Posted on April 17, 2016
To engage with the industry in some way shape or form and take place in some kind of industrial research .
You have to prepare a document cv and learn how to put a good one together and be more efficient at doing so as a specific type of cv is required .
It’s also a good idea to do a work placement or work experience ( Imagine getting a work experience with one of your aspirations such as Bruce Gilden ) This would be good ….But what will you learn ? It is superior practice to get a work experience in somewhere where you learn something . It’s of greater value to yourself to synthesis something worthwhile out of it . The quality of your placement doesn’t matter what matters is how much you learn from it . You need to put some effort into this eg email places , use Twitter to contact people and create your own employment . Encourage your own individual entrepreneurialism and make sure you get stuck into it . There are methods of gaining funding for this from the student hardship or access fund eg travel expenses etc will be funded . Set up a kick starter if it’s a good idea . Get to grips with what you are interested in or excited about . We are artists and creators we pull beautiful things out of nothing .
Britain has a good creative industry and has good cultural ideas bringing a lot of money into the country .
Our country is sustainable through trickle down economics . If we make the country a playground for rich people will it sustain us as a country .? Large organisations run on big ideas they want to be hooked into the culture before anyone else . Think about how my visual skills could help a big company out like this .
Where are these placements ?
1 The web .
Prospects web site to search for work placements . Look abroad for a placement . If it looks scary you should definitely be going there .
The big choice ( website , large organisations ) large organisations generally have a small place for people in work experience . *Indeed . ( website ) search Photography placement England . A motivated person can turn these into something good .
2 Approaching practitioners . You can cold call but sometimes they don’t like this but I think this is a good idea . Going to the employers and making friends with them it could get you a placement easier and quicker . Get your strategy sorted . Email them .
Try Hothouse . You can present your work this is the route you need to take . People want to hire their pals so it would be a good idea to create bonds and friendships . Get your name down on the events that are offered you .
3 Professional body for photographers . *Association for photographers ( I joined the AOP as a student member and gained lots of insight and numerous benefits . As a member I would advise that you need to be a member of this peer group . There is an app a magazine and insurance . Usage calculator , which calculates your work .
You could also enquire about The British institute for professional photography .
4 Entering competitions . I would also advise on entering as many competitions as possible such as lensculture , sony photography awards taylor wessing or BJP . Not only for your own personal pleasure but for many reasons such as exposure to people in the industry and help in growing your skills and reputation Also the prizes are a great incentive . If you have any luck as I did through entering the lensculture portrait awards you may win a prize such as an editors portfolio which helped me and increased my confidence . All the work I post to this portfolio goes straight to the lensculture editiors which is also a great incentive to do quality and original work .
5 The Agency . This is an opportunity in my own college and located in blackpool it could give you a placement in photography .
How could I get my hands on a work placement
1 Become friends with them .
2 Be professional .
3 Do a good speech .
4 Prepare a covering email
5 Prepare an online portfolio
Start writing a covering email . Mail chimp, it can see if your email is effective or your website is effective . it checks how long people look at your email or open it for etc . Invite people to look at my website .
Attach a pdf portfolio .
Persuade . Blag .
How to write a covering email
Detail your reason for the email, i.e. to deliver a CV as part of your job application;
Because email is a more instantaneous and friendly form of communication, you should leave out your address details, go straight into ‘Dear XYZ’.
Posted on April 13, 2016
For just one coin …
He will take your hand
and row across the black abyss.
Hell sweep you to his threshold,
into purgatory where you can’t possibly exist .
Posted on March 14, 2016
Making a Panoramic Image .
Marys shell in Cleveleys , Blackpool .
1 . First Compose and rotate the camera handheld to find your best panorama spot .
2 . Next level the tripod by using the spirit bubble . Then use the virtual horizon on your camera if you have one . On the nikon D750 press the info button untill it appears .
3 . Set Auto white balance or set to daylight in each for consistency if you are unsure then you can alter in post process .
4 . I then use and set to either f22 or f 16 and focus to infinity .
5 . Loosen the panning on your tripod when you take each picture with 50 % overlap .
Tighten up on each shot .
6 . I use 5 to 10 vertical portrait images for a panorama . For a good print 5 is best .
File> automate> merge> browse (insert files ) . Tick blend images together . You can tick vignette removal if you want , but you don’t have to . Tick geometric distortions correction and only use Content aware if you are certain as it cannot be completely relied upon .
Photo >photomerge >panorama ,
Posted on March 7, 2016
Documentary and Portrait photography and its importance on social/cultural representation and change .
