FINAL EXAM PROJECT
- Esme Little
- Esme Little
inside out
- adverb
in such a way that the inner surface becomes the outer
"she put her dress on inside out"
adjective
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photograph
/ˈfəʊtəɡrɑːf/
noun
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"Photography is the art, application, and practice of creating durable images by recording light, either electronically by means of an image sensor, or chemically by means of a light-sensitive material such as photographic film."
- adverb
in such a way that the inner surface becomes the outer
"she put her dress on inside out"
adjective
-
photograph
/ˈfəʊtəɡrɑːf/
noun
-
"Photography is the art, application, and practice of creating durable images by recording light, either electronically by means of an image sensor, or chemically by means of a light-sensitive material such as photographic film."
Pintrest Inspiration
INTERIOR/EXTERIOR
SET TASK
Inspiration -
Marja Pirila
Marja Pirila
Marja Pirilä is a fine art photographer who focuses on the theme of light, she explores its multi-faceted forms and effects to create her well known dreamlike photographs with a merging of interior and exterior worlds.
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Pirilä explores the possibilities of the medium in her works, focusing her attention not only on the images she creates, but also specialising in the camera obscura technique, which she uses to survey the living and mental landscapes around her.
She graduated in 1986 from the Department of Photography at the University of Art and Design, and since then her works have been exhibited in Europe, North and South America and Asia and she was awarded the Finnish State Prize for Photographic Art in 2000 and Alfred Kordelin Price in 2020.
Further research led me to Marjas personal statement. Something parcticularly interesting I discovered was her love of biology;
'I became immersed for days on end in the world of flies and their metamorphoses. Suddenly I recalled a childhood experience which changed everything...
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...How different would this same world appear if I were something else – perhaps a fly?'
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Pirilä explores the possibilities of the medium in her works, focusing her attention not only on the images she creates, but also specialising in the camera obscura technique, which she uses to survey the living and mental landscapes around her.
She graduated in 1986 from the Department of Photography at the University of Art and Design, and since then her works have been exhibited in Europe, North and South America and Asia and she was awarded the Finnish State Prize for Photographic Art in 2000 and Alfred Kordelin Price in 2020.
Further research led me to Marjas personal statement. Something parcticularly interesting I discovered was her love of biology;
'I became immersed for days on end in the world of flies and their metamorphoses. Suddenly I recalled a childhood experience which changed everything...
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...How different would this same world appear if I were something else – perhaps a fly?'
The vivid colours Marja uses with her projections are captivating as they contrast with one another.
I want to capture her other worldly vision from her intrest in biology, as well as the faded quality her works commonly have - Although Marja uses projections in her pieces, I want to layer my photos in photoshop to create the same effect - capturing specific bit of light to enhance the image. |
INITAL SHOOT
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I shot my model moving and doing simple tasks, I tried to include movement and the background as much as I could. When I layer the images I want the two backgrounds to compliment each other. |
FIRST RESPONSE
SECOND RESPONSE
process -
the two images are initially layered, after the second layer is flipped I lowered the opacity to 60% to create this faded effect.
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EVALUATION -
For this response I used the same image and another of my dad but flipped around. I wanted to have the dynamic of two figures, one looking towards you and the other way. - I also really like he light in this image, it adds another interesting element to the edit. |
THIRD RESPONSE - faces
I wanted to see how a projected image would change and warp around human features, taking inspiration from my original artist I projected buildings and nature onto my models.
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TOP 3
EVALUATION -
I think some of these images are a bit boring and have no emotion to them, I don't feel connected to them in any way. - However, I do like the composition of some of them. the way I have positioned my model so her face incorporates some of the projection. For example, the one directly on the left has my model in the centre of the image, with her head tilted back and her mouth open. it is as if the flower is coming out of her mouth. |
EDITED
Exhibition -
GODS OWN JUNKYARD
GODS OWN JUNKYARD
- My photos
I experimented with the coloured lights and lines/shadows with a glass prism that distorted the light.
- I may use this on people later on in my project. |
The story of God’s Own Junkyard is a fascinating one, a psychedelic paradise of neon lights and vintage signs, all hidden inside an unassuming warehouse in deepest darkest Walthamstow.
- Late owner Chris Bracey, the ‘Neon Man’, got his start by making signs for Soho’s strip clubs and brothels. Soon, his talents were spotted by Hollywood, and he began fashioning props for directors such as Stanley Kubrick, Tim Burton, and Christopher Nolan. Try to spot them behind some of the greatest stars, including; Tom Cruise in Eyes Wide Shut, Johnny Depp in Charlie and the Chocolate Factory and Jack Nicholson in Batman. When a film was wrapped, Chris collected the discarded neons before they disappeared forever. Although it isn’t just former film props littering the place, religious statues, disco balls, and retro signs adorn the walls, or simply in piles on the floor. Chris Bracey has been the Neon Man for 37 years, creating neon fantasies from found objects, retrieved and renewed waste, even fairground & circus lighting. |
1st strand
Inspiration -
Shaoqi Hu
Shaoqi Hu
Shaoqi Hu is an emerging Chinese visual artist and photographer who focuses on the practice of experimental film photography.
Hu uses colors, multiple exposure technique, film grain, and skilled use of film blur to paint a romantic yet haunting mood in her body of work.
I love her use of colours and think it could be really enjoyable to focus on her for my main strand, editing and lighting is key within her work so I am going to try and capture it within mine.
After further research I found an interview with my artist where she explains her work in film cameras and ideas/concepts.
Some of the most interesting questions are below.
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What elements do you usually look for when taking a photo?
I like portraits and bodies. Usually, when I am taking a portrait, I wanna capture something from the object that can make the audience pause a second when they are viewing. and of course, I like saturated lighting and texture.
