tag:blogger.com,1999:blog-21374067769994902942024-03-18T01:16:15.836-07:00Emily's Photography BlogUnknownnoreply@blogger.comBlogger159125tag:blogger.com,1999:blog-2137406776999490294.post-86579652567913908842017-04-29T10:40:00.000-07:002017-05-01T04:32:14.461-07:00SDA Final Edit<div style="text-align: justify;">
For my final edit for my SDA work I sat down in mid April and decided on captions for my photographs and which ones I thought would work best in a series. I decided to take out the Bodmin Jail photographs which were some of my favourites however I felt they lacked a certain distance that I wanted in the photographs that I think I achieved with the rest of my images for other locations. In terms of ordering the series I really struggled because they are quite disconnected and as a set they don't tell a story from start to finish. However I decided to go for my beach photograph first as I think this image really sums up what people think about when they think of Cornwall however the eeriness of this image really sets the tone for the series. </div>
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Overall I am pretty satisfied with the outcome of this series considering how difficult it is to get to so many places for me as I don't drive. I do however feel dissatisfied with the quality of my post production on my photographs, as some of the colours have come out really off and I don't really know why. I would however love to learn how to take medium format photography now and hopefully will have that sussed out for my next project. </div>
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Porthminster Beach, St Ives, Cornwall, UK, 18 March, 2017</div>
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Porthminster Beach, St Ives</div>
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The ghost of a shipwrecked woman is said to walk Porthminster beach carrying a lantern. She has been said to patrol the beach in search of her child who she lost in the accident. Seeing her is considered an ill-omen.</div>
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Lanhydrock Estate, Bodmin, Cornwall, UK, 11 March, 2017</div>
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Lanhydrock House, Bodmin</div>
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The stately home of Lanhydrock is said to be haunted by a grey lady who wanders the gallery and drawing room; the only parts of the house that remained after a large fire burned down the house in the 19th century. The building is also said to be haunted by a man who was hanged by royalists there during the civil war. </div>
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St Gluvias Church, Penryn, Cornwall, UK, 7 March, 2017</div>
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St Gluvias Church, Penryn</div>
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The historic parish church of St Gluvias is said to contain a haunting manifestation in the form of the ghost of a former bell ringer who drowned at sea. Once a captain this figure is said to return on occasion from his watery grave and stand silently in the church. He has also been said to ring the church bells on occasion in the early hours of the morning. </div>
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Kennel Vale, Ponsanooth, Cornwall, UK, 19 March, 2017</div>
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Kennel Vale, Ponsanooth </div>
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The remains of the Kennel Vale gunpowder works are said to be haunted by the ghost of William Dunstan. A father who died after a gunpowder explosion in 1838 which caused many deaths and destroyed five mills.</div>
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Pendennis Castle, Falmouth, Cornwall, UK, 7 March, 2017</div>
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Pendennis Castle, Falmouth</div>
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Built by Henry VII Pendennis Castle was the site of a famous siege that lasted six months. In which royalists trapped inside were forced to eat their dogs and horses before eventually surrendering. Many visitors to the castle have reported hearing the piercing screams of a kitchen maid who died in the castle at this time. </div>
<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-15046111418617705592017-04-27T08:48:00.002-07:002017-04-28T15:31:43.635-07:00PEP 160 Report<div style="text-align: justify;">
<b>Victoria Sewart Contemporary Jewellery Gallery for Crafts, The Magazine for Contemporary Craft</b></div>
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When I first began brainstorming ideas for this assignment I knew I wanted at least one of my features to be for an art magazine, as they are the kind of editorial spaces I engage with as a reader myself. I had already arranged to go and photograph a unique jewellery business in Plymouth so decided to find a relevant editorial space for a feature on the Victoria Sewart Contemporary Jewellery Gallery.</div>
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In search of relevant publications I went into WHSmith and the University libraries and came across Crafts, The Magazine for Contemporary Craft. I felt that this would be the most appropriate space for the article I wanted to produce about Sewart’s business and her career. As this magazine is for professionals in this industry and rather than being a kind of advert for this business I wanted to produce a feature on Sewart herself as she is an established designer, curator and business woman who is really inspiring. As she has been a designer for over twenty years and during the first few years of running the gallery she was diagnosed with cancer and still came into work during her treatment. </div>
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<tr><td class="tr-caption" style="text-align: right;"><i><br />Screenshots from Crafts, The Magazine for Contemporary crafts' Media Pack</i></td></tr>
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I learnt about Crafts’ audience by downloading their media pack where I learnt that over half of the circulation of the magazine is obtained through subscriptions. Which tells me that they have a very loyal readership which appears to be made up of mainly professionals in the creative industries. When looking at the magazine itself I found that many of the articles are about professionals in the industry including creators and business owners. They also use photographs in these features in very similar ways, often with a full page environmental portrait and then photographs of pieces of design and interior/exterior photographs of businesses and studios. </div>
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Before going to my shoot I prepared a number of questions for Sewart to help me write my article and I also planned out the photographs I wanted to take, which I felt helped me conduct the shoot and work with my subject. As she was able to gain an understanding of what I wanted. </div>
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<tr><td class="tr-caption" style="text-align: right;"><i>Examples of feature layouts from various issues of Crafts Magazine</i></td></tr>
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I decided that my content would best fit into the ‘best of British’ section of the magazine and began designing my content in a similar way to other feature articles on businesses that I had looked at. I felt that in order to go with the article I had to use photographs from my shoot that encompass the entire business. So I used a full length environmental portrait of Victoria, two product shots, a detail shot of Sewart working in the studio and an exterior shot of the business. Overall I feel I have suitably produced client specific content and that my layout is also appropriate for the publication.</div>
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<b>Summer Baking Inspiration for Delicious Magazine </b><br />
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I was certain early on that I wanted to do at least one feature for a food magazine as I really wanted to try some food photography. After purchasing food magazines such as Olive, Jamie and BBC Good Food I decided I wanted to produce my content for Delicious. As I like how they design their content and use photography in a big way to inspire their more sophisticated and contemporary consumers to try new recipes. </div>
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<tr><td class="tr-caption" style="text-align: right;"><i><br />Media Information found on the Intermediate Media website</i></td></tr>
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As I was producing this content in early spring I decided to produce something for a summer issue as they have a section called seasonal inspiration that I wanted my article to be designed for. I decided as I would be cooking the recipes myself to create an article on baking recipes. As these kinds of foods will remain how I want them to look for a lot longer, which I would need as I would be styling the food and photographing it by myself. </div>
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My process for finding recipes was very long and involved me looking in books and online for recipes with summer fruits and also more fun ones which led me to the oreo brownie recipe. </div>
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<i>Examples of layouts from various issues of Delicious magazine</i></div>
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<i>Some of the content I needed to edit</i></div>
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To design my article I looked at how Delicious uses typography and the formats they use for writing their recipes. The most difficult part for me was the picture editing because I photographed a lot more recipes then I was going to feature. However I decided on the brownies for the first two pages because Delicious often have a cover recipe in feature which they will include more than one picture of. </div>
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<b>Haunted Cornwall for My Cornwall </b><br />
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The most difficult editorial choice was for my SDA work as my project ended up being about hauntings in Cornwall and I really didn’t want it to go anywhere near a paranormal enthusiast publication. After discussing the project in a workshop I realised that it would work nicely in a publication about Cornish culture as this is something people in Cornwall could be really interested in. I decided to go for My Cornwall in the end as through reading the media pack I found that the magazine is read by people in their mid thirties and above who want to learn more about their culture and also people who holiday here and want to find new places to explore. </div>
