DECEMBER – JANUARY
Throughout December and January, I thought about ideas for my book project. I brainstormed a few of them and concluded to progress with the chosen project.
When thinking about THE BOOK PROJECT, I considered the following:
- I asked myself – what do I want? I wish to develop my style and work on my ABSTRACT REALITY concept within abstract photography.
- How to link this project to my CP2 Unit The City: Architecture, Art & Society and to my essay which titled – From cave paintings to galleries and museums: How money created division in society’s access to culture (and how architecture and street art could heal the divide).
My CP2 essay:
In the essay, I discussed the problem we face in today’s society of equal access to the imperative need of human beings – art, and how, perhaps, the solution to this issue could be placing the art on the streets in various forms of street art and buildings. There, unrestrained by socioeconomic background and nurture, in the space that we all exist within, a shared space, the street becomes the gallery for ALL the people. I explored how the ideas considered in my essay can reflect on and inform my practice, how can I ‘practice what I preach’ and how it can impact my further development in the Explore and Experiment unit.
- Additionally, I considered the explorative and experimental themes of this unit. I aspired to do something that I am not comfortable with/am not very knowledgeable of to push myself further, develop my technical skills and progress as an artist. I also wanted to find a solution to winter being a creative blockade, as my photography depends heavily on sunny weather. I concluded that a logical step to overcome that is to get more accustomed to the photographic studio, where I hope to find a method of work that I can do inside, which makes me feel as content as when I am out and about the shooting, looking, searching and collaborating with the chance.
Conclusion: If I am genuinely about bringing art to all, I must take it to the streets! I asked myself, could I photograph the city (the original inspiration) in my abstract reality vision, recreate them as an abstract visual representation in the studio, and then bring the photographs back to the street for all to see/enjoy, simultaneously performing an act of returning it/giving it back to the place of the original inspiration, through which I express my gratitude, and I acknowledge that the art I created would never exist without these places.
If YES then HOW?
- walls – wheat pasting (learn how to make the mix and research artist related)
- walls – posters (classic print/risograph print of photographs – learn how and execute)
- graffiti – paint graffiti in legal spots, using my photograph as a design
- make stickers of my photographs and distribute them all over the city
- exhibit in empty shops reaching passerbyers
IDEAS
- SYMBOLISM
A series of photographs that depict very symbolic items and occurrences. Ones that immediately provoke certain sensations. It’s almost like this connects us, this shared understanding of what brings good and bad luck. The language is unnecessary as the visual language is so universal that the SYMBOL speaks for itself and in the same way to ALL. Additionally, what might be interesting here to explore is how they are the same and how they differ from country to country, culture to culture.
I considered positives about this project:
- fun project
- I am interested in making it happen
- I am interested in spoken and visual language
- it is not dependant on the weather
I considered negatives about this project:
- I can’t envision how I could make this project in abstract way (and it’s really what I want to do)
- it has no reference to CP2 unit, it’s just an exciting, stand alone idea, but it is not flowing from the last unit in any way
Conclusion: It is something to perhaps return to in the future, but I don’t want to do it as a book project, as it doesn’t feel 100% me.
2. SWIZZELS FACTORY NEW MILLS
I am absolutely captivated by this building and frequently photograph it. I am interested in making a little book on it – with my abstract take on it, showing how it looks in my eyes. I spoke to someone who works there, and he said there is a possibility to go inside to photograph, that it is something he could arrange. I would love to find out more about this building’s history, how it changed (or didn’t), and photograph it as I find it fascinating!
I considered positives about this project:
- interesting and exciting project
- I could learn about a history of a very important building in our community
- it references to CP2 unit slightly
- I am fascinated with this building
I considered negatives about this project:
- it is a very documentary-like project and I want to do something closer to my heart – abstract photography. I am not a documentary photographer.
- how abstract can I make this project? Only a little bit, and I think I wouldn’t enjoy it for that reason.
Conclusion: However much I love this building and would love the opportunity to explore it, I feel this is not the material for THE BOOK!
I took some test shots of the outside of the building to see if my predictions were right, and the conclusion was that they were correct. Despite enjoying photographing it, I couldn’t really take it as abstract as I would like to, and it was difficult for me not to simply document the building.
Photoshoot at Swizzels Factory in New Mills
3. SUPERSTITIONS
Series of photographs representing superstitions, but also (maybe) explore how they range from country to country/ culture to culture – very interesting how they can differ depending on these factors (similarly to the symbolism).
I considered positives about this project:
- interesting and exciting project
- interesting concept of shared visual language, language that we all speak and understand
- interesting research into what kind of superstitions different cultures and countries have
I considered negatives about this project:
- yet again, a fun project but how would I make it what I want it to be – abstract??? I think it would be quite hard as I would have to clearly represent with the image what the superstition is
CONCLUSION: Again, fun and interesting project but not exciting enough for me, because the images would have to be very representational . Perhaps it’s something to think about more in the future.
4. ABSTRACT REALITY
PROJECT SUMMARY: For this project, I would like to create a series of abstract photographs in my vision I call abstract reality inspired by the city’s shapes and forms. Typically these would be the FINAL ‘product’, but not this time. Considering my previous reflections, I want to take my photography further beyond ‘just’ photography and outside the walls of galleries and museums. Additionally, I want to explore the areas not comfortable to me – studio and get familiar with that space, maybe even fall in love with it. It would help me grow my set of skills and allow me to transfer my passion for searching for visual treasures in the city – to the studio (which would also solve the ultimate issue of no sun for weeks on in the winter). To sum up, I want to take images in the city, then take them to the studio and photograph their visual representations to create an abstract composition/creation, using simple, minimalistic ingredients like paper, cardboard, light etc. The reason for choosing such minimalism is to prove to myself and the world that all you need is imagination, to which there are no limits. You can create absolutely anything unrestrained by money or space or anything. It is all inside you, and the trick is to project it.
Through this method, I will not just get inspired and produce photographs from that stimulus but continue the creative process by pushing my ‘final product’ to become an inspiration for an image which then becomes a ‘final product’. BUT WHERE DOES IT END?
