exhibition - out of the crate
Manchester Art Gallery
Out of the Crate delves into the un-tapped history of the collection. This is an opportunity to investigate sculpture through access to stored collections and archival material. At the gallery they had about 400 sculptures from antiquity to the present day and, until recently, less than 5% were on display. As well as modern and contemporary works, there are 19th-century sculptures and works from earlier periods that have rarely been seen this century and are under-researched. On display are a large range of materials including marble, bronze, wood, glass, ceramic and paper, a variety of sizes and shapes and different techniques of making
strand one
This project based upon the word, ephemera, is all explored on the premise of things being or becoming short-lived. I am unaware of the direct path that this project will embark on , however I have a three main ideas of which include objects serving a purpose becoming short-lived, the exploration of the detail of transitory moments in time and finally possessions of importance throughout time.
Stacy Greene
The Lipstick photographs are a series of 20” x 24” colour close-ups of used lipsticks, with each print titled with the name of the lipstick’s owner. They are distinguished by their unique variations in form and texture arising from the owners’ individual techniques of application. The everyday, factory, ‘ready-made’ product developed into a uniquely strange and subconscious image – a sculpture growing from a private daily habit taken for granted. A personal object/process that reveals, through colours and shapes, a relationship of imprint at the periphery of the body. Greene states that "The genesis of the project came after walking out of the Whitney Biennial with a friend of mine in New York City. Rosie, dropped her lipstick, so I pickup it up and unscrewed it for her. The shape was incredible. Rosie’s lipstick excited me more than anything I had seen at the Whitney and sparked this photographic work." I wanted to use Stacy Greene as inspiration as within the textbook definition of ephemera relates to things being short-lived, only existing for small moments. Which strongly connotes with used up old lip stick. The twist I love about this project is the differentiation between the lipsticks, the way you can tell they all had different owners.
The Lipstick photographs are a series of 20” x 24” colour close-ups of used lipsticks, with each print titled with the name of the lipstick’s owner. They are distinguished by their unique variations in form and texture arising from the owners’ individual techniques of application. The everyday, factory, ‘ready-made’ product developed into a uniquely strange and subconscious image – a sculpture growing from a private daily habit taken for granted. A personal object/process that reveals, through colours and shapes, a relationship of imprint at the periphery of the body. Greene states that "The genesis of the project came after walking out of the Whitney Biennial with a friend of mine in New York City. Rosie, dropped her lipstick, so I pickup it up and unscrewed it for her. The shape was incredible. Rosie’s lipstick excited me more than anything I had seen at the Whitney and sparked this photographic work." I wanted to use Stacy Greene as inspiration as within the textbook definition of ephemera relates to things being short-lived, only existing for small moments. Which strongly connotes with used up old lip stick. The twist I love about this project is the differentiation between the lipsticks, the way you can tell they all had different owners.
my response
For this strand I photographed a relatives old lipstick which she had not parted with for wide lengths of time and positioned them in a plain light background, similar of the one Stacy Greene uses, and photographed them at different angles.
My best edits - single shots
Once I took the photographs I edited their 'levels' in order to make any careful details of texture and proof of age become visible. This has shown to prove advantageous as I like how at certain angles you are able to see the scope and texture of the destruction of the lipstick in more details The use of the pale simple background also helps to elicit more concentration and attention at the details in the lipsticks from the audience well. However I wish my photographs were more close-up as Greene's were in her images. This would allow more closer examination of visible signs of ageing to become present.
strand two
Julian Germain
Julian Germain was born in London in 1962 and studied at Trent Polytechnic, Nottingham and the Royal College of Art, London. As a photographer, Germain was fascinated by documentation of diverse social groups and in the notion of the amateur. His work has an anthropological element since he frequently uses vernacular pictures that he has gathered from archives, catalogues, and family albums. It can also be said that his work reflect on photography’s place in society as well as record the passage of time. Through exploring the descent of old objects across 4 living generations, Germain's images reflect on time itself, the past, present, and future. The life cycle, the ageing process, human biology, and personality traits are all topics of continuous discussion. After viewing his work the audience is to encounter fundamental questions that relate to us all; life, death, time and the effects of time.
Germain's work relates to my word ephemera due to the objects that we both have photographed to have showed physical signs of wear and age.
