“Ice Hockey” 16th March 2013

Whilst taking my own photographs of the ice hockey match, I had the opportunity to approach the Coventry “Blaze” team photographer. This is another email I can add to my list of contacts, and further my professional network.
On 17 Mar 2013, at 13:54, Jenny Stonely wrote:
Dear Mr M. Tredgold,

I met you at the Coventry Ice Hockey match yesterday (16th March 2013) . I am a 1st year photography student at Coventry University, and you mentioned that you may have some contacts that you could give me. I am also interested in doing work experience for other similar events. This is something I am really interested in, if there are any opportunities. It would be great if you could get back to me. I’m also interested in your work and what else you do, I have had a look at your website and you have some amazing photographs of the Coventry Blaze team. What else do you do in the field of photography?
Yours sincerely
Jenny Stonely
Hi Jenny
Good to speak to you at the game.  I’m away with work right now, but will dig out some contact email addresses when I’m home later in the week.  I’ve got contact details for most of the regional newspapers, and I’d suggest that you get in contact with them first, and see if you can submit images for their use (unfortunately local papers don’t pay though!).
If you don’t hear from me by the weekend, feel free to remind me, as I may forget!
Regarding photos, it’s all a hobby to me – I have a day job.  Now that I’ve made the decision to stop doing the hockey photos next season, I’m not even sure I’ll use my camera and lenses – I hardly use all my kit outside of the rink!
Cheers
Mark.
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Vulgaria

Vulgaria

Pang Ho-Cheung’s “Vulgaria” truly lives up to its title; a sexually explicit and daring film. Before the film even begins the audience is given a warning about its vulgar content, “the film you are about to watch goes beyond the bounds of ‘Parental Guidance”, “For the more sensitive members among the audience therefore, you have ten seconds to leave the cinema”.

The film is about a cash strapped film producer, lacking success. Who in desperation to create a popular film, partners with a crazy yet powerful investor. Resulting in a complete mayhem whilst making the film.  However he cleverly manipulated the students who he is giving a lecture too, to spread awareness of the film using social media; by asking the students professor to stop filming the interview, knowing that the students would then film it on their phones, as they thought he would be divulging personal information.

The film starts how his story ends; its not in chronological order, which makes it intriguing. In the opening scene it is filmed so that the viewer feels like they are in the lecture theatre with the producer who is being interviewed. This technique instantly grabs the viewer’s attention, as they already feel involved. The viewer wonders what this producer is talking to the students about, what has happened and why is he there? Many films take this approach, such as “Life of Pi”, where the main character starts by telling their story, the film uses flash backs to illustrate their story.

The director has touched on a daring topic and uses comedic factors so that it comes across in an acceptable manner. Vulgaria seems like a Hong Kong’s imitation of an American slapstick comedy. Personally I see similarities to the “American Pie” series, of crude sexual comedy films. One of the most striking scenes in the film was when we found out why one of the characters was called “popping candy”; or the on going question of whether the main character had sexual intercourse with a mule.

Another film that it shares references with is the Italian film “8 ½” by Federico Fellini. The cores of these films are similar, referring to people working in the film industry and the sexual relationship that can occur. There is a quite well known stereotype that to get on well in the film industry that women tend to sleep with producers or directors, these films try to demonstrate this in a comedic way.

This film grabs your attention by declaring it is shocking. It almost dares you to watch it; even the CUEAFS described the director as daring,  (https://www.facebook.com/events/386975151400945/?fref=ts).  It proceeds to use comedy to deal with what may be seen as a risqué inappropriate subject. The film moves backward and forwards in time to create intrigue and maintain interest. However the inconclusive ending was a disappointing anti climax, to such an explicit film.

Photobooks in a Digital Era

Photobooks in a Digital Era

Digital Era:

We are digital natives, although this doesn’t mean we have an understand it

We are a fish in water

We have the ability to share through linked digital devices

Information is KING

We have the ability to find, share, edit, copy and produce information

We use linked digital devices

Convergence culture

In the digital age we can read an article, highlight, email the link etc and share

However with a physical book it becomes harder to share

Photobooks are not linked digital devices

Books are meant to be read

They are changing

Book:

“Noun: a written or printed work consisting of pages glued or sewn together along one side and bound in covers”

“A book is a sequence of spaces. each of these spaces is perceived at a different moment”

“A book is also a sequence of moments”

