Thursday, December 3, 2009

Conclusion

Time management and planning skills were more that adequate for this brief. The only real test was perhaps a test of patience when it came to trying to unravel the book itself. The only thing that would be changed if the brief was given again would be trying to avoid the unavoidable bad luck experienced when it came round to shooting both the main idea and the back-up idea. Besides that, all went well.

This assignment did give more experience in using film. It is not a preferred medium, however it does result in broader knowledge when it comes to image making. More work on film will be undertaken.

Evaluation

The initial reaction to the assignment was a very negative one and it did take a while for it to be enjoyed. Having jumped in headfirst it was soon clear that there were a lot of possibilities for different directions and styles to be used.

The assignment was researched thoroughly. Trying to gather as much information on the book as possible from as many different sources as was available. This however proved to be very little help in deciding where to go when it came to planning for a shoot.

The idea arose to examine previous book covers and to use them to try to gain inspiration. Analysis of those did indeed provide some ideas. Combine that with a reexamination of the research on the book brought to mind one good idea that could be adapted and simplified depending on time, props models, and any unforeseen occurrences. Further development arose through looking at black and white images of pub scenes.

Overall the research and planning side of the assignment went well. The book is known to be quite intricate and confusing at the best of times, so it is no wonder that inspiration was hard to find. A book as complex as that is difficult to sum up in one composition.

With the problems of locations, model and props, the main idea and back-up ideas could not be shot. This left the last-resort idea as the only option. It was staged simply and carefully, so it could easily be repeated if needed. The idea was perhaps too simple, but there was little choice.

The results were however very pleasing, there were a number of good images to choose from, even after those that were unsuitable were removed as options. The editing was kept to a minimum so the film quality of the compositions remained.

Final Covers

Below are the six final covers that have been submitted into the competition:












Editing the images

Each of the suitable images was in turn dropped into the template. Each was resized and repositioned to make best use of the space around the text. The levels, brightness and contract were then altered to bring the best out of each composition. Dodging, burning and cloning was undertaken to highlight details and to remove any unwanted details or imperfections.

The resulting composites were saved as psd’s for possible future editing. When happy with them each final submission was then flattened to a jpeg ready to be entered.

Wednesday, December 2, 2009

The Results

When the films were collected and the prints examined, it was clear that the idea of the still life had been a successful one. Although not all the compositions were focused as intended and in a number of cases they images were underexposed, the shoot produced a number of good images. Please see the contact sheets below.

Film1:


Film2:


The strongest of the photographs were selected and examined for how well they would fit in to the At Swim Two Birds template. The result of this is that one or two images were unsuitable to further editing. Either the focus of the images was too big in the frame or the text fell where the froth of the pint was and re-sizing it could not help.

Tuesday, December 1, 2009

The shoot

The simplicity of the idea meant that very little could go wrong. 


It was staged in a bedroom, with a dark covered draped between 2 chairs to form a dark background to the composition. A small table was place in front of the cover. 


On the table was placed the Guinness, the 2 birds and the manuscript with pen. The scene was lit from the left side using an adjustable brightness lamp.


The camera was set up on the tripod. It was set to f.4 and a shutter speed of 2 seconds. The brightness of the lamp was altered to keep keep the light readings within a suitable range.


Both the height and distance from which the compositions were taken was altered, as was the arrangement of the objects on the table. At one point one of the paper birds was placed into the pint glass, sitting on the froth of the Guinness.


Once both roles of film had been shot the scene and camera was tidied away. The next day they were dropped in to be developed.

Ready for the shoot?

Everything was set for the shoot, however everything that could go wrong has done. The planned locations have fallen through. The back-up plan which was to shoot in the home of the model using the props he has agreed to lend has gone belly up do to an unforeseen illness. This has left the idea up in the air.


Luckily there was a last-resort idea. This now has to be used as there is little time left for much else, given that the film needs to be process and the images need to be edited in photoshop before the deadline in 8days time.


This idea is to set up a simple still life with a pint of Guinness, two origami birds and a handwritten manuscript with a pen placed on top.

Important: Something to keep in mind

When setting up for the shoot and composing the photographs, it will be important to keep in mind the layout of the book cover. The images have to fit inside a set template. The template can be downloaded from the website.


The template is shown below:


Although the compositions can be altered in Photoshop the template cannot be altered; no drop shadows or outlines around the text, no nothing.


This means that the image has to be composed so as not to blend in with the writing, it has to be readable for it to be considered.


The focus of the composition cannot be behind the text as this would affect the strength of the cover when it is all composed. It is pointless coming up with a good idea if when it is shot it cannot be seen or the imagery is misinterpreted. 

Wednesday, November 18, 2009

Where now?

Now a location, model and props have to be found:


It is lucky that a gent is known and that upon consulting with him, will model and can also get his hands on a pipe, flat cap and old reading glasses.


The hand written manuscript can easily be produced as can two white origami swans (these will be made using the instructions from http://www.marcels-kid-crafts.com/origami-swan.html).


The location may be a bit more difficult to secure:


The hope is to use either the 'Burnt Tree' in Anslow or the 'Star and Garter' near the town hall in Burton-upon-Trent. As both of these poses a fireplace, mirrors with enough natural light and space to shoot.

Idea Development

Upon reviewing the initial idea it is clear that if it was combined with the inspiration gained from the review of the fie selected images, that it could work very well in fulfilling the brief.


