My Story: Bully Beef and Bayonets

 

 

 

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© 2017 Step Short  http://www.stepshort.co.uk/gallery/

Storytelling, a category in photography with many styles of showing their narratives, I only had been given 9 weeks to create a project so I did a lot of thinking of what could realistically be possible to make within this amount of time being given, the best solution for myself I thought would be making a project about my local town of Folkestone and its history since it is not only a space that is easily accessible without too much stress of a  negotiation, but also that space regarding its history that can be a project being experimented or developed with multi media including elements I was highly successful with in my “its a strange world” project.

MY STARTING POINTS

I began to establish myself by walking around The Folkestone Leas and Harbour and took a few photographs along with two videos, one video recorded a voiceover coming from a speaker underneath a memorial bench sending a emotional letter to his family before he would travel to France while the image on screen was the camera underneath the bench filming the grass bellowing in the wind. I first noticed this bench while I finished filming around folkestone for my first few practice shits in my “its a strange world project” giving me the idea to come to this space in the first place.

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My foot from a floor point of view beside the speaker making the audio of the voice a fair volume

I thought this audio would be useful for further development regarding the combination of Folkestone in its current state and historic past however, this particular unit of storytelling was scheldueled to be developed into publication so this way of working I thought at first could a risk of being in a predicament.

Image of the Folkestone Artworks statement 

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screen-shot-2017-02-02-at-19-51-48  The poetic quotation down The Road of Remembrance in Folkestone 

This second video I made was myself walking down The Road of Remembrance filming a wide installation of what looked like to me a poem made out of broken cement with random texts forming into one speech of a something from a soldiers diary as I imagined. The issue was just like the previous mistakes I was making with the camera in the “Its a strange world” project, this mistake was the camera being too shaky making the text difficult to read. Using a GoPro camera on a selfie stick which keeps an image more still with smooth movement may be useful as I had learnt in the “strange world” project but I was slightly concerned about the GoPro’s lens as it cannot zoom from one side of the road to another. However on second thought or look at this video, I experienced something  instead of a typical capture of evidence of what was something that was barely bright and readable which made me think of my real experience exploring around Folkestone looking for shades of the war past being barely visible as trees and bushes would grow over them for example.

My first few photos around Folkestone

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When walking around the Leas of Folkestone down towards the harbour, I ideally tried to look for some areas or monuments that I could possibly use for experimenting with the historic images like the marching men in the first image above for example (I was thinking a few collage pieces at first).

Overall the practicing interested me much more than I expected, I ended up taking pictures such as the pebble beach with footprints scattered around the areas making me think of the soldiers journey towards France, An empty flower display ready for it being replanted for the summer having its poignant message and a Road of Remembrance which once was gave a clear view of the harbour below but is now obscured by overgrown trees. Beside the other pictures I took of the road and monuments near by such as the poppies on the fence across the Road onwards towards the Leas and the Step Short Memorial Arch, I photographed the Folkestone Harbour which had been constructed for residents to walk along the train track across the bridge which would be a shortcut towards The Rocksalt restaurant on the other side which was erasing out more history of the site.

POEMS

With the awareness of my work being publicised in mind, I needed to put my creative skills to the test on how I would style my book which would support the work, I tried looking at the “Keynote” application on my Mac which contained a series of themes much like the principles of Microsoft Powerpoint.

Screenshot of Keynote choose a theme menu layout

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I ended up selecting a theme called Leather Book which I thought that fitted the dramatic experiences of the World War the most. I intended to copy a few famous war poems into the Keynote leather book theme and redesign the font of the poem bringing out a more authentic style. Once I finish the style of the poems, I was thinking of using it as a background image for my book so I could add in a photograph making the entire page look like a photography book in a diary/documentry style giving viewers a more clear understanding to what the narrative is portraying.

Once I found a famous poem (example being “Suicide in the Trenches” by Siegfried Sassoon) I copied the text and changed its font on the the leather diary to a more war like handwriting style. When creating a new page on the layout, it showed a brighter material which resembled the insides of the leather book style. I much preferred the dark brown layout since it felt more investing in terms of it being a background like I intended which is less of a distraction when viewing the work being placed on the layout.