Julian Germain was born in London in 1962 and studied at Trent Polytechnic, Nottingham and the Royal College of Art, London. As a photographer, Germain was fascinated by documentation of diverse social groups and in the notion of the amateur. His work has an anthropological element since he frequently uses vernacular pictures that he has gathered from archives, catalogues, and family albums. It can also be said that his work reflect on photography’s place in society as well as record the passage of time. Through exploring the descent of old objects across 4 living generations, Germain's images reflect on time itself, the past, present, and future. The life cycle, the ageing process, human biology, and personality traits are all topics of continuous discussion. After viewing his work the audience is to encounter fundamental questions that relate to us all; life, death, time and the effects of time.
Germain's work relates to my word ephemera due to the objects that we both have photographed to have showed physical signs of wear and age.
For this strand I wanted to photograph objects that had stood the test of time and held sentimental value to my granny. So I visited to her house and photographed objects which both held sentimental value and had managed to retain their place through many years.
collage
The first thing I did was a small collage of these little circular pots of which dated back to being owned by her mother, I admired how they all shared a shelf in her living room still managing to remain together for over 60 years.
overall collection
The rest of the photographs are below here.
edited images
I selected my favourite two and edited them by increasing the 'levels' tool on photoshop in order to accentuate the colours of the objects. I admire that by adding a higher contrast in the colours I believe it exposed the visual signs of old age, as in the fading elements and general tear of the objects thus enforcing the idea that these objects had lived through long spreads of time.
Strand three
Dougie Wallace
Scottish photographer Dougie Wallace, who lives and works in London, is well-known around the world for his extensive social documentary work and his unique direct approach to emotive street photography. His artistic decisions are influenced by societal trends and oddities. To express a clear point of view, he turns what he sees through the lens into wit, critique, and hilarious anecdotes. His Glasgow upbringing, which influenced what is frequently called his "visually exaggerated" and "hard-edged" style, is what he credits for shaping his distinctive vision.
Wallace says, "What motivates my pictures is human behaviour. People’s interactions and emotions fascinate me. My stories are thematic. They have similarities of expressions running through them. My work is informed by societies’ trends and incongruities and translating what I see through the lens into wit, criticism and humorous vignettes. I’d like to think that my photos convey a point of view that believable and absurd." I believe his quote directly relates to a future path of development I am keen to explore, the capturing of people's emotions and expressions frozen in time completely.
Wallace says, "What motivates my pictures is human behaviour. People’s interactions and emotions fascinate me. My stories are thematic. They have similarities of expressions running through them. My work is informed by societies’ trends and incongruities and translating what I see through the lens into wit, criticism and humorous vignettes. I’d like to think that my photos convey a point of view that believable and absurd." I believe his quote directly relates to a future path of development I am keen to explore, the capturing of people's emotions and expressions frozen in time completely.
For this next strand I was interested in exploring 'transitory moments in time' aspect of the word ephemera. By using the inspiration from Dougie Wallace I photographed my friends at lunch time having a chat in completely normal circumstance's. I used a fast shutter speed to ensure no blurry movement and to best capture their expressions.
my response
I complied my favourite selection of moments into a collage, thus putting on display simple things that were short-lived therefore captured in time.
I enjoy the range of expressions and movement presented in the images as their is a narrative being set up which I believe will draw viewers into it by making them more curious to investigate said narrative and attempt to detangle what the context of the image is. However when I was editing the levels of the image It also heightened the intensity of the wall colour which upsets the toning of the image for me. As well as this, some of the light and dark elements of the image are too extreme due to the high shutter speed.
development one
I chose strand three, images of transitory moments captured in time inspired by Dougie Wallace, because not only do I think it has more potential pathways for development but I also think reflects the meaning behind ephemera in a really interesting and dynamic way in which I am keen to explore in greater detail.
So for this first development I focused on the work of Corrine Day in this particular shoot she did involving Kate Moss.
So for this first development I focused on the work of Corrine Day in this particular shoot she did involving Kate Moss.
Corrine Day
Corrine Day held a massive influence on the fashion industry when photographing Kate Moss in her apartment. Day was her unashamedly bold and daring ideas, as well as her distinct stylish approach which certainly widened the genre for future photographers, designers and stylists. Day’s photographs are exciting, unconventional and sometimes a little disconcerting, totally changing the way we view fashion photography today. You will find yourself thinking about her photographs long after you’ve been looking at them. However, I am taking inspiration from Day not because of her intentions but because of her style in the photograph below. In the collage Day manages to capture Kate Moss exhibiting a wide range of emotions and expressions thus entrapping them in time forever. I love the use of the collage and how it displays the multiple variations of Moss's face throughout their conversation, so you can compare and contrast thus expanding a simple moment into small fractions of time.