Can I push it even further (if I have enough time) and take the images created from the original photographs and turn them into lino prints, cyanotypes, stickers, posters and risograph posters? Then using wheat pasting, take it back to the street, specifically to a place where the inspiration came from, where the original photograph was taken, in a sort of ceremony, paying respects and gratitude to the space that birthed the idea?
It’s like I take away a piece of this city space by turning it into a photograph, then process it through what I call ‘I’ and return it to the location that initially, with my help, created it. But now, it’s a collaboration.
I wrote a little poem inspired by this notion
I considered positives about this project:
- I am super excited about this project! And when I feel like this, I know I am going to love it and that it’s gonna come out right! It is exactly what I am about
- perfect opportunity to develop my abstract photography art
- inspiration taken from the city + art for all on the streets = a strong link to my CP2 unit and my essay
- taking it to the streets for everyone to see/enjoy expresses my values about how art should be accessible to everyone
- exploring the notion of constantly pushing the ‘final product’, how one thing leads to the other and question/challenge WHERE DOES IT END?
I considered negatives about this project:
- THERE ARE NONE!
- one thing that can get in the way is the weather…if there is no sun at all for a whole month (which can happen) I will not be able to take my original photographs. Solution: constantly track the weather and when the sun is out – drop everything and shoot!
CONCLUSION: This project really feels like me and is an opportunity to develop my style. It poses some interesting questions that I can build on and investigate further. I am VERY excited about it and can’t wait to start (that’s a good sign right?!). Additionally, it will push me to work in the studio – develop my skills there (and a solution to my everlasting problem of no sunlight in the winter which lowers my creativity and productivity levels). It will allow me to explore various ways of working with different mediums, to be innovative, imaginative and resourceful.
PHOTOSHOOT FOR ABSTRACT REALITY PROJECT IN MANCHESTER (17.01.2022)
FILM 1 – MAMIYA 645 PRO TL + ILFORD HP PLUS 400
FILM 2 – MAMIYA 645 PRO TL + ILFORD HP PLUS 400
CONTACT SHEETS
SELECTED IMAGES FOR THE BOOK PROJECT
TUTORIAL WITH SYLVIA WALTERING (from Explore and Experiment I ) (20.01.22)
As I missed my detailed feedback because of the strikes, I asked my tutor if she would have time to chat about my work and how I could improve it. She kindly gave me some of her time, but as it has been around a month since the submission, a lot of it was forgotten. However, we discussed ways to expand my knowledge of more contemporary photographers (familiarising myself with photographic journals, new books, certain websites etc.). After this session, I felt much more informed and inspired on my future learning and development as an abstract photographer. I have scheduled regular visits to the library to expand my knowledge, get inspired and follow through with feedback.
JANUARY AT THE UNIVERSITY
I commenced my preparation by collecting a list of recommended readings for the unit:
Because this unit is the busiest one yet, with hardly any spare time, I didn’t find time to read as much as I usually do. I started reading On Photography by Susan Sontag, but I haven’t finished yet.
TALENT LAB
Through January (17th-21st), I attended most of the interesting talks accessible via TALENT LAB. They were incredibly insightful, inspirational and practical.
- On Monday 17th of January I attended a talk with Maryam Wahid https://www.maryamwahid.com
Maryam Wahid (b.1995, Birmingham) is an artist who uses photography to convey her identity as a British Pakistani Muslim woman. Through her deeply rooted family history and the mass integration of South Asian migrants within the UK, her photographs explore womanhood, memory, migration and the notion of home and belonging. Wahid’s work has been featured by The Royal Photographic Society, The Guardian, The Financial Times, Wellcome Collection, The Telegraph and Digital Photographer Magazine.
I remember her giving a similar talk last year when I attended Talent Lab. Yet again, a great lecture full of practical information. Maryam is a very down to earth, friendly person, and I feel like I could easily reach out to her in the future when entering the professional photographic world. I especially appreciate how much volunteering she did and how it helped her with her career. Because of this, it is something I will definitely consider doing in the future after learning how it helped her journey.
- On Tuesday 18th of January I attended a talk with Polly Palmerini.
https://museumofhalftruths.co.uk/
She spoke about the Museum of Half-Truths – an interdisciplinary research project founded in 2020 with Rachael Burns that aims to ‘encourage critical thinking through playful investigations and exercises by applying collaborative and feminist practices’.
It is incredibly inspiring and encouraging seeing my peers, who only recently graduated from the same university, being so creative and successful and focused. It makes me feel positive about my future after finishing university.
- Another talk that happened on Tuesday was with Sophie Gladstone.
Sophie talked about launching her career in photography, her practice as a photographer and a photo editor, and explained what a photo editor does. It was a very interesting talk that gave me insight into how to progress with my photography after graduating and ways of approaching potential employers.
- On Wednesday 19th of January I attended a panel discussion on Funding (Chris Daniels , Ruth Ruban and Sarah Howe) and how to write a successful application.
It was a very practical and informative talk that covered many different ways of getting funding and encouraged you to never give up, keep trying and refine your applications. As someone who has started the process of applying for open calls, funding etc. (I decided to apply for a minimum of one open call/opportunity a month), I found this discussion incredibly encouraging and valuable. It was beneficial not just in terms of information but for morale. As an artist and a sensitive person, it is something I work on very hard, to be able to move on from rejection and continuously believe in myself and follow my heart and my passion.
- On Thursday 20th of January we had a talk with MMU Alumni Will Grundy
Will Grundy talked about his experience assisting some of the industry’s most successful photographers and his journey in the industry after graduating from MMU. Will was very friendly and easy to talk to, and I found it very encouraging to get to know photographers who are doing very well in the industry but are not these scary, serious people that can be intimidating. It made me feel confident and eager to approach anyone no matter their status. At the end of the day, they are people, and if they can, there is no reason why they wouldn’t give you their time or opportunities.
- I also attended a Website Surgery session with Derren Wilson, which I found incredibly helpful. I showed Darren my website bit by bit, and made notes of his advice and proceeded to improve my website after this knowledgeable conversation.