Idea for the book cover now stands at this:


To have a gentleman seated at a table in a pub in front of a fireplace or mirror. He will be wearing a flat cap and it will partially obscure his face.


On the table in front of him will be his pint of Guinness, his pipe, his glasses and part of a handwritten manuscript. (The arrangement of the items will be experimented with as the shot is set up).


His posture and facial expression will be that of someone who is engrossed in what he is doing. Other ideas may well be played with. The scene may be shot with him with his pipe in mouth and him staring off into space as if seeking inspiration.


He will be sat with his back to the window so that the light will only pick out certain desired details of the set-up.


On the table will also be found two white birds, probably origami swans.

Further Research

With few ideas available it was decided that more inspiration was needed. The conclusion was that following on from the one idea available that google images would be searched for  parallels in hope of coming across ways to develop the idea.


The images below are the ones that grabbed attention:



(i) A gent in his local, in his flat cap with a pint of Guinness. He looks unapproachable, like he has turned to snap at someone. The lines on his face give him character, he fits into the stereotype of a 'typical old man' down the pub. This works very well as a black and white image. the emphasis is on the details of his face, the surrounding and his demeanor.




(ii) There is an unescapable are of separation in this image. The two men are sitting no more than two meters away from each other yet neither are making any effort to interact. Both are in there own world. Although this is a contemporary image shot in black and white, (with the camera rested on the table) this is the impression brought to mind when considering the author of 'at swim two birds'. That he is by himself fully focused on his creation, not interacting with anyone.




(iii) This is the strongest of the images that were taken off google images. The fact that the gentleman in the picture is obscured by the glass screen adds a whole other dimension to this composition. There is no way of knowing how this gent is, what he is thinking or how he is feeling. Everything we know about this gentleman will be created by our own experiences on how a man on his own in a pub is, thinks and behaves. The two stools in the bottom right of the image emphasise the fact he his by himself.




(iv) The figure is blurred where he is moving, yet in focus where he is still. this is a moment captured perfectly. Despite this however, that is not the reason it was chosen. It is the wooden surrounding of the public house that he is in that is the interest. The tones, shapes, patterns and textures of the wood combined with the smooth metal adornments create many points of focus, if the image is being thoroughly explored.




(v) The fifth image compared to the other four is an odd choice. This is a very busy composition, everywhere the viewer looks something is happening. this could be the man smoking his pipe, the gent and his dog interacting, the man who is watching what is happening or the three chaps that are leaving the pub. This has been included because of how the light from the window has highlighted certain figures or items. Because of the light, the focus is on the silhouetted figure of the man with his pipe and the man giving his dog a drink. The eyes start on the dog, switch to the silhouette then move from right to left picking up every detail. The available light if used correctly could be very effective when shooting for this brief.

Saturday, November 14, 2009

Ideas

Due to the confusion surrounding the book there are few ideas floating about.

So far all that stands out from the research is ‘a public house’ and a list of items: A pint of Guinness, an old smoker’s pipe, handwritten papers / manuscripts, writing implements, pair of spectacles, and 2birds.

Where to go from this starting point is the problem. There is one idea that combines all the points above, but that may be too simple: Sitting a gentleman in a pub with his pipe and pint and having a few sheets on manuscript on a table with a pen or pencil near them.

More thought is obviously needed.

Previous Covers


i) Definitely looks to be the oldest cover, very plain, very simple. It says nothing of the book itself, so is of little help. Still, it does show how long the book has been about, and with it being re-printed again, it must be worth reading.


(ii) Holds reminders of ‘Step-toe and son’. So therefore has a personal comical association. It is feared however that this distracts from the intentions of the original designer and photographer of the cover. It shows two gents in a public house in the 1950s / 60’s, the age range similar to that of a father and son. There is a pint of Irelands finest and an ash tray on the bar. The composition does not show the gentlemen interacting with each other; they are looking out of frame as if talking to other friends. The theme of alcohol runs very strongly throughout the book and the image of an ashtray may help with ideas.



(iii) This is a very 60’s in-your-face design. It is extremely bold and brash, not something that would be seen on a Penguin Classic book of today. It is composed of four squares of colour making up the bottom two-thirds and a banner of blue at the top which holds the title. Within each of the squares appears to be a bird-at-swim, again of differing colours. The theme of the birds-at-swim appears.




(iv) A simple idea of a bowler hat on top of sheets of a hand written manuscript. This gives the imagining of an old-style gentleman sitting down at his table, removing his bowler hat, getting out his writing equipment and focusing intently on composing his book. The intriguing point about this cover are the figures that have been made from out of sheets of the manuscript; there are three figures that seem to be running menacingly towards the hat, almost rioting, rebelling against something.




(v) A table surface, with a pencil and a glass on it. Does not really seem very indicative of the story, at least not until closer attention is paid. There are three marks on the table where the glass has been, two of the marks are in the shape of birds; birds formed of condensed water from the outside of the glass – very clever. It could represent the sight that would be seen by the author in the book when he looks down at the table in front of him.

Thoughts on the book

Where to begin!

It took a long time to get any real grasp on this book what-so-ever; this would not be something that personally would be read as it would take a while to truly get into it.

There are three separate beginnings, which as the books progresses all intertwine and interact. There three story lines are each based around one character. The third is a student who spends more time drinking, lying in bed and writing his novel than going to lectures. The characters end up rebelling on the author who creates them and it ends seemingly rather abruptly.