Keynote screenshots with Sassoon poem written in an authentic like text with leather diary/book theme

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The second style I created was made with a theme called “Photo Portfolio” which didn’t have much of a difference in comparison to the leather book style, the only difference I could notice was that the creasy background was black. The theme itself was quite as decent as the brown layout because the background had an interesting effect of shades of lighting all over the black leather surface which I thought could symbolically be a dramatic shadow further guiding the narrative. However, it did have its slight flaws regarding the rather modern looking stitching on the left but despite this, the main central part was plain and simple enough for me to estimate.

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I looked back at the John Mcrae poem and preferred the positioning of the text since the image overall had less awkward open spaces in the corners (despite his name and poem title with a different font which I eventually changed into the same one as the poem), so then I went back to the Sassoon poem and tried the same position. During this part of the development I noticed that the text on the second slide (being the insides of the diary theme) the text looked blurry which I assumed was a handwriting effect which I found satisfying.

Second version of the Keynote Sassoon poem (both on first & second slide)

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Remembrance Hill written by my father

 

POSTCARDS

I looked around my house though my parents vintage collectables and came across some postcards, I wasn’t sure if they were reproductions or real, but either way they look very unique to make a note of something that could potentially be a good page background for my book which I intend to create dramatically. The main aspects I was intrigued with the most was the authentic colours and style of the ink markings, the bright brown/sepia toned materials did have similar levels as the background colours in the Keynote presentations containing the poems, but as for the fonts and post card layouts, there was more to be invested in along with imagination of what images could be placed on them to tell the narrative of feelings during a world war.

IMAGE MANIPULATION 

During this “Storytelling” unit, there was a workshop day where I practiced using Adobe InDesign to create and package a book design, I didn’t quite have many of my own images to insert, so I decided to add a couple of war photographs in to show some research. The front cover showed an old image of soldiers walking up the Remembrance Hill while a photograph I took of the same location with a similar composition was in the background showing not only a transition but an entire image itself out of two combined images (which was almost like a collage). The image clearly showed a lack of development, but it was an interesting start to my work development as it had some decent feedback from a tutor and friends in terms of how I had established my style of working.

Front cover of a practice book/Indesign folder (the first title I thought of was Folks at war) 

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COLLAGES

When having a collection of some historic images of soldiers, Folkestone, war icons, art etc, I had tried experimenting with them along with some photographs I took around  Folkestone and the Shorncliffe cemetery in Cheriton. It was difficult to find the right images to merge but the style of working was at least a decent establishment for myself in terms of developing found photography with current images.

The road of remembrance image on the top left didn’t quite have a correlation with the other historic images in comparison to the other two images since it looked rather random or untidy. The other images which were the Leas flower display memorial and trees beside the cemetery had a more clearer understanding by having more of a stronger narrative by having elements such as colour in terms of solider clothing with the trees and similar looking photographs of the space and composition.

 

THE CEMETERY 

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One weekend on early February, the snow started to spread around certain parts of England including Kent, I went out to visit a cemetery in Cheriton and took a few pictures. The snow was a really good element to the space as it really gave me an experience of emotional respect to it along with the sounds of wind blowing in my ears as a soft background to the silence.

SYMBOLS/METAPHORS 

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These photographs were rather different than the previous lot as I was also capturing things that were not quite associated with the cemetery such as trees, a lonely bouquet of flowers laying in the snow behind a monument wall and footprints. The image of the trees had a dark greenish/brownish color that made me think about the uniforms of the soldiers standing in neat lines before they would march on, the flowers were alone and away from the cemetery being barely seen and left behind, and a gravestone with footsteps leading towards an almost hidden message. This style reminded me of the photography of Robert Frank that would not only observe what is easily recognized by an American culture.