VILLAGE GREEN LECTURES
VILLAGE GREEN LECTURE WITH MONICA ALCAZAR DURATE (26.01.22)
https://www.monicaalcazarduarte.com/about
Monica is a Mexican-British multi-disciplinary visual artist whose work acknowledges her indigenous heritage while exploring current ideals of progress. Mónica studied filmmaking, architecture and photography and has won multiple awards including, most recently, an Ampersand-Photoworks Residency. Monica’s creative thinking confronts current issues using photography; much of her work collaborates with scientists and academics, mixing images with new technologies to create contemporary pieces.
It was my favourite lecture of this unit and one of the top ones overall. Monica’s work is remarkable and sophisticated. Her talk was very engaging, and I am absolutely fascinated by everything she does, the way she thinks and is. I felt so connected to her work and so comfortable after a chat we had during a Q & A that I reached out to her on Instagram. I solely expressed my gratitude for a great talk and said that if she ever needed help/assistance, I would be very honoured to do so. She kindly replied and said that if the funding for her project falls through, she will get in touch! I really did not expect it to go so well! I only wanted to plant the seed for the future! Hoping she will get it as it would be such an incredible opportunity to work for this inspiring woman.
GROUP TUTORIAL SOPHIE LEE (27.01.22)
During our first group tutorila, we disscussed the ideas for our books with the group. I had thought about what I want to do since December so I was very set in my way, however it was good t contruibute, brainstorm and feedback to others.
After presenting my idea to Sophie, she suggested the following artist research:
Luke Evans https://wren.agency/artists/luke-evans/
Nicer Tuesdays: Luke Evans (2018)
FEBRUARY
VILLAGE GREEN LECTURE WITH MELANIE KING (02.02.2022)
Melanie King is a working-class artist and curator, originally from Manchester, UK. Melanie is now based in Ramsgate, Kent, UK. Melanie is interested in the relationship between the environment, photography and materiality. The purpose of her work is to demonstrate the intimate connection between celestial objects (sun, moon, stars), photographic material and the natural world. Melanie is currently researching a number of sustainable photographic processes, to minimise the environmental impact of her artistic practice, informed by the Sustainable Darkroom movement.
Useful links from Melanie’s talk:
- https://www.melaniek.co.uk/art-work sustainable dark room, moon, darkness
- https://www.dukeupress.edu/vibrant-matter
- https://www.dukeupress.edu/meeting-the-universe-halfway
- https://www.climatecentral.org/
Melanie spoke about her projects in which she explores the relationship between the environment, photography and materiality. Most importantly, reflecting the theme of this Village Green series, she talked about sustainability within photography. Melanie spoke about various alternative, sustainable methods through which we can process and develop films like making developers from coffee, other plants etc. She also raised the issue of eco-friendly processes, however planet friendly, obstructing the actual photographic work. Considering that they can be time-consuming and complicated (more than just developing with standard chemicals), the focus and energy shifts towards the technique instead of work, which is a significant issue to address.
I found this talk very inspiring and a catalyst to look more into this topic. I have heard of sustainable and alternative methods before, but after this lecture, I felt more inclined to dive deeper into the subject and find out more.
The Sustainable Darkroom // Talk by Eileen White, Sean Roy Parker and Antonia Beard (2020)
Alternative Photography at Home: The Chlorophyll Printing Process (2020)
Sustainable Photography at Home: The Anthotype Printing Process (2020)
Make Your Own Developer & Fixer Using Household Items
Guide to Photographic Alternative Processes (2013)
Conclusion:
VILLAGE GREEN LECTURE WITH RAMONA GUNTERT (09.02.2022)
Ramona Güntert, (b. 1989) is a German artist based in London. Her practice looks at forms and shapes within nature which are mimicked by bodies of humans and animals. She then uses the medium of photography, challenging its existence in print and exploring different material conditions. Her work is constantly transforming and adapting to different spaces, just like camouflage, which emphasises a relationship between the body and its environment but also attempts to question what lies in between these spaces. These images appear in layers, becoming the skin of the space.
During her talk, Ramona spoke a lot about her project I wonder what it feels like. I found the lecture very engaging and valuable. The way Ramona works with materials and limitations was very eye-opening and inspiring. She adapts her art to the environment, making it a part of it. As a photographer who is interested in the concept of collaboration with chance and improvising depending on my surroundings and the way they shape the outcomes of my work, I found her art style very relevant to my way of thinking and creating.
Useful links from Ramona’s talk:
VILLAGE GREEN LECTURE WITH HODA AFHAR (16.02.2022)
Artist’s publisher https://mackbooks.co.uk/
HODA AFSHAR was born in Tehran, Iran (1983), and is now based in Naarm (Melbourne), Australia. Through her art practice, Hoda explores the nature and possibilities of documentary image-making. Working across photography and moving-image, she considers the representation of gender, marginality, and displacement. In her work, she employs processes that disrupt traditional image-making practices, play with the presentation of imagery, or merge aspects of conceptual, staged, and documentary photography.
A very inspiring talk from Hoda Afshar and incredibly relevant to your unit as she talks about the book project that she did in a politically conflicted area of the islands of the Strait of Hormuz, near the southern coast of Iran called ‘Speak the Wind’. This project talks about landscape and identity and how they shape one another. I found it particularly interesting, and I was really impressed by Hoda’s approach to the project, people and their beliefs, which I think was intuitive, gentle and respectful, which comes through the images.
It was so important and helpful t have had a talk with a person who discussed at lenght and in detail the process of book making, from the idea being born, to creating the content, meetoing woyth piubliushers an d months and months of editing and sequencing. It showed me how long this process is and It was so important and helpful to have had a lecture with a person who discussed at length and in detail the book making process, from the concept to creating the content, meeting with publishers and months and months of editing and sequencing. It showed me how long this process is and how important every little detail of it is. Additionally, I felt a little bit sad we only had just over a month to do our book as I know I could have done so much better given more time. This talk confirmed that, and contrary to what we are doing now, it was not a rushed process but a very comprehensive thought through one. In conclusion, I am already thinking of doing a second edition of the book in the summer when I can really improve the project to the point of (almost) perfection.how impoirtant is every little detail of it, Aditionally I felt a little bit sad we only have just obver a minth to do our book as I know I could have done so much better given more time. This talk has been a confirmation of that, and in contary to what we are doing now, it was not a rusdhe process but a very amticulate, thouugt through one. In conclusion I am alredy thinking of soing a second edition of the book in the summer when I can really polish up the project to the point of (almost) perfection.