Do you remember the first time you held and used a film camera? May you share to us that moment and how did you get into film?
The first time I used a film camera was completely accidental. I was in an existential crisis and had no idea which direction in my life I was gonna take, and one day out of blue, I saw an old camera shop so I went in. and it all started from there. I think from that day I found a way to express my inner self.
Hu uses colors, multiple exposure technique, film grain, and skilled use of film blur to paint a romantic yet haunting mood in her body of work.
I love her use of colours and think it could be really enjoyable to focus on her for my main strand, editing and lighting is key within her work so I am going to try and capture it within mine.
After further research I found an interview with my artist where she explains her work in film cameras and ideas/concepts.
Some of the most interesting questions are below.
-
What elements do you usually look for when taking a photo?
I like portraits and bodies. Usually, when I am taking a portrait, I wanna capture something from the object that can make the audience pause a second when they are viewing. and of course, I like saturated lighting and texture.
Do you remember the first time you held and used a film camera? May you share to us that moment and how did you get into film?
The first time I used a film camera was completely accidental. I was in an existential crisis and had no idea which direction in my life I was gonna take, and one day out of blue, I saw an old camera shop so I went in. and it all started from there. I think from that day I found a way to express my inner self.
I love how Hu edits her shots, putting two sections of a moment together.
I am specifically interested in the movement of eyes, and want to try this in photoshop. - SHOOT EVALUATION I love how these images (below) have a smokey almost dreamy effect within colour, the technique I used has created a faded/spooky atmosphere. I layered tinted cellophane sheets, one light blue and one light pink, as well as a green/purple GELs directly over my camera lens, this created the smoke reflections and faded colour. The stage light to the left of my subject created dramatic shadows on her face, also reflecting the cellophane plastic which the created smokey effects within the image. Some of the wisps also cover my subjects face which I think is going to be really interesting to edit. As I said previously, I am interested in capturing the movement of eyes, I definitely did this in my shoot. My subject is looking up and down at her prop. I thought he flowers would add another interesting dimension, specially because they are dried, which adds to the mysterious and faded atmosphere. - shadows
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- colour |
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- best edits
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2nd strand
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experiment
Pintrest Inspiration -
Unfortunately I could not find one artist that captured the colours and shadows I wanted to focus on, but I love the atmosphere of my Pinterest inspiration.
- However I do really love Taras Bychnkos work and will take inspiration from him in my street photography strand. |
- SHOOT
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WORKING PROCESS/EVALUATION -
I got rid of all other light sources and used a coloured sunset lamp to create the green undertones of my inspiration images. The shadows and reflections I have created with this technique are really interesting as they dramatically change the dimensions of my face. - I used a tripod to avoid camera shake and prioritised my shutter speed to capture frozen movement. I also really like the faded aspects some of my images have, I also enjoyed working with colour hope to capture both of these in my future responses. - However, if I were to do this again I would have a bigger light that made the whole room have a green undertone as some of the images are inadequately lit so too dark. |
SERIES -
TOP 6 -
vertical
horizontal
2nd strand
Inspiration -
Brian Vu
Brian Vu
New York-based photographer Brian Vu, is known for his psychedelic photography of powerful manipulations of colour and patterns that find order within disorder.
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His new series:
‘Spirit Power Song Pity, Sex and Sacrifice: Photography of the Moral Abyss’
Explores his past work, touching on the human psyche and perceptions of morality. Photographed in the autumn of 2016, and then in the winter of 2017, it displays how relationships can be moulded and destroyed with symbolism and digital abstractions.
As it was shot at the collapse of his personal relationships, the series is also very personal.
Vu uses television screens to stitch together fragments of faces, language and nature. Representing memory and the dark and unsettling fragments of what we choose to remember or forget.
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He asks us:
How well can we truly know another person, and really, how well can we know ourselves?
What are you trying to communicate through your work and why?
I want to document the wonderful people in my community, their integrity, and their talent. There’s an energy there that’s difficult to describe. I aim to present beauty in unconventional ways too. I share work that feels true to me.
Artwork that opens up possibilities.
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His new series:
‘Spirit Power Song Pity, Sex and Sacrifice: Photography of the Moral Abyss’
Explores his past work, touching on the human psyche and perceptions of morality. Photographed in the autumn of 2016, and then in the winter of 2017, it displays how relationships can be moulded and destroyed with symbolism and digital abstractions.
As it was shot at the collapse of his personal relationships, the series is also very personal.
Vu uses television screens to stitch together fragments of faces, language and nature. Representing memory and the dark and unsettling fragments of what we choose to remember or forget.
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He asks us:
How well can we truly know another person, and really, how well can we know ourselves?
What are you trying to communicate through your work and why?
I want to document the wonderful people in my community, their integrity, and their talent. There’s an energy there that’s difficult to describe. I aim to present beauty in unconventional ways too. I share work that feels true to me.
Artwork that opens up possibilities.
I want to recreate one of the collages using my own images and ones found online with a similar feel to those in the inspiration.
- The shoot below has the same atmosphere as my inspiration images, I used a dark/royal blue GEL over my camera lense to create this. I asked my model to make unusual shapes and movements with her arms to produce strange composition that I could edit. - If I do this again in the future I would use blue light instead of a GEL as there is not enough light within the photos to create highlights which I think would add to them. |
- the shoot
I decided to combine two of Vus works into one collage.