 

BLURRED IMAGES 

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Blurry images I initially thought it would be ideal for a background display leaving space for texts like poems or personal thoughts written in a diary like sense, however, I had also thought about the collage works I was making with the Folkestone Leas photographs and possibly having a more sharper yet fragmented images of the past placed over the blurred image which can tell a symbolic narrative or my own prejudice of how I see both the past and the indifferent current of today.

STILL LIFE RIFLE PHOTOS

WWI deactivated Lee Enfield and bayonet on bed blanket  

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Deactivated WWI Lee Enfield close ups 

 

Symbolic parts of the rifle 

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My family had been collecting authentic antiques for a few years so I thought about what I could photograph for this narrative continuity. I found one of my dads antiques which was a deactivated WWI Lee Enfield rifle with bayonet and tried to photograph it in my dads bedroom, the reason being was because the sun was shining though the windows dramatically which I thought was a good source of light for photographing the rifle. Sunlight to me is more cinematic than studio light equipment, it changes every few unites bringing this beauty of a flow of multiple shades of light like a peaceful river highlighting its subjects creating something more than just a bedroom with a rifle inside, this makes me aware of when to release the shutter as capturing the right light was just as important as selecting the correct shutter speed and aperture to bond with it. The rifle close up with this light around it in the photographs  made me imagine the hell the machine of a weapon must of gone though.

The Rifle (with bayonet) in its original form

The trees from the cemetery merging with with the rifle 

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BULLET CEMETERY 

Still Life shots of bullets on green folder covered in flour 

In this shoot, I tried to recreate the scene of the graves at the cemetery I photographed on the snowy morning, and here I grabbed some old war bullets and lined them up on some card, then I sprinkled it with some flour using a sieve. The first images didn’t quite work as the cushions in the background were a distraction so I used one of the black shelves for my old living room TV stand to cover them up. The shoot worked fairly well and showed some creativity towards the development of the project.

WATCH, DIRT AND BARBED WIRE STILL LIFE SHOOT 

practice shot with a strange light/white balance

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Favourite images during the shoot 

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For another shoot I thought would be ideal for my war themed book was another still life styled shoot. However, this time I tried to think of some new ways of using the objects along with light, in this shoot, I grabbed my cat’s litter tray and refilled it with some dirt/soil. I then found another object in my families war collection which was a pocket watch plus my dad gave me some barbed wire he found in a shed. Once I had my items I put the tray full of the items on a table in my conservatory and took some close up shots during the night using my iPhone torch as the light which I thought was convenient for a miniature “studio like” light. The development went very well (after changing the white balance settings) and stood out much more than the rifle images since there was more of an atmosphere, the images overall had an amazing balance of light and colour along with the compositions making the images look like they were taken in an eerie space which slightly made me think of the movie like stills of Gregory Crewdson despite our differences in photography development.

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Shane by Gregory Crewdson 2006 

barbed wire and dirt shadows through edge of red tray 

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This shot was taken after the main shoot, I put the tray down in the kitchen and realised the kitchen lights were highlighting some shadows on the blood red tray edges which brought out another indexical image in relation to war which in my perspective was like a war version of the characteristic styling of the 007’s gun barrel blood effect.

George Lazenby as 007 in  “On Her Majesty’s Secret Service” intro 1969

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ADOBE INDESIGN

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This workshop was a little bit like the workshop I had earlier where I made a practice cover of my work with the marching soldiers on the hill as my a5 sized cover, only this time I had  more photos to add into my row of pages plus I was learning how to create a row of files that would be useful for book design for the future such as custom fonts logos etc, I looked at my work overall and realized that they were rather a mess together so I needed to be aware of simplifying my development into one project/ photoshoot and my favorites so far was the cemetery, rifle and pocket watch photoshoots.

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THE 2ND RIFLE SHOOT & A BANDAGE 

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This shoot in regards to the rifle regarding the previous shoot I did in the bedroom was much more consistent, the background was less of a slight distraction as it was having a more simple background which was more compatible. Like the photoshoot I did with the clock, I tried using some extra props that would give a little more of a story to the image since the rifle alone would occasionally look like something for sale, the images in this photoshoot overall looked more interesting as the lighting was more dramatic since I was in a conservatory  space containing a strong amount of balanced sunlight.

