Be part of the revolution, start loving your body

At Uni, we were recently given a brief of creating an advertising campaign for a cosmetics company, I chose The Body Shop. My initial idea for this project was to create an advertising campaign based around the tag line “start a revolution, start loving your body” and influenced by revolutionary art work. I later changed the tag line to “be part of the revolution, start loving your body” because the phrasing of it makes the audience feel more involved, like they are part of something powerful and important.

 A painting that I wanted to take inspiration from was Eugene Delacroix's Liberty Leading The People. The painting was based on a moment when the people of France has succeeded in overthrowing the king, all different types of people, upper class, peasants, men, women all just coming together for one cause. I want my image to be based on this, all different types of women coming together for one reason, to create a new ideology. I originally wanted to have several women climbing over diet books, fashion magazines etc, brandishing a flag in the air. The concept being that they are rising above all the items which suggest that the women are not perfect the way that they are and are starting their own revolution in which women are comfortable in their own skin. However as I started planning and shooting the image, I dropped the idea of the books and magazines and just stuck with the women and the flag, I think it’s a strong enough image in itself without the extra props. I wanted to recreate the dull, muted colours that are used in the painting, so I did test shots using polarised glass over the lens and this did the job. When I went to shoot I used this glass and experimented with different white balance settings to change the colours. When I had my tutorial I was told I needed to reshoot because the background was “distracting”. However when I went to reshoot I couldn’t get hold of the polarised glass and so could not achieve the effect that I wanted in camera. I tried my best to achieve it in Photoshop, I don’t think it looks very good though and I think that this is a weakness of it. Although I quite liked the challenge of trying to figure out how to achieve it digitally, the end result is not how I wanted. I think that a strength would also be the stand of the model’s, particularly the one at the front, her legs are bent, wide apart and looking strong like she is leading the way. The others are lower than her and looking up, hands on each other’s shoulders like they are uniting together and following the character in front. This really puts across the message that I wanted it to. However a weakness would be the expressions of the models, they could do with being more convincing.

Return to Reason

One film that I find strangely enchanting is Man Ray's experimental film "La Retour a la Raison" (Return to Reason). Film was still relatively new at the time that it was made and Man Ray would have created it for his own learning and enjoyment, to experiment with how different materials could be shown and transcribe into moving image. I really like Man Ray's photographs and this film follows in his surreal style. The first time I saw it I didn't think much of it, but the more I watch it, the more mesmerising I find it.

Live feed of Nick Knight's shoot

Today I am watching the live feed of Nick Knight's photo shoot for V magazine, capturing a Spring/Summer collection of couture dresses on model Ming Xi. There is a lot of movement being captured, the model is dancing slowly and moving around while Knight directs her and captures his images. It's interesting to see a professional at work and how they direct and communicate with their model and the others in the studio. As a student about to do work placement, I can't help but watch the assistant standing in the corner looking awkward, desperate to create a good impression and rushing to fulfill the photographers needs whenever he wishes.

"Underlining the Asian inspiration of the latest haute couture collections, Nick Knight shoots new model Ming Xi in a selection of Paris' finest couture creations for Spring/Summer 2011, including Jean Paul Gaultier, Givenchy by Riccardo Tisci, and John Galliano for Christian Dior."


Watch it here at:
http://showstudio.com/project/ming_xi_couture_2011

Beauty Hurts?

Now that my first year at Uni is drawing to a close, I have a bit more free time to engage in some leisure activities. I really used to enjoy reading, I just haven't really had much time to do any in the last year, except for informative books as part of research work. The last week or so I have got back to reading "Pin Up Grrrls: Feminism, Sexuality and Popular Culture" (Buszek, 2006). It is a really interesting read for anybody interested in this topic, and one part of the book which grabbed my attention was former porn star Annie Sprinkle's Anatomy of A 1980’s Pin Up. It reminded me of a piece of work by the feminist activist Andrea Dworkins who argued against highly sexualised imagery of women and claimed that women’s bodies where exploited by the way they are represented in porn. In her image Beauty Hurts Dworkin’s deconstructs the sexualised female body in terms of what they do to “get ready” in the mornings. She breaks down the body into different parts and states everything a woman must do to make it attractive, presumably for the satisfaction of men. Similarly,  Sprinkle's piece of work used this same layout and idea. In Anatomy of A 1980’s Pin Up she presents the viewer with a photo of herself and then has added text to point out all the manipulations that are carried out on the body of a woman, it almost looks like a photographic version of Dworkin’s diagram. However she has put a different spin on it, whereas Beauty Hurts looks like it could be straight out a text-book, Sprinkle has made hers cartoony, light-hearted and comical. Notes added to the image such as “corset hides a very big belly”  are to remind us that the whole “look” of the porn star is faked, an illusion to give the impression of the “perfect body”. These notes remind us that it is not real, it’s all trickery, smoke and lights. Unlike the connotations of pain and humiliation in Dworkin’s image, Sprinkle’s pin-up image suggests that women can take control of, deconstruct and find pleasure in the representation of their bodies and sexuality. She has created other performance works that provoke debate and show from her personal experience how much the body is manipulated for the purpose of fantasy within the sex industry. She doesn’t pass judgement or say that it’s bad, she just raises awareness that it is fantasy and not real. 