For this development I set up the camera for a fast shutter speed in order to garantee all movement is captured in the photo, and due to the issues with lighting in my third strand in order to not repeat that mistake I made sure that the backdrop was nicely Lit. This would fill in for the short bursts of light let into the camera during the slow shutter speed. I tested it on myself first so that if the shutter speed needed altering I would know immediately instead of wasting a whole shoot with someone else.
I wanted to capture 'a transitory moment in time', before it was gone. In order for my intentions to be best fulfilled I wanted the moment to have dynamic emotions and facial expressions. To ensure this I asked for each model to tell their most embarrassing story hoping to elicit dramatic facila expressions from them. (except for myself, one of my friends asked me questions).
I wanted to capture 'a transitory moment in time', before it was gone. In order for my intentions to be best fulfilled I wanted the moment to have dynamic emotions and facial expressions. To ensure this I asked for each model to tell their most embarrassing story hoping to elicit dramatic facila expressions from them. (except for myself, one of my friends asked me questions).
final edits
After photographing them mid discussion I selected the most expressive 9 moments of which were then complied into a collage like it was done in Corrine Days image. I really like the effect of the collage style as you are able to see a wide range of emotive photos which consequently causes for the viewer to be more engaged.
Bella's collage
Jasper's collage
Eva's collage
My collage
Charisse's collage
development 2
For this second development I wanted to remain with the exploration of emotions of multiple moments of a scene in time. In order to fulfil that intention further was to overlap images from the previous development. Almost to say I was extending the moment further so the viewer is able to look at it in more detail. As well as this I thought it was an interesting idea to investigate moments leading up to an idea and the consequences of that action.
In order to do this I selected three images for each model and layered them in photoshop. Once they were layered I lowered the visibility of the image so they would appear slightly faded, which therefore will make it possible for all the layers to become visible.
In order to do this I selected three images for each model and layered them in photoshop. Once they were layered I lowered the visibility of the image so they would appear slightly faded, which therefore will make it possible for all the layers to become visible.
I enjoy the confusion which greets the eye at first when you try to decipher which images are the individual separate images. There is also a lack of blurriness on the images which means each frame is clear and defined making up for a clean shot each time. However, the white background although acts as an good backdrop in isolating the figures clearly for the audience to see, washed the models and the different layers out. So for the next development I wanted to explore using a darker background in order to investigate the effect of a darker tone on the different layers of the image combined.
Development 3
For this next development I wanted to explore looking at multiple exposure, as I did in the previous development, but using a dark background to see if any visual difference was made. Another thing I changed from the last development is that this shoot was done manually instead of digitally on photoshop. I took another collection of photos in which the models head followed through the actions of a single movement every second. Whereas in the previous development I was combining emotive scenes of a moment unrelated to each other.
Gjon Mili
Gjon Mili was a pioneer in the use of stroboscopic equipment to record a series of events in a single shot, working with Harold Eugene Edgerton of MIT. Gjon Mili, an engineer by training and a self-taught photographer, was one of the pioneers of using electronic flash and stroboscopic light to take pictures that were more than just of scientific interest. Many of his pictures showed the intricate flow of movement that was too fast or complicated for the human eye to see. He worked as Edward Weston's assistant in the middle of the 1940s.
When some of his work was colourised for a recent magazine, Sanna Dullaway colourised it to make it appear as if it had been taken in the present day, Mili’s images were a new challenge for the artist. She said “It was something new,” used to colorising photographs that captured only one moment, with Mili’s photographs she had to deal with several moments contained within one frame. “The longer I looked at the stroboscope photographs the more intricate details I discovered,” she says. Why I am using the inspiration from Mili's work is due to by separating a moment into a series of overlapping frames, you are then prolonging the short-lived experience of said moment. Thus reviewing all the intricate details you may have previously missed, making that moment emphemeral. This made me very keen to apply the same effect manually by camera for this developemnt whilst also using the dark background manipulated by Mili.
Gjon Mili was a pioneer in the use of stroboscopic equipment to record a series of events in a single shot, working with Harold Eugene Edgerton of MIT. Gjon Mili, an engineer by training and a self-taught photographer, was one of the pioneers of using electronic flash and stroboscopic light to take pictures that were more than just of scientific interest. Many of his pictures showed the intricate flow of movement that was too fast or complicated for the human eye to see. He worked as Edward Weston's assistant in the middle of the 1940s.