During the talk Hoda recommended watching this short documentary:
Laughing Alligator (Juan Downey, 1979) (2018)
This documentary shows Juan Downey’s visit and eight months of life with the Yanomami people of the Venezuela jungle. It is a very interesting recording of the indigenous tribe with their myths, stories and cultural identity. It is clear how it would have been an inspiring source for Hoda, awakening curiosity in indigenous customs and beliefs, observing and understanding how their whole way of life is shaped by their environment, similarly as she experienced on her trip to the Strait of Hormuz.
Another sourcebook recommended during the talk was I swear I saw this: drawings in fieldwork notebooks, namely my own https://mmu.on.worldcat.org/oclc/711050897, which records visionary anthropologist Michael Taussig’s reflections on the fieldwork notebooks he kept through 40 years of travels in Colombia. A book to definitely read at some point in the future.
After the talk, I read an article about Hoda’s other project Agonistes that talks about whistleblowers and how she sees them as modern-day Greek tragedy characters. She shoots the subjects with over a hundred cameras set up to go off simultaneously. This method creates 3D models of them into busts resembling ones of Greek tragedy. I find her concept and executing it really interesting and admire her for bringing this subject to attention. It is a perfect example of how an artist can express themselves creatively and speak out about important issues at the same time.
BOOKMAKING WORKSHOP WITH SYLVIA WALTERING (01.02. 2022)
At our first bookmaking workshop, we learned how to make signatures, bind them together with stitches, glue the outside and make the inside of the book. I thoroughly enjoyed this workshop and felt incredibly empowered having learned this skill. I am looking forward to our second workshop and making my book for the unit. I think it’s such a great skill to learn for us, and I envision creating more books in the future as I really enjoyed it. I believe it’s a great way of continuing the life of photographs that may sometimes otherwise live ephemeral life. I learned this from listening to talks with John Blakemore – books make photographs last for longer, if not forever.
Things I learned today:
- grain of the paper and glue matching is very important (so the book doesn’t bend)
- recommended book on book making – Making Books: A Guide to Creating Hand-crafted Books by by Simon Goode, Ira Yonemura
- the thinner the paper the harder is to figure out the grain
- you can check the grain by ripping the paper (if it rips straight=with the grain=correct)
- tool needed: bone folder, metal ruler, craft knife/scalpel, scissors, pencil, awl
- signature = folio (4 sheets)
- book has: head, tail, spine and fore edge
- allow a few hours/overnight to press the book
- give yourself a week before deadline to correct any mistakes/have it ready a week before deadline
- today we used French link stitch (see photos for more detailed notes and measurements), and kettle stitch
- use thin thread, if it’s thick, it will add level/height to the book
- measure of the thread – hold at arm’s reach
- use natural linen thread which NEEDS WAXING (synthetic ones do not need waxing), it makes the stitching process smoother with no tangles
- https://www.gfsmith.com/student-samples for PAPER SAMPLES
NOTES
BOOKMAKING WORKSHOP WITH SYLVIA WALTERING (08.02. 2022)
At this workshop we proceeded to finish up our book in the making. I made a detailed notes of measurements and process (see photo of notes), additionally we are provided with all of this information on moodle :
NOTES
FINISHING THE BOOK
FINISHED BOOK
EDITING AND SEQUENCING WITH SOPHIE LEE (03.02.2022)
On this day, we had a very useful workshop about editing and sequencing images with Sophie Lee. We have been given several books to look through and prompted to think about the editing and sequencing, how the book starts, how it progresses and ends. After this exercise, in groups, we were given a task to pick images that we like, then edit and sequence them into a ‘book’/ story that we want to tell. It was a coherent and stimulating experience that made me feel confident and focused in terms of editing and sequencing for my book project.
I looked through Yan Preston’s book ‘Forest’ https://www.yanwangpreston.com/book-shop/forest
Things that I observed in this book:
- flow and development but also juxtapositions – at the turning of the page you are somewhere else – shock!
- it points out the ridiculousness of putting a tree or two in the middle of a concrete jungle. It’s like ‘nice try’, it makes me feel – better two trees than none, but also it’s kind of unnatural, weird thing to look at
- but there are also positive juxtapositions of growth (first she presents the bad then the good)
- book tells us the story of trees as: social space to gather and rest, creator of calmness and connection
- book end referring to the whole concept and the beginning of the book
Second book I looked at was Esther Teichmann’s self-published book https://shop.selfpublishbehappy.com/products/spbh-book-club-vol-v-by-esther-teichmann
In this book, there are no words, but the book tells a beautiful and true story of womanhood, life, death, passion, motherhood. The images are beautifully sequenced which makes words not just unnecessary but undesirable.
Both books and the task we undertook really made me think of story-telling and the importance of editing and sequencing. With this in mind I planned to print my photographs and make a mockup book by the end of this week.
CREATING A SEQUENCE WORKING IN A GROUP
SELECTED SEQUENCE
WRITEHERE ABOUT OUR SEQUENCE, WHU WHAT DADA POEAM
NOTES
STUDIO SESSION SHOOTING FOR BOOK (03.02)
On this day, I ventured to the studio to create a composition containing loose visual representations of the original images. I spent seven hours in the studio, and what a productive time it was! The longest part was the set-up of the paper, to get it right exactly the way I wanted. It was quite hard as the paper was falling a lot, and I figured out a better solution for this problem. Additionally, shooting on film, it was hard to visualise how the picture would look when the flash goes off, so I decided to first use my digital camera FUJI X100F to previsualize, and when the battery gave up (lesson – always bring the charger!) I borrowed a NIKON camera from the AV store to continue shooting. I also borrowed a MAMIYA kit, despite bringing my own 645, to use a macro lens that comes with the kit, which was crucial for today’s photoshoot. Throughout the day, I felt more and more confident in the studio, needed less help/asked fewer questions. Since this session, I believe I developed a much better understanding of working in the studio, studio lights, settings I need to use for desired effect etc. It was my first time shooting on film in the studio, and it was a bit stressful as I have never worked in this environment shooting on film. It was a bit challenging but also, it felt really good to push myself and explore the avenue of photography that is very alien to me. I feel much more familiarised and comfortable shooting on film in the studio and looking forward to developing the film to see the results.
