Future/possible Live Briefs

I have been approached for a number of photography opportunities, and have agreed to take part in them all:

 

A Ninjutsu class, but for a different dojo in the UK held by Norman Smithers, 15th Dan. Photos will appear on his website and relevant facebook pages.

 

An event for a Leeds based charity before the end of April. Photos will appear on their website.

 

Promotional photos for a North Yorkshire band.

 

Promotional photos for an established musician (not allowed to say who it is just yet).

 

A Leeds Jewish charity that has asked for me to photograph an event, which will take place in June. Photos may be shown in the Evening Post and Jewish Telegraph.

 

Some of these may take place after the deadline for this module, and some may be rescheduled or cancelled.

 

 

 

 

Creative Conscience Competition

The competition is to create a visual piece of work that will make the world a better place.

From personal experience, I find that people get angrier or more passionate about matters that they can relate to, or by putting a different spin on preconceived ideas, rather than worldwide happenings and mainstream ideas.

I thought about the most relatable thing to people in this part of the world, and one of them is the rise of technology and the internet. I went on to think about general uses of the internet, and arrived at social media. Then I thought about how people’s usage of social media in a negative light, and how to address it directly.

The main problem with social media, is that its users are obsessed with over-documenting their lives, constantly broadcasting what they’re thinking, doing, eating and drinking to their friends and the wider world rather than actually living for the moment for themselves.

I wanted to tackle this matter in a ironic way that uses 2 key factors that embrace the essence of social media; a selfie (voted words of 2013 by the Oxford dictionary) and hash-tags.

To extend the irony further, so the image almost becomes cryptic I decided to take a selfie whilst submitting the photograph to the creative conscience website.

It will suggest a positive change by showing how ridiculous selfies and hash-tags have gotten, and how they have rapidly become common place in today’s society.

Dissertation planning/research

SUBJECTS OF CONTEXTUAL RESEARCH ALREADY UNDERTAKEN

 

Level 3: How Blues lyrics have changed over time.
How textures in landscape painting compare in Romanticism, Post-Impressionism and Modern Contemporary art.

 

Foundation: Is the National Geographic overrated?

 

Level 4: How album cover and poster design responded to events between the 1950’s and the 1970’s.

Level 5: Documentary and photojournalism: Steve McCurry, Martine Franck

Level 6 (this dissertation): How colour changed documentary photography. Limit it to a specific part of documentary photography: landscape/wildlife? Or ask Which is better, black and white or colour?

 

AIM AND/OR OBJECTIVE OF YOUR PROPOSED CoP3 PROJECT

 

-       Outline, compare and contrast the different ideas/concepts. Has colour really made an impact, or is it just adding another tool to the toolbox?

 

-       Give my opinion so far

 

-       To challenge key ideas within the chosen topic

 

-       To take on different ideas

 

-       Compare and contrast these ideas/concepts

 

-       Give my opinion if it has changed, or why it hasn’t changed

 

-       Compare and contrast my idea to existing ones

 

-       Open up the subject for more thought for the reader

 

 

1. What research needs to be undertaken into the general and specific contexts of your practice?

 

-       Science – the actual chemical process and techniques.

-       Technology – digital photography, circulating images.

-       Political – did it cause a reaction in politics?

-       Social – how did the introduction of colour have an impact on viewers?

-       Cultural – are there any cultural standpoints?

-       Economic – did the more expensive process affect people or businesses?

-       Artistic – could photographers express themselves more through colour, or is B&W sufficient?

-       Historical values – what does colour mean to the history of photography?

 

2. What approach(es) will you take and what processes, methods, materials and tools are to be involved in research into your practice?

 

-       Beginning with secondary research: How-to and contextual books, journals, interviews, lectures, talks, films, online.

 

-       Move on to primary research, whilst continuing with secondary research: Take and process my own photos, ask for opinions, interviews. Switching between film and digital.

 

The relation between the techniques that you use in your practice to other techniques in the sector: I’m going further in depth by using film as well as digital. With digital, I will be using the same processes as professionals. Apart from when it comes to finding things to photograph – I will have to do my own research, rather than receiving a brief.

Changing the materials that I use can affect my practice in the sense of how long it takes me to produce a final piece and the way I reach my audiences.