The poppies in this shoot were roughly hand drawn and colored in on a cotton ribbon of some sort. I used the tray of dirt from the watch shoot and covered an old military uniform in dirt covering up its details with its arm wrapped with the cotton material with the poppy drawing leaving only the corporal stripes and shades of the drawing to represent the last few days of the war.

Once I gathered a series of favorite images from the shoot, I edited a few of the poppy images by changing the color balance on the image leaving certain areas that correlate to the war which I ideally created for the poetic and diaristic book which barely reveals the past.

Color Balance settings on Photoshop CC

CAPTURE ONE 

https://www.phaseone.com/en/Products/Software/Capture-One-Pro/Highlights.aspx

Capture one is software much like Adobe Lightroom allows photographers to enhance their images, its commonly known of its handling skills on the color of RAW images, unlike Lightroom the software contained a color picking tool that simply chooses a color which then gave me access to tweak the saturation of that chosen color in just a few steps which I found extremely useful.

test shoot of RAW photography on outside location 

 

 

POWERPOINT STORYBOARDS/BOOK TEMPLATES

Dummy sketches 

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My rough storyboard/sketch of book templates 

 After having a mini series of photographs within this one project, I needed to find out ways of bringing the lot together by developing a book design template, for starters I established by template using Powerpoint Presentation which initially had a quantity of 16 pages. I then tried adding a few more pages as most book publishing businesses generally accept a minimum of 20 pages along with a different cover as the first few I made were rather too basic and needed a little more characteristics of the war.

Once I dealt with these issues, the book overall looked much better as the colours on the pages were more authentic looking  instead of plain white, and more poetry was also added into a few pages as there were a few empty spaces between some photographs.

For my cover photo I browsed across the internet searching for images of tinned beef as my title mentioned the war slang of “Bully Beef”. Once I found an image, I took it to Photoshop Elements and used the clone stamp tool to paint over the original brand logo and replace it with my title with a suitable font along with my signature.

Book cover

 Image source: media.iwm.org.uk

old paper background source: http://www.publicdomainpictures.net/view-image.php?image=173865&picture=old-paper-3

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INDESIGN BLURB BOOK CREATOR 

After the rough storyboards were made, I needed to professionally establish my book template using Adobe Indesign. I visited a book self publishing website known as blurb which I found very useful as it had a feature called “Adobe Indesign Plug in” which was an application I could download within my Indesign and start sending off my book once converting the Indesign files to PDF files, one PDF file would be the pages and the cover image for the other.

Firstly, there was my template which was resized to appropriately fit the size of the book I chose in the Blurb book creator settings. 

 

When setting up the pages, I thought a double page spread would look better as my images would loose a majority of quality when reduced, also the photographs did have quite a few dark tones.   

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Screen Shot 2017-03-22 at 10.25.54   The Blurb Book Creator settings located on the bottom of the File listScreen Shot 2017-03-22 at 10.26.11

Once I had the Blurb Book Creator, It gave me two document files named Pages and Cover after my book title, I was slightly curious if I had to move my “BOOK resized”pages file that I already had from one document to another but when linking it into the pages section on Step 3, the PDF preview was exactly what I was expecting, so I simply excepted it and moved onto my Book Cover document, I then realised the book cover image of the tin of beef needed to be erased from the pages document and placed onto the cover document.

Book Cover document provided by the Blurb Book Creator app with cover Image on the right side representing the front cover  

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 The layers were essential for this part of the process as the instruction layers are not shown when the Indesign file was converted to a PDF, so I needed to make sure my cover image would be in the “your design goes here” section. 

