First Catalogue Draft

Today we completed the first draft of the Raw Format catalogue.

We as a team decided to style the catalogue around the Raw Format Logo, using the same font and colours throughout. I was greatly inspired by The ‘Road to 2012’ catalogue I had looked at previously, I have tried to vary page layouts where I could, tailoring each students page individually.

Obviously, some information is still missing from the catalogue due to people not sending it to me yet, I did try to find as much as I could off the other’s blogs, but some isn’t good enough quality to display in the catalogue. I have sent this draft out to all the students so that they can check their pages are ok.

When I make this catalogue interactive, I will add videos to some students pages, if they want me to. I will also add the clickable map (with shortcuts to students work), the transitioning front cover and the twitter feed. For now, I am happy with the design and layout of the catalogue.

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Evaluation

I think this module went well, however I think there is definitely room for improvement in regards to my final piece. I began this project as an extension of previous research into how we view photographs through memories. This research helped me to form my video presentation ‘Is the association of memories with family photographs necessary in order to appreciate them?’ I have now taken this research further with my exploration into how we experience photographs through memory. I wrote in my project proposal that we draw on our memories to view and interpret  the photographs we see. My aim with this project was to create something to illustrate this point.

I began the project by researching various adaptions of fairy tales. My original idea was to re-create scenes from fairy tales, changing them slightly to make the viewer question their prior memories of the story. After doing my preliminary photo shoot I felt a little lost for a while because I didn’t feel like I was portraying my meaning effectively.After reassessing my project aims I came up with my final concept of illustrating fairy tales with photos of objects within the tales. Joel Sternfeld’s ‘On This Site’ series was a big inspiration. The photos within this series show places in which people died, however, the photos don’t directly depict any death. Similarly, my photos depict objects from fairy tales, not the actual tales. The audience constructs the narrative of my images from their prior memories of fairytales.

I experimented with several editing techniques. I specifically enjoyed bleaching my photos, working in the style of Curtis Mann. I didn’t think this technique suited my images, however, I am going to continue using this method in the future. I wanted to create hand crafted pieces and settled on transferring my images onto wood. I’d never done this before but I found it to be quite easy and simple. I feel that these ‘wood prints’ bring the objects to life, somehow giving the images extra dimension which couldn’t be achieved by printing onto paper.

I am happy with my final images, though if I’d had more time I would’ve made a few adjustments here and there. Firstly, I would’ve liked my transfers to be mistake-free and perfect, but some ink in a couple of the images has rubbed off along with the paper. Secondly, some of the images have turned out darker than the others. For example, I think I should’ve given the image of the porridge higher contrast. Otherwise, I am pleased with my final piece, the series I’ve created achieves my aim so I am happy with it as it is.

References

Carter, A., 2006. The bloody chamber and other stories. London: Vintage.

Goldstein, D., [no date]. Dina Goldstein’s Fallen Princesses. [online]. [Accessed on 10th March 2013]. Available From: <http://www.fallenprincesses.com/fallenprincesses.html&gt;

Grimm, J., and Grimm, W., 1977. Household Tales. London: Pan Books.

Hirsch, M., 1997. Family Frames: Photography, narrative and postmemory. London: Harvard University Press.

Holland, P., and Spence, J., 1991. Family Snaps: The Meaning of Domestic Photography. London: Virago Press.

Kahneman, D., 2010. The riddle of experience vs. memory Available from:
<http://www.ted.com/talks/daniel_kahneman_the_riddle_of_experience_vs_memory.html&gt;
[Accessed 9 January 2013].

Kahneman, D., 2011. Thinking Fast and Slow. London: Allen Lane.

Kuhn, A., 1995. Family Secrets. London: Verso

Mann, C., c2013. Curtis Mann | Blog. [online]. [Accessed on 20t April 2013]. Available from: <http://curtismann.tumblr.com&gt;

Mann, C., [no date]. Curtis Mann | Artwork. [online]. [Accessed on 20t April 2013]. Available from: <http://www.curtismann.com&gt;

McLuhan, M., 1966. The effect of the printed book on language in the 16th century. In E. Carpenter, M. McLuhan, eds. 1960. Explorations in communication: An anthology. Boston: Beacon, pp.125-35.