Madness!

The more that is read of and about the book, the less it is understood. It is definitely going to be worth looking at previous covers and seeing if suggestions from them and further reflection on the book can help to create any initial ideas for a cover.

Book Extract 4

Now listen, said Shanahan clearing the way with small coughs. Listen now.

He arose holding out his hand and bending his knee beneath him on the chair.
When things go wrong and will not come right,Though you do the best you can,When life looks black as the hour of night –A PINT OF PLAIN IS YOUR ONLY MAN.

By God there’s a lilt in that, said Lamont.

Very good indeed, said Furriskey. Very nice.

I’m telling you it’s the business, said Shanahan. Listen now.

When money’s tight and is hard to getAnd your horse has also ran,When all you have is a heap of debt –A PINT OF PLAIN IS YOUR ONLY MAN.
When health is bad and your heart feels stranger,And your face is pale and wan,When doctors say that you need a change,A PINT OF PLAIN IS YOUR ONLY MAN.

There are things in that pome that make for what you call permanence. Do you know what I mean, Mr Furriskey? There’s no doubt about it, it’s a grand thing, said Furriskey. Come on, Mr Shanahan, give us another verse. Don’t tell me that is the end of it.

Cant you listen? Said Shanahan.

When food is scarce and your larder bareAnd no rashers grease your pan,When hunger grows as your meals are rare – A PINT OF PLAIN IS YOUR ONLY MAN.

What do you think of that now?

It’s a pome that’ll live, called Lamont, a pome that’ll be heard and clapped when plenty more…

But wait till your hear the last verse, man, the last polish-off, said Shanahan. He frowned and waved his hand.

Oh it’s good, it’s good, said Furriskey.
In time of trouble and lousy strife,You have still got a darlint plan, You still can turn to a brighter life –A PI NT OF PLAIN IS YOUR ONLY MAN.

(From fujifilmstudentawards.co.uk)

Book Extract 3

O hag, said Sweeny, searing are the tribulations I have suffered; many a terrible leap have I leaped from hill to hill, from fort to fort, from land to land, from valley to valley.

For the sake of God, said the hag, leap for us now a leap such as you leaped in the days of your madness.

And thereupon Sweeny gave a bound over the top of the bedrail till he reached the extremity of the bench.

My conscience indeed, said the hag, I could leap the same leap myself.

And the hag gave a like jump.

Sweeny then gathered himself together in the extremity of his jealousy and threw a leap right out through the skylight of the hostel.

I could vault the vault too, said the hag and straightway she vaulted the same vault. And the short of it is this, that Sweeny travelled the length of five cantreds of leaps until he had penetrated to Glenn ne nEachtach in Fiodh Gaibhle with the hag at her hag’s leaps behind him; and when Sweeny rested there in a huddle at the top of a tall ivy-branch, the hag was perched there on another tree beside him. He heard there the voice of a stag and he thereupon made a lay eulogizing aloud the trees and the stags of Erin, and he did not cease or sleep until he had achieved these staves.

Bleating one, little antlers,O lamenter we likeDelightful the clamouringFrom your glen you make.

O leafy-oak, clumpy-leaved, You are high above trees, O hazlet, little clumpy-branch – The nut-smell of hazels.

O alder, O alder-friend, Delightful your colour, You don’t prickle me or tearIn the place you are.
O blackthorn, little thorny-one,O little dark sloe-tree;O watercress, O green-crowned,At the well-brink.

O holly, holly-shelter,O door against the wind,O ash-tree inimical,Your spearshift of warrior.

O birch clean and blessed,O melodious, O proud,delightful the tangleof your heard-rods.

What I like least in woodlandsFrom none I conceal it –Stirk of a leafy-oak,As its swaying.

O faun, little long-legs, I caught you with grips,I rode you upon your backFrom peak to peak.

Glen Bolcain my home ever,It was my haven,many a night I have trieda race against the peak.

(From fujifilmstudentawards.co.uk)

Book Extract 2

Further extract from my Manuscript wherein Mr Trellis commences the writing of his story: Propped by pillows in his bed in the white light of an incandescent petrol lamp, Dermot Trellis adjusted the pimples in his forehead into a frown of deep creative import. His pencil moved slowly across the ruled paper, leaving words behind it of every size. He was engaged in the creation of John Furriskey, the villain of his tale.

Extract from Press regarding Furriskey’s birth: We are in position to announce that a happy event has taken place at the Red Swan Hotel, where the proprietor, Mr Dermot Trellis, has succeeded in encompassing the birth of a man called Furriskey. Stated to be doing ‘very nicely’, the new arrival is about five feet eight inches in height, well built, dark, and clean-shaven. The eyes are blue and the teeth well formed and good, though stained somewhat by tobacco; there are two fillings in the molars of the left upperside and a cavity threatened in the left canine. The hair, black and of thick quality, is worn plastered back on the head with a straight parting from the left temple. The chest is muscular and well-developed while the legs are straight but rather short. He is very proficient mentally having an unusually firm grasp of the Latin idiom and a knowledge of physics extending from Boyle’s Law to the Leclanche Cell and the Greasepot photometer. He would seem to have a special aptitude for mathematics. In the course of a brief test conducted by our reporter, he solved a ‘cut’ from an advanced chapter of Hall and Knight’s Geometry and failed to be mystified by an intricate operation involving the calculus. His voice is light and pleasant, although from his fingers it is obvious that he is a heavy smoker. He is apparently not a virgin, although it is admittedly difficult to establish this attribute with certainty in the male.