“A book is not a case of words, nor a bag of words, nor a bearer of words”

Ulises Carrion

‘The New Art of Making Books’

“In everyday use books have a highly standard form. they are made of rectangular pages, attached together on one side, and covered with words and images which are intended to be read in sequence”

Karen Raney

Photobook:

Quotes:

Dick Higgins Quote: “I’d suggest: a book done for its own sake and not for the information it contrasts. That is: it doesn’t contain a lot of works, like a book of poems. It is a work. Its design and format reflect it’s content – they intermerge, interpenetrate. It might be any art: an artists book could be music, photography, graphics, inter medial literature. The experience of reading it, viewing it, framing it – that is what the artists stresses in making it.”

Alex Sweetman Quote: “Photoworkbooks are a function of the inter-relation between two factors: the power of the single photographs and the effect of serial photographs…

Alex Sweetman “These elegant presentations of photographs fall short of being bookworks…”

A project in its self

Hans-Georg Gadamer

“Horizons” theory

Artists Horizon:  Vision/ Ideas/ Agenda

Viewers Horizon:

We bring our understanding of the message, our upbringing, our thoughts

We bring baggage

It’s why we have different opinions

When we view this work, the horizons fuse

We want to come together

See the work through the artist’s eyes

However this doesn’t always happen

When we leave the artwork the horizons will leave each other again

However it can change the way we see things

This is really powerful

Viewing something changing the way we think

This will then change our baggage

It will change how we see the next artist work ( or what ever it may be)

Horizons: Our presentation choices must reinforce the communication of our message or theme

Nobuyoshi Araki “sentimental Journey, Winter Journey”

Its housed in a little red booked slipped into a slipcase

It seems private

Precious

It invites you to sit down and spend time on the book

“Broken Manual” Alec Soth, Steidl 2010

About escape and hiding

The book itself is hidden away in an inconspicuous book

The ideal addition

Eikoh Hosoe and Yukio Mishima, “

Reminds us of a memorial

“Every building on the sunset strip”

Echordian book

We can pull it out and see all of them in one go

The photobook became more of a message

It becomes more than just a container of images

Physical photobook to digital photobooks

The photobook:

x-Expensive to produce and buy

x-Difficult to distribute

x-Hard to produce

x-Takes many people, photographers, printers, publishers, art work managers, reviewers etc

x-Time

x-Space is an issue

+ They can’t be taken out of context, a self contained Artifact

+A physical object

+In 100 years time it will still work, it will still be there as a physical object

+Self contained

+Experience

+Generative

Kevin Kelly- “Better Than Free”

Generative qualities

Everything in this digital age can be copied

It will always be online

We cant get rid of it

We need to find what people value

People value things that cant be copied

These are generative qualities

8 generative qualities

-Embodiment

Lucas Foglia

Why is this work so popular at the moment?

People don’t necessarily want to rebel; however they like the idea of communities

Escaping the digital age

Designs of books are changing

Becoming more generative

Embossed, design to look good.

Why else would we pay for a physical book when we could get it all for free online

It’s about the experience

Indie photobook library

Even more hyper generative

They have a life to them

Challenge the physical qualities of a book

Craig Atkinson “Bits”

Photobook club:

The digital ages lets us discuss books

Communities

You wouldn’t think this would happen in a digital age, however it is

It isn’t a good moneymaker

But its does get the work out there

If I was to produce a physical book perhaps I want people to get together, and discuss the physical book, to share their experiences and for it to become more of a social interaction, a support network. Could have interaction digitally, however I like the idea of actual face to face interaction and support, like a club.

David Greene, “Comfortable walking Socks” 2011

Alex Leme, “Small Town” 2011

X- Do not use an animation of a page turning!!

Digital platforms can be updated

However books cannot be updated

It will become out of date

Between pages and screen

A bit of a gimmick

Welcome to Pine Point

A digital publication

Images, audio, Video

-Kevin Kellys “Better than Free” (good read)

Quick task about a photo book:

It’s a sequel

It won’t quite rival the original

Its red- the colour of power

The shiny graphic symbolizes the tables inside

Size and weight demonstrates to the viewer its importance and power

It took a while to gain access to these boardrooms, which adds importance to the work

The limited edition had a walnut cover: ties it all in with the boardroom tables

Summary:

Having looked over some books in class I plan to look at more in my free time.