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<a href="https://1.bp.blogspot.com/-ubSWbfMDt7Y/WN-jQBE2YZI/AAAAAAAAOaA/pObS7zKUzOo2EM2DyA1WFe_xCIZJkpkkgCLcB/s1600/Screen%2BShot%2B2017-04-01%2Bat%2B13.41.14.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="435" src="https://1.bp.blogspot.com/-ubSWbfMDt7Y/WN-jQBE2YZI/AAAAAAAAOaA/pObS7zKUzOo2EM2DyA1WFe_xCIZJkpkkgCLcB/s640/Screen%2BShot%2B2017-04-01%2Bat%2B13.41.14.png" width="640" /></a></div>
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<tr><td class="tr-caption" style="text-align: right;"><i><br />Screenshots from the My Cornwall media pack</i></td></tr>
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<tr><td style="text-align: center;"><a href="https://3.bp.blogspot.com/-Rv6yRrEUCrM/WN-jbzoHuFI/AAAAAAAAOaE/SuN1VqoOw6kM_cI0Gha0duodv5HUNk5FQCLcB/s1600/mycornwall2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://3.bp.blogspot.com/-Rv6yRrEUCrM/WN-jbzoHuFI/AAAAAAAAOaE/SuN1VqoOw6kM_cI0Gha0duodv5HUNk5FQCLcB/s640/mycornwall2.jpg" width="541" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: right;"><i><br />Examples of My Cornwall layouts</i></td></tr>
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I decided to design my article to go in the ‘out and about’ section of the magazine, as I wanted it to be about introducing people to these stories about places you can visit in Cornwall. They also have ran an article about forgotten Cornish Saints in this section which I felt would be of a similar style to my article in terms of telling stories in connection to places. </div>
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Another difficulty was designing my content as there isn’t a great deal of consistency in how they use text and arrange photographs on their pages. However they usually have a double page photograph to begin with which is why I used this photograph of Porthminster beach across two pages. Overall I am not massively pleased with my design however I do feel that this content has been made appropriate for this editorial space and is something they would consider publishing. My SDA was obviously not created for a specific publication and doing this has really shown me the importance of having the curation of your work in mind before you create it. </div>
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<b>Rue for Oh Comely</b><br />
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I decided that Oh Comely would be my final editorial space as it is one of my personal favourites. The magazine has an audience of 18 - 35 year old creatives and content is often created by these readers. The space is all about meeting strangers so for my article I wanted to find an inspiring subject that their audience would want read about. Fortunately I was able to contact 23 year old Rue; a Cornish Jazz singer who is about to release her first EP. </div>
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<tr><td class="tr-caption" style="text-align: right;"><i><br />Screenshots from the Oh Comely media pack</i></td></tr>
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As articles are generally made up of portrait photographs that fit with the magazine’s aesthetic we arranged a portrait session in Falmouth as she had a gig there in February. Before the shoot we sat down for coffee so that I could interview her for my article and then I explained the kinds of portraits I wanted to take. Because my article is about her being a Cornish singer/songwriter who uses the internet to reach an audience, I felt it was important to take my portraits of her by the beach. As beautiful beaches is what many of us associate with Cornwall which is a big part of her identity. </div>
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For me the photographs are about introducing an audience to this person and I chose these two images for the magazine because I felt they were the two strongest, and I like the consistency in colours that go with the text and also the horizon lines which are in the same places in the photographs. </div>
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Writing the article wasn’t too challenging as the interview really shaped the subject matter that I had intended for the piece, and in the end it was the naming the title that I struggled with most. Eventually I came up with A New Note which I think summarises Rue’s circumstances and also links with her being a musician. </div>
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<a href="https://3.bp.blogspot.com/-qiGD7l2fCtc/WPeMXQfW42I/AAAAAAAAOiE/w--k-h2uofIIcr84BdXWHXiZK6iZV-Y4QCLcB/s1600/Screen%2BShot%2B2017-04-19%2Bat%2B17.10.17.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="332" src="https://3.bp.blogspot.com/-qiGD7l2fCtc/WPeMXQfW42I/AAAAAAAAOiE/w--k-h2uofIIcr84BdXWHXiZK6iZV-Y4QCLcB/s640/Screen%2BShot%2B2017-04-19%2Bat%2B17.10.17.png" width="640" /></a></div>
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<i>Screenshots of my email correspondence with Lara Watson </i></div>
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I think that my pitching email was concise but informative enough for the editor to decide whether this is something she would be interested in or not. The reply I have had is that she has forwarded it onto the new editor which I was hoping she would do as she has said on social media that she has left the magazine however Oh Comely are yet to update their online presence with the contact details of their new editor. I decided to pitch this content because I feel it is my strongest it terms of its attractiveness to my chosen editorial space and I also felt I could provide them with the most information about my subject matter as I can easily put them in contact with Rue. </div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-80778104935005383792017-04-13T08:06:00.000-07:002017-05-01T04:23:49.589-07:00The London Shoot<div class="separator" style="clear: both; text-align: justify;">
So on the 6th of April I got my London shoot shot and uploaded. It was a really hectic day as I had to travel across London to my locations and I didn't necessarily know what I would be working with. However my intention was to shoot whatever I found in these spots so that I could use my captions to elaborate on the subject matter further. Luckily I wrote out my captions before I took the shots so the final edit and upload wasn't too stressful however working out my approach to my shoot really was. I went to about seven locations in the end and I also visited the Royal London Hospital Museum to see the replica skeleton of Joseph Merrick and things like his hood that he would wear and the model church he made. </div>
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My final edit was the result of me looking at the captions I had written beforehand and deciding what would best sum up Merrick's story and experience with living with such stigma. Overall I am satisfied with what I was able to achieve considering the subject matter and lack of access, however in looking back I think there was potential for me to explore more new stories in London and I could have made more use of the time I had to visit somewhere and learn more about an aspect of the city I wasn't previously aware of. </div>
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However going to London was an incredibly enriching experience for me and really inspiring. I did plan to recce these locations for my shoot but instead I went to every talk and opportunity and visited a couple of shows which left me super tired for the first few days. And looking back I don't know how beneficial that would have been for me anyway.</div>
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Berners Street, Bloomsbury, London, UK, 6 April 2017<br />
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Where the Royal Pathological Society of Lodon was based when Joseph Merrick agreed to be presented as a ‘living specimen.’ He attended this Bloomsbury address several times by Hansom cab whilst wrapped in his cloak. </td></tr>
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6 Wimpole Street, London, UK, 6 April 2017<br />
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After spending his life in workhouses, freak shows and hospitals Frederick Treves invited Joseph Merrick to his house on Wimpole street. Merrick was so excited to see what a ‘normal house’ looked like that he examined every feature.</td></tr>
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Theatre Royal Drury Lane, Covent Garden, London, 6 April 2017<br />
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Fascinated by the theatre; Joseph Merrick was granted a private box and use of the royal staircase at Theatre Royal Drury Lane. Where he was said to have spent one of the happiest nights of his life. </td></tr>
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London Liverpool Street Station, London, UK, 6 April 2017 <br />
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After being made penniless by his manager in Belgium, Joseph Merrick returned to London and arrived at Liverpool Street Station. Here he was mobbed after his cloak and hood gained unwanted attention. Merrick ended up collapsing after being barricaded in a waiting room.</td></tr>
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The Royal London Hospital, Whitechapel, London, UK, 6 April 2017<br />
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When Joseph Merrick returned to the London Hospital after his travels in Belgium, Treves concluded that his friend would face a short lifespan. Following an appeal, enough money was raised to provide Merrick with two private rooms known as Bedstead Corner.</td></tr>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-66888078292866651542017-04-02T08:07:00.000-07:002017-05-01T04:10:35.324-07:00The Relationship Final Edit<div style="text-align: justify;">
After two tutorials in one week to discuss all my events photographs and final edit for the relationship brief I have finally come to a final edit for this project. I have decided to start with two more intimate photographs showing people's relationships with entries at the 6th Annual World Pasty Championships. Followed by three photographs from the gin event that show a group of actors, two girls conversing over their gin cocktails and finally a bartender pouring out the gin. I felt that these photographs would be appropriate because they show people from each event who helped the creation of the food and drink product and also the people who interact with it once it has been made. </div>
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I don't think this is my strongest project and I really struggled to find something that I am really interested in to photograph for this brief. I think the thought of having to specifically go out and photograph relationships made me super nervous and I wish I would have gone for it a lot more as I spent lots of time doing research to put off taking photographs. As I was really unsure about what I wanted to use as subject matter. </div>