Norfolk, S., 2011. In discussion of his exhibition: Burke + Norfolk: Photographs From The War In Afghanistan. [conversation] (Personal communication, May 9, 2011)

“Man Ray Portraits”, National Portrait Gallery. St Martin’s Place, London. [exhibition] (vistited: February 25 2013).

Ritchin, F., 1990. In Our Own Image: The Coming Revolution in Photography. New York: Aperture.

Ritchin, F., 2008. After Photography. London: W.W. Norton & Co.

Sternfeld, J., 2012. On this Site: Landscape In Memoriam. Göttingen: Steidl.

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Series title & description.

‘Once Upon A Time’

This series portrays three well known fairy tales. The viewers task is to deconstruct the imagery, exploring their memories to construct the relevant narrative.

 

The above is the title and description for my series. I decided to title it ‘Once Upon A Time’ because not only is this  the opening line to every good fairy tale, but the words also reference the past, and I am asking the audience to construct the narrative (guess the fairy tales) by drawing on their memories (from the past).

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Exhibition Layouts

The space I will have in the exhibition is 1.5m wide. Below are two a proportionate layouts of my images in the space. The ceiling of the gallery is very high so I’ve not included the full height within the images. The centre of the egg image is about eye-level.
Screen shot 2013-05-21 at 17.44.39
I prefer this second layout as it allows the eye to flow more freely between the 3 sets of photos while still keeping them separate.
Screen shot 2013-05-21 at 17.46.13

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Final Wood Transfers

These are my photos of my final pieces. In order to make these, I first cut the wood down to the appropriate size. I decided to make the images different sizes to add interest and eliminate ‘dead space’.

I knew that there was a high possibility that some of the ink would be rubbed off in the process of removing the paper so I decided to sand the edges of each photo down slightly to give them a distressed look. I like this effect because you can see the raw wood & it appears as though the images have been painted onto the wood.

rose

mirror

axe

egg

hair

porridge

porridge sideAs you can see in this side view of the porridge transfer, The wood warped a little bit when it got wet. This was to be expected really, but it’s not very noticeable and won’t effect how I will hang my images.

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Wood Transfer Experiment part 2

This is the finished print of the rose. After the last post I continued to rub paper fibres until they were unnoticeable (it took about 4 different sittings- each time I had to wait for the print to dry so I could see where the paper was). Afterwards, I used PVA glue to seal the image.

IMG_2219

I worked on removing the paper from the second print, however you can see that the ink was still coming off easily. I decided not to bother getting the rest of the paper off. This is what the image looked like after I applied the PVA glue
IMG_2220

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Wood Transfer Experiments

I’ve printed all my photos on a laser printer, I forgot to flip the images so they’d be the right way round when transferred but it doesn’t matter for my photos.

1. First of all, I covered my wood surface with gel medium. (I used Liquitex’s Matte Gel medium). I applied the print to the wood straight away.

2. I used a gift card to smooth the print out working from the centre of the photo to the outer edges, getting rid of air bubbles and excess gel medium.

3. I left my prints to dry at room temperature overnight.

4. After about 12 hours of drying, I wet the print using a wet towel. Once the paper was completely see-through I gently began to remove the fibres using my fingers.

This is what the print looked like after rubbing the top layer of paper off. As you can see, some paper fibres still remained.

IMG_2159
I also wanted to try printing just the object onto wood with no background. So I cut round the rose in photoshop using the mask tool & deleted the background. This photo is during the process of removing the paper.
IMG_2160
As you can see, part of the photo has come off with the paper. This might be due to poor application of the gel medium. Though I think it may have something to do with the fact  that the edges of the rose are raised slightly higher than the background.

IMG_2164

Out of the two, I prefer the rose with the background because not only has it worked better, but the ink subdues the wood.

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