When mounting I found it easy to stick the images to the card, but once they were on there it was really difficult to cut to begin with. This resulted in me cutting my first image into a square rather than keeping the frame as I found it easier; but once I got the hang on it I tried again with the frame in the image. The result is shown above.
When looking at them next to each other I now prefer the square mounted images instead, as when thinking of how I’m going to present them I think that squares will look better when they are in a grid, as shown in a previous post showing my final images.
Overall I’m pleased with how mounting is going, I found it a lot easier to hot press than I thought it would be, especially after getting over the nerves when doing the first one.
Shown above are my final images for my series titled ‘Flat 35’. The quality of the images aren’t that great because I scanned the printed photographs to show how they look as due to the 7×7 frame they look like big polaroids which is an interesting quality.
I’m very pleased with how my images have come out for the series. I have not yet decided how to display them yet, but I quite like the order they’re in shown above. I definitely want the portraits to be above the objects and they will be put underneath the person it belongs to. I like that I have a variety of different objects, having a slipper and a show actually works quite well, and also how they’re not perfect, they’re worn and very real.
I have come across Hannah Starkey’s work without even realising it, but recently read an article which included an article of her talking about her work in Broadly, written by Olivia Parkes March 25th 2016.
Starkey mainly photographs women, in the interview she states that this is because of events that had been happening in Belfast, Northern Ireland where she grew up. For 40 years there was a religious conflict known as the Troubles. During this time when she was a child she could feel the amount of strength women had, and what they could achieve if only their voice was heard “They spoke against the violence with compassion, reason, and intelligence.” (Starkey, H. 2016). In her images she wants to evoke the strength she sees in the women around her as this is dismissed too often in mainstream visual culture.
Looking through Starkey’s photographs I have found her work very inspiring, especially the way she represents women in her images. She has a very distinctive style, in most of her images she includes a window or mirror within the composition, this is because they add a fourth dimension to the photograph and are a metaphor for reflection of the self. She also states that outside of lens-based media mirrors are the only way we can see ourselves in our environment, and sees why people are so captivated with the boom of the selfie; it can be empowering if done in the right way.
I found the interview very interesting to read, to hear her talk about her work made me understand it a lot more and know what she is trying to achieve. You can see this in the images, but because photography is mainly opinion based (this is true for any art form) it was good to be able to hear it from the creator of the work. I always enjoy reading interviews with photographers as they all have such different ideas and ways of working its like a back stage viewing of their work.
Today I visited Imperial War Museum to see the exhibition Lee Miller: A Woman’s War. I had previously heard of Lee Miller and seen some of her war photography but had never experienced her work as seen in this exhibit.
The exhibition was very big and included lots of photographs by Lee Miller; but also of paintings of herself created by Pablo Picasso, Roland Penrose and a cast made by Paul Hamann of Millers torso, objects of hers such as her cameras, equipment, clothing and letters.
The photographs were presented in black frames in different sizes, some of her images were shown digitally using a projector and their was also a video of people talking about her work and a recording of Lee Miller herself in an interview about her work.
The whole exhibition was like a timeline of her photography career; it was amazing to see the amount she had been through. Lee Miller began her career in 1927 and was originally a model for Vogue magazine but ended up being one of their leading photographers. She started of doing fashion photography but gradually became more of a documentary photographer as she captured women’s lives in uniform and even later in her career was a war photographer. She is most well known for her war photography and is one of the most important in the twentieth century due her images taken during the Second World War showing the lasting effects on women in Britain and Europe.
I found her images very fascinating, especially with having the context alongside them on where Miller was in her career and during her life. I also thought having her equipment in the exhibition was very interesting to see what she used during that time period. I am also glad that at the end of the exhibition they showed what she began doing after her career in photography had ended, she began learning to cook and had some of her surrealist recipes shown on Vogue. It actually turned out that Miller’s son had no idea about her career in photography and all the things she had done, and didn’t find out until after her death when he found the photograph in the basement of the family home. This just showed how much of an impact it had on her life, she had completely left that part of her life behind.
Overall I found Lee Miller: A Woman’s War very inspiring and I also liked how the exhibition was laid out, it made it visually interesting and worked well for the viewer to be able to walk around it. I would recommend going to see this exhibition before in closes in April.
Shown above is my final edit for the Copy. I’m very pleased with the outcome, although if I had more time I think I would perhaps have re-shot it. I’ve never really liked editing images but I have a better understanding of Photoshop after completing this project.
The image below is the image I copied, some of the aspects of the original sitters face I could not have changed with my knowledge and ability of Photoshop; such as the thickness of the sitters hair or the shape of their eyes, nose and mouth. I did have a go at liquify but I didn’t have enough time to perfect using it so I decided it would be best to leave them as they were.
Today we had a talk by photographer Jooney Woodward who talked to us about her work, her website and how she began taking pictures and selling them. It was very interesting to hear about how she got into the business, and was also inspired how she uses a medium format camera when she can for editorial work as well as her personal. She is a freelance and editorial photographer who did a course of graphic design which really shows in her images. The composition in all of her photographs has been thought about carefully, following the natural lines in the image and framing her subjects very central.