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A contestant positions his entry at the 6th Annual World Pasty Championships, The Eden Project, Bodelva, Cornwall, UK, 4 March, 2017</div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small;">Judges tasting one of the entries at the 6th Annual World Pasty Championships, The Eden Project, Bodelva, Cornwall, UK, 4 March, 2017</span></td></tr>
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Actors hold up their drinks at a promotional video event for Tarquin's Gin, Tremough House Garden, Penryn, Cornwall, 20 March, 2017</div>
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Actors converse over drinks for the filming of a promotional video for Tarquin's Gin, Tremough House Garden, Penryn, Cornwall, 20 March, 2017</div>
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A bar tender pours gin cocktails at the filming of a promotional video for Tarquin's Gin, Tremough House Garden, Penryn, Cornwall, 20 March, 2017</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-9321767925107836152017-04-01T05:25:00.002-07:002017-05-01T04:01:44.927-07:00Other Events Photographs<div class="separator" style="clear: both; text-align: center;">
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I have been doing a lot of events photography this month which has all contributed to my thoughts and approach to my relationships photographs as I have been required by my client to photograph people at events. I have lots of photographs that I think would be appropriate for the relationship brief however I am really liking the theme of food and drink events so will keep my final edit just consisting of the pasty and gin photos. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-67518996105440051742017-04-01T05:24:00.006-07:002017-05-01T03:59:03.626-07:00Tarquins Gin Event<div class="separator" style="clear: both; text-align: center;">
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For my second relationships shoot I photographed the people taking part in a promotional video for Tarquin's Gin. In which actors and students staged a summer garden party event with music, games and of course lots of gin. I really tried to interact with people at this event and make them feel comfortable with having their photograph taken. It was useful however that these people were all actors who were ok with being in the promotional video. </div>
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I thought that the relationships shown at this event were really interesting to photograph because it was staged and people were acting. It also relates to these ideas about public relations that I looked at in Winogrand's work as the purposes of this event were to promote a product. Making an edit out of these photographs I feel will be challenging but I definitely want to pick some of these and use some of the Pasty Championship photographs for my final edit for the relationship brief. </div>
Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2137406776999490294.post-68666143465855760422017-04-01T05:24:00.003-07:002017-05-01T03:48:09.361-07:00World Pasty Championships<div class="separator" style="clear: both; text-align: justify;">
I decided after researching events online that I would photograph the World Pasty Championships at the Eden Project as part of my relationships work. I also have an event with Tarquins Gin that I will be photographing later in the month so I think I might put photographs from these two shoots together in order to create a series on food and drinks events. As I have been looking at Martin Parr's photographs in the British Journal of Photography on eating food which really inspired me to look more into exploring our relationships with food.</div>
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I was able to get media access to cover the championships after emailing David Rowe. Which allowed me to enter the premises early in the morning where I saw contestants check in with their entries and eventually the judges sitting down to taste and rate the pasties. Although I photographed lots of the event I have decided to focus on the judges photographs as these images show people interacting with food and each other at this event in a more intimate way. </div>
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I really tried to get close to people and make them comfortable with my presence. However I wanted my shots to be candid so spent a lot of time in the same places waiting for moments to occur. I really struggled with the lighting and as I thought the championship would take place outside or in one of the well lit biomes didn't bring a flashgun. This has definitely taught me to always be prepared for anything. I also wish I had brought a wider lens to encompass the entire scenes a bit more like Winogrand did in his series.<br />
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I did consider just taking five pictures from this series to use for my relationships brief however I think the shots show relationships that are too similar in order for them to fit the brief parameters.<br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-7794164865193684672017-04-01T05:22:00.004-07:002017-04-30T09:59:00.685-07:00Planning my London Shoot<div style="text-align: justify;">
To plan my London shoot I re watched the Elephant Man film and read the The True History of The Elephant Man by Michael Howell and Peter Ford. Through this I managed to work out the locations I would want to photograph in London that I feel show important points in Merrick's story. Not all the locations are going to be as obvious for me to photograph as Merrick's story took place in the Victorian times. I have decided that as long as I can take a photograph of where abouts locations supposedly were I can take a general photograph of the street and then use my caption to elaborate on the location further. </div>
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To plan my shoot I have found all the locations and what they look like on Google maps in order to plan my shoot day and also in case I have time to recce some of these locations in advance. </div>
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259 Whitechapel Road, E1<br />
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Liverpool Street station, EC2<br />
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The Royal London Hospital, E1<br />
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Theatre Royal Drury Lane, WC2<br />
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6 Wimpole Street, W1<br />
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The Royal London Hospital Museum, E1<br />
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Berners Street, W1Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-88995609119317250952017-03-21T08:22:00.000-07:002017-04-29T04:50:29.835-07:00SDA Shoot 4 + 5: St Ives & Kennel Vale<div class="separator" style="clear: both; text-align: justify;">
As I scanned my negatives for these two shoots at the same time I thought I would discuss my final two SDA shoots together. For the first shoot I went to St Ives to photograph Porthminster beach and for the second I went over to Kennel Vale in Posanooth.</div>
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Although it was a cloudy day which was ideal I really struggled to photograph the beach. However in the end I am most pleased with this very simple shot above that has this haziness in the background. I said I didn't want to make my photographs look overly spooky but this is just the weather especially at this time of year in Cornwall, and I like that the shot is very forward facing and you have this leading line taking you into the water and eventually this hazy horizon.</div>
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Kennel Vale I found a really difficult shoot because there are so many little buildings that remain of the gun powder works and I really wasn't sure where to start or what would look best. Which is why I have so many different photographs of this location to choose from. After discussing these photographs with Mal I have come to like the photograph above best. As I think this really shows what people are familiar with of this place and has a sense of intrigue about it that I have similarly created in my chosen photographs from other shoots. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-78270297266079112562017-03-13T10:06:00.000-07:002017-04-29T03:58:40.798-07:00Monday 13th Crit<div class="separator" style="clear: both; text-align: center;">
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For our March crit I brought in all my favourite photographs that I have shot for my SDA project so far. To get some advice on editing, and critique on my current approach to the subject matter. Currently my lecturers and peers agree with me on my current favourites from each shoot except for the Bodmin Jail photographs. A lot of them really liked the top photograph in the image above which I also like and think has a certain distance and expanse however I am still not sure whether I will use any of these photographs or not in my final edit. </div>
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It was really interesting to see what everyone else has been working on and also to get some feedback on work that I have been doing in a very isolated way. Visiting these locations alone and learning about these hauntings through hours of research. It has definitely made me realise that I need to share my work and ideas more in order to help me develop them further. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-86727470201560779992017-03-13T10:04:00.004-07:002017-04-29T04:54:08.696-07:00London Ideas + Research <table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; text-align: left;"><tbody>
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<tr><td class="tr-caption" style="text-align: right;"><i>Sketch</i></td></tr>
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<tr><td class="tr-caption" style="text-align: right;"><i>The London Coffee Festival</i></td></tr>
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At the beginning of March I decided to start researching into potential subject matter for my 24hour shoot in London. My initial ideas were to look into food festivals and unique food and drink businesses in central London such as Sketch. I found out that The London coffee Festival is taking place on the day of the shoot in the Old Truman Brewery on Brick Lane. Which I may use as a back up plan if I don't like the results of the recce that I will do earlier that week for my new idea that I have been researching.</div>
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I have decided that instead of focusing on businesses like I did for the Plymouth shoot that I want to research and tell a story for a more documentary style project. After lots of reading into the history of East London where we will be based for the talks and exhibition that week, I was reminded that Joseph Merrick's story mostly took place there. After watching a documentary about his story it is one I think would be really powerful to tell if executed well with strong captioning and well thought out images. As Merrick's story is one that illustrates the effects of stigma; a subject that is still relevant today.</div>
