Shoot 1 Reflection
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@mariagblack
Shoot 1 Reflection

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âAnything Goesâ - Introduction to 301
Rinko Kawauchi - suggestive, poetic, uses light, images brought together by the running theme of light, light, death, mortality - all captured in one moment
Rinko Kawauchi, Illuminance (photobook), 2011
Wolfgang Tillman - eclectic images on the wall, revolutionary created fashion photography that art critics were interested in, power of where images are placed effects narrative
Wolgang Tillman 2003
Shirana Shahbazi
Good words, 2001, Galerie fĂźr ZeitgenĂśssische Kunst, Leipzig
Christian Patterson - a story about a small town in America about a killing spree - used as a metaphor to explore Amerciain suburban life, never spells out what has happened in the story but each installation is a clue, objects alluded to a physical presence in a gallery space.
Christian Patterson, âRedheaded Peckerwoodâ. Â Installation, 2012.
Vasantha Yogananthan - looking at contemporary Indian society, myths and stories, sets people up as if they were the characters from these stories using contemporary models, explores themes such as class, amazing use of light - bleached out light/colour palette
Vanessa Winship - Documentary photographer, looks at small-town America and the concept of âroad tripâ as well as focusing on the people with portraits.
How do classic forms of photography relate to the contemporary?
Tereza Zelenkova - eclectic work on the wall presented in different ways - a mixture of media such as textiles, although images are contemporary she could be looking at family history due to the way the work is presented like home, there is a âfamily photoâ, uses the absence to allow us to look further into the work
Jerwood/Photoworks Awards 2015 installation views at Jerwood Space, November 2015.
We consider photography as an âexpandedâ media within contemporary arts â one which incorporates time-based, installation, sculpture and social practice.Â
Lorna Simpson - well known for collages of black women in power, subjecting stereotypes previously, sculptural elements, painting
Installation view of âLorna Simpson: Unanswerableâ at Hauser & Wirth in London, 2018.
Felicity Hammond - fresh, sculpture print, echos something we can see in the real world - billboard
Capital Growth | 2015 | Inkjet vinyl print, wood | Installation view
Forensic Architecture - research project often looking at war, conflict, and the hidden truth due to the media, gathering evidence to explore a different point of view, create installations based on research, photography as evidence to portray an argument
Forensic Architecture, The Architectural-Image-Complex, Rafah: Black Friday, 2015
Wangechi Mutu - uses photography, threads, and materials looking at identity and stereotypes and magazine culture
Wangechi Mutu Ngbaka People from the series Bedroom Masks, 2001
Perhaps the Moon will Save Us, 2009
John Stezaker
Lucas Blalock - âbad photoshopâ, poking fun at perfection within photoshop culture.
Dahna Talmor - cuts up negatives then collages them together, constructed negatives
Dafna Talmor-Untitled (NE-040404-1), Untitled (NE-04040404-1)
From images in different locations that include Venezuela, Israel, the US and UK
Seba Kurtis - explores asylum seekers, using eclectic wall presentation
Seba Kurtis, Thicker than Water, 2012
Luke Willis Thompson - shot on a film about a woman who has experienced violence and loss, a still portrait that was a film, could see the projector, introduces an element of time to a portrait, the video gives her life makes it real, melancholy lighting - doesnât reveal the whole identity - shadows create a sense of privacy for her grief
Luke Willis Thompson â Autoportrait, Whitechapel Gallery 2018 Turner prize nominee
Photography can be challenging in its intent whilst relying on an economy of galleries, art fairs, auctions and publications for its survival.
Further Research into Websites for Inspiration
Jessica Kobesissi Commercial Fashion PhotographerÂ
Peter Watkins
Fine Art Photographer
HOW HAS COLLABORATION BEEN EXPLORED AND RESOLVED IN THE CHALLENGES OF THE PROCESS AND THE OUTCOMES OF YOUR WORK?
âInterdisprinly Studiesâ has been a way, for me personally, to explore different techniques for making work outside of the main programme. From initially doing screen prints in our skill swap to creating a book with a group mixed with different students, this module has been extremely insightful for me. Given the brief of making an artifact of Ebrington Street with a group from Painting, Printmaking and Drawing was at first daunting due to not knowing these new people or the street itself. Now looking back in reflection this module has allowed me to build relationships with people outside my programme as well as being to build confidence in my local community.