Beauty Hurts

Anatomy of a 1980's Pin Up

The Virgin Suicides

I am really inspired by the movies of Sofia Copploa, the mise en scene is always spot on. Her movies nearly always have the theme of loneliness and isolation, the two charcters in Lost in Translation, the teenage girls in The Virgin Suicides, the title character in Marie Antoinette, Coppola has developed her own distinct style of putting this across. There’s something about the whole aesthetics of her films, the delicate lighting, the faded colour palette, the feminine “look” of them that I find really appealing.

I re-watched the Virign Suicdes today and was reminded just how inspiring I find the imagery in it. Coppola has obviously paid very close attention in the story boarding of the film as every shot is perfectly framed to tell each part of the story.  I want to do a photo shoot which pays homage to this film. I’m going to find models and try and shoot this in the next couple of weeks, watch this space for the results! Here are stills from the movie which I will be using for inspiration….

The Most Beautiful Suicide

Whilst looking into the Empire State Building, I came across a photograph by photography student Robert Wiles, which has been described as an image of "the most beautiful suicide". On 1^st May 1947, a 23 year old woman left her fiancée and chose to commit suicide by throwing herself off of the Empire State Building. She left a note with her things left on the observatory deck "he is much better off without me ... I wouldn't make a good wife for anybody,' ... Then she crossed it out before jumping.  In her determination to end her life she leaped clear of the set backs and landed on a United Nations Limousine parked at the curb. Wiles was on the street that it happened on and got this photo minutes after her death. I find the photo strangely memorising. It’s odd to think that something so horrific and sad as ending ones life in such a violent way could somehow result in something that looks so peaceful, so calming, almost beautiful….

Empire State Of Mind

The photographs of Lewis Hine never fail to amaze me no matter how many times I see them. Hine would use his camera as a tool for social reform and in particular focus on mans contribution to industry. He was commissioned by the National Child Labour Committee to document child labour in industry in America and the resulting photographs were instrumental in the changing of child labour laws. I think it amazing that photographs can not only have this amount of influence and power to change a law that has been in place for so many years but to change the way people think about the issues as well.

In the 1930s Hine was commissioned to document the construction of the Empire State Building, these pictures fascinate me. The workers would work up there with no harnesses, no safety precautions whatsoever, Hine endured the same dangerous conditions to get the best vantage points of the workers. The majority of the workers were immigrants from Europe and would undoubtedly be getting paid peanuts considering the work that they were doing. The construction started in March 1930 and ended May 1931, and the statistic that I’ve found for the death count of construction workers is five, which, if it’s true, I find quite surprisingly low. Having been up the Empire State Building myself, I find it quite incredible that these workers could have worked at such heights. I don’t suffer from any fear of heights, at least not anything that’s caused any set backs for me, but I remember standing on the 86^th floor looking over the side and suddenly feeling a strange sense of vertigo, my knees were shaking and I had a sick feeling in my stomach. I take my hat off to the brave workers who risked their lives.

I remember seeing this photograph years ago, probably as a kid, and not thinking a lot of it. It is an image constantly reproduced and shown and some people have even bought it on canvas from high street shops and hung it on their wall. It had no effect for me because I presumed it to be fake, I figured the men in the image must have been digitally put in that setting because in my mind "no one would be that high up, sat like that without any safety harnesses". I was obviously pretty naive because when I found out that the image was real I was suddenly fascinated by it, it makes me feel a little sick just looking at it. Although it was not taken by Hine, it was taken by Charles Clyde Ebbets, you see that same theme as is running in Hine's images.