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Like in my SDA project this subject matter is not one I can directly photograph. Therefore I will be making use of what I have learnt through my contextual research of photographers such as Joel Sternfeld and Mark Power, to inform the kinds of photographs I will take for this assignment. However this time it is unlikely that I will get shots devoid of people in London and I will be telling one story with my five photographs rather than individual ones.</div>
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One thing that I learnt early on in my research is that Joseph Merrick's skeleton is still stored in The Royal London Hospital's Medical School. However it isn't open to the public so I decided to email the medical school's media team to see if I could get access to photograph the skeleton on the day of the shoot.<br />
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<tr><td class="tr-caption" style="text-align: right;">My email to the media team </td></tr>
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<tr><td style="text-align: center;"><a href="https://1.bp.blogspot.com/-vZtwTzYHiGo/WN-7LmXTnmI/AAAAAAAAObg/qSmbgw6XR84S3ZGdb4pQ0jAXTV_OvNyrQCLcB/s1600/Screen%2BShot%2B2017-04-01%2Bat%2B15.36.31.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="232" src="https://1.bp.blogspot.com/-vZtwTzYHiGo/WN-7LmXTnmI/AAAAAAAAObg/qSmbgw6XR84S3ZGdb4pQ0jAXTV_OvNyrQCLcB/s640/Screen%2BShot%2B2017-04-01%2Bat%2B15.36.31.png" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: right;">Their response</td></tr>
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<div style="text-align: justify;">
Unfortunately I was declined access to photograph the skeleton however in thinking more about how I want my photographs to look overall the skeleton doesn't necessarily fit what I want anyway. It just happens to be evidence of Merrick and his condition that would have been a really powerful thing to record. There is a replica in the Royal London Hospital Museum, however I have been thinking that if I want my images to focus more on the experience of living with stigma, that they should show what Merrick saw of the world through his eyes. With captions that describe how his perspective was different because of the way he was treated.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-11411651841009037782017-03-13T10:04:00.000-07:002017-04-29T03:52:57.906-07:00SDA Shoot 3: Bodmin Jail + Lanhydrock House <div class="separator" style="clear: both; text-align: justify;">
For my next shoot I planned to visit two places in Bodmin. The first being Bodmin Jail; built in the late 18th century and a hot spot for hangings, the jail has an abundance of haunting stories and reports of deceased prisoners returning to haunt the jail. The second location I visited was Lanhydrock house; a stately home supposedly haunted by a grey lady who haunts the only two rooms that remained after a fire, and also a man who was hanged by royalists during the Civil War. </div>
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Photographing Bodmin Jail was initially a struggle as there is a lot of building work happening on the exterior which I obviously did not want to photograph. Eventually I found a route to walk around the outside on the jail that led me to this view looking up into the old cells. It was difficult because I had to photograph through a big gate but I think I got a nice variety of shots. My only concern is that there isn't as much distance between me and the subject as I want to maintain in this series. But I will have to see how these photographs look with my other shots. The photograph above is one of my personal favourites because of the way these leading lines lead somewhere that appears hazy and I also like the detail to begin with of the overgrown ivy on the walls. </div>
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The photograph above is my favourite that I took of Lanhydrock house because there is a mysterious feeling to it created by this distance and I like the symmetry and the tilting of the trees in the frame. I am not so keen on my closer shots of the building because I feel that they show too much of the newer parts of the building and also signposts and fencing etc that has been put there by the National Trust. </div>
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Overall I am pretty pleased with my photographs from this shoot and I definitely want to use the Lanhydrock photograph. I am definitely getting more comfortable with shooting this kind of film and using the Minnolta camera so will feel much more confident using it for my next shoot for this project.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-54699808183425070302017-03-13T10:03:00.003-07:002017-04-28T15:48:04.400-07:00SDA Shoot 2: Penryn, Penmere Railway Station + Pendennis<div class="separator" style="clear: both; text-align: justify;">
For my second SDA shoot I decided to commit to colour film in the form of Fujifilm SUPERIA X-TRA 400 and have decided to use the Minnolta again with the 24mm lens as I really liked the landscape shots I took with it for my five picture story and the expanse and distance it creates between the photographer and subject matter in photographs. As I want there to be a feeling of distance as the actually subject matter is not so much the places but their stories. </div>
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The first place I visited was Pendennis Castle in Falmouth which is said to be haunted by a screaming kitchen maid who can be heard in the basement. I did consider photographing the basement however this shot really wouldn't have informed the viewer that it is a Cornish location which I would like it to. In the end I am most happy with the exterior shot of the circular castle above. As I think there is something rather sinister about this cold looking building sat on top of this hill. I had to wait a while for people to move out of the shot but I think it was worth it. I did take this just after midday but it was cloudy which I don't mind as much as it's given the building and grass more texture. </div>
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For my second location I revisited Penmere train station and this time I am much happier with my shots. In the end I prefer this shot above as I like the victorian looking sign as it references the haunting which is supposedly the spirit of a victorian girl who walks the platform. I also like this leading line creates by the railway which gives this small station much more expanse.</div>
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My favourite photograph from this shoot is this photograph of St Gluvias church in Penryn. I decided to take this shot from further away in order to focus more on the bell tower which the spirit of a captain that supposedly haunts this location is said to on occasion ring the bells here at early hours in the morning. I also took this photograph from further away so that when you do read the caption you can almost imagine the bells echoing down this graveyard.</div>
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Finally on this long day shoot I took some photographs of the streets of Penryn. As during the Christmas festive period there is said to be a spirit who rides a horse and carriage down the streets and disappears. I was really just experimenting with this subject matter but I definitely won't be using these shots as I want my series to be made up of more well known and visited locations that people who know Cornwall are more familiar with visually. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-4078984405842889522017-03-13T10:02:00.002-07:002017-04-29T10:11:30.195-07:00Crit Notes: 21st February<ul>
<li style="text-align: justify;">Edits can be fluid and change between a magazine and portfolio</li>
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<li style="text-align: justify;">5 picture stories don't have to be shot at the same time, it's more about a theme than going to one place to do a shoot on one day</li>
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<li style="text-align: justify;">Think more about cropping! Use pieces of card to make it easier to see the cropped image without being distracted from the outside of the crop</li>
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<li style="text-align: justify;">Dodging and burning on the Predannack pictures should be done to get more detail from the sky and inside the plane. But also keep the contrast in that interior image</li>
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<li style="text-align: justify;">Better shapes in the detail shot of the controls of the plane than the seating. The shapes work well with those created by the watch tower as well</li>
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<li style="text-align: justify;">Interesting discussion also about how we are now thinking about our series of images in terms of an editorial workspace which is fine, but also your edit and eye for shooting for a magazine will be different than a long term documentary project for example. You don't need to think about double page spreads and space for text for example</li>
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For this crit I brought some of the Predannack photographs I was still deciding between and through discussing my images with the group I have come to an edit of five photographs for my five picture story. Here are my final five photographs with their captions. </div>
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<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Exterior of a a retired RAF Harrier GR3 at Predannack Airfield, Helston, Cornwall, UK, 15th February 2017<br />
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Predannack has a varied history and opened in May 1941 as a satellite base for RAF Portreath. Today it is the satellite airfield for RNAS Culdrose, a restricted Ministry of Defence site and an active airfield used for flight deck training by the Royal Navy.<br />
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<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Remains of the Barnes Wallis Ramp at Predannack Airfield, Helston, Cornwall, UK, 2017<br />
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Predannack Air Field was used by aeronautical engineer Barnes Wallis during the 1950s in his development of the supersonic swing-wing Swallow and Goose aircraft projects. This long ramp was used to launch radio controlled scale models, proving his concept of a 'Variable Swing-Wing' aeroplane.<br />
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<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Interior of a retired Jetstream T2 at Predennack Airfield, Helston, Cornwall, UK, 15th February 2017<br />