SET UP
PREVISUALISATION ON DIGITAL CAMERA (FUJI X100F AND NIKON)
PHOTOGRAPH NR 1 – lamp and skyscrapers
PHOTOGRAPH NR 2 – shadow lines (Piccadilly station)
PHOTOGRAPH NR 3 – stairs (Piccadilly Gardens)
Common Misconceptions About Studio Flash Lighting (2020)
Great video getting into details of studio lighting, comparing lights, talking about power range, continuous light vs flashlight and many others.
RESULTS FROM SHOOTING ON FILM IN THE STUDIO SHOT ON MAMIYA 645 PRO TL AND NIKON FM2
CONTACT SHEET
SKYSCRAPERS REIMAGINED
SHADOW LINES REIMAGINED
SILHOUETTE ABSTRACT SELF-PORTRAIT
COMPANIONWAY REIMAGINED
OTHER IMAGES FROM STUDIO SESSION
CONCLUSION: I know I keep saying I don’t want to work in the studio, but I keep trying…I think I don’t want to exclude anything from the range of skills I can develop whilst being at the university and having access to all the equipment and knowledgeable staff.
I enjoyed this day in the studio, but I still have very mixed feelings about working not just there but with flash…I love the shapes, shading, discovery and search of a beautiful image when I pursue the sun and light, never knowing what I’m going to find. The possibility of stumbling upon something wonderful and then putting a part of me into it to create an image. I will keep trying though, mostly because of people like Jaroslav Rosler. I absolutely adore his photographic work, and a lot of it is abstract still life/compositions shot in the studio. I think they are divine, and they make me feel that feeling I experience when chasing out in the world for light and composition. If I could learn what he knew, things would come together without a doubt, and I will not be limited by rainy weather or winter ever again.
DAY SHOOTING IN HOME STUDIO (04.02.22)
I then continued shooting at home to finish these rolls of film with following results.
First I tried to set something up in my lightbox but I was not happy with it so I moved on to the sofa and set up two sheets of white paper, and started building my glass pyramid.
SET UP
TESTING ON A DIGITAL CAMERA BEFORE SHOOTING ON FILM – PREVISUALISATION OF BROKEN REFLECTIONS
RESULTS FROM SHOOTING ON THAT DAY
CONTACT SHEET
I had some very interesting results from that day, stimulating future projects and making me think of the methods I work best with, the environment and the materials.
BROKEN REFLECTION REIMAGINED ON NIKON FM2
PREVISUALISATION FOR THE CUBE
The creation of this composition happened so organically. I looked at some art of my favourite Czech avant-garde photographers, then did a little, poor quality drawing just to get loosened up. Before I knew it, probably in less than 5 minutes, I created this composition with paper that I am very pleased with. I then proceeded to shoot it on Mamiya. I love when things flow like this, but it is crucial to get stimulated!
CUBE REIMAGINED
DOUBLE EXPOSURE EXPERIMENTS
PARTISAN COLLECTIVE CRAFT DAY (06.02.2022)
On Sunday, I decided to participate in craft day at PARTISAN COLLECTIVE (https://partisancollective.net/) in Salford. My choice for the day was to do some lino printing (as it has been a while) and work on my book project – take inspiration from one of my photographs and turn it into a lino print design. Then print it, scan, and reprint on a larger scale – poster to return it to its source of inspiration and photograph it. It has been an amazing and very inspiring day! Never before did I lino print my design (I only copied others because I can’t draw), and to use my photograph as the baseline, was incredible and felt like some fluidity happened. I realised my project aims for continuous creation in various mediums, asking a question – WHERE DOES IT END? (Perhaps this should be the title of my book!).
THE RESULTS OF SIX HOURS OF CREATIVITY
LINO PRINT SCANNED AND PRINTED TO POSTER SIZE AT MMU BENZIE
SELF-DIRECTED STUDY (10.02.2022)
WRITE how i mad ea plana and photos of notes here
I started the day by going to the bookbinding workshop and looking through types of paper, making notes and taking photos of the ones I liked. Then I contacted GF SMITH at https://www.gfsmith.com/student-samples to order a selection of samples. Unfortunately, by Monday, I still didn’t have any reply so I enquired again, this time successfully ordering sample paper.
CHOOSING PAPER
I had a look at different types of paper, spent time feeling the textures and considering gsm, inside and outside paper that I want to use.
PAPER SAMPLE ORDER
I read a useful guide to papers, their uses and thickness https://www.bookprintinguk.com/info/paper-types
After that I went to Benzie and printed mini versions of my chosen photographs, sequenced them, and made a mock up book of WHERE DOES IT END? (working title).
I then scanned and printed my lino print to the poster size, that I intend to hang in the city, in the place that originally birthed the idea, returning what I have taken from it.
INDESIGN WORKSHOP (14.02.22)
On this day, we had an Indesign workshop which I struggled to follow. I think things like learning a new program we should do in person and learn on the go, not just listen to someone talk for an hour. I found myself completely lost and frustrated after that and proceeded to self-study the subject. I also visited and spent hours in the Digital Media room. There, under the watchful eye of experts, I asked a million questions, learned properly about InDesign and polished up my project.
How to Resize an Image in InDesign (2020)
Why Do My Images Look Fuzzy? | Adobe InDesign
How to Change the Background Color | InDesign Tutorial (2018)
With the help of these videos, I managed to put together a booklet of 46 pages for my project, ready to test print once I have all the images.
GROUP TUTORIAL WITH SOPHIE LEE (17.02.2022)
During today’s tutorial, we discussed everyone’s ideas, talked about the progress we made including ‘show and tell’ of our mockup books and shared the images we have taken so far. It was a productive session, and I think we all enjoyed and benefited from sharing ideas with others. Initially, I was slightly hesitant when I heard that we would be having group tutorials instead of individual ones, but it has definitely grown on me, and I see and appreciate the benefits of sharing your idea/vision and working with others. It made me realise how important it is and how little of it we have had so far. I am a very independent artist, but as my education progresses, I am becoming more and more aware of the importance of sharing my ideas with others. It makes you look at things the way it’s impossible for you to look – as you are you – and every individual that does express their thoughts about your artwork can contribute to your development in ways you wouldn’t even imagine.