In the beginning as a group, we struggled to settle on an idea but eventually, we chose to create a book as our artifact which would tell the narrative of Ebrington Street in the past alongside the present, exploring the changes that have occurred and trying to find the reasons why. We chose to represent this narrative by presenting work in the book created by us individually and collaboratively using techniques from both courses to make a vibrant series of work. In order to explore our concepts and the challenges that the community of the street were facing we planned to do research in the way of books and the internet as well as going into the street itself, conducting interview-style conversations to find out what the community really felt which gave us an increased insight into their sense of community. Once we had a basic plan to create our book we began to execute it, individually creating our own work then bringing it up in our meetings to see what the rest of our group thought of our ideas.
Personally, at the beginning of this project, I explored the theme of past and present by creating photograms and scans using old archived photographs with my own photographs of the street, incorporating elements from the street now such as badges from old uniforms from Goulds. I chose to do this as I found it met the concept of past and present whilst also allowing me to understand the street's history more and the occupants of the street now. As time went on I began to create more work however it became more experimental with me making collages of the street using objects that we had collected to layer in which made the overall image more personal to Ebrington Street and their community. Â Once we had all created all collaborative and individual work we collaborated together to plan what would go where in the book, which had luckily been made prior by a member of PDP. Â
Initially, the relationship throughout our group was poor with little to no communication before our formative assessments, however after this over time our relationship with one another has developed not only in means of communication but also has flourished creatively and experimentally in our joint work. This allowed us to work cohesively when enduring the process of putting the book together. Â Furthermore, our relationship as a group was essential for this project as it allowed us to work together when creating artifacts to put into our book. This collaborative work allowed us to bounce off each other creativity leading to more experimental outcomes. A few key examples of this are, firstly, making paper from scratch together in a small group which allowed us to use objects that we had gathered from the street in the paper, therefore, representing the street and making this book more personal to their community. Taking part in this experience allowed me personally to learn a new skill but also opened my eyes to how other students work in different ways to make other beautiful outcomes which lead to my work branching out in ways it hadnât before. Although we had worked together as a group in this activity, led by Emma, I wanted to create another piece of work that would be used to reflect our communication of this group. For this, I used one of my photographs then layered a drawing on top, from Paul in PDP, which to me ultimately represented our collaboration with one another.
Alongside working together we also began to build a relationship with members of the streets by actively engaging with them, allowing us to expand our ideas and work to understand their community better. Initially, a few members and I faced challenges in actually talking to the occupants of the street due to this being something outside of our comfort zone. However, we went back through the street gathering artifacts from shops, such as Hangry and Hand in Hand, talking to a few of them to gather information around our narrative. To expand this information further a few of our group did a more interview style conversation with one of the oldest shops in the street, Goulds. This activity was one completely out of my comfort zone but with the support of other group members, I was able to speak up and ask questions that personally interested me which allowed me to feel closer to this community.
Overall, once all of the work had been brought together we had this brilliant document of what we had discovered about Ebrington Street, comparing the past to the present and exploring their community in general and how it had changed just as much as the buildings had done. Personally, I find the making of our book and the exhibition had its ups and downs but when looking back I am pleased with the outcome we have created.
In conclusion, as the module has run its course the way that I look at my personal practice has changed with me opening my eyes to new, experimental ideas. Leading to me learning that photography is more than just taking photographs and in order to get a truly creative outcome you must step out of the comfort zone and reach out to collaborate with others every so often.

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FINAL OUTCOME
EVALUATION
When looking back over my work I can see how my ideas have developed over time from my initial project proposal to my final work for the exhibition. At first, I wanted to do a surveillance of the city which I have carried through to the end however the concept behind my project evolved into exploring the theory behind street photography such as voyeurism and looking at The Arcades Project which expanded my knowledge of the flaneur. Â Alongside this, I undertook research into famous street photographers such as Brassai and Sophie Calle who influenced the meaning and narrative that my work created. I found that researching into photographers who took the idea of street photography differently expanded how I viewed my city around me, with all of them being flaneurs in their own right but taking it differently.
Throughout my research, I began to get curious about the flaneur and the concept of being one revolved around being a man - which is something I am not. I then decided that this was something I wanted to challenge in my work, creating a surveillance of the city whilst also documenting my journey of what being a flaneur means to me. As my interest in this concept began to grow I researched if such a thing as a female flaneur existed and to my luck it did, a flaneuse. Although not defined by Google explicitly, this term has popped up straight away in a news article exploring how females were claiming back their streets. This definition then became something my work revolved around, an exploration of the flaneuse if you will.