Our Medical Correspondent writes:

The birth of a son in the Red Swan Hotel is a fitting tribute to the zeal and perseverance of Mr Dermot Trellis, who has won international repute in connexion with his researches into the theory of aestho-autogamy. The event may be said to crown the savant’s lifework as he has at least realized his dream of producing a living mammal from an operation involving neither fertilization nor conception.

(From fujifilmstudentawards.co.uk)

Book Extract 1

HAVING placed in my mouth sufficient bread for three minutes’ chewing, I withdrew my powers of sensual perception and retired into the privacy of my mind, my eyes and face assuming a vacant and preoccupied expression. I reflected on the subject of my spare-time literary activities. One beginning and one ending for a book was a thing I did not agree with. A good book may have three openings entirely dissimilar and inter-related only in the prescience of the author, or for that matter on hundred

Examples of three separate openings – the first: The Pooka MacPhellimey, a member of the devil class, sat in his hut in the middle of a firwood meditating on the nature of the numerals and segregating in his mind the odd ones from the even. He seated at his diptych or ancient two-leaved hinged writing-table with inner sides waxed. His rough long-nailed fingers toyed with a snuff-box of perfect rotundity and through a gap in his teeth he whistled a civil cavatina. He was a courtly man and received honour by reason of the generous treatment he gave his wife, one of the Corrigans of Carlow.

The second opening: There was nothing unusual in the appearance of Mr John Furriskey but actually he had one distinction that is rarely encountered – he was born at the age of twenty-five and entered the world with a memory but without a personal experience to account for it. His teeth were well-formed but stained by tobacco, with two molars filled and a cavity threatened in the left canine. His knowledge of physics was moderate and extended to Boyle’s Law and the Parallelogram of Forces.

The third opening: Finn MacCool was a legendary hero of old Ireland. Though not mentally robust, he was a man of superb physique and development. Each of his thighs was as thick as a horse’s belly, narrowing to a calf as thick as the belly of a foal. Three fifties of fosterlings could engage with handball against the wideness of his backside, which was large enough to halt the march of men through a mountain-pass.

I hurt a tooth in the corner of my jaw with a lump of the crust I was eating. This recalled me to the perception of my surroundings.

It is a great pity, observed my uncle, that you don’t apply yourself more to your studies. The dear knows your father worked hard enough for the money he is laying out on your education. Tell me this, do you ever open a book at all?

I surveyed my uncle in a sullen manner. He speared a portion of cooled rasher against a crust on the prongs of his fork and poised the whole at the opening of his mouth in a token of continued interrogation.
Description of my uncle: Red-faced, bead-eyed, ball-bellied. Fleshy about the shoulders with long swinging arms giving ape-like effect to gait. Large moustache. Holder of Guinness clerkship the third class.
I do, I replied.

He put the point of his fork into the interior of his mouth and withdrew it again, chewing in a coarse manner.

Quality of rasher in use in household: Inferior, one and two the pound.

Well faith, he said, I never see you at it. I never see you at your studies at all.

I work in my bedroom, I answered.

(From fujifilmstudentawards.co.uk)

Summary 2

The story of an Irish college student who - half to amuse himself and half to avoid work - writes an irreverent novel about the figures of Irish myth and legend in which characters come to life and riot against their author, At Swim is a wildly comic send-up of Irish literature and culture. O'Brien opened up a whole new world of possibilities for fiction and subsequent novelists have played with his zany ideas, chief among them being the idea that characters in fiction have earned the right to be "recycled" - after all, they've proven their reliability as characters! - not retired once their stories are finished.

The story of an Irish college student who -- half to amuse himself and half to avoid work -- writes an irreverent novel about the figures of Irish myth and legend in which characters come to life and riot against their author. At Swim-Two-Birds is a wildly comic send-up of Irish literature and culture and has had a major influence on writers coming after O'Brien, including Anthony Burgess, Gilbert Sorrentino, and William H. Gass.

(From Flipkart.com)

Summary 1

At Swim-Two-Birds presents itself as a first-person story by an unnamed Irish student of literature. The student believes that "one beginning and one ending for a book was a thing I did not agree with", and he accordingly sets three apparently quite separate stories in motion. The first concerns the Pooka MacPhellimey, "a member of the devil class". The second is about a young man named John Furriskey, who turns out to be a fictional character created by another of the student's creations, Dermot Trellis, a cynical writer of Westerns. The third consists of the student's adaptations of Irish legends, mostly concerning Finn Mac Cool and mad King Sweeney.

In the autobiographical frame story, the student recounts details of his life. He lives with his uncle, who works as a clerk in the Guinness Brewery in Dublin. The uncle is a complacent and self-consciously respectable bachelor who suspects that the student does very little studying. This seems to be the case, as by his own account the student spends more time drinking stout with his college friends, lying in bed and working on his book, than he does going to class.