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Predannack Airfield is home to many retired aircrafts and has what is referred to as an aircraft graveyard. Which retired airframes of varying levels of damage are used for rescue and crash training by the Royal Navy.</td></tr>
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<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">Exterior of the Predannack Airfield Air Traffic Control Tower, Helston, Cornwall, UK, 15th February 2017<br />
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The Air Traffic Control Tower at Predannack is operated by the Royal Navy who use the runways as a satellite airfield and a relief landing ground for RNAS Culdrose. The tower also houses aircraft fire fighting facilities for the Royal Navy School of Flightdeck Training.<br />
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<tr><td class="tr-caption" style="font-size: 12.800000190734863px;">The Royal Navy School of Flight Deck Operations performs a fire fighting test at Predannack Airfield, Helston, Cornwall, UK, 2017<br />
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Today Predannack is used as a practise base for the Royal Navy School of Flight Deck operations. Who use dummy aircraft frames on the site for fire extinguishing practise.<br />
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To produce my captions I asked lots of questions on the tour and did some research online to find out more about the history of the site. I formulated the order for my series by writing the captions as they began to tell a story about Predannack from the beginning of its history towards what it is used for today. Overall I feel that considering this is my first serious use of film photography that there is a consistency to my images and that they are visually effective in illustrating my chosen subject matter. The photographs allow you to see that today Predannack is a much quieter expanse of land however still is in use and has a great deal of history. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-53394421980540657612017-03-13T10:02:00.001-07:002017-04-28T09:12:32.768-07:00SDA Shoot 1: Penmere Railway Station<div>
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To begin experimenting with 35mm film for my SDA subject matter I decided to try using some Ilford HP5 to photograph Penmere station. I chose Penmere train station because I read on a paranormal database online the story of the spirit of a victorian girl who has been seen to walk the platform. As it is close to campus I thought this would be a good place to start with playing around with different kinds of film, lenses and compositions. I used a 50mm lens on my Olympus OM10 for these shots and although I really like the first photograph of the shelter I think there is something missing in terms of atmosphere from these photographs. </div>
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I think using this black and white film has just confirmed to me that I won't be using it to shoot this self directed assignment work. As I want there to be more a sense of familiarity to my images for people as well as a strange feeling, and I think they need to see these places in colour in order to feel this. </div>
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I also want to try taking my photographs with a wider lens like I did for my Predannack photographs. As I really liked how expansive the images were and they let you see something more similar to how you would with your own eyes. As the human eye's focal length is around 17mm.</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-15762268360938915402017-03-13T10:01:00.004-07:002017-04-28T09:11:03.389-07:00Predannack Shoot<div style="text-align: justify;">
For my five picture story project I visited Predannack Airfield for a guided tour of the place and to witness some of the work that still is in operation there. I took my 5D so that I would have digital photographs as backups but to take my five picture story images I brought along a Minnolta SLR camera and a 24mm lens. So that I could take the wide shots of the landscape with black and white 35mm film that I intended to for my project. </div>
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<tr><td class="tr-caption" style="text-align: center;">Above are some of the digital shots I took during the day as backups. I am happy with a few of them however I don't think they can give the same sense of history and consistency that I was able to achieve with my analogue photographs.</td></tr>
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In the end I used one roll of HP5 for this shoot and really considered the photographs I was taking as I wouldn't have been able to change the roll of film during the day as we were walking around the location in the bright sunlight. Overall I am pretty pleased with my photographs considering I have very little experience with film photography. I also think I have taken photographs that encompass what happens at Predannack today and what is still there. </div>
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The only issue I am having now is the editing of my photographs down to five pictures. I definitely think I want one shot of the flight deck training fire test, an interior and exterior of a retired aircraft and I definitely want a shot of the Barnes Wallis ramp and the air control tower. So I will be taking my favourite photographs that I am deciding between to the next crit, to discuss them with tutors and other students. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-37313969788862716522017-03-13T10:01:00.000-07:002017-04-28T08:59:24.150-07:00Edward Thompson: The Village<div class="separator" style="clear: both; text-align: center;">
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As most of my research so far has led me towards documentary projects that use landscapes to tell different stories, I decided to look for a project that has a haunted subject matter similar to the kind of subject matter I will be exploring with my SDA work. This led me to Edward Thompson’s The Village.<br />
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Edward Thompson is a British documentary photographer and his The Village series is part of a larger body of work that makes up the content for his The Unseen book. In which all the series of images in the book were photographed using the last 52 rolls of Kodak Aerochrome Infrared film in locations across the world. Thompson used this to capture subject matters that are said to contain things that infrared film could possibly capture such as drought and radiation. </div>
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The Village became a project for Thompson when he learnt that the village of Pluckley in Kent is the most haunted village in the U.K and that infrared film could possibly capture the kinds of apparitions that were said to haunt this village. What is interesting about this series of landscapes of this village is that even though we do not see any apparitions in the images themselves the blood red foliage created by the colour shift of infrared film is particularly sinister in itself. It changes the green landscape we know of British rural areas into a sea of red texture. </div>
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These landscape photographs provide a surreal view of rural Kent. Referred to as the garden of England the infrared film juxtaposes this by showing us a very sinister version of this place. The images look so otherworldly as though they are from science fiction stories such as H.G Wells War of the Worlds. </div>
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What interests me about the use of infrared film to photograph these landscapes is the way it makes you question the subject matter. Knowing that this is supposedly the most haunted place in Britain, having Pluckley presented in this way makes us question the boundaries of our own senses, and whether there are things we do not notice due to boundaries in how much we can perceive in the landscapes surrounding us. </div>
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The photograph of a horse shown above refers to one of the stories of hauntings about a tale of a phantom horse and coach passing through the village. This photograph shows just how powerful this infrared film is in making such an innocent subject matter appear so menacing. I think this aesthetic decision by Thompson is really powerful especially in the way it looks to be so natural of the landscape in this photograph. Although no actual ghosts were revealed through the film the calmness of these landscapes juxtaposed with the brooding feel of this deep blood like red, suggests very much the context of these landscapes. I cannot find captioning for this series and do not have access to The Unseen book therefore I do not know if captions are use to extend the meaning of these photographs. However I do think the use of infrared film alone is powerful enough in making the subject matter of these landscapes clear for a viewer. </div>
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Looking at this series has made me consider more about what I can illustrate as a documentary photographer in revisiting places where a story has already been said to have occurred. I am not intending to go to these places to photograph ghosts therefore thinking about representing these places has been the biggest decision for me and is something I now need to experiment with. Which I will do by visiting some of these locations and experimenting with different film, lenses and other ways I can approach photographing these places. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-82608831407861545912017-03-13T09:59:00.004-07:002017-04-28T08:25:51.115-07:00Chloe Dewe Mathews: Shot at Dawn<div class="separator" style="clear: both; text-align: center;">
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Chloe Dewe Matthews is a British documentary photographer whose work I came across online a few weeks ago. I took a particular interest in her Shot at Dawn series as she presents her subject matter of something that has happened in the past in the kind of way I would like to present my subejct matter of hauntings for my self directed assignment. </div>
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Shot at Dawn is a body of work consisting of twenty three images that show locations at which British, French and Belgian soldiers were executed between 1914 and 1918 for cowardice and desertion. The photographs were taken as close to the exact time of day and year as the actual executions in each location as possible, and as most executions took place at dawn this provided Dewe Matthews with the title of the series. </div>