PROCESS - I pulled all the photos into photoshop and cropped them into squares (as Vu does). I then dragged them onto a black background and started organising them into rows, making sure they lined up equally. I decided to have one central image, Vu does this but the image is broken up, instead of this, I pulled another one to match the size of my focus image and layered it on top. I them lowered the opacity to create a more interesting effect. I wanted to have the vintage 'old screen' words incorporated within my piece, so I found some of the internet and added them where space had been made in between my layered images. Finally I merged all of the layers and decreased the contrast to add dramatic effect. - top 3 from shoot
- edited
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- EDIT
EVALUATION -
I really like how my edit has turned out, it has aspects of my inspiration artist whilst still being unique to me. If I were to do it again I would take more pictures to completely fill up the background, and increase the brightness in photoshop, as some of the images are too dark. |
3TH strand
Inspiration -
Martin Parr . People Watching/Colours
Martin Parr . People Watching/Colours
Martin Parr (1952- ) is an English street photographer, known for his images of Britain in the 1980s, under Margaret Thatcher’s steely rule.
They are grey and gloomy, sad and dull, to the point where it’s difficult to imagine a country that wasn’t depressingly dreary and overcast all the time. And yet his images pop with vibrant colour and are brimming with character and charm.
They show a country that was bright and cheerful despite the economic hardship, and they run completely against the grain of what others were documenting in parallel.
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‘The Last Resort’ documented the working class people of Britain on their seaside holidays. It was met with disgust by many art critics.
They attacked his images for being unflattering and condescending accounts of these famlies at tatty seaside resorts, describing them as ‘vulgar’ and ‘sanctimonious’.
However, time has been kind to ‘The Last Resort’ and it is now held up as one of the most important socio-economic accounts of its time, changing the perception of what documentary photography could be.
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I love Martin Parr’s unconventional style and his eye for capturing moments in time, even if they are not particularly flattering, they are real.
They are grey and gloomy, sad and dull, to the point where it’s difficult to imagine a country that wasn’t depressingly dreary and overcast all the time. And yet his images pop with vibrant colour and are brimming with character and charm.
They show a country that was bright and cheerful despite the economic hardship, and they run completely against the grain of what others were documenting in parallel.
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‘The Last Resort’ documented the working class people of Britain on their seaside holidays. It was met with disgust by many art critics.
They attacked his images for being unflattering and condescending accounts of these famlies at tatty seaside resorts, describing them as ‘vulgar’ and ‘sanctimonious’.
However, time has been kind to ‘The Last Resort’ and it is now held up as one of the most important socio-economic accounts of its time, changing the perception of what documentary photography could be.
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I love Martin Parr’s unconventional style and his eye for capturing moments in time, even if they are not particularly flattering, they are real.
THOUGHT PROCESS -
I wanted to have the same atmosphere as Parr for this shoot, so I travelled to my nearest seaside town, Brighton. - I shot the public just existing - sitting on the pier, eating ice cream, sitting together, laughing together and watching the water. `i focused on capturing one person without crowds or I made sure there was a strong focus to the photo, despite any background distractions. - I think they came out really well and also had a faded/old photo effect to some of them. I found some washed up sunglasses that had been covered in a layer of salt, I held these up in-front of my camera lens and it created a really interesting warm effect, especially because of their colour. |
- the shoot
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Second Inspiration -
Taras Bychko street roundup 40
Taras Bychko street roundup 40
I am also taking inspiration from an artist I have previously looked at, Taras Bychko.
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Bychko edits some of his images into a long horizontal formant, presenting how all the shadows and faces link together in one piece.
I hope to recreate this is my response.
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Bychko edits some of his images into a long horizontal formant, presenting how all the shadows and faces link together in one piece.
I hope to recreate this is my response.
TOP 3
- 3 faded using sunglasses
Second Response
THOUGHT PROCESS/EVALUATION -
For this shoot I went to 'Kew Gardens', the heat from the tropical house steamed up my lens and created these really interesting faded images of my Grandads hands and also a child looking at the floor. i really love the one of the girl in the pink as it captures childhood and is a singular moment. - If I were to do this again I would find a better spot to take photos and move around more because some of my compositions are really static. |
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TOP 3 -
EDITED -
- processes
IDEAS MINDMAP -
development one
Inspiration -
Edward Yang
Edward Yang
Yang was a Taiwanese film maker, most famous for his Best director award for his film Yi Yi. I think Yangs work is very effective as in the images below he has both incorporates at least one person and also catches the reflection of the outside which creates an overlap of two totally different images .
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One of the first masterworks of the twenty-first century, Edward Yang’s YI YI is an at once epic and intimate portrait of a year in the life of a Taiwanese family. It is also, as Professor Jeff Smith argues in this edition of Observations on Film Art, a valentine to the transcendent possibilities of cinema. Exploring Yang’s subtly sophisticated use of framing, reflections, and the techniques of rear projection and superimposition, Smith reveals how the director uses these uniquely cinematic devices to draw our attention to the moments of ephemeral beauty that pass, almost unnoticed, across our everyday field of vision.-
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One of the first masterworks of the twenty-first century, Edward Yang’s YI YI is an at once epic and intimate portrait of a year in the life of a Taiwanese family. It is also, as Professor Jeff Smith argues in this edition of Observations on Film Art, a valentine to the transcendent possibilities of cinema. Exploring Yang’s subtly sophisticated use of framing, reflections, and the techniques of rear projection and superimposition, Smith reveals how the director uses these uniquely cinematic devices to draw our attention to the moments of ephemeral beauty that pass, almost unnoticed, across our everyday field of vision.-
This development links to my theme of INSIDE/OUTSIDE as it is looking in on a space through a window from the outside.
Pintrest Inspiration -
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- the shoot
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- my repsonse
PEOPLE BUS REFLECTIONS
PUBLIC ON TUBE - 'LOOKING THROUGH'
I like faces instead of a scene, develop with more focus on individual faces !!