Show me your peacock

I want to start experimenting more with make-up in my shoots. I should use hair and make-up artists a lot more than I do currently, especially while i'm at Uni and there are so many other students available to collaborate with. We recently had a cosmetics brief at Uni where we had to create an advertising campaign for, I chose The Body Shop, but throughout my research for the project I saw a lot of make up adverts that really caught my eye. For example this MAC advert, using peacock feathers to mimic the colours of the make-up range. It's a really good metaphor as well as Peacocks use their feathers to attract a mate and show off. This is just like how the make-up will be used, in theory to make the wearer more attractive to the opposite sex. The colours and the way it has been applied in spontaneous strokes looks really striking and beautiful.

I would like to create a fashion image inspired by this but I would possibly like to use parrot feathers instead, as parrots also attract mates with their colours. I am also thinking of using fireworks as a metaphor for the colours of make-up. When I create these images I want to have the model's make up done similar to the make up in these images.

Gosh advert

Kylie Monogue

The body beautiful?

 Watching Lauren Greenfield's film "Thin" (see previous post) has got me thinking about the way in which bodies are altered in the media to give a false impression of perfection. Distortion and digital alteration of the body in our culture today has been criticised by many as setting impossible ideals for women and setting unrealistic expectations for men and is accused of being the cause of health problems such as eating disorders. You can see in Greenfield's photographs the influence of the media and photographs of celebrities on young girls growing up. One example would be the photograph of a four-year-old girl called Allegra (seen in figure 1.), laying on her bed with a microphone in hand, back arched in a S-shaped pose, similar to that of pop stars and even of glamour models in the media.  The child is trying to copy the positioning and posing of women’s bodies that she has seen in magazines, bodies that are represented to her as “desirable” and “sexy”. Look at the example of Allegra compared with this glamour photo of Katie Price (figure 2.) and see the similar pose, laying down with back arched, legs bent in, looking far off as though unaware they are being watched, she has clearly tried to copy this type of photo.

figure 1

figure 2

In another of Greenfield’s photos from the series “thin”, she presents us with an anorexic teenager (figure 4.). The girl has been asked to draw an outline of herself on the wall to show how she perceives her body size. They have then drawn her actual body size in different coloured pen, which is much smaller and less bulky than the first. The comparison of the two outlines shows how the girl’s perception of herself is distorted. But I have wondered, why would it be so bad if the girl were her perceived size, would it make her any less of a person, or any less beautiful, why have we become so conditioned to believe that a body that is “fat” or slightly more overweight than the norm is a bad thing? At periods throughout history being overweight was seen as beautiful because it was a sign of wealth, prosperity, fertility and an ability to survive in hard times. For example this photo by Julien Vallou de Villeneuve from 1853 (figure 3.) shows a much more voluminous woman in contrast to this underweight, more recent one, of Kate Moss by Mario Testino (figure 4.). 

figure 4

figure 3

Through my research I have found that in today’s culture, a woman who is overweight may be read as a sign that she is rebelling against the male gaze by going against the set standards of beauty. It also signifies the woman’s independence to consume for her own enjoyment and not just to exist as an object for the viewing pleasure of others, in other words she is rebelling against the gaze. Thus, Former new journalist and writer Kathleen Rowe argues that fat, in this instance female, is hated in part because “it signifies a disturbing unresponsiveness to social control”. Encouraged through the medium of digital imaging, women are put under pressure from the idea of the gaze and the pressure to conform to an idealised body and search out for ways to conform to this.

"It's all I want, to be thin. And if dying is what it takes to get there....so be it" Alisa (patient at Renfrew treatment centre)

Lauren Greenfield is one of my favorite documentary photographers because of her ability to get under the skin of her subjects. Her book Girl Culture is full of photos showing what it's like to be a pre-teen/teenage girl growing up in Western Culture, the battles both physically and mentally that you go through to try and find acceptance for your body and who you are, not only from others but from yourself. Her photos show how media overload and our over saturated culture has affected girls growing up and distorted their vision of what it is to be "a woman". 