THE BOOK

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The book arrived with smooth quality as A4 size was much better for the images along with a displayed double page spread layout to bring out their true qualities, the inside 26 pages were printed on matte paper to also enhance the highly contrasted photos, resizing the images on Adobe Indesign would of had an outcome of a series of dark images with the poetry doing most of the work which was not what I intended. The book also had a white border on the edges following a grey introduction that corresponded to the outside default colours of the book cover making everything suit each other than just the war poetic story.

With the images being on a double page spread, the poetry had been placed in all kinds of compositions which realistically needed their compositions to not only be visibly read but also in a composition where the text wouldn’t cover key aspects of the photographs which should prevent the war experience expressionism within the flowing story as the pages turn.

Folkestone War History

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Scans of pages 92 & 93 in the book “Folkestone through time” by Alan F. Taylor 2009

I was looking through a couple of history books I had at home that show Folkestone’s transitions and was mostly interested in the images that had almost the same compositions unlike some others which were locations having very profound changes. Most of the books were showing their images the same ways, the only differences I could find was some slight merging between images just like the book cover in the image below.

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Folkestone Then & Now by Alexander Tulloch 2012

WEBSITES

I had also visited a few websites that to my hope would have some interesting images of Folkestone from the past that I could use during some work development. Some may of not been during the war but were definitely worth the inspection in terms of aspects, colours and font beside compositions.

http://www.folkestonehistory.org

http://www.stepshort.co.uk

http://kentww1.com/folkestone/ 

 

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IMAGE: http://www.folkestonehistory.org/index.php?page=alias

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IMAGES: http://www.stepshort.co.uk/gallery/

IMAGES: http://kentww1.com/folkestone/

Scans of Folkestone History Book 

(Copyright 1990 Eamonn D. Rooney, Alan F . Taylor, Charles E, Whitney)

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Artist Research

MARK NEVILLE

The Port Glasgow book project by Mark Neville 2004-2006

Mark Neville is a British artist and photographer who had been publishing his projects in the towns he photographed. I was most interested in his dance floor photographs, much like the work of Martin Parr capturing society, Mark Neville shows a variety of people and their differences in class which were extremely satisfying for me to inspect and learn from. The facial expressions in the images even gave me a glimpse of the experiences being on the dance floors such as the music.

PAM MARLIN

http://www.dmarlin.com/uf-then-now/

While researching for photography development regarding comparisons of spaces between their centuries much like my idea of looking around my local space and their memorials that represent its past, I came across the work of Pam Marlin, This photographer observed her own university canvas in Florida USA and a few other locations around the country, the website link even had a show of the work with two paragraphs underneath each image describing what happened “Then” and what happened “Now”, This made me think about what I could look more towards when developing my narrative with my own photographs and 20th century photographs from other references, this was either being the facts behind the photographs (mainly the historic ones) or the creativity when bringing the photography elements together like colours and compositions.

ROBERT FRANK 

Robert Frank was a photographer who to this very day is well known in the art & photography world, He was famous for his series named “The Americans” which was a journey through America as a citizen who was originally born in Switzerland. I came across a video on Youtube that had an art curation of the work of Frank by Sarah Greennough in the National Gallery of Art.

She said in the video that Robert Frank was an artist “who would stand outside and look inside while on the margins of the country trying to analyse it more intensely and identify things that were more true” (instead of American stereotypes). The images in the series contained metaphors such as long endless road with stripes of exposed lights which Sarah quoted in the video as “a ribbon like effect”. Overall the work was an observation of a country in many areas photographing the rather obscure than stereotypical culture that American citizens enjoyed more.

BORIS MIKHAILOV 

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Boris Michailov Series of 4 1983-4

Boris Michailov created a series of images in a grid of 4 which had an anonymous sequential narrative, this particular image that was part of the series interested me the most because of the image on the top right that brings the narrative feel into the work by having not only a camera eye but human eye point of view since the hand looks like to be in that realistic angle along with the exposure or density of the images feeling like a sense of being lost.

