Looking back at this week's works and research it became clear that I needed to make some changes to the core methodology of my practice. The root of my project/idea needs addressing, my intentions for my project over the course of the next year will change somewhat. working on two titles, “The lament of grief” and “Liminal space” which I aim to produce in some tiny deckle-edged concertina fold-outs along with maybe a tiny, hand-soldered box to house some small prints of my chosen subject. I'm particularly drawn to the size of the daguerreotype image, so small giving a sense of an item of so much value and so precious to its
You raise a good point, Louise. Having read your story, I am reminded of a time when I was doing headshots for free for aspiring models. We call it print-for-time here, and I always made the models sign a release. I would own rights to the images, and I would process 5 images for them. I thought that was pretty fair. Eventually, some of the models asked if I would share my images with the modeling agencies that they were applying to... for free. I thought hard on that one, and I couldn't bring myself to working further for free when I was already doing a lot of time-for-prints. Needless to say, I never heard back from those agencies when I applied for a job. I realize there is a large element of free photography when starting out, but I had to draw a line after doing that for over a year. Thanks for sharing your story.
Love your process flow...
Raeann
Week two
This week, we were asked to think about whether a photograph can be considered finished. By referencing, borrowing, appropriating, stealing, adopting, copying, paying homage, or remixing, it is possible to consider that images might have a life beyond what we imagine. In this sense, all images – not just digital ones – arguably have indeterminacy, or do they?
I started off the week thinking about how I could remix/re-work one of my images, I’ve always been against copying other peoples work (I have no idea why or where this stems from) I think seeing competitors in my area replicate an image which I have created within weeks of seeing it used to drive me insane! People would confuse their work with mine as they weren’t looking at it from the technical aspect but just the image and the props used etc.. I needed to open my mind and think about ways of using imagery to create something with a different narrative.
I have in my mind's eye the image I wish to create. Over the coming weeks, I hope to explore other cemeteries nearby and capture the image I’m thinking of..s the beginning of his first book to previsualization and is often quoted as saying “Visualization is the single most important factor in photography”. I came across some footage where Adams discusses “visualization” he said to make a photo you first need to come across something that excites you, see the picture in your mind's eye and make the photograph, I then give it to you as the equivalent of what I saw and felt. The whole key lies very specifically in seeing it in the mind's eye, which we call visualization. The picture has to be there, clearly and decisively, and if you have enough craft, if you’ve done your homework and you're practiced you can make the photograph that you desire.
For this week's forum, I took an image of Nerys as a newborn, this was my first newborn photograph, I copied the image exactly as it had been on the Etsy shop which is where I purchased the prop. The wings of an angel fill the void where one of her siblings would have been in the image had they survived. The others not being present demonstrates how it feels to not have that sibling in family photographs and not feeling comfortable sharing images of your baby born sleeping.
I took an image of Banksys “Angels wings” and put them in the empty space. I quite like the end result.
I find the emptiness in the second image equally as apealing.
Following on from this image I’ve made contact with an art therapist who works with bereaved parents. I wonder if taking words of thought from these mothers and even fathers in some cases, could be incorporated into my tiny book inspired by Ed Ruscha. I'm currently working on two titles, “The lament of grief” and “Liminal space”
I found some text online and added the words onto the image, again and again, changing the opacity slightly each time. I wanted to hide her face but leave enough visible to understand the message in the image. Looking back I should have allowed more of the image to be visible as it's difficult to see whats going on here. This was just a little experiment to see how the end result would look and as stated before, I wouldn't want to be caught up in any issues arising as a result of my sharing an image without the right to do so.
Following on from this image I’ve made contact with an art therapist who works with bereaved parents. I wonder if Taking words of thought from these mothers and even fathers in some cases, could be incorporated into my tiny book inspired by Ed Ruscha. I'm currently working on two titles, “The lament of grief” and “Liminal space.”
What you did during the week, feedback received and how you will respond to that.
Any reconsiderations to the core methodology of your practice.
The forms your project/photographs could take moving forward.
Looking back at this weeks works and research it became clear that I needed to make some changes to the core methodology of my practice. The root of my project/idea needs addressing, my intentions for my project over the course of the next year will change somewhat.
Having spoken to a family member who happens to be a mother of a baby born sleeping I’ve been left in a situation where my communication could further affect her mentally/emotionally. I need to explore other ideas. The main methodologies I had intended to use were photographs, research, and other interpretations including my own experiences, thoughts, and ideas.