A series of Greenfield's that I find particularly moving is "Thin",  a collection of photographs and a documentary film that she made when she spent six months staying in a treatment centre in Florida for people with eating disorders. During her time there she got unrestricted access to therapy sessions, weigh ins, mealtimes, everything. The images are very intimate and examine the relationships that the patients build with each other, with the staff and with themselves, you can really see the pain and desperation in their faces. By being there for six months Greenfield would have gained the trust of everybody in the community and they may have even accepted her as part of the furniture, forgetting that she was there, allowing her to have more access to the true goings on, as opposed to what people put on as a front when they are very aware that a camera is watching. Greenfield has said that she made the series to show "what it's like to have an eating disorder." I think this is impossible to do due to the complexities of an illness such as anorexia, without being in that state for mind I think it would be very difficult to imagine how the patients are feeling. However I think Greenfield's work gets the viewer as close as possible to understanding them and what they're going through, it's very moving and you feel a real empathy for the people in it. The fact that one of the main women featured in the film committed suicide a couple of years ago after falling back into anorexia makes it all the more haunting to watch.

This promotional video shows a brief insight into life at the treatment centre and Greenfield talks about why she did the project 

Fill in Flash

At the start of the year we had an introduction to the Metz flashes that the Uni has to offer for loan and we were given a brief lesson on how to use these. We had the task of going out and taking three photographs of the same model, set up etc, one using only natural, ambient lighting, one using fill in flash to light the face and one using fill in flash for dramatic effect. This was one of our first lessons at Uni, and whilst having a clearout of images on my laptop I have stumbled across the images that I took.

Here are my ambient and flash images (to be added). I am quite happy with them, even though they were taken at the start of the course year and I would like to think that through more practice and experience my flash skills have improved since these were shot. However I still really like the images.

ambient/natural light

fill in flash

Trying my hand at a bit of documentary photography

As part of a project at Uni we were given different sections of a brief to chose from, one on documentary, one on portraits, one on fashion an one on advertising. My main instinct was to go with fashion or portraiture because that’s my thing and it’s what I’ve always done and it’s the area that I want to go into. However, in our first year we are graded, but these grades do not count towards our final mark for our degree. As a result our tutors have told us that if we want to experiment across different genres of photography then now is the time to do it, next year is when we need to pick our chosen area and focus on it.

Instead of taking the comfortable option of fashion or portraiture I chose documentary and photographed my boyfriend’s martial arts class. Apart form my boyfriend I didn’t know anybody else at the class and had never been there before. I got permission from the people who ran it and went along to the class equipped with my Canon 1000D. I wasn’t allowed to get up too close while the action was happening, firstly so that I didn’t get in the way and end up getting hurt but also so that I didn’t distract the class. To get closer shots of the action I hired a 100mm lens from the Uni stores, I had never used this lens before and so it was a good excuse for me to try it out.

The shots that I got were not astounding, but I feel that I got some quite good action shots. I wanted to show the interaction of them as a group and the way that they all worked together. Although the photographs may not be of a high standard, I’m glad that I shot the images, firstly because some action shots will make a nice variation to my portfolio but because by going there and taking photographs of people I don’t know, some of whom may not be particularly at ease in front of the camera, has boosted my confidence in this. I am used to shooting people who I have asked or who have offered to model for me, who I have had a chance to meet before hand even if just for a few minutes, to build a rapport. By going and shooting total strangers in a documentary style I have taken a huge step outside my comfort zone and it has loosened me up into doing this more often.
Here are a couple of the images that I got, very little photoshopping has been done, it's just to show examples of the style of images that I took:

"I took the photo as a Talisman to remind myself that I had some rights over my own body" - Jo Spence

I am really interested in the subject of the body within art and photography. It’s an aspect of ourselves that we take for granted yet it’s the one that gives others their first opinion of us, likewise, it's how we immediately judge other people, whether consciously or not. Not just our physical appearance in terms of weight, height, hair colour etc, but our body language and how we hold ourselves, the vibes that we give out through our physicality.