DEVELOPMENT TWO
Inspiration -
Romain Veillon
Romain Veillon
Romain Vellion (1983-) is a French photographer who focuses in the visit of urban decay places, a practice called 'urbex'. As an urban explorer he manages to catch the out-of-date, sometime post-apocalyptic, feeling in the air of those locations, where nature reasserts itself.
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Through his ongoing series 'The World Without Us', Veillon captures the haunting beauty of "romantic ruins" while also drawing attention to environmental concerns and humanity's impact on the planet.
His works have been exhibited nationally, featuring in publications such as National Geographic, The Spaces, AD, etc.
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Through his ongoing series 'The World Without Us', Veillon captures the haunting beauty of "romantic ruins" while also drawing attention to environmental concerns and humanity's impact on the planet.
His works have been exhibited nationally, featuring in publications such as National Geographic, The Spaces, AD, etc.
This development links to my theme of INSIDE/OUTSIDE as it is looking in on what once was the outside, also how the outside has come into the outside.
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It links to my pervious response as it is mainly of a place not a person, and has a dirty/grungy feel to it
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It links to my pervious response as it is mainly of a place not a person, and has a dirty/grungy feel to it
- the shoot
SECOND RESPONSE
Inspiration -
Nadav Kander . Saturated Colour
Nadav Kander . Saturated Colour
Chernobyl, Half Life
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'Reactor No.4 at Chernobyl’s Nuclear Power Station exploded in 1986 leaving the surrounding area uninhabitable for many hundreds of years to come. It happened to be the 20th Anniversary since the explosion when I gained access as an artist to visit Chernobyl, photographing the deserted spaces in what was once a model Soviet City.
Home to more than 40,000 people, the apartments, schools and hospitals that were hastily left following the controversial evacuation are stark reminders of past lives, leaving a disturbing sense of quiet. An uneasiness that I had never previously experienced.
There is a great beauty in a very real way to be found as the poignancy of human suffering almost hangs in the air. I found myself with a familiar feeling; best described as the feeling when walking through an overgrown cemetery on a drizzly day, but what I was looking at was far from familiar.
Having grown up with stories of relations of mine including my Father with his family that were suddenly evacuated during the second world war, I could not help but feel quite profoundly shocked as well and at the same time wonder what it must have felt like to suddenly leave your home and be transported to an unknown destination, suspecting that the near future would probably bring severe ill health due to being exposed to large doses of radiation. Little is known about the radio-active affects on the people of this city as the population were dispersed all over Russia. If there was a gathering of data by the government, it was never reported.'
- Nadav Kander, 2004
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'Reactor No.4 at Chernobyl’s Nuclear Power Station exploded in 1986 leaving the surrounding area uninhabitable for many hundreds of years to come. It happened to be the 20th Anniversary since the explosion when I gained access as an artist to visit Chernobyl, photographing the deserted spaces in what was once a model Soviet City.
Home to more than 40,000 people, the apartments, schools and hospitals that were hastily left following the controversial evacuation are stark reminders of past lives, leaving a disturbing sense of quiet. An uneasiness that I had never previously experienced.
There is a great beauty in a very real way to be found as the poignancy of human suffering almost hangs in the air. I found myself with a familiar feeling; best described as the feeling when walking through an overgrown cemetery on a drizzly day, but what I was looking at was far from familiar.
Having grown up with stories of relations of mine including my Father with his family that were suddenly evacuated during the second world war, I could not help but feel quite profoundly shocked as well and at the same time wonder what it must have felt like to suddenly leave your home and be transported to an unknown destination, suspecting that the near future would probably bring severe ill health due to being exposed to large doses of radiation. Little is known about the radio-active affects on the people of this city as the population were dispersed all over Russia. If there was a gathering of data by the government, it was never reported.'
- Nadav Kander, 2004
DEVELOPMENT Three
Inspiration -
Rut Less Luxemburg
Rut Less Luxemburg
Rut Blees Luxemburg (born 1967) is a German-born British photographer. Rut's work as an artist and photographer concerns the representation of the city and the phenomenon of the urban, combining formats from large-scale photographic work. In 2020, Luxemburg was awarded an Honorary Fellowship of the Royal Photographic Society, Bristol. She uses long exposures to allow her to use the light from the street only, for example from office blocks or street lights.
Many of her photographs and prints deal with nocturnal themes. Her technique is to take atmospheric photographs at night, mostly exploring the urban landscape.
Photoworks interview -
For anyone unfamiliar with your work, could you talk about the ideas and themes around your general practice?
In the early 1990’s I moved from Germany to London to study photography at the London College of Printing, where I was taught by Karen Knorr. London was experiencing a dynamic shift in the arts; the palpable buzz around the YBA’s and the emergence of a plethora of artist-run spaces and warehouse exhibitions created a fertile and energetic scene of possibility. I became part of an artist-run space called plummet, situated on the 16th floor of a council block off City Road. Other artists were Sophy Rickett, Carey Young and Billy Shoebridge, whose flat was the host for plummet. It was in this experimental environment that my interest in the representation of cities really came into focus and my photograph for the cover of The Streets debut album was made there.
My interest in the urban realm led me to the series Liebeslied, photographed in London, exploring the public spaces of the city, as shared spaces that can evoke a sense of the ‘common sensual’.
Although taken in public spaces, your work rarely shows their inhabitants. Does the presence of people deter from the poetics of the space?
Yes, because I’m not thinking about individual stories, but around the space as a site of ideas and immersion. There are footsteps in the mud, the human presence is absent. The city in my photographs is a structure in which the individual narrative does not dominate, but becomes a template to try and locate something that can be described as common, such as a public shared stairwell to the river. One can also think about the city as a ‘character’ in these photograph, one that’s alluring, open, glowing even… yet also ambiguously wet, slippery and dark.
