop, there I found the photo merge button which is used to create the joiners automatically.

Editing

Before exporting my images from lightroom I had to edit them all so that they completely matched in colour, for this I had to first start with one photo and edit it how I wanted my joiner to come out, I then selected all the photographs that would be in my joiner and used the ‘sync settings’ to edit all images the same. Doing this it saved me time as I didn’t have to edit all photos separately.

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After exporting my images to photoshop I proceeded to make my joiners, for this I started by clicking ‘file’, going down to ‘automate’ and using the photo merge tool to automatically put all my selected photos together.

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Experimentation

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After I created my joiners I decided to experiment with different features on Lightroom such as adding a drop shadow to try and give the final image depth and make it seem like it has been embedded into the background. I was also experimenting by using the 3D tool and creating different edits of the same joiner and I was able to morph them into different shapes and objects.

This is my edit of a 3D sphere of one of my joiners, I have also changed the background colour, which makes the 3D object in the centre look like it’s floating in midair.

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Here is another example of my experimentation with using the 3D tool and have edited the final joiner into a 3D plane.

Above I have chosen to invert the colours in one of my joiners to try and create a different atmosphere and meaning for the final image.

Final Joiners

Contact sheets

I have put below some contact sheets from the class trip to L’Etacq. I imported them to Lightroom and used the P and X tools to separate them between the ones I thought had potential and those that couldn’t be used as final images.

I was looking for clear images that are interesting to look at, as I found some of my pictures didn’t have much substance and weren’t eye-catching. I wanted to present different parts of the photo shoot through my final images so I tried to have a diverse range of photos.

Colour coding / Rating

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After using the P and X tool I then colour-coded and star-rated my images to help me narrow down my selection. As you can see above I have used the colours ‘red’ and ‘yellow’ which indicates the images that I won’t be using in my final images. These include pictures that were over/underexposed or didn’t have the quality I was looking for. I also didn’t use star ratings for these as I didn’t feel like it was necessary as I had already decided I wasn’t going to use them.

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Following the colour coding, I have used ‘green’ to mark out the photos then I think I might use in my final images, this I when I included the star ratings as I need to use them as a final tool in narrowing down what photos I would pick to be apart of my final selection. I have put the photos that I have ranked the highest as purple so that I can easily make out which ones are for the final piece and which ones are not.

Editing

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Best edits

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I have selected these as my best images because I like how each of them has vibrant colours especially the centre photo and the middle left photo as they have containing colours of the sea and the cliff face with the brown rocks. I like how there some similarities and differences between all of these images, as some photographs contain warmer tones and some are cooler. For example, the bottom middle image has lots of silver and black tones whilst some of the first images are filled with oranges and browns. Furthermore, there is a range of different images as the bottom three are from Stinky Bay and the other were taken at Le Pinacle.