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Due to the images being shot so early in the morning there is a really fitting eeriness given to the sites in the photographs which today look to be very ordinary unassuming places. There is a real potency to these landscape photographs in looking at these today forgotten sites as they raise awareness of a subject matter that is very often neglected when discussing the first world war. These hundreds of soldiers shot by their own side were often teenage volunteers who had signed up to fight in a war they really couldn’t have anticipated the severity of. These haunting photographs provide a moving memorial of the fate of these people. </div>
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Dewe Matthews puts us very much in her shoes as a photographer in arriving somewhere a hundred years after an event has happened. In witnessing the landscape that has witnessed this event we are able to see exactly what these soldiers saw the day of their execution. There is something incredibly moving about being able to put yourself in their shoes in this way, knowing that they were just young people who could no longer cope in one of the most horrific wars. To me this series seeks to give us a connection to an event that happened a century ago, to be aware of the relationship we have with our landscape and to not assume we have an innocence towards it. </div>
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This series also seeks to question the British national conscience in how we feel about how the British army chose to discipline soldiers in this way which has been rather ignored in contrast to what happened on the front lines. At the time of their execution these people were branded as degenerates who were best forgotten, and now there is a real feeling of unease in how death did not meet them abruptly on the battlefield and instead from the people leading them who were on their side. We are also now aware that at least some of the soldiers will have been suffering from mental illnesses caused by the warfare. Which there wasn’t recognition or understanding of at that time and that if they had acted like that today they would be treated very differently. </div>
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The captioning for this series I feel is what gives it such potency as these calm figureless landscape photographs are met with a chilling record of the location, time, date and names of people killed on that morning of an execution that took place in that location. The subject matter for this series is so serious and as a British person it is really haunting to know that British soldiers around my age were treated like this just for not being able to cope in such a horrible war. </div>
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The way these landscapes are so empty and many are overgrown really communicates that this is something that the countries involved would rather forget. And that killing these people didn't achieve anything. </div>
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In terms of my own less literal subject matter, looking at this series has made me think more about how I can capture in some way an element of the event that apparently has happened in each of the my locations I will be photographing. As in Dewe Matthews' project she has captured the time of day they occurred at as well, which will be difficult for me as I am unable to drive to the places I want to photograph. Instead I think taking all the photographs at the same time of day may give it a better consistency that I am looking for. I don't want to make too many aesthetic decisions that will overcomplicate how people read the subject matter but I definitely don't want to take the photographs at night. I think that taking my photographs around midday will give my subject matter clarity in a way that does not look at though I am trying to add anything to it. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-304061732162413532017-03-13T09:59:00.003-07:002017-04-28T08:07:47.034-07:00Joel Sternfeld: On This Site<div class="separator" style="clear: both; text-align: center;">
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<i>"Mr Sternfeld had devised a Baedeker to America in the age of anxiety, fear and moral crisis. One could argue that American life has been shaped by the events that took place on these largely unsung spots which form a contour map of contemporary angst." </i>- Vicki Goldberg, The New York Times, February 13, 1994</td></tr>
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After a tutorial with Lottie to discuss my my current SDA idea she suggested I look at Joel Sternfeld's On This Site for inspiration. Joel Sternfeld is an American fine art and documentary photographer. On This Site is a series of fifty photographs that Sternfeld took of fifty infamous crime scenes in the United States. The series captures these places where violence has stained the American landscape and looks at what has been left behind in these ordinary looking places. </div>
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The fifty photographs in this series were published in a photo book of the same name and inside the book you can view the full captions that go with each photograph. Which are created from reportage from newspapers and magazines that describe the crime that took place there. The photographs by themselves taken of these landscapes are devoid of people and rather unadorned however once you read the brief text that goes alongside these images there is a surprising potency that is created by them.</div>
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The captions really allow the viewer to take a step back and contemplate these events. This makes this series of images very much like memorials of what has happened in these places and I imagine for an American (like a British person looking at Amy Romer's work) that the work makes them question their sense of national identity. As decades of violence has shaped the American landscape yet there is a real irresponsibility towards this kind of violence in the United States.</div>
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Photographs such as the one above of the grocery in Missisipi show you places devoid of people that look to now have a calmness to them. They are taken in a very formal way presenting these places to us as though we are passing them on the street. It is only once you start to read the captioning that the perception we have of these places is changed for the viewer. Naturally we seem to assume innocence of the landscape yet in this series we are asked to stand between the threshold of what has happened there and what now remains in these places.</div>
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Individually these photographs have a potency with their accompanied text however as a series they become much more powerful. As you begin to acknowledge the crimes that have occurred in these places. There is certainly a familiarity for a viewer when looking at photographs presented in this way (particularly for an American) but this familiarity becomes tainted and as you start to read alongside the images they start to feel more and more haunting. It is as though Sternfeld wants the people in the US to acknowledge the more sinister past their country has. </div>
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Looking at this series has made me think more about how I can present my subject matter and think more about my captioning. I like the way in which you get the name and location of the place and then see a statement about the crime that has happened underneath. It allows what has happened here to unfold as you read further into the captioning which I really like the subtlety to, despite the subject matter being these horrible crimes that have taken place. </div>
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It has also made me think more about whether I want to aestheticise these places I will be photographing to make them appear more haunted and I have decided I would rather not. I like how Sternfeld's photographs simply are a recording and feel as though you are just walking past these places. I want my captions to change my subject matter rather than have the image tell you that these places are haunted. As I want the photographs to make people ask questions about why certain places are more likely to be haunted then others and whether simply looking at a place can suggest this kind of paranormal activity to you. </div>
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<br />Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-31124972042882317742017-03-13T09:59:00.002-07:002017-04-28T08:00:50.096-07:00Amy Romer: The Dark Figure<div class="separator" style="clear: both; text-align: center;">
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British documentary photographer Amy Romer's latest body of work is a project that explores modern slavery in the UK. I took a real interest in this series after she gave a guest lecture to us a month or so ago. As like the photographs I have been taking an interest in by other photographers in my research, she does not show her subject matter for this series in a literal way and instead photographs the places where these events occur. </div>
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Her series is called The Dark Figure which refers to the estimation that there are 13,000 slaves in the UK today by the Home Office. In this series Romer has visited and photographed locations where cases of modern slavery have been reported. These square landscape photographs with their haunting captions detailing cases of modern slavery creates an incredibly powerful series that makes you realise that these horrible crimes are happening a lot closer to home then you think. </div>
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What is particularly stirring about these photographs for a person who is from the UK to view is that all these places either are or look so familiar to us. The architecture and landscape in the UK does not vary that much so there is a real sense of emotional conflict for a viewer in viewing something so stirring that aesthetically presents us with the suburbs and landscapes we see all the time and yet these horrible things are happening or have happened within them. </div>
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These photographs like some of the other documentary images I have looked at so far feel very quiet, almost to suggest the lack of witnesses or how we ignore and don't focus on these sinister things happening under our noses. The silence created by the lack of people in these photographs makes you question how safe we actually are and it really makes you consider how we view these seemingly ordinary places. </div>