The stories that the student is writing soon become intertwined with each other. John Furriskey meets and befriends two of Trellis's other characters, Antony Lamont and Paul Shanahan. They each become resentful of Trellis's control over their destinies, and manage to drug him so that he will spend more time asleep, giving them the freedom to lead quiet domestic lives rather than be ruled by the lurid plots of his novels. Meanwhile, Trellis creates Sheila Lamont (Antony Lamont's sister) in order that Furriskey might seduce and betray her, but "blinded by her beauty" Trellis "so far forgets himself as to assault her himself." Sheila, in due course, gives birth to a child named Orlick, who is born as a polite and articulate young man with a gift for writing fiction. The entire group of Trellis's characters, by now including Finn, Sweeney, the urbane Pooka and an invisible and quarrelsome Good Fairy who lives in the Pooka's pocket, convenes in Trellis's fictional Red Swan Hotel where they devise a way to overthrow their author. Encouraged by the others, Orlick starts writing a novel about his father in which Trellis is tried by his own creations, found guilty and viciously tortured. Just as Orlick's novel is about to climax with Trellis' death, the college student passes his exams and At Swim-Two-Birds ends.

(From Wikipedia)

The Book

Flann O'Brien's first novel is a brilliant impressionistic jumble of ideas, mythology and nonsense. Operating on many levels it incorporates plots within plots, giving full rein to O'Brien's dancing intellect and Celtic wit. The undergraduate narrator lives with his uncle in Dublin, drinks too much with his friends and invents stories peopled with hilarious and unlikely characters. O'Brien's blend of farce, satire and fantasy results in a remarkable, astonishingly innovative book.

‘At Swim-Two-Birds' has remained in my mind ever since it first appeared as one of the best books of our century. A book in a thousand ... in the line of Ulysses and Tristram Shandy’ - Graham Greene‘At Swim-Two-Birds' is both a comedy and a fantasy of such staggering originality that it baffles description and very nearly beggars our sense of delight’ - Chicago Tribune

(From fujifilmstudentawards.co.uk)

Initial reaction

The first reaction was; ‘oh no, not another book cover’, but needs must and it has to be done.

As with ‘Silent Springs’ the best starting point was to read and re-read all the information given, and to then scour the internet and other sources for more info on the publication. The plan was to read available summaries, take notes and then develop ideas of where to go from there.

Assignment Breif: Fujifilm competition

Penguin Books are looking for a new image to feature on the cover of At Swin Two-Birds. Your brief is to take a photograph that captures the spirit of the novel which, in the words of Anthony Burgess, ‘assaults your brain with words, style, magic, madness and unlimited invention’.

The image must be shot in Fujifilm Professional or Consumer film and must fit the new Modern Classics jacket layout.

Wednesday, October 14, 2009

Evaluation

All the research was about looking at those without money, which is probably the best wys to describe personal upbringing, making the best of what is there and going without what cannot be afforded.

This was going to be reflected in the images taken for this assignment. However through consideration it was decided not to follow this path and to just get one strong image of the interaction of both Brian and Alison. Although not having much did in some minor way affect upbringing, they both scarificed a lot and did all they can to raise their four children. And they did a good job.

Personal desires when it comes to photography is documenting people in need and gaining peoples attention in order to try to mobilise help for them. This could be applied, but it was decided that it would be unfair and unreasonable to do so.

All the planning and research was done within three days and the test shots were done soon after. The final image was taken after careful thought of how to show what little interaction there is between both parents.

The motivation to turn the assignment out quickly and effectively showed that it is possible to work quickly and produce quality research, continual development and a desirable final image.

There is time and opportunity to further develop the ideas, so if the chance arises and the ideas are developed, this will be added to.

Final images




(i) The TV does indeed control the household, everything stops when there is something on worth watching. There is no interaction unless necessary, unless something is needed or something needs to be said. In many ways it does reflect most households, where people are too used to watching the box that making their own entertainment through interacting with ones own family. The framing of the composition using the edited window frame works very well and the busyness of the image, through the reflections evident, adds to its appeal.





(ii) This is a rare insight into the lighter side of family life. A rare smile shared between parents. Normally life tends to be a bit of a resented struggle, with few reasons to be joyful. The viewpoint from which the image was taken suggests stepping back; looking more from the outside in. The two figures are framed by the door and the doorway becomes the focus because of the lines of the shadows and skirting boards. Not only does it show something about their relationship it shows enough of the house to gain an insight into living conditions.

Editing the images

The editing of the images was very straiht forward, very little could be done when it came to adjustments because of the low light levels used when shooting. When the slightest alteration was attempted on levels or contrast for example, there was a huge difference in how the image changed.

Both of the two final images were cropped and any imperfections were cloned out. For the kitchen composition it was burnt in a lot on the left side to shift the attention from the shelf and mirror onto the figures, it was then given a texture filter as if painted on canvas, to diguse the graininess of the image. The composition of watching TV was edited so that there was a fourth side to the window frame, rather than just the original three. A few reflections were cloned out but most were left in.

Results of shoots

The two shoots took abot half an hour each, because of all the planning and experimentation, it was just about staging or waiting for the right situation.

The tv shoot was simple, the idea behind it was to portray how ‘lost’ people do get when they are engorse in their viewing, all conversation and interaction seems to stop, as if there is no one else in the room.

The shoot in the kitchen was designed to look at my parents relationship, it is very rare that they do spend time with each other, there is always something to be done. Most of the interaction comes in passing, grabbing moments when the body is occupied but when the mind is free.