My feedback was very constructive, and I felt like it really helped me focus. After showing my work to Sophie, she suggested that I stick to minimal materials and one technique (in this case, straight-up photography, instead of doing lino, photographs, cyanotype, photograms and more). Funnily enough, that was my original idea, but I think I got sidetracked and over excited about doing it in many different ways. I almost forgot that despite it being a good idea overall (using various techniques), it wouldn’t work in the book – it would be too inconsistent and chaotic. It would be a good body of work for part one of Explore and Experiment but not for the photographic book. It made me realise the importance of tutorials and talking to someone experienced even when you think you’ve got it, and everything is going great.
Perspective is a beautiful thing. Especially someone else’s.
DIGITAL DARKROOM INDUCTION
After the tutorial, I attended the digital darkroom session that I missed in the last unit. It was an excellent session, during which I learned how to use a digital darkroom – preparing files for print, using different printers and choosing paper. I am excited about using it to print my photographs.
HOME STUDIO PHOTOSHOOT (21.02.22)
Based on my experience from the studio and last year’s pandemic, when I had to do almost all my work at home, I decided that I would finish the rest of the recreating of images at home. I found myself very comfortable doing so as I have much more to work with (object and material-wise) in comparison with what I can bring to the studio (even when I show up very prepared). I find the abundance of objects, materials etc., in addition to the solitude, is extremely beneficial for my creativity. I can get into the flow and let my mind wander and discover most fruitfully in this environment.
Additionally, I went to a local art shop and picked up a few random materials that caught my eye and which I considered to be useful for experimenting and creating the images for the project (frosted plexiglass, enlarging sheet for reading, embroidery sheet etc.).
I decided to use simple materials, mostly light and paper, but also things I found around me that felt ‘right’ to use. I tested multiple sets up of objects, lights and shot many previsualization photographs through digital mediums before taking the final shots on Mamiya and Nikon. I switched between the two depending on how close I wanted to get to the object, as I only have a macro lens for Nikon.
SET UP AND PREVISUALISING ON DIGITAL CAMERA
LEAVES AGAINST FROSTED WINDOW – FUJI TESTING
ROOTS – FUJI TESTING
I had to stop shooting quite early as the light went off around 4 o’clock. However, I felt like it was a very productive and inspiring day and looking forward to continuing tomorrow, excited about what might happen!
HOME STUDIO PHOTOSHOOT (22.02.22)
The next day I continued working in the same manner, with the aim to finalise the series of images, with only a few left.
For the Swizzles factory, I settled to use paper. I cut up black and white paper diagonally with a Stanley knife and spent time experimenting with the form, texture and light (using natural light and standard desk lamps), exploring how these would affect it and what kind of images I could create. The final photograph, which I am extremely content with, took about three hours to make. After repeatedly arranging and testing different options, I was still unhappy with the results. I kept on trying, and eventually, when discovering that what I need is a bit more depth in opposition to flatness, I folded the piece of paper at four ends and attached it with blue tack to a frosted surface and stood it up. It was there, and it was exactly what I was looking for! I took the pictures in a couple of minutes once I found the right composition.
SWIZZELS FACTORY FENCE – FUJI TESTING
SILHOUETTE SELF-PORTRAIT – spraying and throwing paper cuttings
For this image, I used black paper and a mounting spray and sprayed the shape of the silhouette and the sign shadow with the spray onto the black paper. In preparation, I cut out some paper in different shapes, and when the mount spray was fresh on a base, I threw the cut-out bits of paper at random onto the base page, then gave them a brush with my hand and whatever was left I saw as a reflection of the original image created by collaboration with chance. I proceeded to experiment with picture frame glass and settled that, since my silhouette is in the original image, it would be ideal if some part of me was also in the recreated image, in this case, a broken up reflection. I took many digital test shoots and proceeded to shoot on analogue cameras.
SILHOUETTE SELF-PORTRAIT – testing variety of materials I used to modify/distort the image
Tracing paper, embroidery sheet, enlarging reading glass, picture frame glass, frosted plexiglass.
SILHOUETTE SELF-PORTRAIT – FUJI TESTING
RESULTS FROM TWO DAYS OF SHOOTING
RESULTS NIKON FM2
CONTACT SHEETS
Out of all these photos, only one of them made it to the final selection, as Mamiya’s shoots were much nicer. However, I would repeat this process every time as
- it gave me peace of mind in case something went wrong with the other film
- allowed me to experiment and shoot in macro as I don’t have a macro lens for Mamiya
- the number of frames in 35mm allowed me to explore more of what I wanted the image to be and then proceed with shooting with medium format
SILHOUETTE SELF PORTRAIT REIMAGINED
RESULTS MAMIYA 645 PRO TL
CONTACT SHEET
FROSTY PLANTS REIMAGINED
FENCE ON SWIZZLES FACTORY REIMAGINED
ROOTS REIMAGINED
CONCLUSION: These few days of home shooting have been an incredibly valuable experience, as it was functioning as an artist in the pandemic. It made me really pay attention to and explore my nearest environment to the extent I could not imagine before. I feel like there are no limits when it comes to imagination and determination. If I want to make something happen, there is no need for fancy expensive materials and even lack of proper light – like sun or studio lights – can not stop me. I love exploring materials, textures, hunting for things I can use at home and in art shops, or anywhere in the outside world, then bring it to my physical and mental space, add, subtract, bend and break till something special emerges. As a wise man once said to me ‘IDEAS ARE FREE’.
VILLAGE GREEN LECTURE WITH RICHARD PAGE 23.0222
Richard started his lecture talking about his favourite subject – landscape, the way we control it/try to control it, figure it out. The landscape is about looking but also about what we don’t see. Richard analyses landscape in terms of history, and he dissects the definition of landscape and asks an interesting question – does it exist without us?