I depicted this concept through my work by shooting my final work with a Pentax 1000 and ISO 400 black and white film. I find that the combination of old school film contrasted next to a modern concept such as the flaneuse links into the juxtaposition in the streets that I spoke about in my initial proposal. The images I captured throughout my project have been of various walks I have taken throughout the city taking photographs of mostly reflections as they create complexly layered photographs but also of objects/subjects that to me would create an enigma in the narrative for the audience to read more into my journey, hopefully sparking a further interest into my work.
When looking back over the photographs that I have taken it is clear to see the improvement from my first under unexposed contact sheet to the contact sheet that was completely overexposed to my final shoot that presented my ability to understand the Pentax 1000 finally. Although I have a better technical understanding of how to use 35mm camera I plan to expand my skills/techniques further in 2nd year.
For my final images, I choose to use the most successful photographs from my previous shoot that I had also refined. When printing out my photographs I chose to print them at 6 by 4 as I found that it linked together with the idea of scrapbooking as well as the novelty of using film prints. When sticking up my images and poem I choose to use masking tape and small pins as alongside the book they worked well together, making the concept of my workflow well due to them both containing tape with a scrapbook style. I think that as a collective of work when up on the wall explains and explores the concept of the flanuese really well, telling a story and a narrative which is something I wanted to achieve with this exhibition. Although I am pleased with how my work has turned out I think a bit more fine tuning with the printing of the poem could have gone a long way by having it printed on something stronger.Â
Overall, I think that this project has allowed me to really experiment with the way I look at photography. With me gathering brand new insights into using software such as illustrators, using the Hasselblad scanners to scan in my negatives as well as learning how to develop and shot 35mm film. For me this project has opened my eyes to how I view my city and photography itself, broadening my ideas and skills.
EXHIBTION SET UP + FINAL IMAGES
PLAN FORÂ EXHIBITION
PLANING FOR FINALÂ EXHIBITION
For my final exhibition for this project, I plan to place two of my images next to the poem that I have written and the definition I wrote for the female flaneur as I think it will allow a narrative to begin to emerge in my work, giving the audience a sense of enigma to what the âfemale flaneurâ is. To push this narrative further I want to make a book of my photographs with the flowers pressed into the page to represent the journey of me, the female flaneur, wandering through the streets. In this book, I want to print photographs in the darkroom from my contact sheets which not only expands my skills but also makes the project more raw and personal aswell as using a film camera. I plan for the book to be a few pages as I want it to be short and sweet enough that my audience doesnât get bored. I will present just below my final images with my âexhibtion textâ presented on the first page, explaining the images above as well as the narrative that runs from the images into the book. This book is meant to assist the narrative of my work but also stand as a journal/ document of my journeys around Plymouth - linking into how this project is personal to me.

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FAVOURITE DIGITAL PHOTOGRAPHS
After I had scanned in my contact sheet I went through and selected a few of my favorite images. Once I had done this I selected my favorites out of the strip/contact sheet of photographs and cropped the strip down to just that image. After this, I altered the brightness slightly depending on the exposure of the photograph then increased the contrast to bring out further detail and add more depth into the photograph. To enhance them further I also lowered the offset slightly which brought out the darker tones in my photographs making them appear more bold and striking. When editing them I didn't want to change them that much as I wanted them to be as original as possible because I feel that this links into the originality of film and not being able to see what you've taken until you've developed it.
POEMS + WRITING
Once I had began my writing/poetry part of my project I look through the internet at poems in subjects revolving around females as I thought that it would enlighten my ideas and help further. However, the poems I came across although well written were long and dragged out which is not an aspect that I wanted for my poem piece. I finally came across a poetry book, âthe sun and her flowersâ by Rupi Kaur, which for the most part had simple, short poems, which for the most part was the main aspect I was looking for to inspire me for my own poems. Alongside this, the poems were direct to the point that Kaur was trying to make, again something that I wanted to do.
After I had flicked through the book and read a handful of poems I sat down to try and create my own. At first, I struggled, with anything I wrote lacking rhythm and the ability to capture a person mind. Eventually, after thinking, a bit more reading and typing up then deleting ideas I began to write a poem that had rhythm due to its rhyme. I then managed to put together a poem, that to me represented the work that I had created with it also linking into my research.Â
When deconstructing the poem it is about how in today's day and age all women seem to be standing up together which is indicated by the âarmy of womenâ. Moving onto ânot just aligned togetherâ, having links into how soldiers stand but that the women marching through the streets they will not just be perfectly aligned but each a completely different individual. Which leads into âcombined of creative soulsâ, showing that this âarmyâ is one of the creatives moving forward to battle the unknown stigma of the term planner being mostly male. The idea of the flaneur is then referenced again with the women strolling through the streets. Finally, the end of the poem sums up how we as women are beginning to step out into the streets to claim something that was always ours aswell as the males.