So although these places are real, they start to take on a more internal, reflective space. What is it about shared urban spaces that captures your interest?
The spaces are very real, but at the same time they’re also a portal into the imagination and that includes the imagination of different possibilities. On the one hand, the city is build up of layers of history. Those steps down to the Thames would have incredible stories to tell if they could. When Goethe arrived in Rome he exclaimed ‘Speak Stones!’
Yet the stones are mute and so the writer, or the artist, might speak for them, but not just of the memories of place, because on the other hand, the city is always in a state of emergence, so what are the premonitions or what are the possibilities this space we share can evoke and enable?
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London Dust (2011–13) a series of photographs and a film that trace the rapid architectural transformation of the City of London in relation to the development of CGI photographic representation.
Many of her photographs and prints deal with nocturnal themes. Her technique is to take atmospheric photographs at night, mostly exploring the urban landscape.
Photoworks interview -
For anyone unfamiliar with your work, could you talk about the ideas and themes around your general practice?
In the early 1990’s I moved from Germany to London to study photography at the London College of Printing, where I was taught by Karen Knorr. London was experiencing a dynamic shift in the arts; the palpable buzz around the YBA’s and the emergence of a plethora of artist-run spaces and warehouse exhibitions created a fertile and energetic scene of possibility. I became part of an artist-run space called plummet, situated on the 16th floor of a council block off City Road. Other artists were Sophy Rickett, Carey Young and Billy Shoebridge, whose flat was the host for plummet. It was in this experimental environment that my interest in the representation of cities really came into focus and my photograph for the cover of The Streets debut album was made there.
My interest in the urban realm led me to the series Liebeslied, photographed in London, exploring the public spaces of the city, as shared spaces that can evoke a sense of the ‘common sensual’.
Although taken in public spaces, your work rarely shows their inhabitants. Does the presence of people deter from the poetics of the space?
Yes, because I’m not thinking about individual stories, but around the space as a site of ideas and immersion. There are footsteps in the mud, the human presence is absent. The city in my photographs is a structure in which the individual narrative does not dominate, but becomes a template to try and locate something that can be described as common, such as a public shared stairwell to the river. One can also think about the city as a ‘character’ in these photograph, one that’s alluring, open, glowing even… yet also ambiguously wet, slippery and dark.
So although these places are real, they start to take on a more internal, reflective space. What is it about shared urban spaces that captures your interest?
The spaces are very real, but at the same time they’re also a portal into the imagination and that includes the imagination of different possibilities. On the one hand, the city is build up of layers of history. Those steps down to the Thames would have incredible stories to tell if they could. When Goethe arrived in Rome he exclaimed ‘Speak Stones!’
Yet the stones are mute and so the writer, or the artist, might speak for them, but not just of the memories of place, because on the other hand, the city is always in a state of emergence, so what are the premonitions or what are the possibilities this space we share can evoke and enable?
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London Dust (2011–13) a series of photographs and a film that trace the rapid architectural transformation of the City of London in relation to the development of CGI photographic representation.
This development links to my theme of INSIDE/OUTSIDE as it is looking at what is outside and imaging what could be inside.
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It links to my pervious response as it is also mainly of a place not a person, and has an abandoned atmosphere.
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It links to my pervious response as it is also mainly of a place not a person, and has an abandoned atmosphere.
EVALUATION -
Although my shoot doesn't directly echo my inspiration artist, I really like the idea and the separate colours in the windows in the dark. - If I were to go out and take these photos again I would find larger buildings with the same colour patterns as my artist. i would also try to get a better angle I am not looking up the whole time, only looking straight on. |
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DEVELOPMENT Four
Inspiration -
Bill Jacobson . Untitled 1999-2001
Bill Jacobson . Untitled 1999-2001
Bill Jacobson is an American photographer, who began making out of focus images in 1989. After exhibiting in a number of group exhibitions, in 1993 he had his first New York solo show at New York University’s Grey Art Gallery.
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Returning home from a trip to India in 1999, Jacobson used colour to begin photographing urban landscapes in Untitled and New Year’s Day.
These images intend to capture our inner journey through the world, referencing the uncertainty of the mind’s eye rather than the sharp clarity of the camera lens.
Photographing a broad spectrum of subjects from tightly cropped faces to fields of grass and surfaces of water, Jacobson links the human figure to nature, suggesting their connections.
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I want to use colour within my work, so to continue creatively changing urban settings I want to take inspiration from Jacobson.
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Returning home from a trip to India in 1999, Jacobson used colour to begin photographing urban landscapes in Untitled and New Year’s Day.
These images intend to capture our inner journey through the world, referencing the uncertainty of the mind’s eye rather than the sharp clarity of the camera lens.
Photographing a broad spectrum of subjects from tightly cropped faces to fields of grass and surfaces of water, Jacobson links the human figure to nature, suggesting their connections.
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I want to use colour within my work, so to continue creatively changing urban settings I want to take inspiration from Jacobson.
This development links to my theme of INSIDE/OUTSIDE as it has a blurred veiw of the outside world, maybe what it would be like to look outside from a window.
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It links to my pervious response as it is a landscape but this time with people, also having a distorted effect - like the dirt/abandoned places.
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It links to my pervious response as it is a landscape but this time with people, also having a distorted effect - like the dirt/abandoned places.
I was experimenting with my camera setting when I found something new on my wheel that I had never found before - CreativeFilters.