I have looked in greater detail at the theme of the body for an essay at Uni.  We were given a selection of titles to choose from to write a 2,500 word illustrated essay, I went for the one “What are the ways in which a body is used as a sight of meaning”. I started by doing a mind map for myself to see what ideas I had, names/themes that cropped up on there were “Jo Spence-trying to gain back control of her body from medical institution”,  “Cindy Sherman’s mutilated body part dolls”, “Laura Mulvey’s :Visual Pleasure and Narrative Cinema”, Berger’s A Cultural Way of Seeing”, “Barbra Kruger art works”. I have way too many ideas and needed to cut it down. I decided that I would rather go into a couple of areas in great depth as opposed to lots of areas in a shallow and superficial way. I focused on the body as a product of consumer culture: including the ways in which the body is defragmented and dehumanised in order to sell products, the techniques used to distort the body, touching upon the male gaze. This then led me into my second area, using the body as a form of control: photographers who have tried to seize back control of the gaze through different techniques, including Jo Spence, Hannah Wilke, Jemima Stehli and Annie Sprinkle.

I’m very glad that I chose this essay to do, I’ve learnt so much through my research and….despite sounding like a bit of a nerd…I actually really enjoyed writing the essay. Here is an extract from my essay:

"However there are examples of artists who have tried to seize back control of their bodies and the gaze. Jo Spence photographed her journey through breast cancer. Her self-portraits showed her bearing her naked body to the camera, showing her scars. In one photo she is topless with the words “property of Jo Spence?” written in pen on her left breast. She said that she took this picture as a “talisman to remind myself that I had some rights over my own body” (Spence, 1986, p157).  Spence puts forth the ideas that a woman never truly has control over her body, in particular her breasts. As a young woman they are objects of desire to be looked at by men and part of the gaze, as a mother they are used by babies for nutrition and as she gets older, as in Spence’s case, often falls into the hands of the medical profession when she gets breast cancer. Jo Spence and friend Rosy Martin started developing what they called Photo Therapy. They would act out situations from their childhood, dressing up as characters such as their parents or teachers to find new ways of perceiving the past and ways of dealing with these and moving on from them. Using techniques that they learned from co-counselling, physcho-drama and the reframing technique taken from neuro-linguistic programming therapy, they found new ways to present their visual selves/bodies to the camera. By using their own bodies to reinvent these moments they can reclaim the pleasure in looking and of control over the meaning. Through photo-therapy they could open up about private suffering and grief to insist that the body represents an individual’s identity and not just the site of male desire. They challenge the idea of the breast as a focus for female identity. Spence uses control over the body as a metaphor - “our photographic work should show women trying to have more control over their bodies, as part of women’s struggles generally to have more control” (Spence, 1986, p209). Spence is using the idea of control of the body to also express how women should take more control of their lives in general, whether it be at home, work, relationships etc."

 I recently got my mark back for this essay, I got a First and my tutor told me it was the best that he'd seen out of all the class, so I was very happy :-)

Inked Girls

Whilst in New York I raided Borders in the desire to find inspiration in the magazines not available in the UK. One magazine which really caught my eye was Inked magazine, a men’s magazine (the majority of photos were of scantily clad women) based around tattoos. However I found the whole “look” of the magazine really inspiring, the lighting, the poses. It shows that a men’s magazine can be tastefully done, it doesn’t have to be the typical “tits pushed together, licking her lips, looking into the camera and pulling the porn star face” style of photos that you see in publications such as Nuts and Zoo. I love that each of the girls is shot in a very distinct style, to express the style and personality of each model. The whole aesthetics is very artistic and tasteful, I will definitely use this imagery for my future work, in particular a pin-up girls shoot which I am planning for my next project at uni.

Inked

Inked

image from Nuts: Tacky!

image from Inked: Classy!

Faded faces

I’m really fascinated by old photographs, those that are real snapshots from family albums that have been disregarded by people through death, house clearance amongst other reasons. I remember going to a flea market in Brighton last September where they had boxes upon boxes of old black and white photos for sale. The ones that really caught my eye were the ones from the 1930’s and 1940’s of soliders, posing proudly in their uniforms and with their families, presumably before going off to war. They look so happy, there are big smiles from everyone in the photo, but how were they really feeling? Knowing that they were going away to fight in the trenches, not seeing their families for months, years, if ever again. Despite their big smiles, I couldn’t help but see through to a sadness beneath it all. Perhaps this was the last memory that they had as a family together and it has ended up in a dirty box, having strangers rummage through them and throw them about carelessly.