JOHN NASH

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Over the top by John Nash

http://www.iwm.org.uk/learning/resources/british-art-of-the-first-world-war 

“During the First World War the British government developed a variety of art schemes to record and document all aspects of the conflict from the violence of the fighting fronts to the social and industrial change at home. Art was seen as the means to convey the righteousness of Britain’s cause, to bear witness to the experience of war, to remember the fallen and provide effective propaganda. The images which were produced continue to shape our interpretations of the First World War”.

This painting by John Nash much like the photographs I took at the cemetery had a very strong atmosphere, I loved how the snow was being taken over by the moving action of the soldiers with the trench behind them showing a dramatic detail of where they started.

NICK WAPPLINGTON

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“Life goes on, of course. This is a picture of family life played out against a backdrop of poverty. There is laughter and affection but there is also chaos and disorder. Working with the families over such an extended period and as an insider – not part of the family but as the grandson of neighbors – allowed Waplington to record daily life in a more intimate way than is often the case in documentary photography placing us, as viewers, in the room but unnoticed.” This documentary really stood out to me as I was visually learning how other peoples cultures develop with their family livings, the actions and facial expressions of the images much like the work of Mark Neville enhances the atmosphere of light and color of the room which overall shows a photograph with a culture/personality which may be familiar or discomforting to some viewers.

 

ANIA DABROWSKA & DIAB ALKARSSIFI 

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Photos from The Lebanese Archive website

These two artists collect “photographic prints and negatives covering over 100 years of political and cultural history of the Middle East (c.1889 – 1993). The collection was split up when Diab Alkarssifi immigrated to the UK in 1993 bringing as much as he could carry with him to London. It was hidden for 17 years until 2010, when he brought it to Ania Dabrowska’s studio at Arlington, a London hostel for homeless men and women, where he was resident at the time. Diab engaged in the Creative Space programme, which Ania was running as part of the SPACE Studios / Arlington residency. The idea of Lebanese Archive project was born out of this engagement process”.

http://lebanesearchive.co.uk/the-archive/ 

WOLFGANG TILLMANS 

Wolfgang Tillmans (born 1968) is a German fine-art photographer. His diverse body of work is distinguished by observation of his surroundings and an ongoing investigation of the photographic medium’s foundations, my favorite projects that Tillmans has worked on was his still life work of food and clothing.

This group forms part of an installation of 36 photographs titled if one thing matters, everything matters, installation room 2 1995-1997, 2003. That title conveys Tillmans’s desire that all his photographs are seen as equally significant. He suggests that an image of, say, a cup of coffee carries equal weight and importance to one of more dramatic subject matter. He questions conventional codes of representation and, in so doing, reinvigorates the genres of still life, landscape and portraiture. His images may appear artless and improvised but Tillmans knowingly adopts a ‘language of authenticity’ and many of them are carefully staged.

Gallery label, October 2013 

http://www.tate.org.uk/art/artworks/tillmans-grey-jeans-over-stair-post-p79244

dt9203grey jeans over stair post 1991 by Wolfgang Tillmans born 1968

Grey jeans over stair post 1991

http://www.tate.org.uk/art/artists/wolfgang-tillmans-2747

 

NICKY BIRD

http://nickybird.com/profile/

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“Nicky Bird is an artist whose work investigates the contemporary relevance of found photographs, and hidden histories of specific sites, investigating how they remain resonant. She has explored this through photography, bookworks, the Internet and New Media. In varying ways she incorporates new photography with oral histories, genealogy, and collaborations with people who have a significant connection to the original site, archive or artefact”.

“It set out to see how photography and archaeology could be incorporated in both literal and metaphorical ways to speak of ‘history’ – particularly history that is within living memory connected to a changed, erased or hidden place. The project worked in four locations across Scotland, in close collaboration with a range of individuals. The family snap played a central part in the process”.

JEFF WALL

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Jeff Wall A ventriloquist at a birthday party in October 1947 1990

TATE website: http://www.tate.org.uk/whats-on/tate-modern/exhibition/jeff-wall/room-guide/jeff-wall-room-6

This particular image by Jeff Wall is a creative image that is initially thought to change the perspectives of its viewers, generally people could look at a children’s birthday party as a bright positive space however, this image to me has what looks like an indifferent or even quite eerie atmosphere evening of a birthday party experience as the puppet in the centre performs its act (with the control of its ventriloquist) which as a main antagonist along with the slightly under exposed lighting intensely expresses the feeling of uncomfortableness rather than enjoyment.