There were four images that stood out, they are all unedited:




(i) It is a srong image that suggests that he is being looked over, like he has to be kept an eye on to make sure he does the washing up right. She appears to be talking to his back while he is getting on with the washing up. Eventhough the compoositon appears warm and wlcoming through the colours on display, the body language of the figures appears cold and distant.




(ii) In this one Brian is looking round and smiling, suggexting that something amusing has bee revealed or a joke has been shared. The body language is no longer as cold as there is the interaction that was missing from the first composition, combine this with the warming colours, it seems a welcome, inviting set of cirumstances.




(iii) Watching the TV. Both stes of eyes are fixed on the box. There is no interaction whatsoever between the pair of them. They are both engrosed in whatever it is they are watching. With them sitting on separate piece of furniture is aso implies distance between them, not only in the physical, where they are sitting, sense. The relections in the window, of the car, lamposts and other houses do distract but it they are liked.



(iv) The same set up as before but this time the timer on the camera was used, and a few self-portraits with family were taken. Standing directly infront of the TV rather than at the peripheries meant being fully rather than partially lit. It looks odd, as if imposed over the last image reviewed. It is intreguing, but it was more a bit of fun. This idea cold be explored further, looking towards being ‘alone around family’.

The shoots

(i) Watching TV: The camera was set up outside on the front lawn on a ripod, at approximately 9pm. The composition was framed using the middle window frame. The figures were asked to sit and watch tv in their ‘usual’ chairs. The images were taken without any guidance of where to look or what to do, they were as natural as possible.

(ii) Looking into the kitchen: Inspired by the test shots the idea was to completely stage this shoot. Father Brian was asked to stand by the sink as if finishing the washing up, with mother Alison standing leaning, with the back against the door frame, as if chatting to Brian. The idea was to create a sillhotte, and to place Brian as the focus of the images.

Tuesday, October 13, 2009

Test shots

There have been over 130 test shot taken covering everything involved in the ‘refined ideas’ section. The images do portray a section of family life; however they are just too ordinary and hold little interest. There are a few images that do stand out.

In no particular order:





(i) Mother Alison watching tv surrounded by dogs, a typical evening meal. The food is cooked, tables are put up, tv is turned on then the food is eaten. Not the most exciting image, but the reflections on the windows are interesting, it portrays the family car.




(ii) Nephew Callum watching the tv being closely watch by Tia. As soon as any food is dropped or isn’t being guarded, then it goes. Although she is well trained she does sometime forget herself, she is continuously reminded.




(iii) The examination of three generations of the family; mother, daughter and granddaughter. It is the first time they have got together for a while, so are keen to share stories and exchange items that have been brought.




(iv) Created using the timer on the camera. A self-portrait with family. Done for fun but creates interest. The only figure that it aware that their behaviour is being monitored and recorded. May well be further explored.




(v) The favourite of all taken. Father Brian doing the washing up in the kitchen after Mother has cooked. Lonely feel to the composition, almost as if segregated form rest of family who are watching the tv.

The ideas that will be followed and re-shot are those focusing on watching tv (shot from both inside and through a window, possibly as a self-portrait) and household activities (cooking and washing up).

Refined Ideas

The ideas being considered are as follows:

Family gathering: documenting an up coming birthday party.
Everyday activities; shoot family member doing cooking, washing up, watching tv.
Shooting through a window or door way

There will be a lot of experimentation as it is not sure just what will work. Images will be taken with subject both aware and unaware, also some will be staged and others won’t.

Consideration

It is very hard when considering how to portray ones own family. No one wants any hurt feelings. But then there are always things that people wish to question or change. It is easy to imagine a good set of images with a clear narrative behind it, but would it be fair to shoot or present it, without full consideration of the consequences. There are a number of ideas held that wont be discussed about emotions and resentments held.

Reaction to the research

The images show the huge differences between families with and families without money. The main focus is on those without and what their everyday life entails; whether this is fighting to survive, fighting with each other, or fighting to enjoy everything that provides pleasure.

The details in the images, although often very subtle, narrate each image. It is possible to gain more information from them than is there, mainly through or own knowledge of similar situations or from stories we have heard. Often our own views and stereotypes add depth that may not be there, but we think is universal in similar situations.

The surprise that arose was just how much emotion can be seen and is felt when viewing certain images. This ranges from empathy for the subjects, pity for there situation, anger that it is or has happened and a desire to help.

This has encouraged a rethink of what and how to present life through the images to be taken. What should be portrayed, should they be staged, should they reflect a positive or negative aspect of life, there are so many points to be considered.

Monday, October 12, 2009

Further research: Shizuka Yokomizo - Stranger

This is nothing to do with family, quite the opposite, but there are those who feel like a stranger in their own family. Those who don't fit and who feel they don't belong.

In the Stranger series, each photograph shows someone looking out through a window. The artist has never met any of these people. She selected their addresses and then wrote an anonymous letter asking if the recipient would stand at a particular window, alone, with the room lights on, at a specific time of night so that she could photograph them from the street. It focus’s on the gap between ‘self and other’. (From sitegallery.org)


This series has always been an intrigue; the images have always held attention, more for their seeming pointlessness rather than anything else. But when recently viewed closely as a group it is apparent that their draw lies in the individuality of the compositions when seen together.



(i) This gentleman clearly has money, yet he presents himself for the photographer only partly dressed, on the phone and with his hand behind his back. He is very, almost too relaxed, in his own home, knowing what is happening.