This setting had multiple filters and tools such as 'Grainy Black+White' and 'Fisheye'. The one that took my interest regarding this specific project though was, 'Toy Camera'. This setting automatically stimulates distinctive colours and vignettes the images, like on a Toy Camera. You can move you colour balance to, cool tone, standard, and warm tone. - The images on the right are a mix of all three, I particularly like the warm tone as it bring out greens and blues which are prominent in my inspiration artists work. - As you can see I also put my camera in Manual Focus so I could change the focus to create these blurred, dreamy photographs. - top 3
- edited
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- the shoot
EVALUATION - I really like how these have turned out, the colours echo my inspiration and my edits bring out the colours even more and the way I have composed them also compliments my artists. - If I were to do this again I would go into Central London or china Town to capture the overwhelming crowds in a blurred image. |
development five
Bill Jacobson
Interim Portrait . 1992-1993
Interim Portrait . 1992-1993
Entitled Interim Figures, these shadowy pale photographs are intended to evoke the loss experienced by so many during the height of the AIDS epidemic and the futility of capturing true human likeness in both portraiture and memory.
This development links to my theme of INSIDE/OUTSIDE as it is the inside and the outside of a persons mind.
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It links to my pervious response as it usues the blurred technique, although this time is of a person not a place.
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It links to my pervious response as it usues the blurred technique, although this time is of a person not a place.
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My initial idea with this response was to set up m camera opposite a window to get the strong light Bill Jacobson has. however, I did not foresee the problem that there would be no light on my face, i overcame this with an LED light shining directly at mu blurred photos. - These photos are to show the before |
After -
Edited -
DEVELOPMENT Six
Inspiration -
Kyungwoo Chun . Introduction of Colour
Kyungwoo Chun . Introduction of Colour
Kyungwoo Chun (*1969 in Seoul) has for many years now been working on photography projects and initiating performances in which the audience is actively involved. Chun attained international recognition through his portraits, many of which have a characteristic blurriness in their movements-the consequence of extended exposure times. As diverse as the artistic approaches seem at a first glance, Chun considers both the performances and the photographs to be in equal measure "visible manifestations of that which is not visible.
Ever since early 2000s, performance works have arisen in parallel to the photography. These are temporally limited processes which can be carried out individually or as a group. As author and initiator, Kyungwoo Chun withdraws to a large extent into the background. He establishes a framework in which the participants can act independently. They generally have the possibility of leaving behind something of their own. Sometimes it is a personal object, a photograph, or just the answer to a question. In other cases, their physical presence is already sufficient.
The sensitization to an altered perception of time and the intensification of a dialogue with oneself and with others are essential aspects of this artistic practice.
The oeuvre of Kyungwoo Chun has been presented in many solo and group exhibitions in Europe and Korea. Furthermore, he has realized numerous performances with participation of the public in many cities including Barcelona, Seoul, Berlin, Liverpool, Zurich, Mumbai, Bremen and New York. The artist's work is represented in major museum collections including the Museum of Fine Arts, Houston(MFAH), Huis Marseille stichting voor fotografie in Amsterdam, Kunsthalle Emden, Museet for Fotokunst Odense, Musée Mac/Val in Vitry-sur-Seine, The Museum of Photography Seoul, National Museum of Contemporary Art in Korea(MMCA) among others.
Ever since early 2000s, performance works have arisen in parallel to the photography. These are temporally limited processes which can be carried out individually or as a group. As author and initiator, Kyungwoo Chun withdraws to a large extent into the background. He establishes a framework in which the participants can act independently. They generally have the possibility of leaving behind something of their own. Sometimes it is a personal object, a photograph, or just the answer to a question. In other cases, their physical presence is already sufficient.
The sensitization to an altered perception of time and the intensification of a dialogue with oneself and with others are essential aspects of this artistic practice.
The oeuvre of Kyungwoo Chun has been presented in many solo and group exhibitions in Europe and Korea. Furthermore, he has realized numerous performances with participation of the public in many cities including Barcelona, Seoul, Berlin, Liverpool, Zurich, Mumbai, Bremen and New York. The artist's work is represented in major museum collections including the Museum of Fine Arts, Houston(MFAH), Huis Marseille stichting voor fotografie in Amsterdam, Kunsthalle Emden, Museet for Fotokunst Odense, Musée Mac/Val in Vitry-sur-Seine, The Museum of Photography Seoul, National Museum of Contemporary Art in Korea(MMCA) among others.
This development links to my theme of INSIDE/OUTSIDE as it is also the inside and outside of a person, and what others see when they look at one another.
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It links to my pervious response as it is also blurred portraits, only this time it is in colour and involves more than one person.
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It links to my pervious response as it is also blurred portraits, only this time it is in colour and involves more than one person.
FIRST RESPONSE
SECOND RESPONSE
- experiments
- blurred portraits
FAVOURITE
development seven
Inspiration -
Kunywoo Chun
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SERIES
Kunywoo Chun
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SERIES
This development links to my theme of INSIDE/OUTSIDE as it is a series of looking in on other peoples emotions.
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It links to my pervious response as it consists of the images I took, but now I am using Narrative Photography and in series.
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It links to my pervious response as it consists of the images I took, but now I am using Narrative Photography and in series.
EVALUATION -
I layered my images in photoshop and lowered the opacity to create a blurred movement effect. I used colour grading to change the main base colour to green. I think all the images compliment each other really well, and the separate shoots add dimension. - if I were to do this again i would make sure to use subjects who had completely contrasting features. |
development eight
‘Abstract Fragments’ A portrait of Max Berry.
This is an experimental film and one of my first attempts at using 8mm film. All shot in the studio, and chopped up and edited a bit in post. quite simple, and straight forward. The portraits were shot through the classic 'fog screen' one of my favourite pieces of plastic to use for this sort of soft distorted portrait.
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This development links to my theme of INSIDE/OUTSIDE as it is looking in on an experience or a moment from different angles. I was shown this film by my teacher and thought it was very interesting and would link to my ideas about film/cinema series's.