Richard talks about how we control the representation of the landscape through romantic images that are inaccurate and untrue. He thinks that environmental and cataclysmic photography can cause more problems than help. I can definitely see the point Richard is making, and there is, of course, some truth to this, but overall I disagree. I believe it depends on the context in which the images are being used. If they bring attention the issue that otherwise would be overlooked, or even not known about, and what follows is an aid, research etc. to remedy the problem, to mobilise and come together in order to find the solution, I really think that on a scale of the benefit/damage these kinds of images can do, the positives overcast the negatives.
It was a fascinating lecture that made me contemplate how we are constantly manipulating the world around us through the images and reassured the motion of power they hold, the power that can be used for or against us.
TUTORIAL WITH SOPHIE LEE (24.02.22)
During this tutorial, we discussed my progress on the book project, which was going well. At this point, I had a mockup book and another one waiting to be printed once I shot the final images. I had all the photographs printed as posters, ready to be put up on the streets of Manchester and New Mills over the weekend – the only three dry days in the last three months! I have been waiting for it for so long and couldn’t proceed with my book project without it, so I am very excited for this weekend of shooting!
Sophie also mentioned to me the drawing approach that is relevant to the way I photograph called exquisite corpse :
Cadavre exquis is similar to the old parlour game consequences – in which players write in turn on a sheet of paper, fold to conceal what they have written, and pass it on to the next player – but adapted so that parts of the body are drawn instead. It was invented in 1925 in Paris by the surrealists Yves Tanguy, Jacques Prévert, André Breton and Marcel Duchamp. The name ‘cadavre exquis’ was derived from a phrase that resulted when they first played the game, ‘le cadavre exquis boira le vin nouveau’ (‘the exquisite corpse will drink the new wine’).Cadavre exquis as a drawing approach has been used by other artists since the surrealists notably the YBA artists Jake and Dinos Chapman (https://www.tate.org.uk/art/art-terms/c/cadavre-exquis-exquisite-corpse).
As an abstract artist, I was immediately drawn to this method, and it sparked a few ideas already for some collaborative work with other artists that work similarly. I believe that it could be a very productive project that will develop my photography even further.
TAKING IT BACK TO THE STREETS
Between the 25th and 27th of February, we had the first sun (kind of) and dry weather in three months. I had to make some hard decisions and miss a workshop as well as work constantly between shooting (Friday evening, Saturday all day), but I managed to squeeze in a few hours of shooting around Manchester on Friday before starting work, and after recovering from the long day of Saturday, I finished shooting on Sunday in New Mills.
As planned I walked to all the locations where the photographs have been conceived through being inspired by the space and projected through me and my art tools. I returned what I have taken, in ceremony of grattitude and appreciation of this collaboration.
FUJI TESTING SHOOTS AND LOCATIONS
RESULT FROM SHOOTING ANALOGUE NIKON FM2
CONTACT SHEET
CONCLUSION:
TUTORIAL WITH SOPHIE LEE (03.11.2022)
During this tutorial, we discussed the final touches and my progress. I kept on top of everything by planning every day. This approach made me confident that I would finalise the book project by the deadline. I was still considering text and a black page, but after discussing it with Sofie, I decided to keep the pages white and scrap all the text apart from either a blurb or a definition of Perpetuum Mobile. I decided to go with the definition, as I like the idea of perhaps leading the viewer in the direction I took and enticing them to follow the concept. At the same time, I didn’t want to spell it out too much, as despite having a concept for this book that tells a specific story, I also am a big fan of multiple interpretations where the viewer decides what the piece of art is about, hence breathing new life and meaning into it. Ambiguity and individualism all the way. We also discussed the size of photographs, going either direction smaller but still decent size or full bleed. I decided for a bit smaller as I wanted them to be nicely framed and have breathing space on a page. After this tutorial, I made final improvements/changes to my InDesign file and printed another mock-up book. I also experimented with text and title to choose the size, placement and font.
CONCEPTING PLANNING AND RESEARCH FOR THE PROJECT
Through the unit, I worked systematically and always planned my week of work and things that needed to be done by a certain time, giving myself daily and weekly goals and deadlines.
A big part of it was planning the photoshoots to recreate photographs inspired by the street. I printed all the photos that I chose to have in the book, and at the back of each one, I wrote down plans and brainstormed specific ideas on how to go on about each photograph in terms of execution of the recreation.
I found this process very practical and effective. It helped me stay calm, move forward with my work and stay on top of things. Additionally, it gave me creative clarity and stimulated me to think and explore. I will definitely continue utilising this method in the future, as it works for me very well, and I am grateful I discovered how I perform best so early in my photographic endeavours.
To take my artwork inspired by the street back to the street, I decided to learn how to do wheat pasting to fix my photographic work turned into posters onto walls. When it’s not desirable/acceptable to wheatpaste, I chose to use a double-sided tape to temporarily attach art to the walls/bus stops etc.
Wheatpasting Flyers: a How-To (2020)
Streetart wheatpaste tutorial, glue ‘A Paper Monument for the Paperless’ (2020)
HOW TO: Set up your files for Riso printing at Risolve Studio (2018)
My 3 Desert Island Photography Books (2014)
After some consideration, I decided, for now, not to wheatpaste my art. The main reason is that most of the locations are on buildings like a train station, bus stop, hotels, even Arts Council building, and I was worried about getting in trouble. I was motivated to put my reimagined pieces exactly in the place of their creation, and the only way to do it was to tape them with double-sided tape. Where not appropriate, take them down and put them somewhere nearby. Wherever possible, I decided to leave them behind with my name on it printed in a label maker, for a little bit of promotion if anyone likes what they see. Equipped in EVERYTHING, I hit the town to perform my little ceremony.
ME AND POSTERS READY TO GO!
CONCLUSION:
MAKING BOOK
LIBRARY PHOTOGRAPHIC BOOKS RESEARCH
I spent hours in the library, researching photographic books. I compared, paid attention to and made notes of what I like and don’t like about the covers/fonts/size and other details.
PAPER SAMPLES FROM GF SMITH
OTHER PAPER FROM GF SMITH
pictures here
PAPER PRINTS TESTING
TEXT TESTING
I tested different fonts, sizes, and placement of the text before finalising my project.