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This project isn't as quiet as it seems however and once you begin to read the captions whist looking at the photographs the series grows more insistent in making you aware that human trafficking isn't limited to a type of person or industry and that this problem exists everywhere. It makes you question why individually we are ignorant of this problem, which makes for an incredibly evocative series and really makes you confront and except that this problem exists. </div>
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In terms of how looking this series can influence my own work it has really shown me just how powerful captioning can be and looking at the ways the photographers I have looked at have captioned their images is something I have been taking a lot of note of. In Romer's work I really like that the date of the event is put first which I think is something that makes these images really impactful because it makes you realise just how much of a contemporary issue modern slavery is.<br />
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I am now almost certain that I will shoot colour film for my SDA project and focus on landscapes as I love the effect of the inexplicit images I have been looking at, where the subject matter is left to be discovered fully in the captioning of the photograph. I also love the richness of colour and texture of colour film which I have never used before so I think this project will be a great chance to try it out over a longer period of time. Which I think will allow me to link well the different stories of hauntings I would like to capture. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-15590585828779648122017-03-13T09:59:00.001-07:002017-04-28T07:58:14.144-07:00Mark Power: The Shipping Forecast<div class="separator" style="clear: both; text-align: center;">
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The next photographer I have looked at as part of my research for my self directed project is Mark Power and in particular I took an interest in his Shipping Forecast series of photographs, which were published in a photo book of the same title in 1996. This series of black and white film photographs are taken of the 31 places along the UK coastline that the BBC shipping forecast covers. Power's photographs of beaches and coastal life captures postwar British life and a huge part of the culture of these places as the weather forecast affects the livelihoods of the people who live there. </div>
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His photographs of these places are captioned with the forecast for the area on the day the photograph was taken. I have included the captions with the photographs above because they are really important to this series and is what gives context to these photographs. The forecast clearly links the people of these places to a real sense of what it is to be British, which really romanticises the British Isles. I do feel that these photographs are a really interesting series of social documentary images that communicate an aspect of British culture in a unique way.<br />
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The way power composes space in his photographs I feel communicates how much force nature has over these communities and the lack of people in the photographs also suggests the control these forecasts have, over how these people live their daily lives. The use of shadows and the way clouds are often looming in his photographs also gives a haunting quality to these images as though these moments of calm are under threat. </div>
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Many of his landscape photographs remind me of romantic paintings with their symmetrical nature and stillness, making the viewer reflect whilst reading the caption in these silent spaces Power has created. There is something poetic about the nature of the shipping forecast and visualised with these landscapes to me makes these scenes feel spiritual. What we read about in the captions is out of human control, and instead is presented as a higher force.<br />
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In many ways my subject matter could be considered a higher force and these atmospheric images have given me a lot more to think about in how I can present subject matter of this nature. The way I photograph a place if I choose to shoot landscapes and still life will very much effect how a viewer reads and receives the caption's description of the hauntings. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-51701154993068711902017-03-13T09:59:00.000-07:002017-04-28T07:58:31.220-07:00Paul Graham: Troubled Land <div class="separator" style="clear: both; text-align: center;">
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In exploring other documentary work which I have been doing by looking at photo books in the library, I came across Paul Graham's Troubled Land: Social Landscape of Northern Ireland. I have decided to discuss his work as his approach to his subject matter I find particularly inspiring. </div>
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Paul Graham is a British fine art and documentary photographer. His Troubled Land series was made up of landscape and still life photographs taken in Ireland during the war. They are devoid of people and illustrate a cultural and geopolitical typography at that time. What interests me so much about this series is that they are war photographs that do not show a full frontal war as their literal subject matter. Instead they show the social landscape of communities classed as war zones. </div>
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In his landscape photographs in particular the horizon line is usually halfway up the photograph meaning a lot of the image is made up of the sky. Which I think really adds a sense of calmness to his images as though they are giving the audience space to breath and are a token of reflection. Graham's photographs in this series are made up of layers of social meanings and really make the viewer ask questions about why he has chosen to photograph certain places and still life. Giving an introspective quality to his photographs for a viewer to experience. They merge the context of the war with this aesthetic consideration Graham has taken which makes for a really thought provoking series of images. </div>
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I like this element in his work because I don't always think photographs should provide all the answers for a viewer or be overtly literal in their subject matter. The more metaphorical and psychological nature to Graham's work I think is what makes his photographs so interesting for a viewer. I also think the formality of how he presents his landscapes is really effective and this consistency in the horizon and leading lines etc has given me lots more to think about aesthetically in creating multiple images for a series. </div>
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In terms of my ideas for my current project, Troubled Land has allowed me to consider further how I can present my subject matter of hauntings, which is harder to photograph literally. I am really drawn to photographing landscapes for my series to show where these stories of hauntings took place. However I need to work out the ways I can caption the photographs and provide a consistency aesthetically to them like Graham has done and the feelings that are evoked from his images. I do like the idea of my photographs being more inexplicit to focus on social experience and psychology rather then being dominated overtly in subject matter by the people who claim to have experienced these hauntings. </div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-35163914193912583262017-03-13T09:58:00.000-07:002017-04-28T07:52:45.924-07:00Five Picture Story Idea + Simon Norfolk Afghanistan: Chronotopia<span style="text-align: justify;"><a href="https://4.bp.blogspot.com/-PPQ0nOFab68/WPZfdKJEr7I/AAAAAAAAOeI/KbM-mMaJvaIFiIz3tXn9ytn107JWKZ98QCLcB/s1600/Screen%2BShot%2B2017-04-18%2Bat%2B19.46.03.png" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://4.bp.blogspot.com/-PPQ0nOFab68/WPZfdKJEr7I/AAAAAAAAOeI/KbM-mMaJvaIFiIz3tXn9ytn107JWKZ98QCLcB/s1600/Screen%2BShot%2B2017-04-18%2Bat%2B19.46.03.png" /></a></span><br />
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I have decided that for my five picture story my subject matter will be the Predannack Air Field at Helston here in Cornwall. As I have got a place on a field trip there and after doing some research feel it will be a really interesting subject matter to record using film which I would like to use for this project. I have been reading about the history of the air field and think that recording how it is used to day will make for a really interesting five picture story. </div>
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As part of my research for these five picture story projects I have been looking at documentary photography. The first photographer I would like to look at in depth is Simon Norfolk, in particular his Afghanistan Chronotopia series. </div>
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Simon Norfolk is a Nigerian landscape photographer from Lagos whose work mainly focuses on the nature of battlefields and conflict zones in their various forms. The war in Afghanistan has been going on for nearly 30 years now and because of this the landscape has been very much changed by the conflicts over this long period of time. This 12 picture series is one chapter in a continuous project Norfolk has been creating which attempts to understand how war and the need to fight war has shaped our world. The project also explores how daily life is influenced by military conflict through the technology we use and films we watch for example.<br />
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I took a particular interest in Afghanistan: Chronotopia, because of the way Norfolk uses landscape photography and takes influence from romantic paintings of ruins, to document this unique landscape that now looks to be post apocalyptic with these visible layers of damage and ruin. To get the kind of rich yellow light we see in these photographs that is alike to that of paintings by Constable and Turner he would get up at dawn to photograph these landscapes. What is so potent about these photographs is that they show that the natural landscape can tell us stories and just how much war shapes and designs not our society but also our landscape. </div>
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I find these photographs deeply haunting in the way they lack any actual human presence and that the only remains of these attacks are the technology and weapons such as unexploded bombs and abandoned tanks rather than there being any traces of those killed fighting in this war zone. It just further communicates how inhuman wars actually are, and that in order to study wars you have to study ruins. <br />