Photography is a modern language through which I seek to find new ways to express knowledge , representation and communication . Langauge and photography , ( of which photography is its most recent and pure form ) , are both tools of immense power . To find new ways to wield it would be beneficial to the seeker . I have a desire and great empathy for my subjects , thus gaining personal satisfaction from showing deep layers of meaning and truth with an image to instigate social or personal transformation that promotes cultural refinement .
I representing the oppressed .
Our energies should be devoted to constructing photographic texts , which refer to other photographic texts or meta cultural texts at large . The medium as message is dead . Long live the message as medium . G Badger . The Pleasures of Good Photographs p 24 .
* Photography is a modern language and we should be concentrating our efforts on using it as a pure language which deciphers and leads to important cultural evaluation and linguistic transformation .
Avedons influence on photography and myself has been his great artistic vision , personal message and the significance of portraying it symbolically which was more important than just subject representation . His ability to provoke reaction and make people ask questions is second to none . Avedons intent with the American west was to bring attention to the unusual class of people living in an unknown geographical isolation .
Although it’s a dangerous line to tread , as documentary is set firmly in the realms of reality , I still love to mix it creatively with photography as an art form . A photograph as in language has power which is culturally universal with different meta linguistic awareness perceived as a document of truth and reality . The subject and the picture are not the same . there is an imperceptible layer that seperates itself from the actuality . The public believes that the photograph cannot lie .
Artistic aesthetic is paramount to me as are numerous stratum of personal and culturally significant context . I have always looked for and sought to achieve in my work a perfect and visually pleasing sight that instills self satisfaction with a great latent symbolic meaning . Images have a great tendency and power for their meaning to be interpreted differently and change subjectively over time . I want my images to provoke all these feelings as they do in me whilst swaying peoples opinions now and in the future . Achieving your great previsualisation in a final image is extremely pleasurable .
I believe a good photographer with a quick sharp photographers eye can create images containing artistic expressions of themselves , and document realistic representations of the world around them with a valid cultural message . Art and photography should not be thought of as living in separate categorys
One of Barthes great influences in photography is his book Camera Lucida . Particularly guiding to me were his writings on punctum . “ The punctum “ is similar to a lightning bolt manifestation . As if you have been accidently jostled … and unknowingly pricked by a powerful personal force of realisation . The punctum has been especially important in portraiture and for me as a means of self discovery and true subject representation .
If it doesn’t always make itself apparent then the viewer will and should almost certainly pursue it in the next image .
Ask yourself what do I see ?
what do I know ?
what does it mean to me ?
Does it affect my life ?
The distinctive interpretationally specific singularity of meaning in dialect and photographs is alive with many storys . Language is a powerful tool to be deciphered . There are numerous intertextual connotations that can be shaped by each viewer and this gives rise to the difference in looking and seeing .
Bruce Gildens style and genre has been a great influence in my own practice . I like the way he accentuates the whole idea regarding the concept of the actual street genre in his shots by capturing the subjects awkwardness and apprehension . He has also intrigued many others with his up close and personal, in your face approach to his subjects .
I enjoy the thrill you get from street photography and how you can get a more authentic reflection of life in real time as it happens . I push myself to approach who I am drawn to . The photograph is my trophy, my possession or maybe a personal reclamation .
It also gives you an excuse to meet talk , explore and discover new people and ideas . I frequently diverge to the street as there is always a subject , it is always available to satisfy my cravings for photography and is thriving with the life that I seek to record . I love the mysteriousness of photography and its function as a real artform . Its many great mediums and their different artistic expressions along with my personal belief of many undiscovered connections to greater ideas . My main love is within its powerful documentary roots and portraiture with its ability to promote change and send widespread or personally relevant messages over time with deep layers of symbolic meta language .
Posted on March 1, 2016
My photographs are Immortal .
My photographs have Immortalised .
Can we not be a photograph ?
As death is a reality but its influence only lives in the realm of our subconscious , like a guarded room we choose to keep shut and which is hard to comprehend and as if in a dream . The door to this room for my subjects has been opened , one irreversibly so .
The associated totems I have chose to put in my module and all my current work to date are of a similair genesis . There are layers upon layers upon layers . Are you willing to go deep down to the basement . Can you even comprehend it ? Only certain ones will . The less relevant you are the more simple will be your discovery . The prize will be discovered by my suitably chosen subjects and time itself will or will not permit it . If the viewer wishes to search then he will find their reality both as informer and fantastical solution . If you cannot find them then maybe the viewer should ask . Ask me for death as it is a dream I will most willingly explain but only with my work !