“Wall extends the cinematic tendency in his work, creating claustrophobic and hermetic worlds of fantasy and strangeness. Literature and philosophy have been an important influence for Wall and two of these images refer directly to particular texts. He calls such pictures ‘accidents of reading’”.

MARTHA ROSLER 

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Bringing The War Home by Martha Rosler 2012

After looking at the collage styles I was initially making for one of my creative starting points to narratively express my war concept, I remembered Bringing The War Home. Martha Rosler likes to look at the reality of war and bring it into American culture, the woman beside the curtains to me looked like a woman in some what of a commercial relating to housing and furniture. When having this war being “brought home” in this image, the colour tones really convinced me into this particular perspective of the two realities since they all accurately correspond with many shades of either what looks to be back and white or a sepia toned type of brown.

 

HIROMI TSUCHIDA 

 

Watch and Dress in the Hiroshima series by Hiromi Tsuchida 

“Kengo Futagawa (59 at the time) was crossing the Kannon Bridge (1,600 meters from the hypocenter) by bicycle on his way to do fire prevention work. He jumped into the river, terribly burned. He returned home, but died on August 22, 1945.”

“Mitsuyo Furukawa (35 at the time) was in her garden (1,600 meters from the hypocenter) watering the vegetables. Although she was badly burned on her chest and arms, she wandered around the scorched land for a week, looking for Mieko, her eldest daughter, who had been mobilized for fire preventin work at Tsurumi-cho. This is the dress she was wearing then.”

The photographs to me looked pretty grim as I knew about the whole Japanese atomic bomb disaster back in the late days of World War II and it was initially the watch with the time of the explosion as its last message before being vandalised by the enormous impact leaving it (as it shows in the picture) a cold dirty smudge found on a abandoned road or some place like that in my imagination.

I didn’t really want to look to deep into something this dark and awful of a captured event which was why I then chose the image of a woman dress with its backstory of the 35 year old woman walking around in search for her daughter, the text was essential for this photograph since a majority of people that look at this image would at some point imagine  or wonder who was wearing the dress and what happened to this person, so when presented, people can find the work not only more comprehensible but realise how essential the works message is thats being portrayed.

This work along with its text has been useful to me in regards to my book development/planning as I needed to be aware of the most important elements that would make the book as I want it to be presented and how its story corresponds with that presence.

 

IRVING PENN 

Penn’s approach to the still life evolved over decades; from the 1930s onwards, he arranged everyday objects to create assemblages, which transcended their origins and original purpose to become conceptual works of art.  

Hamilton’s gallery:(http://www.hamiltonsgallery.com/artists/irving-penn/series/cigarettes/)

Like Irving Penn, I tried thinking about the objects I had been using in relation to the war regarding the photography skills of creating something new out of them, I thought that essential change of images would bring out much more of a poetic narrative or story instead of a typical history book. History books were professionally factual and I had a lack of knowledge on history, but I observed its concept and brought a variety of things together in a diaristic way.

SOPHIE CALLE

Sophie Calle is a french photographer known for her photography of expressionism created a book called Appointment with Sigmund Freud, the website “who with where” described the work in the book as “funny that she’s sharing personal information that most people would never share about themselves, therefore we as voyeurs and humans wanting to relate to others are lucky to get this glimpse into her life, but because she has opened the door, we want to know more. She leaves out information”, the book has its own diaristic format and small size along with precious colors and font which openly tells its viewers a personal story of Sophie’s life much like the artistic narratives of Tracy Emin for example, so whenever if its the natural societies of health awareness or the sophistication of being promiscuous, the book unquestionably has its flowing concept with a neat style of having still life looking images of shoes, bedrooms, and wigs along with some comprehensible poetry.