(ii) She is in very simple surroundings, quite plain and sparse. She is well dressed, neat and well kept. She stands very straight and stares out of the window away from the photographer. Quietly confident.




(iii) He seems very relaxed; his house is designed for him, his comfort and relaxation. It looks an inviting place. He comes across as a friendly person who knows more than most. He seems very content with who he is.




(iv) This is a very rigid, forced posture, very unnatural. It is a very busy room in which he is photographed, yet it is very clean. The only things that aren’t black or white are the plan and his colouring. He almost seems unable to be natural.

It is a very odd series, but does indeed question the self and its relationship to others. Society as a whole is extremely segregated; people can live next to others for years and no little or nothing about them. It gets you questioning what our priorities are and if they need to be changed.

Research: Mary Ellen Mark – American Odyssey

Born in 1940, in Philadelphia, Pennsylvania. It is a collection of black and white photographs taken between 1963 and 1999, touching on issues of poverty, discrimination, and life in America. Her subjects are mostly people of the economic and social underclass’s as they pursue their hopes and dreams, while dealing with their day-to-day problems. (From barnesandnoble.com)






(i) The family are gathered on the bed in one room, it is clearly a family in need. The state of the surrounding cries out ‘help me’. The clutter on top of the cabinet combined with the broken down nature of the cabinet itself, shows just how little they have, this may be their entire living space, their lives played out within this room. The focus of the image is the young girl looking up, the despair on her face it very clear to see, the sense of wanting to help them that this image instils in immense.





(ii) This is their home for the time being. The mother looks near death, is it a life worth living? The children are scared and lost, what future do they have to look forward to? The father is cradling there mother, he gives a look of ambivalence, almost as if angry with life and with himself for not being able to do more for his family. This is personally one of the poignant images ever seen, it develops such emotional.






(iii) The boy looks as if he is crawling out of his hiding place in a junk yard; however it is his pet that sits just behind him. This car has been his home, look at the state of it, bits of debris everywhere, it’s a horrible thought. The dog may eat as well has he does. He could be a child from a third world country, out on the streets by himself relying on what bit of food he can scavenge to survive, yet this is America no more than 20 years ago.





(iv) Back in accommodation, the boy and the father share a touching moment. Their eyes meet and they both smile, the bonds that exists given the circumstances is as strong as between any father and son. It is probably the strength they hold that kept them going and it will serve them well if things do not improve. They now have a carpet, a comfy bed and possession; nothing overly special, but they must mean the world to this family.




(v) The boy is stood against the wall, he looks upset. He must have just been disciplined and sent to stand up against the wall to think. The children are still being kept in line, they are not being left to run wild. Again it is clearly only one-room accommodation, now with tv, it must feel like a palace.

This is a very strong set of images about this one family. Photographed a number of times over about 10 years, it shows the emotional plight of one family and their struggle to survive. It really does show that even in the richest of countries, there are still those who barely have enough to live!

Research: Larry Fink – Social graces

Born in Brooklyn in 1941 and studied in NY in the 1960s. Produced in the 1970's, the series provides intimate glimpses of real people and their all-too-fallibly-human lives. But there was a greater purpose in mind; he wanted to explore social class. The series compares two radically different worlds: that of wealthy Manhattans and that of rural, working-class Pennsylvanians. (From nytimes.com)






(i) Peering around a curtain at a birthday party. This is the sort of composition where you want to know what the figure is seeing. Anything could be going on and that is the beauty of it; the air of mystery. The hand is the centre of focus, holding the drape out of the way as he moves through. It really does say very little about the family and surroundings in which they live, but it does grab attention and stimulate imagination.





(ii) This is a very busy composition, with arms and bodies everywhere. This woman is trying to bring out a birthday cake without it being knocked from her and hand ruined. It is clear from the clothes and the quality of the building seen that this is a poor family, trying to the best out of what they have, determined to put on a good party and make sure everyone has fun. It is a snapshot, one moment of many that we all associate with birthdays, the serious preparation behind the frivolities.






(iv) This image is of two young women clearly of higher class. This is clear from the clothes; they are better quality, perfectly clean and the women themselves are perfectly presented, both with alcohol in hand. They share a pleasure that so many have enjoyed, trying to blow the biggest bubblegum bubble. It never ceases to amaze some.




(iv) This image is of two young women clearly of higher class. This is clear from the clothes; they are better quality, perfectly clean and the women themselves are perfectly presented, both with alcohol in hand. They share a pleasure that so many have enjoyed, trying to blow the biggest bubblegum bubble. It never ceases to amaze some.




(v) The delight on this young woman’s face is evident; she is out at a gathering with someone whose company she very much enjoys. The body language shows a clear attraction; the closeness and the placing of their arms. Everyone in the background is getting on with enjoying themselves without a care.

The images collated show a huge distinction between those with and those without. The types of events or gatherings that provide enjoyment do differ, manly to do with upbringing and money available. People without money make the most of parties as they are rare occasions for enjoyment. People with money often have contrasting views on what makes them happy, usually involving spending a lot of money, and being away from their home, somewhere different, somewhere exciting.