When some of his work was colourised for a recent magazine, Sanna Dullaway colourised it to make it appear as if it had been taken in the present day, Mili’s images were a new challenge for the artist. She said “It was something new,” used to colorising photographs that captured only one moment, with Mili’s photographs she had to deal with several moments contained within one frame. “The longer I looked at the stroboscope photographs the more intricate details I discovered,” she says. Why I am using the inspiration from Mili's work is due to by separating a moment into a series of overlapping frames, you are then prolonging the short-lived experience of said moment. Thus reviewing all the intricate details you may have previously missed, making that moment emphemeral. This made me very keen to apply the same effect manually by camera for this developemnt whilst also using the dark background manipulated by Mili.
photos taken
edits
I enjoy the subtle effect the layering creates. As if you would've missed the crucial detailing if it wasn't photographed thus prolonging the moment. I believe it adds to my intentions as it proves a moment can be easily disregarded as in the past if not broken down through the use of double exposure. I also like how the light is placed directly facing the model as to draw more attention to the details in the face. However, most of the shoot I experimented with the light being placed to bring focus to all sides of the face which proved to be a slight waste of time as I only have the photos at the end to experiment with as they had a nicer effect with the concentrated lighting.
development four
As in the previous development, as I enjoyed the slight eerie ness of the images once compiled together with the help of the dark backdrop, I was reminded of work done by Francesca Woodmen of whom uses blurred moments in dark tones in order to create quite surreal scenarios. As well as this I wanted to move away from previous experiments I had done with double exposure in previous projects. So the idea of blurring together a prolonged series of movements of a moment intrigued me.
Francesca Woodmen
Woodman's intentions were to create surreal or claustrophobic scenarios. The movement captured is intentional, with it Woodman wanted to show you what you do not see, the body’s inner force. She did this by photographing blurred movement, she would often tend to blur out parts of her upper body like her head while another part was kept steady and not moving. She wanted to enforce the distortion of the image as she often places herself in this way.
Francesca Woodman has used long exposure in the camera to support her intentions of capturing movement in this piece of work which I decided to incorporate into my own development. It results in creating an atmospheric sense of melancholic isolation and stillness.
Woodman's intentions were to create surreal or claustrophobic scenarios. The movement captured is intentional, with it Woodman wanted to show you what you do not see, the body’s inner force. She did this by photographing blurred movement, she would often tend to blur out parts of her upper body like her head while another part was kept steady and not moving. She wanted to enforce the distortion of the image as she often places herself in this way.
Francesca Woodman has used long exposure in the camera to support her intentions of capturing movement in this piece of work which I decided to incorporate into my own development. It results in creating an atmospheric sense of melancholic isolation and stillness.
photos taken
edits
I like that when shooting I directed the model to move her head in a steady slow movement instead of very swiftly as it creates this detailed unique blur. Woodman's technique of using slow shutter speed to create surreal movement is mirrored successfully here with as there is a defined blur. As well as this the black background really helps to highlight the intentional blur of the image as the colours are heightened significantly. As well as this, I used 'levels' in photoshop to darken the background in helping to isolate the model so full attention is directed to her. However, in order to make this shoot more interesting is that I could've used a wider variety of movements such as full body shots as well as other close ups (hands or legs). As in the Photos the model is only seen moving her head.
development five
For this next development, I wanted to incorporate the blur in my previous development, however instead of the model being blurred I wanted to experiment with the background being a series of blurred movement.
In order to execute this properly I practised with using slow shutter speed in the studio before going to my selected location. To take the photos I went to Kings cross and set up my position with the model on the bridge and me opposite with my tripod. I brought a tripod to ensure that the model remained still in the photograph whilst the world around became a her background of blur.
In order to execute this properly I practised with using slow shutter speed in the studio before going to my selected location. To take the photos I went to Kings cross and set up my position with the model on the bridge and me opposite with my tripod. I brought a tripod to ensure that the model remained still in the photograph whilst the world around became a her background of blur.