She began by working for Vogue in their archive, looking at thousands of images a day, getting inspiration from them, especially from the posing. After working for Vogue for 7 years she moved away from the Photoshopped fashion images and produced her won very rural portraits and landscapes.
She talked about her experiences with some of her main images, and how she conquered her fear of approaching people for portraits in which she said a sitter once said to her “If you don’t ask, the answer will always be no.” and this stuck with her. She explained how she still gets nervous, but once you get past the first few encounters it becomes a lot easier to approach people on the street. She gave us types on how we can make ourselves seem more approachable, by wearing bright colour rather than blacks and always greeting people with a smile and explaining why we want to take a photograph of them. If they say yes then engage with them, ask them questions to keep them interested and to also give yourself time to get ready to take the picture.
I have found this advice really useful and will definitely keep it in mind the next time I want to ask someone for a photograph.
Some website and portfolio advice she gave was to make sure that it is clear on what photography you want to do, as this is what people will ask you to do and not to worry about style too much as that will come with time.
For an editorial portfolio you do not need to have any text as they are only interested in looking at your images, but for gallery’s they need to have the text along side your images as this is how they will be presented, they need to know the idea behind the work. However both needs to flow easily, and pairing images is very important, making sure they work well next to each other.
Overall I found Jooney Woodward’s talk very useful and I found her work very inspiring how she works mostly with natural light and with a medium format camera. It is definitely the type of work I could see myself doing in the future.
The images shown are the beginning of my series titled ‘Flat 35’. These images were all taken in the same sitting one after another, I kept the film in and was hoping to fit the last two sitters on this roll of film but there was an error and they didn’t come out. I’m hoping that I will get the lighting the same again for when I re-shoot as when colour printing it was quite easy to print these as they had the same colour tones and was able to print all three on the same settings Y50 M53 C0 f/16 exposed for 10s for the two girls (Philippa and Katherine) and Alby was at 12s. This meant that I was able to produce the prints very quickly starting at the same settings and working from their once I had my first print (Alby) correct.
One of my main problems when colour printing was getting all the grey backgrounds the same shade of grey, I had to ask peers to have a look at them for me as after staring at them for so long I could no longer tell. This was really helpful, so before moving on with prints I may ask someones opinion so I don’t have to back-track. I also noticed when printing that the images are a bit soft, I’m not sure whether this was my error when focussing the camera or perhaps me knocking the camera slightly when taking the image as one of the pictures of Alby came out blurry. This isn’t a major issue though as when you look at them from further away they look in focus, it’s only up close you are able to see this.
Overall I am really pleased with how my series is going to far, I’m glad that I started early so I have plenty of time to concentrate on printing, I’m hoping that my final shoot of my sitters and the objects will go well as having to re-shoot would put me behind schedule.
Lucy Dack uses photography as a way to show her personal feelings about the world around her. She mostly takes a sociological approach to her work and is curious about how people interact with nature, each other, and themselves. Street photography and portraiture are what she is mainly interested in and has taken influence from photographers such as Robert Frank, Henri Cartier-Bresson, Richard Avedon and Thomas Ruff. In her work she intends to make people reflect on their relationship with the photographs in order to achieve recognition on how they connect to each other through the world around them.
Written above is my artist statement, I think for now this will be my final draft until I feel I need to re-write it once I have figured out more what area in photography I want to go in to be able to make it more specific. I have left the introductions to my projects the same as I feel that they already say what I want them to. I could have made them more informal but I think that taking a personal approach works.
Intro to projects:
I wanted to evoke the feeling of alienation, to reflect how I felt about moving to a city. Canary Wharf was the best visual area in London which I found helped me present this feeling. There are lots of tall buildings and masses of people in suits; rushing to get where they need to be and not noticing me or my camera.
Let’s Get Drunk at the Graveyard
I had a particular interest in the different perspectives of the church at Harrow-on-the-Hill. On first impression I was overwhelmed by the view, but when I turned around to walk back through the graveyard I was shocked by all the garbage that had been left on the ground; in particular, cans of beer and cider. I didn’t understand why people would do this; how is a graveyard an appropriate place to drink with your friends and then leave all your rubbish behind?
I have now began putting together my physical portfolio to take to potential employers to look at. Inside my portfolio I will need business cards – something my potential employer can keep once I have taken my portfolio back. To look for inspiration I just typed in business card layouts into Google and it brought me to the site http://www.moo.com who have loads of different design templates that you can buy. I’m not sure whether I will use these as they are quite expensive but I really liked the design.
I want my business card to be very simple. I am debating whether to have one of my images of it or not, as I’m not actually sure which I would pick; which one would represent the way I work the most. As you can see the first design on the top left (On Target) doesn’t have a picture at all but is a very simple circle with the initial in the middle and the information on the back. I know this isn’t typical for a photographer but I very much like simplicity, and I think this is reflected in my work, and I could also come up with a similar design to go on my website so they match.
The last two (The line up and Great Escapes) both have images that cover the entire front of the business card, and have simple layouts for the text on the back. I think out of these two I prefer ‘The line up’ as the text on the back stands out a lot more than the grey on the black on ‘Great Escapes’.
Overall I found these particular business cards very inspirational and will take the designs from each of them into consideration when I begin designing my own.