Processes of creative practice that are essential or integral:

-       Going out and taking pictures

-       Experimental editing

-       Processing film

-       Annotating contact sheets

Factors could disrupt my creative practice: Weather and lighting, other briefs and modules, accessibility of ideal locations, accessibility of equipment and computer software.

 

3. What preparation or investigations do you need to undertake for your creative practice to take place?

 

I am reading a Canon’s guide to landscape photography, picking up advice, techniques, hints and tips. I will read more how to books.

 

Cross reference my research: Talk to professionals about what I read. Conversation (and experimentation) will help synthesize newfound knowledge.

 

Divide and conquer: Splitting the essay into sections, treating each one individually, but making sure they all relate to one another. Doing a bit of work each day to ensure steady and solid progress.

 

Researching equipment and computer software I will need.

 

Experimentation and exploration of different locations and light conditions will help me to generate my creativity and ideas.

 

4. What research do you need to undertake regarding who your creativity is for?

 

My audience will be those interested in journalism, photography and the history of the two.

 

It will be based around professional sectors of journalism, photography, media and printing.

 

Tone of voice would change depending on if I wrote on a sociological view, a technological view, a historical vue or a media point of view.

If my audience didn’t have technical knowledge of a camera, I would have to keep my how-to research to myself, and put it in use rather than explain it, or explain it in a minimal way.

Collaboration in research: People who know the history of colour photography, the reaction to it, and the technological side of photography.

 

Challenges the concept of whether black and white or colour, digital or film is better.

 

PRIMARY SOURCES OF INFORMATION

 

My photography: Experimentation

 

People’s opinions of colour vs back and white photos.

 

Interview photographers

 

SECONDARY SOURCES OF INFORMATION

 

How-to and contextual books
Journals

Interviews

Lectures, talks

Films, documentaries

 

Online articles.

 

PERCEIVED PROBLEMS OR DIFFICULTIES

 

How realistic is your proposal?

 

It is an ongoing debate.

 

Will it involve you having to travel half way across the world at a prohibitive expense?  

 

Will have to avoid war and conflict photography, or mention it briefly.

 

Can you access all the sources that you require for your research?

 

Depends if the photography workshop will have the lenses I need.

 

More importantly, we would like you to consider the possible ethical implications of your study in this section. Is your research legal?

 

I will need to remind myself of a photographer’s rights.

 

Will it require the consent of others?

 

Possibly, depending on who or where I photograph.

 

Will it cause offence or harm anybody (physically or mentally)?

 

If I were to photograph in dangerous predicaments, there’d be a chance of me or my equipment getting harmed. If I photographed a sensitive moment, it could cause offence.

Responsive, Tetley Feast: 3/2/14 – 12/2/14 (Exhibition)

3rd The group’s idea for the next workshop was to model salt dough or clay, but we couldn’t decide on what to make. Luckily a 3rd year, Rachel, is making a cake for the tetley event and asked us to help her with decorations and moulding the icing into figures that the children can customise. Rachel explained how to work with the icing, and then Nilly and myself explained how we structure our sessions; run the workshop twice over a 2 hour period to 2 different groups with a break in the middle, where we quickly evaluate how we are doing, and make any minor adjustments.

 4th We still need to make a solid decision on what to present for the tetley exhibition. My idea so far is to have a beanbag chair made from the tie-dyed material with paper cranes made from the marbled paper hanging around it.

5th We ran the decorative icing workshop. To give them something after, George brought some plain cupcakes for them to decorate with the left over icing. I found it difficult to lead a workshop that I had no idea about, so I just kept to leading the basic structure of the activities we had been doing, and let the cake and icing expert Rachel take the lead with actual instructions on how to decorate with icing.

Between the last workshop and the exhibition, we met up and decided on tasks for each of us to do in order to present our finished work in the exhibition. Nicola created bunting from the tie-dyed squares of material, George and Miles stencilled the youth club logo onto them, and got frames for the best tie-dyed pieces of cloth and marbled paper. Bhakti sewed together the 2 large tie-dyed sheets together and filled it with small foam balls to create a bean bag chair. I edited and printed the photographs of the workshops to put on the walls.

12th We arrived early at 9am before the exhibition started to display the pictures, hang up the bunting and place the bean bag chair in a comforting position. I ran a few origami workshops throughout the day and evening until almost an hour after the exhibition officially ended, teaching people from other groups and clubs, the hunslet club children and my peers how to make cranes, flapping birds, flowers, frogs and blow up boxes.