Maybe I could include some of these qualities that I have come across in my book…

Perhaps by creating an interesting front cover, an acetate window and orange ribbon, ribbon bound, and acetate text over the images.

These qualities will help the viewer understand and grasp what my book is about; self injury awareness.

Sequencing a photobook/ making a brownie

Sequencing a photobook/ making a brownie

It’s like making a brownie…

We need the ingredients and the recipe ( a sequence of events, instruction)

We need to apply that sequence

A good photobook

Covers, captions, images, etc

Alex Sweetman referring to Cartier- Bresson’s “The Europeans” and “The Decisive Moments”

“..these elegant presentations of photographs fall short of being book works. The art here is the single images, not the expressive actions of the whole. And this is true of the bulk of photography books, monographs and exhibition catalogues with remain merely collections- portfolios between covers.”

Optional ingredients…

Who is your audience?

What makes something interesting is that it is different

A successful chef, tastes things on the way through

Tested, checked and reviewed

Practice

“Sequencing the photobook is not a science, it’s an art. Its like making an abstract painting, a matter of intuition of a good artist is a most powerful, a most intelligent and frequently underrated tool”

Gerry Badger

“sequencing the photo book is not a science, its and art. Its like making an abstract painting, a matter of intuitive trial and error. But remember that the intuition of a good artist is a most powerful, a most intelligent and a frequently underrated tool”Read photobooks

Read books

Watch films

Narrative Structure:

Flats, Arcs, Clusters and Scatters

Flat: Beginning, middle and end (start cover and back cover)

Paula Mc Cartney “Bird watching”; field study guide

Arc: The story Arc

Build up story, a peak, and then return to normal

Tzvetan Todorov-

Equilibrium

A disruption to the equilibrium

A recognition of this disruption

An attempt to restore the equilibrium

A restored/new equilibrium

Ed Van Der Elsken “Love on the left bank”

Cluster: Allows the art to be split, almost chapters

Each section should work on its own, as well as in the larger narrative

“East of a New Eden”

It’s more rewarding to the viewers to make sense of it themselves

Scatters: a struggle (although rewarding)

Can use text or a motif to inform our horizon

Ryan Miginley

Ethereal editing

A sketchbook feeling

Rinko Kawauche “ Illumanance”

Alec Soth “Looking for Love”

Perhaps my motif that informs my viewer is the orange ribbon linking and making connections together

Pairings:

Stephen Bury

“Narrative as we have seen, is not confined to written text : one image next to another sets up a metonymic chain, the ‘reader’ carrying some memory of an earlier image” – Stephen Bury

Make connections

Alec Soth “Niagara”

Rhythm/Flow:

Rests:

Reading should have a pace

Traditionally, the image is on the right hand side

As this is where our eyes naturally fall

Using different paper and background colour can change the flow of the book

Rests: giving your viewer some time to breath

Cannot be constant

Jammie Hilton “Dead Evil Trail”

Motif:

Something that recurring

Something to keep us on the right track

Jammie Hiltons “Dead Evil Trail”

Windows, strong light coming through the window (4-5 images)

Text:

We bring our own experiences, knowledge, and memory to the viewing

Information can make us make new sense of the image

Joel Sternfeld: “On this site” changed the meaning of the image by using text. The image goes from being a landscape, to being a cold and eerie crime scene.

“The Pond” by John Gossage

Narrative structure, rhythm

“A criminal Investigation” by Watabe yukichi

Rhythm and text

“The Present” by Paul Graham

Rhythm, Pairing

“Swarm” by Lukas Felzmann

Rhythm rests

Where to begin?

What am I doing?

What is my message?

Who am I targeting?

Document changes and choices

Make dummies

Nathan Pearce “Mid West Dirt”

Home, Away, Adventure, Return

Baby being left, not coming on the adventure, in front of white cladding

Sense of leaving, the long car journey

Used a triptych page to show the length of the journey

Pause

The shooting and the contrast with the countryside they are in

Clock gives a sense of time

Then we get a space

Before the adventure and fast pace comes to an abrupt end

He is back at the house, in front of the white cladding

Maybe on a second draft, we could consider using more white space in our long journey, it is too over emphasized.

 

Summary:

This lecture has helped me develop and think about sequencing of my own book. I intend to use chapter markers to break up the shoots. I am also going to use a motif of the orange awareness ribbon throughout my shoots to link them together.