Alexey Titarenko
Alexey Viktorovich Titarenko born November 25, 1962 is a Soviet Union-born American photographer and artist. He lives and works in New York City. influenced by the Russian avant-garde works of Kazimir Malevich, Alexander Rodchenko and the Dada art movement (from the early 20th century), his series of collages, photomontages and images created by superposing several negatives, 'Nomenklatura of Signs' is a commentary on the Communist regime as an oppressive system that converts citizens into mere signs. He created various photo series portraying the suffering faced by common people living on the territory of the Soviet Union both during and after its collapse. He used long exposure and purposeful camera movement in street photography to build metaphors that showed connections between the present and the past. His use of lengthy exposure is reportedly his most significant innovation.
He was also Influenced by the Russian avant-garde works of Kazimir Malevich, Alexander Rodchenko and the Dada art movement (from the early 20th century), his series of collages, photomontages and images created by superposing several negatives, 'Nomenklatura of Signs' proves to be a commentary on the Communist regime as an oppressive system.
An element of his work that I will be taking inspiration from is his use of long exposure in order to convey a sense time always being on the move, he once said "given that what we see is already in the past, the fractions of seconds that we spend on taking in what we have seen deprive us of the reality of the present." And so with help from his use of long exposure, which I will use by doing slow shutter speed, I am going to incorporate his technique as well as the idea of even further elongating transitory moments of which we have missed as "they are now in the past".
Alexey Viktorovich Titarenko born November 25, 1962 is a Soviet Union-born American photographer and artist. He lives and works in New York City. influenced by the Russian avant-garde works of Kazimir Malevich, Alexander Rodchenko and the Dada art movement (from the early 20th century), his series of collages, photomontages and images created by superposing several negatives, 'Nomenklatura of Signs' is a commentary on the Communist regime as an oppressive system that converts citizens into mere signs. He created various photo series portraying the suffering faced by common people living on the territory of the Soviet Union both during and after its collapse. He used long exposure and purposeful camera movement in street photography to build metaphors that showed connections between the present and the past. His use of lengthy exposure is reportedly his most significant innovation.
He was also Influenced by the Russian avant-garde works of Kazimir Malevich, Alexander Rodchenko and the Dada art movement (from the early 20th century), his series of collages, photomontages and images created by superposing several negatives, 'Nomenklatura of Signs' proves to be a commentary on the Communist regime as an oppressive system.
An element of his work that I will be taking inspiration from is his use of long exposure in order to convey a sense time always being on the move, he once said "given that what we see is already in the past, the fractions of seconds that we spend on taking in what we have seen deprive us of the reality of the present." And so with help from his use of long exposure, which I will use by doing slow shutter speed, I am going to incorporate his technique as well as the idea of even further elongating transitory moments of which we have missed as "they are now in the past".
Photos taken
After photographing in Kings cross, I selected the photographs with the best blurred movement in the background. For some of the photos I edited in some extra background material from photos from the shoot that i had not used. This ensured that there would be a visible difference from the presentation of the model and the background.
As well as this I followed suit in Titarenko's style of black and white tone, of which I then edited the 'levels' to give it a higher contrast tone thus making the blur more visible.
As well as this I followed suit in Titarenko's style of black and white tone, of which I then edited the 'levels' to give it a higher contrast tone thus making the blur more visible.
edits
I like how through the use of adding more to the blurred background on photoshop there is a clear vision of chaos entrapped in time of the image. It follows on my intentions clearly of using the style of Titarenko to capture the short-lived chaos of a moment whilst the model appears to be unaffected. I think this is an interesting reflection on everyday life, as you only see your own perspective as an individual however the world around you is constantly moving and changing. This photograph at the end successfully catches a fleeting moment trapped in the chaos of time.
However, for the amount of time I was there I only managed to photograph four moments of which I thought were a direct representation of my intentions. So for my next development I want to photograph in a more controlled environment in order to see if I can produce more successfully captured moments.
However, for the amount of time I was there I only managed to photograph four moments of which I thought were a direct representation of my intentions. So for my next development I want to photograph in a more controlled environment in order to see if I can produce more successfully captured moments.
development 6
For this development I am continuing with the inspiration of Alexey Titarenko's work but in a more controlled environment in order to investigate whether that produces more dynamic photos.
For this shoot I remained with using the technique of slow shutter speed in order to accentuate the movement in the background. I took the photos at a friends house of whom I asked to model in the background along with 2 others. This way i could properly direct them to cover more areas so thus more blur and wider movement would be produced.