 Whilst in New York we went into a thift shop in Brooklyn, where there were boxes full of old photos and negatives. This time it was the black and white 5x4 negatives that caught my eye as opposed to the actual photos. Unlike with digital where you can snap to your heart’s content, with a 5x4 camera you only get one or two shots from an image and your shot must be composed and exposed correctly first time.  Anything that the ammeter photographer wanted to photograph must have been very important and significant to them in order for them to go to the trouble to set up and compose the image. Looking at the negatives I wondered what made each moment so special, why they chose this subject and this moment to capture on film. 

Here are the prints, I didn’t worry too much about perfecting the print, only a tiny bit of dodging and burning, it was more the subject that I was excited to see.

The first one is obviously of a wedding, not that exciting but still fun to see all the little details and the smiling couple and proud relatives looking on.

 When I first viewed the negative of this image I thought that it was a Xmas morning scene, but looking closer it is actually a couple opening Wedding gifts, you can see this if you look closely at the design on the wrapping paper. I like the old fashioned clothing, particularly her hat and his thick, black rimmed glasses. I really love the look that the man is giving the female. She is obviously concentrating on opening the presents, maybe shy to look up because she knows that she is having her photo taken? But he is looking straight into face and smiling, looking genuinely happy and in love, it's really sweet. When printing the images, I realised that they were square and my paper was a rectangle and so either the top/bottom or sides had to be cut off. So i experimented with cropping and actually found this image works better portrait than horizontal. You can see the big pile of presents and it cuts out all the negative space either side of them making it feel more intimate, like we are seeing a private moment.

This image of a baby was very striking as a negative, the huge space of the blanket gave the illusion that the baby was wrapped up and peeking out at us, it looked a little disturbing. Although there is still something that I find a little bit creepy about this image, the infant looks a lot more sweet and peaceful than I had first imagined. However this is part of the fun that I find in printing old negatives, you never know how the image is going to turn out, your first impression of it could be completely wrong.

These streets will make you feel brand new, big lights will inspire you, let’s hear it for New York

I have just been on a six day trip to New York City with my University class, staying in a  hotel just around the corner from the Empire State Building. Throughout our stay we vivsited the International Centre of Photography and saw the prints of the lost negatives of Robert Capa. We had a talk by the Hans Neelaman, the founder and owner of the stock images company WIN (Worldwide Image Navigation), a stock company that uses very artistic imagery and tries to push away from formulaic stock photography.  

We looked around several galleries including the Aperture gallery and the Museum of Modern art (MoMa), I made a note of artists and photographers who I found inspirational and whom I want to look into more. At MoMA we went to an exhibition titled “Pictures by Women: A History Of Modern Photography”, gender studies is something which greatly interests me and so I was keen to really take in everything that I could from it. The collection included works by the likes of Imogen Cunnigham, Cindy Sherman, Nan Goldin, Barbra Kruger and Maya Deren. 

An exhibition that I particularly liked was in MoMa PS1 (over in Brooklyn), it was titled The Talent Show and was based on the theme of everyone having their 15 minutes of fame. It examined the relationships between audience, artist and the participants that model, it had some really intriguing pieces that the audience could not only view but participate with and engage in, really pushing home the whole idea of everyone getting their 15 minutes of fame.

“In recent years, television's reality shows and talent competitions have offered people a conflicted chance at fame, while various kinds of Web-based social media have pioneered new forms of communication that people increasingly use to perform their private lives as public theater. During the same period, governments worldwide have asserted vast new powers of surveillance, placing unwitting "participants" on an entirely different kind of stage.” - MoMA PS1

An artist whose work caught my eye in this exhibition was Shizuka Yokomizo. For her series Stranger she would send an anonymous letter to different houses asking them to stand in front of their window with the lights on at a specific date and time. The photographer wuld then set up her tripod outside this window, expose the film and leave. The pictures would be taken at night time and so the subjects would not have been able to see the photographer, only her silhouette. I like how she frames her images to include the subject's surroundings, the curtains, window frame, personal belongings and household items, it helps to emphasise that feeling of voyeurism and puts further distance between the observer and the observed.

There was lots of inspiration in New York, for me this was mainly in the less “touristy” areas, Williamsburg in Brooklyn was full of old fashioned red brick buildings, 1950’s style diners, thrift stores full of beaten up treasures, graffiti art sprayed on the side of buildings, just real New Yorker’s living away from the bright lights of Manhattan and Times Square. However, New York didn’t do as much for me as I thought it would. It is a city that you see so often in movies and TV shows, you almost feel like you know it before you have even arrived. But like with most things, the reality never quite lives up to the hype. New York was fun, I’m glad for the experience and the knowledge and inspiration gained from the galleries and talks we were given, but I'm afraid it just wasn't for me, I guess I'm really just a London girl at heart.

