Location Look up 2- Outside Locations

These images are taken around digbeth and Aston. 

I'm still not sure whether I would benefit from taking my images outside or inside. I think I would have to see when I re- visit these locations. 

In my 2nd critique there were some questions raised as to whether I should photograph in urban areas, because of the stereotype attached to these places, but I think it could still work. These places have been marked and cut off from the rest of the city, in a similar way those with a mental disorder are cut off from the rest of society and aren't usually treated or seen in the same way as others. I understand now that it's not just about using the people and the locations separately, but treating the two as one issue.

Upon reflection, I decided to cut out grassy areas. I didn't feel that it would fit too well into my project if I took my images in these outdoor areas. Maybe if I was to look at displaying both the negative and positive side of mental illness, I could look into renew and rebirth, those things which you associate with nature. And looking into renew of thoughts and getting a new sense of perspective ( I was thinking about taking my images from a different angle).

Location Look Up

 I went to two different car parks around Digbeth to see what the areas would be suitable to take images. During the first critique it was suggested that I think about shooting in different locations. which was a good idea, incase my idea with Avril didn't work out, I could change the way I wanted to photograph and interpret my idea.
At first I wasn't too sure where I wanted to take these images. I thought back to some of the images I took during pathway and some of the abandoned, isolated lots that I took my photographs in. Maybe I could revisit the idea of taking my images in run down areas?

The spaces seemed quite lonely, dark and claustrophobic.  I loved the emptiness in these areas, which gives me many different ways in which I could work a person and possibly props in within the space. The lighting would also play an important part in taking these images. I didn't have a tripod with me on the day, so I would have to think about which days and what time of day I could take the images.

 

Solarisation

had a slight accident with the notes i made on the back of the prints. I wrote in fineliner and it was transferred to the print, but I think it looks ok on some of the prints. It's like its adding another perspective to the images, like how jim Goldberg asks the people he photographs to enlighten his viewer about the person in the picture.

After using the water on my image as a technique to add deterioration, I thought back to my first year of darkroom experimenting and the time I spent experimenting with solarisation.  I thought it would be interesting to see how it would change the image. I was also curious about how the image would change if I wet the paper first and then solarised the page again. First time few times I tried this method, you couldn't see this image very well through. It was suggested that I increase the time and contrast on my original image, because when you use the sabbiter process its better if the photo is stark in contrast so it become easier for the process to pick up on. The top image is an example of the experimenting I did with the photograph. I like how silvery and cloudy it is, and also how it looks like there is some kind of mist around the figure, concealing it, and adding an extra barrier of protection. I think this technique is something to explore at a later date, but as it is quite an extreme and uncontrollable technique, I don't think it's something i want to use right now. 

Darkroom Experiments Part 1

These were my first experiments in the darkroom. I wanted to give them a painted look. As if the images were coming to life, moving and jittering around the page. Watched the ring before I experimented with this image, so it's possible that the where Film was being stretched was to see what was at the edge was quite an influence.

In my first Critique it was suggested that I could put my digital images on to acetate and print them out in the darkroom. This is a reverse image from the acetate. I accidentally scratched the acetate before I printed this, but I thought it looked quite interesting, so I scratched alittle bit more into the image around the edges. The scratches and other subtle scarring in the image reminds me of Sally Mann's work. It's as if you were piecing together the image, the cracks and other imperfections are coming together to form the person.

To darken the area around the edge of the cloth I printed over the area twice, moving the position of the paper slightly the second time round. I wanted 

Photo Experiments 2

Reminder: 8th April- Avril Photoshoot

Some experiments before I take pics of Avril next week. experimenting with fabric and composition. These were a selection of the more successful images.

This image may have worked better if the figure was trapped behind the cloth. Like my first photo experiments, we should be struggling to see the figure, struggling to find out what it is, who it is. Being behind the cloth throws the perspective off.

The idea for the shoot is to have the fabric act like a barrier between the viewer and the figure. Considering how the material is quite thin, smooth and watery I could use it to refer to the layers of protection put up that puts distance between the figure, but it is still thin enough that.  I'm still thinking of ways to almost 'dehumanise', to take away certain characteristics that make them human, and make the viewer place a certain personality to them.  The lighting still works well in these images as everything from the  cloth to the shadows play a role as they try to conceal the character, envelope this figure in some sort of barrier.

Edit: Avril could not make it in for the 8th.

Non- material Reality

"To understand the problems of life without destroying its meaning, we have to stop thinking of reality as material and begin thinking of it as a manifestation of consciousness"

Fututreshorts

"Do you remember your first love? ... Do you remember your first kiss? ... Do you remember? ..."



"Filmmaker Marc Isaacs sets himself up in a London tower block lift. The residents come to trust him and reveal the things that matter to them creating a humorous and moving portrait of a vertical community."
"...based in transitional areas, pinch points, places through which people travel to go somewhere, or hope to. It is in these places that Isaacs sows questions that take people off-guard, reconnecting them with the deeper motivations and themes of their lives. "