For this shoot I remained with using the technique of slow shutter speed in order to accentuate the movement in the background. I took the photos at a friends house of whom I asked to model in the background along with 2 others. This way i could properly direct them to cover more areas so thus more blur and wider movement would be produced.
photos taken
Edits
In these photos there is blurred movement but after experimenting with this idea of more efficient productive shooting, I have come to the conclusion that controlling elements of the photo leave no room for the chaos we saw in previous shoots to take place as the environment is already too controlled. I tried to substitute for the photograph lacking the dynamic relationships of the previous development by altering the 'levels' in order to see if I could make the intensity of the image more dramatic by having a higher contrast. This proved to have some effect but not as powerful as I wanted so I will continue this particular idea once more.
development 7
For my next development I am going to re attempt another shoot of long shutter speed images inspired by Alexey Titarenko as my previous ones did not live up to my expectations and I do not want to stop investigating where this idea could take me once properly executed.
For this shoot I took my model to China Town with my tripod and shot her standing very still in simple positions for about 15-20 seconds. I wanted to take a longer shoot of images of her in the same position but the background behind her constantly moving for another possible future development inspired by Romain Laurent.
For this shoot I took my model to China Town with my tripod and shot her standing very still in simple positions for about 15-20 seconds. I wanted to take a longer shoot of images of her in the same position but the background behind her constantly moving for another possible future development inspired by Romain Laurent.
photos taken
edits
Below for each photo I have edited is a slideshow of the photograph in colour and it in black and white. I wanted to continue with Titarenko's style of black and white but also include the coloured images as they prove to look better for some of the images below.
The last one right above is my favourite of the shoot as it perfectly embodies my intentions. Capturing and isolating the model staring straight at the camera to convey that she is lost in her own thoughts, and too clouded to acknowledge that constant complex blur that is life moving around us. This blur of a moment, now frozen in time, paints a dynamic photograph that reflects how much detail is easily missed and ignored. The use of the slow shutter speed is the key piece in conveying those exact intentions. However, even though I am very proud of this shoot in some pf the photographs the intensity of the light proves to become out of balance due to the fact the lens of the camera remained open for just a little too long as it was trying to trap as much movement as possible. In future I will not explore this particular development anymore as I am satisfied with the results however I would alter the ISO slightly more and be careful about how much light is let in.
development 8
Romain Laurent
When creating his infamous gifs, he films a scene and then in post-production he then isolates the part he wants to be remain still, and masks the part that he wants to keep moving. He tries to shoot the action in-camera as much as possible, even when he combines images, like the man with the bobbing balloon head. He said “The most exciting thing for me is to go and get the shot, whatever that may be,” he says. “Finding the right location, the right light, getting the angle, sweating or freezing my butt off, not sleeping, and so much more are all part of the process I truly, profoundly love.”
This shoot was inspired by Romain Laurent, as I hinted at in previous developemnt that I wanted to explore the movemnet created by the blur in more detail. This idea was investigated by the use of gifs which I learnt from Laurent. In order to create the gif I opened files>automate>load files into stack>selected my photos>and the frames had to be reversed and then they could be played.
Below are the gifs made from using the photographs of previous developments inspired by Titarenko as I am really invested in keeping those photos as the main centre of my future developments.
When creating his infamous gifs, he films a scene and then in post-production he then isolates the part he wants to be remain still, and masks the part that he wants to keep moving. He tries to shoot the action in-camera as much as possible, even when he combines images, like the man with the bobbing balloon head. He said “The most exciting thing for me is to go and get the shot, whatever that may be,” he says. “Finding the right location, the right light, getting the angle, sweating or freezing my butt off, not sleeping, and so much more are all part of the process I truly, profoundly love.”
This shoot was inspired by Romain Laurent, as I hinted at in previous developemnt that I wanted to explore the movemnet created by the blur in more detail. This idea was investigated by the use of gifs which I learnt from Laurent. In order to create the gif I opened files>automate>load files into stack>selected my photos>and the frames had to be reversed and then they could be played.