Research: Richard Billingham – We are family

Richard Billingham was born in Birmingham in 1970. He began taking photographs while studying fine arts at Sunderland University. The subjects are his father ray, his obese and tattooed mother Liz, and his unruly younger brother Jason. He documents their squalid surroundings and violent relations to each other with unflinching honesty. (From designboom.com)




(i) Look at the separation between the couple; they could not be further from each other even if they tried. They both look as if they are in their own worlds and wish to stay segregated from the other. Liz is focused on the tv and Ray appears to be in a world of his own.





(ii) This is a very threatening posture displayed by Liz, it is clear that this is a very destructive relationship. Ray is looking away, ignoring the threat that is present. Does he care or is he just hoping that the display of anger will soon pass.





(iii) The dogs looks like he is in trouble. Ears down, head lowered and eyes slightly raised. With the knowledge that Ray is an alcoholic, could only be a minor thing that the animal has done wrong. Either way it is an intense situation, it is clear to imagine what is going to happen next.






(iv) The making of a cup of tea. It is clear that there is something besides hate and resentment in their relationship. This is the first of the images seen to far where the eyes do not solely focus on the figures. The attention is on the state of the house itself, it’s rundown, patchy, tatty nature.





(v) Probably a rare moment of affection being displayed here. The battle pauses for a brief moment of piece. From the other compositions is must be a horrible household to live in, but there is something. It does however beg the question of what is holding the household together. It is clear that it is not love, is it the fear of not being together.


From looking at the images as a set it is obviously an unhealthy working class environment; where children (and the adults themselves) are going to suffer. The images not only portray the problems within the relationship, but also the state of the surroundings in which they live.

Initial Ideas

Family gatherings: Birthday parties, weddings, family meals, family barbeque.
Holidays and days out: Family holidays, day trips, picnics.
Everyday excursions: Trip to the shops, weekly shop, school run, children’s play area.
Everyday occurrences: Washing up, watching tv, cleaning, washing up, eating.

All the proposed ideas are simple enough, but how is it best to produce them? Should they be staged, or should they be taken unawares? Could they be done either through a window or from another room? Taken during the day or at night?

Research into existing bodies of work may well provide ideas and answers on what has already been done, how it was achieved, why it came about and what the work says about the subjects.

Definitions

The three words that really stand out from the list are as follows. The three are highly related, so it seems important to consider all three.

Voyeurism: The practice of being a voyeur: One who views or inspects.

Revealing: To lay open to view; display; exhibit.

Privacy: The state of being free from intrusion or disturbance in one's private life or affairs.

From these three definitions it is clear that all three can be conjoined using one image. To view, present and reveal unknown information of ones family would cover everything. The question rises as to how to do it and what to display about that family group.

Initial reaction

When this brief was revealed the initial thoughts that sprang to mind where that of the iconic images of Richard Billingham and his emotional portrayal of his own family. The series entitled; ‘we are family’ are explosively powerful.
The brief asks for an exploration of immediate family, this is an interesting topic as it could include or even lead to a lot if introspection of what in many cases of people I know is taken for granted; their family. The good and the bad, what is known and also what is hidden.

Assignment Brief: Family

This assignment requires you to investigate the world of your family members. You must respond to one of these words;

Intrude, Age, Revealing, Voyeurism, Child, Privacy, Social, Class, Culture.

You will choose one of these words to help inspire you and direct you image making. You will be required to produce one A3 sized photograph from a digital image on screen and printed for your portfolio.

Monday, October 5, 2009

Evaluation

The shock of the amount or research to be done was that balanced by the annoyance of then how little had to be done after the initial amount had been researched. The annoyance past when it was realised that it been worth it.
The research undertaken meant that there were plenty of ideas of where to start, and once the chosen word had been contemplated, there was no stopping. Ideas flowed freely and the initial shoot resulted in their being plenty of good compositions.
The main problem was with Photoshop, the time wasted while waiting to edit the images was frustrating. But once the programme was available the experimentation could begin. The visual communication seen in the research allowed the final compositions to be played with. Using burning in to change the focus of the images and experimenting with black and white to enhance the tones and textures allowed the final images to shine.
During this assignment it was clear that personal time management skills were more than up to the task as well as the skills gained for effective researching. When problems did arise, time to reflect and question soon overcame the blockage.
The time given to complete the assignment, given its cut-down final state was more than enough. It was not a challenge, but it was enlightening, both when it came to planning and producing still life work and when it comes to how useful a bit of personal pressure can be in driving forward (especially when there is a huge amount of initial research required).

The final images and comments

Final image 1



It is a strong image; the burning around the edges does accentuate the diary on the table top and also removes a lot of the ‘floating’ distraction that was apparent before editing. The main draw of the composition is the difference in texture of the wooden floor, the table top, the diary and the pencil. The main focus however is the heart on the book; it contains the only lines in the image that are not straight. Another contrast is the roughness of the pencil and diary cover when compared to the smooth floor and table. It does look a lot better in black an white than in colour, the tones and textures and exaggerated and that is what proves to be its strength.

Final image 2



Personally this is the better of the two, but there both are very good. The angle at which the photograph was taken was carefully chosen and works to help show the shadows cast by the items: The textures of the diary have become more visible to the viewer than on the other composition. With some of the items themselves it shadow it serve to change the focus. Again it is the heart on the diary as it contains the only lines in the image that are not straight and because the depth of field is quite shallow; it is centred on the heart. The two pencils serve to frame the diary again bringing the views attention back on to it when it strays.