What is a dream ?
Is it not death ?
The layer between life and death , our prerecorded lifeline set out as subliminal hints at something greater . If I can see it then so can my camera . Then So , can you ….. If you go beyond the surface then you may be able to picture death , or even smell it , a daring person could taste it , as I see it ( or can you ? ) even though you can’t in your own life it is looming somewhere in my work as in your life .
As well as documenting death I have tried to convey this specifically human condition in singular images . The way I myself perceive it in my minds eye . I have tried to bring it in every creative way possible .
Some of the images , although very hard to do , I purposefully deleted and destroyed . The hardest of which one was of a close relative which I had more reason to keep than the others .
THEY ARE DEAD .
FOREVER GONE .
Do you feel loss ? As in death . A small grieving for what we love . One sense of our cultures phenomenologically created attitude towards death ?
The only reason I would keep death as it is would be for people are more creative when it’s close by ……..
But alas I will warm that briefly stressed ego as I did also make a copy as if it were a cryogenically frozen time capsule for someone to find maybe years if not decades from now .
My work is like a backwards binary . A utopia arising from dystopia instigated by a secret but not lost , imagined world we all fear .
As in death .
Posted on February 28, 2016
Claremont street .
Here we have a series of wetplate images where the author rowe has a central thesis where he is asking the viewer to contemplate anachronism
1 A thing belonging or appropriate to a period other than that in which it exists, especially a thing that is conspicuously old-fashioned
2 The action of attributing something to a period to which it does not belong:
and recurrence .
Historic recurrence, the repetition of similar events in history
Rowe has taken a series of images of modern day subjects set against an object which is a remnant from the past ( as an icon of time ? ) . They are combined and brought to the future , our present , via means of the wetplate medium .
This meaning I gleaned by virtue of , and concluded through the subjects in these portraits , the way they are dressed , their attitudes and the objects that accompany them does not match the importantly significant timeworn survivor that is recurring and concurrent in each image . The old lamp accompanied by the medium gives a quality and aura of strangeness or is that just the familiarity/defamiliarity of wetplate ? Although quite vague at first it does “ In time “ give me insight into a contrast between two different eras . This is provided by the juxtapositions of time through the medium and the recurring focal point of the modern people against this vintage lampost that has survived from a past to this present , within the areas geographically relevant history .
Rowe attempts to use logic and reason in a manner , that once deduced he hopes may sway opinions . By bringing to our attention the need for change and a progression towards it by instilling emotions of anger about the said societal direction . I think the concept is great but something is lacking in its effort to clearly highlight his true intention of ideas regarding class and social failings in a democratic state , one that keeps the cogs turning , but only in favour of the socially elite with a repetitive price to be paid by the seventh class , or in our times summed up by the precariat , for the craving of a personally deemed fairer system .
He is attempting to portray his images as a metaphor to societys myth of its promise that everyone is rewarded fairly , equally and just , for their hard work . The carrot on a stick so to say . But it isn’t a promise that bears fruit it is always just a promise that keeps this system oiled and the fat cats fed and watered . So I feel that the author should include hints at a solution for the said predicaments in his work alongside his main creative artistic thesis . To stimulate change one needs to aggravate a cultures emotions regarding the authors proposition .
Whilst throughout history other things have seemed to evolve such as technology and structuralistic advancement . But only whilst supported by the basic premise of an administrated underclass doing most if not all the work in an everlasting circle of controlled manipulation , doomed to be repeated over and over again to support this evolution . Why and how would a different system work ? I would like to visualize this .
The author must feel the need to argue for these changes because his impression of society and the current system is that it feels broken … and he wants to fix it . With an instinct to help others… or maybe even himself having been let down and hindered by the organisation in control of his group and its dominating ideologys .
We have come to where we are and have already set aside these social systems in favour of the ones we have in play today . Im not saying that there isn’t a better way as there will be a million better ways but they might not necessarily make things better . But for people to yearn change shows a flaw in a structures identity , its character a rebel , or a desire to lead people into something better or even a hungry eagerness to change ourselves manifesting itself in a form of human salvation .
The almighty task of changing the very fabric of our societys existence may seem quixotic but our history is all to frequently scattered with revolution , so what better place to start than with a work of art .
Posted on February 8, 2016
|allentimphotos2 on The Man Bar|
|Stephen shaw on The Man Bar|
|allentimphotos2 on The Man Bar|
|Stephen shaw on Colin|
|allentimphotos2 on Colin|