Beneath the trees, where nobody sees, we'll hide and seek, as long as we please

As part of a brief at Uni we have been given the task of creating a double page spread for a magazine of our choice. I have chosen Lula magazine because I love it, it’s so different from any other magazine I have seen. I love the fashion and the child-like motifs that run through out it, titles such as “Welcome to the Doll’s House” and “Once Upon a Time” are used through it to give it a fairytale style feel. The photographs are simple yet effective, they have different styles of photography within the magazines, but my favourite style and the one which i feel gives the magazine it's distinct identity are the ones that are dream-like and playful. A lot of these images use faded or pastel colours and the soft focus gives it a hazy dream like appearance. We are lucky enough to have copies of all the issues of Lula in the library at Uni and so I have spent a lot of time going through back issues and scanning or photocopying images from the magazine for inspiration.

We have been given a very short time in which to complete this brief, only three weeks, one of these we were to be away in New York for and so this left us with only two working weeks at Uni to complete it. The idea of this being that we get used to creating good quality images with a very quick turnover time. I got onto it straight away, getting inspirational pictures from the magazines and sketching ideas, my main idea was the theme of a teddy bears tear party. However as I developed this I moved on from the teddy bear idea and just made it a picnic/tea party in the woods. I scouted for locations in the New Forest, taking pictures of different areas that could be potential for the shoot and seeing how the light fell at different times of the day so I could figure out when would be the best time to shoot. I made some initial sketches in my sketchbook, I then found a model and an assistant and went out to shoot.

I used a Metz flash (borrowed from the stores at Uni) to shoot but unfortunately it stopped working half way through the shoot, batteries were fully charged and I was told later that it's just because the flashes "are just old." However as I had chosen quite a sunny day to shoot, it meant that the loss of the flash was not a big problem, the shadows weren't too harsh and the sun light being bounced back with a silver reflector was sufficient and actually looked really nice, gentle and natural.

I wanted to achieve that faded, hazy, soft focus look in my images but as a student I cannot afford a proper soft focus lens. I looked on the Internet for cheaper alternatives to this and read that one way you can do this is stretching nude coloured tights across the lens. I was sceptical about whether this would work but I decided to give it a try, I took some test shots at home using this technique and found that it worked wonderfully. So I decided to implement this into my shoot and got the results that I was after.

Here are some of the images from my shoot. If I had more time I would like to develop this into a much bigger picnic with two or three more people and lots more props.

"Christ, they'll be bringing those bank machine things round next year!"

Last week were lucky enough to have the photographer Gary Salter come into Uni to give us a talk and tell us about his work. Gary has created images for companies such as Absolute Radio, Shreddies, Uncle Ben’s, Pimms, Bulmers and LG. It was really interesting to learn about the photography industry from someone first hand. I really like that Salter seems to take his inspiration from life and events that happen to him or his friends. He said that he carries a camera everywhere to keep a diary with it and carries a notebook to note down any funny or interesting things that happen that he could use for inspiration. 

For example he went to a show where he saw that they were giving "knitting lessons to grannies" and amongst all these elderly ladies was a young 24 year old man doing some knitting. Salter obviously found this amusing and so noted this down and used it as a starting off point for this next picture of a biker knitting club. I love the attention to detail in his image, like the knitting needles of the wall in the shape of the cross bones, and the cake on the table in front of the figure on the far left was actually a knitted cake that belonged to his set designer. 

He gave a good insight into how you would actually go about organising a commercial shoot. You have to scout locations, find a selection of props and models for the client to choose from, sometimes you have to find several different locations for the same image. I hadn’t realised the extent to which the images are photoshopped together. He showed us his sketches and plans for this advert for Bulmers. The bottle itself was shot in a studio, the fountain was shot at one location, the feet were in a swimming pool at another location, these are all then brought together seamlessly.

I think his work is really funny and people can relate to his pictures. One of my favourite images of his is the one below. He told us that after Halloween he and his friend's had been talking about how greedy the trick or treaters were getting and he had said "Christ, they're going to turn up with one of those bank machine things next year!" and from that came the inspiration for this image. Some of his work remind me of Martin Parr's, in that he takes comical pictures of life in Britain, humorous yet relatable.