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The word 'chronotype' refers to a landscape that displays layers of time. The chronotopia of Afghanistan acts like a shattered reflection of the landscape's past. The ruins show old civilisations and what has been lost over the years. Norfolk's photographs in this series show us a landscape now devoid of these civilisations and life, instead they have the ruins of their past and the weaponry of war.<br />
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In the way war shapes this landscape I think it will be interesting to show how stories such as hauntings add social meanings to the places they have occurred in. This project has given me a lot more to consider for both my five picture story and my self directed project in how I can use landscape photography to tell a story and how much aesthetic considerations such as the time of day a photograph is taken at can change the entire feeling of an image.</div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-25861970537923120912017-02-23T15:03:00.005-08:002017-04-29T09:58:45.119-07:00Plymouth One Day Shoot: Full Write Up of Research, Ideas etc.<i style="text-align: justify;">Produce 5 (no more, no less) images depicting an aspect of Plymouth that intrigues you. You will need to do research about Plymouth and find something that is interesting and executable within the time constraints of the shoot. It is your responsibility to explore and investigate stories that are interesting. We do not want to see images of the train station, the bus station or a taxi rank. Do your research before you go and have a plan.</i><br />
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Initially for my one day shoot I was hoping to collaborate with fashion bloggers and help them create content for their blogs which would allow me to shoot some more fashion and portrait photographs. However I contacted six bloggers and four replied who were sadly not free that Monday.</div>
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I then decided to research local restaurants, bakers and the fisheries in Plymouth to see if I could do a food photography shoot. Also at this time I researched local artists, studios and art shops to explore other potential subject matter and interesting stories in the area to do with craft and production.</div>
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In the end I contacted Victoria Sewart who owns Victoria Sewart Contemporary Jewellery Gallery. Which is located on the Barbican waterfront in the city centre. I took an interest in this gallery, shop and workshop because of Victoria. She has been a jewellery designer for over twenty years and has had this unique business on the waterfront for ten years now. She supports local artists from the south west through exhibitions and selling their work and she also teaches people of all skill levels to make their own contemporary jewellery pieces. In researching about the business I learnt more about Victoria's story which is one of ambition and perservearence. During the ten years she has run the business she was diagnosed with breast cancer and whilst receiving treatment continued to run her business as normal.</div>
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I contacted Victoria by email to explain the brief and the photographs I would like to take and that I would also love to use the photographs to write a feature on her ideally for Craft magazine as part of my PEP 160 work. She said yes to having her photographs taken and that I could also interview her about the business and herself.</div>
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To plan my shoot I looked at issues of the magazine to see what kind of photographs they use when doing a story on a business of artist for their publication. I found that portraits, product shots and interior shots of the business are necessary for multi page stories. So I decided to plan out all the different kinds of shots I would be able to take inside and outside of the shop by looking at photographs of outside and inside the shop online. </div>
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Of course I know that my PEP 140 work will be a different edit to my magazine work so I really wanted to plan a range of shots that I could take of the business and Victoria herself that I would be able to use to tell her story through my captions. </div>
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For the shoot itself I arranged with Victoria that I would arrive at 10:30 which is when the shop opens on Monday so that I would have plenty of time to shoot and then edit the photographs that day. In the end I spent most of the morning and afternoon there, as there are three floors to the shop as the gallery is on the second floor and the workshop is upstairs which allowed me to take plenty of photographs. I made sure to take portraits, product shots, interior and exterior shots, as well as detail shots of Victoria creating pieces of jewellery in the workshop. I was pleased with how the shoot went however I did struggle with lighting and in the end Victoria wasn't too comfortable with having her portrait taken.</div>
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When it came to the edit I did struggle as originally I thought I would be able to use a few product shots however when discussing them with my tutors I learnt that they wouldn't really fit into the five picture story as they are not so much about Victoria. In the end I went for an exterior and interior shot, a portrait and two detail shots. Which I think does showcase the business and Victoria well but I do feel they are lacking something and I am pretty disappointed with my edit. Despite showing a clear interest in what Victoria does and being able to stay and learn about her business for most of the day I do think I was lacking in confidence and didn't necessarily choose the right lenses etc for the job. As is the end the wide lens I took out was too wide and distorted too much (14mm) and I only had a 50mm lens to go with that.</div>
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Exterior of Victoria Sewart Contemporary Jewellery Gallery, Plymouth, UK, 13th of February 2017</div>
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Interior of Victoria Sewart Contemporary Jewellery Gallery, Plymouth, UK, 13th of February 2017</div>
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<span style="font-family: "lucida grande"; font-size: 12px;">Victoria Sewart poses for a portrait at Victoria Sewart Contemporary Jewellery Gallery, Plymouth, UK, 13th of February 2017</span> </td></tr>
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Victoria Sewart stacking rings in her workshop at Victoria Sewart Contemporary Jewellery Gallery, Plymouth, UK, 13th of February 2017</div>
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Jewellery workshop at Victoria Sewart Contemporary Jewellery Gallery, Plymouth, UK, 13th of February 2017</div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2137406776999490294.post-17697429250295018022017-02-21T15:49:00.002-08:002017-04-28T07:43:01.619-07:00SDA Brief and Initial Ideas<div class="separator" style="clear: both; text-align: center;">
<i style="text-align: justify;">Taking single pictures is easy. Telling a story through the intelligent edit, layout and construction of a series of images is an integral part of becoming a successful press and editorial photographer. Using your knowledge of the building blocks of editorial photography you are now being asked to complete a number of assignments with strict restrictions on the number of pictures that can be submitted for assessment and getting used to producing quality work within short deadlines. These two assignments are an opportunity to find stories and subjects you are interested in and passionate about. Through weekly tutorials and critiques you will become aware of the editing process and story construction. </i></div>
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For the next brief we have been tasked with creating two sets of five picture stories. The first being a more focused five picture story and the second a self directed assignment that should sustain you throughout the semester as you explore the subject matter and how you want to photograph it. </div>
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For my self directed project below is a list of some my current ideas for subject areas...</div>
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Arts</div>
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- Artists, studios, arts education in Cornwall</div>
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- Dance studios, circus companies</div>
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Nature/Conservation</div>
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- Gardens of Cornwall</div>
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- Conservation projects</div>
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Cornish Culture</div>
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- Producers of Cornish Food</div>
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- Fishing Industry</div>
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- Sports</div>
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- Ship Wrecking</div>
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Paranormal</div>
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- Ghosts</div>
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- UFOs</div>
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- Spiritualism</div>
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I have taken a particular interest in the more paranormal subject areas that I could explore with my work and have spent a great deal of time researching these possibilities so far. I have looked into different groups that investigate the paranormal in Cornwall and those who have claimed to have seen UFOs and it isn't taking me anywhere. I contacted the people who arrange a paranormal meet up in Truro however they told me they already have two photographers for the event. So I have decided to leave that subject matter for now.</div>
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I also like the idea of doing a project on arts organisations in Cornwall however I feel that is a subject matter I would like to dedicate a lot more time and energy to than I am able to do with this brief. The same goes for a project on local food producers in Cornwall, spiritualist churches in Cornwall and conservation projects.</div>
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Instead I want to explore finding a way to create a picture story still about the paranormal in Cornwall but instead of UFO phenomena I want to look at hauntings as I have found loads of statements about hauntings across Cornwall. I want to find a way to join different stories up to create a study of claims of paranormal sightings to investigate patterns or the kinds of places where hauntings tend to occur. To explore the psycho geography of hauntings in Cornwall. </div>
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Unknownnoreply@blogger.com0