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It links to my pervious response as it is a series, but this time of one moment not multiple.
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It links to my pervious response as it is a series, but this time of one moment not multiple.
The use of film/moving images and sequenced images has led me to life narrative photography.
narrative photography
The idea of Narrative Photography is to tell a story through pictures.
Mine are linked together as they are all of children, who are watching something.
LITTLE AMAL -
Mine are linked together as they are all of children, who are watching something.
LITTLE AMAL -
Little Amal is the 12 foot puppet of a 10 year old Syrian refugee child at the heart of The Walk. She has become a global symbol of human rights, especially those of refugees.
Since July 2021, Amal has travelled over 9,000km in 13 countries and been welcomed by more than a million people on the street, including hundreds of artists and civil society and faith leaders, as well as by tens of millions online. Her journeys are festivals of art and hope that draw attention to the huge numbers of children fleeing war, violence and persecution, each with their own story. Her urgent message to the world is “Don’t forget about us”. - I walked with Little Amal from Euston to CoalDrops Yard, kings Cross. The images below are of children watching and mesmerized by her, I think the message behind her is amazing and should be shared as much as possible. |
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First Response
First Response
EVALUATION -
The idea of Narrative Photography is to tell a story through pictures. Mine are linked together as they are all of children, who are watching 'Little Amal'.
I love how I have captured these children in an 'unseen' moment, also I think the colours and composition work really well together.
However, I would slightly change the three slides as they are not all the same size, so it is slightly distracting from the image itself.
The idea of Narrative Photography is to tell a story through pictures. Mine are linked together as they are all of children, who are watching 'Little Amal'.
I love how I have captured these children in an 'unseen' moment, also I think the colours and composition work really well together.
However, I would slightly change the three slides as they are not all the same size, so it is slightly distracting from the image itself.
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Second Response
Second Response
EVALUATION -
Here I have experimented with different sizings and backgrounds, I have also used the 'Toy Camera' filter again in cool tone to create the colours. I think the three work really well together and compliment each other.
I would maybe lower the brightness of the middle image to bring out the dimensions of the door, but i like the wayI have sized the top and bottom image to make it symmetrical.
Here I have experimented with different sizings and backgrounds, I have also used the 'Toy Camera' filter again in cool tone to create the colours. I think the three work really well together and compliment each other.
I would maybe lower the brightness of the middle image to bring out the dimensions of the door, but i like the wayI have sized the top and bottom image to make it symmetrical.
EVALUATION -
I love the shadows and reflections of this series, the curves and angles within the images work well together.
In the future I would put a border around the three photos to add depth.
I love the shadows and reflections of this series, the curves and angles within the images work well together.
In the future I would put a border around the three photos to add depth.
EVALUATION -
I love the contrasting theme to my other responses in this series, the faded pinks/greens and whites create a dreamy atmosphere which I really love.
I wouldn't change anything, I think the blurred aspects to the bottom photo add to the dreaminess. Also the side of the door looks like a border which is also interesting.
I love the contrasting theme to my other responses in this series, the faded pinks/greens and whites create a dreamy atmosphere which I really love.
I wouldn't change anything, I think the blurred aspects to the bottom photo add to the dreaminess. Also the side of the door looks like a border which is also interesting.
development nine
EXPERIMENT 2
This development links to my theme of INSIDE/OUTSIDE as it is looking in on a moment in time.
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It links to my pervious response as it is again a series, but with a person instead of a place.
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It links to my pervious response as it is again a series, but with a person instead of a place.
THOUGHT PROCESS/EVALUATION -
I want to incorporate contact sheet into my final piece, I love the B+W unhinged aspects of the Vogue Italia series. - I aim to capture still and flowing movement in my shoot. - the shoot
I had my models wear white to contrast the darkness of the evening, and went outside my local church to include the interesting architecture, carvings, bricks and arches of it.
- I put my camera on slow shutter speed and them on high shutter speed to capture movement. I also used the Toy Camera' filter to add another dimension of colour. The weather meant I had specks of water on my lens, I unfocused and captured some interesting circles which I hope to include in my final piece. - I asked my model to squat in a doorway and I caught her laughing, This was the movement I was searching for. - Here I have layered them onto a black background and lowered the saturation but increased the colour balance to make the cooler colours pop. - If I were to respond to this again I would change my composition so I was looking down on my subject, I would also centre my background. |
Inspiration -
Vogue Italia April 1995 - Shalom Harlow by Mario Sorrenti
- My Response
- lower saturation/black+white
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final development
No.10
Inspiration -
WING SHYA
WING SHYA
Wing Shya (1964 - ) is a Hong Kong based photographer whose work rotates around the realms of film, art and fashion.
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After graduating from Emily Carr Institute in Canada, Wing Shya returned to Hong Kong and founded the award-winning design studio, Shya-La-La Workshop.
Continuing to win numerous design awards for contributing multiple designs to the Hong Kong music and pop culture industries.
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Taking an experimental approach that embraces imperfection, he specialises in expressive, romantic, high contrast and often deliberately blurry images that exude personality and drama.
He has worked as a fashion photographer for publications including Time and Vogue, and his instantly recognisable and dreamy images have made him Hong Kong’s most acclaimed photographer, and he has even helped shape the way the world sees the city.
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I love the way Shya organises his collages, how all the pictures link together and have patterns within the way they are arranged.
I hope to capture this an also his use of bold colour within the individual shots. I love the faded look about these pieces and how I can see a story within them.
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After graduating from Emily Carr Institute in Canada, Wing Shya returned to Hong Kong and founded the award-winning design studio, Shya-La-La Workshop.
Continuing to win numerous design awards for contributing multiple designs to the Hong Kong music and pop culture industries.