"I do believe in fairies, I do, I do...."

 During research for a project at Uni, I stumbled across the story of the Cottingley Faires. I remember being a kid and being fascinated when watching the film Fairy Tale based on the story. Two teenage cousins borrowed their uncle/dad’s camera and went down to the bottom of the garden where they took photos of what they claimed were fairies. You can imagine the surprise on the father’s face when he was in his darkroom developing the photos of the girls, only for a fairy to appear dancing in front of them. However he didn’t believe that they were real, although he couldn’t figure out what trickery they had performed. Eventually the photos found their way into the hands of Edward Gardner, the leader of a spiritualist group. Gardner sent the photos and negatives off to a photographic expert to be examined, the result, he was told, was the there had been no tampering with the negatives, the expert did not go as far as to say that the photos showed fairies but that "these are straight forward photographs of whatever was in front of the camera at the time". They also came to the attention of Arthur Conan Doyle who, like Gardner, insistently believed they were genuine photos of fairies. Looking at the photos now, they are so fake looking, crude and badly done that it’s hard to think that anybody, least of all an intelligent, well-educated writer such as Conan Doyle would ever believe these were real. Both spiritualists, they published the photos as proof that fairies existed. The girls later admitted that the photos were fakes, that they had copied drawings of fairies from storybooks onto card and propped them up in front of the camera. Yet two children, with little to no photographic expertise managed to fool the World. How and why did they manage it? Who knows, maybe people just really wanted to believe that there was more out there. Maybe they were fooled because they wanted to be fooled…?

I find it interesting that when someone has a photograph of something, we almost immediately take it for granted that it is real, photography is the medium we trust to show us the truth. With all the images that surround us today we tend to take them at face value. The images on the news are there to pose as proof that the story is real, that these events and these people are really in the World somewhere. I just find it interesting that photos are used as a representation of reality in an age where digital alternation is so easy and assessable to whoever wants it. And we are all guilty of it, myself included. I know that the women in fashion magazines have been Photoshopped to perfection, yet it still doesn’t stop me from having those few seconds where I think “wow she has the most perfect skin/boobs/legs, why can’t mine be like that”. And then I have to remind myself, it’s NOT REAL. Who knows, maybe in 50 years time people will look back on airbrushed images of our time and think “that’s so fake and badly done, how can anyone have ever thought that was reality”.

First Blog, Brace Yourselves for the Excitement...

Ok so here's my first blog. I'm new to this blogging business so am not entirely sure what i'm supposed to fill this space with. I will use it to note down ideas and inspiration and share any work, mine or of others, that might be of interest to others.

I will start off by giving you a taste of some of the photography that I like by surrealist photographer Herbert Bayer. They are shot on black and white film and would have been created in a darkroom. They remind me that you don't need a computer or technology in order to create great surreal images. Growing up in the digital age I have become accustomed to forgetting how easy we have it in terms of photographing and editing our images. With a digital camera you can see then and there on the LCD screen roughly how your image will look and change your technique accordingly, you don't have the mystery and suspense that comes with film photography. Once home you can pop your memory card in the computer and photoshop it to your heart's desire. Problems? There's a help section and endless "Photoshop for Dummies..." style books on hand to spoon feed your way through to the final edit. I'm not against Photoshop, I think that to learn it well is an art form in itself but I like to look back at old photos like these and remind myself to not take this for granted and appreciate the hard work that would have gone into images like these.

(left) Bayer's Self Portrait in Mirror. The use of photomontage to fragment the body makes it seem almost fake and plastic, like a doll. Bayer was one of the modernists who used the process of collage and photomontage to deconstruct the apparent "realism" of photography.








(right) Lonely Metropolitan is probably Bayer's most well known image. I love the juxtaposition of all the elements, the strange arrangement presents us with a dream like image that conveys a sense of loneliness and alienation in an urban landscape. I think the eyes looking straight into the camera are quite haunting.

Lonely Metropolitan was the inspiration for the monster in the Guillermo del Toro film Pan's Labyrinth (below left). This is an image that I am constantly being seen reproduced by amateur and student photographers. Below right is what I would consider to be a good homage to this, photographed/created by friend James Sheppard. This is also an example of how art/photography/film all feed off each other and continue to borrow and recycle old ideas.