I have been researching different ways of presenting my work and of course accordingly dependant on the viewer. Remixing and reusing of images this week has opened my mind to other avenues I would like to explore.
I have in my mind's eye the image I wish to create. Over the coming weeks, I hope to explore other cemeteries nearby and capture the image I’m thinking of..s the beginning of his first book to previsualization, and is often quoted as saying “Visualization is the single most important factor in photography”. I came across some footage where Adams discusses “visualization” he said to make a photo you first need to come across something that excites you, see the picture in your mind's eye and make the photograph, I then give it to you as the equivalent of what I saw and felt. The whole key lies very specifically in seeing it in the mind's eye, which we call visualization. The picture has to be there, clearly and decisively, and if you have enough craft, if you’ve done your homework and you're practiced you can make the photograph that you desire.
I remember reading a book by Ansel Adams, he used the term “visualisation” often.
The concept of previsualization in photography is where the photographer can see the final print before the image has been captured. Ansel Adams dedicates the beginning of his first book to previsualization, and is often quoted as saying “Visualization is the single most important factor in photography”. I came across some footage where Adams discusses “visualization” he said to make a photo you first need to come across something that excites you, see the picture in your minds eye and make the photograph, I then give it to you as the equivilant of what I saw and felt. The whole key lies very specifically in seeing it in the mind's eye, which we call visualization. The picture has to be there, clearly and decisively, and if you have enough craft, if you’ve done your homework and you're practiced you can make the photograph that you desire.
I have in my minds eye the image I wish to create. Over the coming weeks I hope to explore other cemeteries nearby and capture the image I’m thinking of.
Most of my research has been focussed on Stillbirth photography and why this subject is still shrouded with such silence in this day and age. Stillbirths are ten times more likely than cot death and yet people want to bury the issue. As part of my research, I had been reading about the artworks/installation by Christian Boltanski "The Reserve of Dead Swiss" 1990. Remixing or reusing of images is something I have been looking into for my FMP, it came about as a result of the COVID19 lockdown meaning I was now unable to directly contact the families as I had initially planned to photograph. I have looked into the possibilities of reworking text from bereaved parents and photographing using various techniques.
With the attitude of 'best not talked about' it, in turn, isolates the parent. Art therapy has been used for many years, on reading this article I was left wondering how much importance should be placed on the need for photography at the time of loss prior to the separation of parents and baby.
Four thousand babies are stillborn here in the UK every year, More die during this period than at any other stage of childhood, yet while deaths among newborns and toddlers under the age of one have fallen significantly over the past 15 years, stillbirth rates have barely changed. Stillbirth rates are falling in other similar high-income countries, where these deaths are actively fought against. Here, stillbirths are too often viewed as sad but unavoidable tragedies, best not talked about.
With the attitude of 'best not talked about' it, in turn, isolates the parent. Art therapy has been used for many years, on reading this article I was left wondering how much importance should be placed on the need for photography at the time of loss prior to the seperation of parents and baby.
I have in my mind's eye the image I wish to create. Over the coming weeks, I hope to explore other cemeteries nearby and capture the image I’m thinking of..s the beginning of his first book to previsualization, and is often quoted as saying “Visualization is the single most important factor in photography”. I came across some footage where Adams discusses “visualization” he said to make a photo you first need to come across something that excites you, see the picture in your mind's eye and make the photograph, I then give it to you as the equivalent of what I saw and felt. The whole key lies very specifically in seeing it in the mind's eye, which we call visualization. The picture has to be there, clearly and decisively, and if you have enough craft, if you’ve done your homework and you're practiced you can make the photograph that you desire.
With the attitude of 'best not talked about' it, in turn, isolates the parent. Art therapy has been used for many years, on reading this article I was left wondering how much importance should be placed on the need for photography at the time of loss prior to the separation of parents and baby.hotography”. I came across some footage where Adams discusses “visualization” he said to make a photo you first need to come across something that excites you, see the picture in your mind's eye and make the photograph, I then give it to you as the equivalent of what I saw and felt. The whole key lies very specifically in seeing it in the mind's eye, which we call visualization. The picture has to be there, clearly and decisively, and if you have enough craft, if you’ve done your homework and you're practiced you can make the photograph that you desire.