Below are the gifs made from using the photographs of previous developments inspired by Titarenko as I am really invested in keeping those photos as the main centre of my future developments.
gifs :6th development
gifs :5th development
gifs :7th developement
As it is made evident below for this particular development I had significantly more frames to use which had advantages and disadvantages. Overall I do enjoy that the blurred effect has been significantly intensified through the use of the gif, however due to more frames being used it was harder for the model to remain still at all times. But on the other hand, I really like how the stationary world of the model and the blurred background is seen to overlap at points throughout gif. This makes it for a more dynamic and unique experience for the viewers. It represents how different perspectives of individuals can ultimately collide paving forward a new intention to be further explored.
development 9
At this stage in my development, I can envision the way in which this project is going to end. After my previous development had taken all the aspects of what I had been exploring and combined them thus linking my developments, creating new relationships, I had the idea to revisit one of the styles I explored earlier in the project which was collaging. I am revisiting this because in my previous development I liked the effect achieved when some of the gifs overlapped, and a way for me to keep my shoots inspired by Alexey Titarenko involved would be to combine them altogether. I would be bringing the elements of the blurred reality, blurred reality expanded even further (the gifs) as well as preserving the stillness that reflects the clouded minds own perspective which is unique to itself.
However, I still remain unsatisfied with that being my final piece as I feel there is another element that can considered as well which is the effect on the photographs after the use of bleach. I want to use bleach to add some more of the element of iosaltion to the photographs, to balance the chaos of the blur with the stillness of the individual.
In order to do this I had to order the prints, both in colour as well as black and white, so that the bleach could successfully strip and distort the image of its blur. I went to boots to have them printed immediately. I tried a range of techniques such as watering down the bleach and placing the image into a plate of half bleach and half water. I mainly poured or painted the bleach around the model, not on her, in order to isolate her from the chaos of the image.
However, I still remain unsatisfied with that being my final piece as I feel there is another element that can considered as well which is the effect on the photographs after the use of bleach. I want to use bleach to add some more of the element of iosaltion to the photographs, to balance the chaos of the blur with the stillness of the individual.
In order to do this I had to order the prints, both in colour as well as black and white, so that the bleach could successfully strip and distort the image of its blur. I went to boots to have them printed immediately. I tried a range of techniques such as watering down the bleach and placing the image into a plate of half bleach and half water. I mainly poured or painted the bleach around the model, not on her, in order to isolate her from the chaos of the image.
photos produced
The results were ultimately disappointing as none of the 32 prints showed to have visually any effect other than five black and white photos which turned slightly pink. The prints in colour were shown to have no effect at all. This effect took two days to be achieved, so I deducted that I didn't have the time to try the technique again on the same photographic paper as it must have been to resistant. For my next development I will continue with this but experimenting with other types of photographic paper to see if there reaction to the bleach is any different.
development 10
For this round of bleaching I did all the same techniques but experimented with lemon as it is acidic on the bleach whilst placed in the direct sunlight. The paper was bought from another shop online and took a week to arrive, so as I was already on a tight schedule I tried substances other than bleach hoping for any sign of my intended effect.
Even though there was a significantly wider variety of images produced this time than in the previous development the bleach was really only seen seeping in through edges. Which whilst is an interesting effect was not the desired effect I had envisioned for this development. I did enjoy how the bleach highlighted the spaces surrounding a little further than the outside of her as it did in some way isolate her from her blurred chaos of the background. I will further experiment with the bleach for one more development to have a last chance at the results being dynamic and creating this dramatic effect of isolation.
development 11
I tried one more time with the bleaching technique in which I had them printed at another photography shop in which they confirmed they did not use laser printing which was preventing my other developments from becoming effected by the use of the bleach. For this one, since I had the confirmation that they used inkjet printing I painted Vaseline onto the models figure which would prevent the bleach from having an effect on that part of the image, this would create a sense of isolation from the images and ensure no bleach would destruct that part of the print.
photographs produced
For all the effort that went into ensuring my intentions would be represented the way I had envisioned them to do so, this result was completely worth it. It had the desired dramatic effect I was going for with all the pictures becoming completely transformed, reflecting the different realities colliding effect I wanted. As well as this, I love how boldly the figure became isolated with my pre-use of Vaseline before the application of the painted bleach. Overall the images result in reflecting my intentions perfectly by completely separating the model from her chaotic backgrounds if to emphasise the divide in calm and chaotic within the transitory moment.
development 12
For my final piece, I went ahead with what I had described earlier in development 9. I wanted to overlap the worldly chaos (held in the blur) with the clouded minds stillness (model remaining still). I did this by creating a collage that had at least one gif moving constantly at all times combined with some of the bleached photographs and the failed bleached ones.
The editing process was quite complex and so I have documented it so that it is visibly shown below.
The editing process was quite complex and so I have documented it so that it is visibly shown below.
Process
Final Piece