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Taking an experimental approach that embraces imperfection, he specialises in expressive, romantic, high contrast and often deliberately blurry images that exude personality and drama.
He has worked as a fashion photographer for publications including Time and Vogue, and his instantly recognisable and dreamy images have made him Hong Kong’s most acclaimed photographer, and he has even helped shape the way the world sees the city.
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I love the way Shya organises his collages, how all the pictures link together and have patterns within the way they are arranged.
I hope to capture this an also his use of bold colour within the individual shots. I love the faded look about these pieces and how I can see a story within them.
My final development links to my whole theme of INSIDE/OUTSIDE as it captures the inside and outside of a persons life/ moment.
The series tells a story and it also incorporates colour and emotion.
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It links to my pervious response as it is of a moment, and is using saturated and enhanced colour.
The series tells a story and it also incorporates colour and emotion.
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It links to my pervious response as it is of a moment, and is using saturated and enhanced colour.
Here are some recent shots that I hope to use in my final -
My initial idea is to link this response to cinemas and auditoriums through the colours schemes and interesting backgrounds, I want to have figures in a 'liminal space', which is a unknown space between known spaces.
My shoot is below.
My shoot is below.
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I am also going to use other images from pervious shoots to continue the theme of inside / outside - known / unknown.
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One collage is going to be based around the OUTSIDE
The other collage is based around the warm colours of INSIDE
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One collage is going to be based around the OUTSIDE
The other collage is based around the warm colours of INSIDE
First Attempt -
I really don't like how this came out, the images don't work together and I haven't matches them together well.
- I removed the red colour channel but the original images have their own colour so it does not compliment the image well. - My next attempt will be more precise and thought through. I also had another attempt with images that did not fit together, the whole thing looked disconnected. - Hopefully this will help me improve my next attempt. |
- experiment
- red channel
- green channel
UPLOAD RED
- blue channel
FINAL PIECE
For my final piece I edited multiple collages from different shoots and flowed them together as one, I layered some of the images and lowered the opacity to create a faded effect. As well as, after merging the layers to make sure the whole image was effected, I used colour channels to add or remove colour to create one effect.
After I was happy with two of my collages, I placed them next to each other and made sure they complimented each other well, connecting lines and shadows within the images. This was to ensure the images did not look choppy or unorganised.
Then, in theme with cinema, I edited the two pieces into two frames of a Contact Sheet / Codac Frame.
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I was inspired by the ideology of 'Liminal Spaces' .
What Is Liminal Space?
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Liminal space refers to the place a person is in during a transitional period.
It's a gap, and can be physical (like a doorway), emotional (like a divorce) or metaphorical (like a decision).
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People move through countless physical liminal spaces throughout the day and mostly don’t notice.
Like when you’re in a hallway heading from one office to another, or sitting in a waiting room.
“This is where one thing ends and another is about to begin, but you are not quite there yet, you are in the space between,”
- New York-based mindset expert Kirsten Franklin
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I included windows, reflections, light, and different perspectives of life to reflect the theme of INSIDE / OUTSIDE.
Put more simply, the top collage is inside, or the space between inside an outside. The collage below is looking in from the outside, or viewing the outside from multiple perspectives.
Humans don’t like to exist in a space of unpredictability, I tried to capture this sense of unknown.
After I was happy with two of my collages, I placed them next to each other and made sure they complimented each other well, connecting lines and shadows within the images. This was to ensure the images did not look choppy or unorganised.
Then, in theme with cinema, I edited the two pieces into two frames of a Contact Sheet / Codac Frame.
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I was inspired by the ideology of 'Liminal Spaces' .
What Is Liminal Space?
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Liminal space refers to the place a person is in during a transitional period.
It's a gap, and can be physical (like a doorway), emotional (like a divorce) or metaphorical (like a decision).
-
People move through countless physical liminal spaces throughout the day and mostly don’t notice.
Like when you’re in a hallway heading from one office to another, or sitting in a waiting room.
“This is where one thing ends and another is about to begin, but you are not quite there yet, you are in the space between,”
- New York-based mindset expert Kirsten Franklin
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I included windows, reflections, light, and different perspectives of life to reflect the theme of INSIDE / OUTSIDE.
Put more simply, the top collage is inside, or the space between inside an outside. The collage below is looking in from the outside, or viewing the outside from multiple perspectives.
Humans don’t like to exist in a space of unpredictability, I tried to capture this sense of unknown.
Conclusion -
In conclusion, I have really enjoyed this my final project and the topic of INSIDE / OUTSIDE.
It has taken me down many different new routes of photography for me, and I have loved finding different ways of interpreting things to enhance their meaning. I am proud of my Final Piece, it has all the qualities that I wanted it to have - it captures the essence of cinema, uses colour and the shots link together to tell a disjointed story. Finding something that exited me creatively was sometimes difficult, but patience is key and everything came together in the end. I have discovered a love for street photography, capturing moments in time where someone is laughing or reading, unknown to your existence and yet you are discovering them in their most vulnerable position. Perfecting techniques and experimenting with different lighting/material/ideas has been what this project is all about, and I think I have done just that.
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I look forward to the exhibition!
It has taken me down many different new routes of photography for me, and I have loved finding different ways of interpreting things to enhance their meaning. I am proud of my Final Piece, it has all the qualities that I wanted it to have - it captures the essence of cinema, uses colour and the shots link together to tell a disjointed story. Finding something that exited me creatively was sometimes difficult, but patience is key and everything came together in the end. I have discovered a love for street photography, capturing moments in time where someone is laughing or reading, unknown to your existence and yet you are discovering them in their most vulnerable position. Perfecting techniques and experimenting with different lighting/material/ideas has been what this project is all about, and I think I have done just that.
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I look forward to the exhibition!