TESTING GSM, PAPER AND QUALITY AT UNI
After testing the paper and print quality at the university I was not happy with how the images looked, and despite spending hours with technicians and trying everything, they still didn’t look good. I resolved to printing my book at Print Services https://manmetprint.co.uk/
TESTING GSM, PAPER AND QUALITY AT PRINT SERVICES
I liked this paper because it was a bit more creamy than white but with a lower gsm -160 so the photographs were seeing through. I resolved to use white 200 gsm paper and was very happy with the results.
MOCKUP BOOKS 1-3
BOOKBINDING DAY 1 – PRACTICE BOOK
BOOKBINDING DAY 2 – PRACTICE BOOK
PRACTICE BOOK FINALISED
After making practice book I made a list of issues/things I could have done better and applied it to correct them on my final version of the book.
COVER ENGRAVING
In the bookbinding, I learned how to operate an engraving machine and successfully
embed the title on the front of my book cover. I tried two colours – white and yellow and
did a few tests before engraving the imprint. It was very worthwhile to have made a
practice book to see exactly how I would like to change and improve things. Overall, I
was very happy with the first print. After consideration, I wanted the letters a bit lower for
my final book.
FINAL BOOK – 2 DAYS OF BOOKBINDING
END RESULTS
PERPETUUM MOBILE BOOK PROJECT MMU 2022
CONCLUSION: I believe that, in many terms, this is the most I have learned in one unit.
It has been very intense, time-restraining and what I learned from it is to take my
organisation skills to another level. Working under this kind of pressure was not easy,
and I will avoid this kind of stress in my future as a photographer as much as possible.
However, this experience showed me that, even though it’s tough, I can definitely do it. I
gained a range of new skills that I will carry with me forever, and I believe that I have
grown as a photographer. I believe that CP units are so crucial to my development as a
person and an artist and feel very enriched by writing that essay that thoroughly
influenced my work in the book making unit.
SELF-ASSESMENT: https://docs.google.com/document/d/1e05Q9Pn5u9zQYg9-GO0zqNFgrFtQn3uFJCyKOABikoc/edit?usp=sharing
REFLECTIVE JOURNAL OVERVIEW: https://docs.google.com/document/d/1YlcgELfUz5Eysz2jxpE5iMAPK3DhP5pbbpV-CpOoOAg/edit?usp=sharing
EXTRA CIRRICULUM
PORTFOLIO
Throught this unit I worked on printing my darkroom portfolio. I started from sequencing images in order through creating a PDF portfolio, then transferred that into the darkroom practice. I was printing photographs in the darkroom at least once a week, mounting them after with mounting spray at make more store extractor.
OPEN CALLS
Last year I had a think and decided that I am not doing enought to put myself out there, as a onsequence I decided to apply for at least one open call/submission a month. It was a great decision as it really motivated me to be more proactive and push my art forward
DECEMBER
In december I applied for two open calls.
First was called STARTING SPACES and it was one that was directed at analogue experimanetal photography. I have been chosen as one of the finalists and partookj in an online exjohibition featuread at artsteps and @the photosedge instagram
my submission:
I also applied for MIGRATION open call through INDIAN SUMMER, bt unfortunately I was not accepted.
My submission:
In February I applied for an open call at the COMMON pub in Manchester. They only required a digital portfolio. The winner will get £1000 to prepare and exhibit art at the Common.
I also started working on my physical portfolio, going to the darkroom weekly, printing my photographs and mounting them with photographic spray in my portfolio wallet.
REFERENCES
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‘Guide to Photographic Alternative Processes’. B&H Photo Video. (2013). [Online video] https://youtu.be/ckkHW6f3xoI. Available through YouTube. [Accessed 03/02/22].
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‘How to Resize an Image in InDesign’. Michael Bullo. (2020). [Online video] https://youtu.be/5urFe4QclZg. Available through YouTube. [Accessed 14/02/22].
‘HOW TO: Set up your files for Riso printing at Risolve Studio’. Risolve Studio. (2018). [Online video] https://youtu.be/3lqkacVxKcs. Available through YouTube. [Accessed 21/02/22].
‘Laughing Alligator (Juan Downey, 1979)’. Fábio Costa Menezes. (2018). [Online video] https://youtu.be/uylbwsSnllM. Available through YouTube. [Accessed 14/02/22].
‘Make Your Own Developer & Fixer Using Household Items’. brendanbarryphoto. (2020). [Online video] https://youtu.be/pYoWNXmoGoc. Available through YouTube. [Accessed 03/02/22].
‘My 3 Desert Island Photography Books’. The Art of Photography. (2014). [Online video] https://youtu.be/E9-5dubkeWE. Available through YouTube. [Accessed 20/02/22].
‘Streetart wheatpaste tutorial, glue ‘A Paper Monument for the Paperless”. Domenique Himmelsbach de Vries. (2020). [Online video] https://youtu.be/CY8CBudeTdg. Available through YouTube. [Accessed 20/02/22].
‘Sustainable Photography at Home: The Anthotype Printing Process’. Studio Almudena Romero. (2020). [Online video] https://youtu.be/OeDmmsp8lUg. Available through YouTube. [Accessed 04/02/22].
‘Sustainable Photography at Home: The Chlorophyll Printing Process’. Studio Almudena Romero. (2020). [Online video] https://youtu.be/9cdwScNPQDI. Available through YouTube. [Accessed 03/02/22].
‘The Sustainable Darkroom // Talk by Eileen White, Sean Roy Parker and Antonia Beard’. London Alternative Photography Collective. (2020). [Online video] https://youtu.be/pb00oergINM. Available through YouTube. [Accessed 03/02/22].
‘Wheatpasting Flyers: a How-To’. XR America. (2020). [Online video] https://youtu.be/6pkPTdZliZU. Available through YouTube. [Accessed 20/02/22].
‘Why Do My Images Look Fuzzy? | Adobe InDesign’. Design eLearning Tutorials.[Online video] https://youtu.be/N83szMkszXk. Available through YouTube. [Accessed 14/02/22].
Ela Skorska 