Alongside a poem, I also have chosen to create a piece of work for my definition of the female flaneur as I think it is important to display with my other work for it to make more sense.
To type up my poem and create a background I used Illustrator. This was a new tool for me to edit and create work so I kept it simple by just doing text and creating flower graphics. I chose to use flowers for the backgrounds as it links not only to the âwallflowerâ in the poem itself but they also link into how I have collected flowers on my most recent walk when taking photographs.
Overall, I think that the poem although simple is a good addition to the photographs that I have created, with it being there as a part of art as itself as well as supporting my ideas for the project.Â
INSPIRATIONS:
FILM CONTACT NO.2 CONTINUED
FILM CONTACT SHEET NO.2
Moving forward from my last failed contact sheet I took out to the streets once again to capture more photographs, hopefully of a higher quality due to me now understanding the camera more. Â When shooting this contact sheet I used the Pentax 1000 with ISO 400 film like my first contact sheet but this time with my deeper understanding of the camera I have correctly exposed my images, for the most part, allowing me to have better photographs overall. I found that the final walk/contact sheet that I have taken in my project has allowed me to show a greater sense of understanding of 35mm film photography, with the overall quality of my photographs improving greatly, using the correct ISO and shutter speed. When taking this contact sheet I wanted to create photographs that held more meaning to them, to do this I tried to focus on the subject of my images holding a sense of enigma in them, for example, a shut door allows the audience to imagine what is behind it. As well as altering what I took my photographs of when on the walk I collected flowers from the different locations that I went to which I plan to use in another aspect of my project. Overall, I am happy with how this contact sheet has turned out as it represents ideas from my research as well as portraying my idea of surveillance of the city from the viewpoint of the female flaneur.
HAND SCAN
As well as making collages I wanted to see if I could represent a sense of collaboration in another way. To do this I have made two images of my scanned in hand combined with the tattoo sketches that we gathered from the tattoo parlor. I chose to do a piece that involved a hand because first of all, the parlor is called âHand in Handâ which represents the collaboration of our group and a company on the street. This collaboration is then reinforced further by a hand symbolising a human connection then layered next to the tattoo sketches suggest that this connection is with one of the shop owners on the street. To create these two images with layering them on top of one another then using linear burn and colour burn to merge them into one another so that they became one. I find that this is a good way to show collaboration with my work and the street with it being aesthetically pleasing also. However, I think compared to the other pieces of work that I have produced that this is less successful than other collages that I have made previously. I think that if I spent more time on this piece of work I would have firstly refined the hand scans and possibly made it more collage-like.

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FAILED FILM CONTACT SHEET
Unfortunately, when trying to take another contact sheet of my surveillance of the city I forgot to change the ISO on the camera dial down to 400 which is the ISO of my film. Due to this a lot of the film was lost as it was overexposed, although there were a few images that were correctly exposed which you can see below. From this experience, I have learned to double check the settings on the camera to ensure the images come out well, although this was a stressful situation I think it was a valuable lesson for me to carry on with my photo taking with the Pentax k1000.
Moving Foward...
After this experience, I plan to go out for a walk again to take another contact sheet of photographs but this time be more successful so I will be able to use them in my exhibition as well as furthering my learning.
EXPERIMENTING WITH LAYERS
After doing experimental collage work in Photoshop I wanted to explore how I could make a collaborative image for the street or one company. To do this I chose to focus on Hangry as I had previously done no work on the shop and I was interested in using the vibrant colours of the shop in my work. As well as making a collage I wanted to explore the concept of past and present too, I did this in the first image by including an image of the coffee shop that was there before and then in the second image I screenshotted the twitter feed of the burger place that was there before the coffee shop. To layer these two aspects over my own photographs of hangry I used the colour burn filter which blended the two together which I am pleased with as it to me shows how past and present are connected. To push the images further I included menus that we collected when going into shops on the street previously. I find that layering in the menus shows how we have communicated with the people in the street as well as trying to represent what Hangry is all about. Overall, I am pleased with how these images have turned out as they represent collaboration but are also vibrant and eye-catching which will work well in the final book.
The coffee shop before Hangry:
Moving Foward... Although I am extremely pleased with how my collage work has been turning out I want to see if I can push this idea further by including a little bit of scanner art into my work. To do this I think that I am going to focus on Hand in Hand which will allow me to use hand scanner art.