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Paul Smith

Paul Smith


Feels he has had natural threads through his work and life

Joined the army in 1985

from Paul Smith Lecture

He had this idea what the army would be like

Joined the junior leaders, 15years 10months old

Feels he was a kid, how could he make a sensible judgment

Why did he join, this is what he covers time and time again in his work

It wasn’t what he was expecting

The options were to go to Uni (10% roughly would at that time) or to go into work

He wanted to start diving; they offered this training in the army

It is seen as heroic

A year spent in Dover, and then sent to the cold war in Germany

Given a bridge to plan to blow up, incase the Russians came

Retrained as a paramedic, 6 weeks intensive training, army medic

from Paul Smith lecture

He then realized what he loved at school was art, he picked up a camera and started to document what was around him at the time, on one shoulder his camera and the other was his first aid bag

6weeks evening class in photography, exhibition at a local library

One of the officers came to the exhibition

The actual army photographer got sacked and Paul Smith got given his job

from Paul Smith lecture

His job was to document post war crimes, became very familiar with the Geneva Convention

He left the army after 5 years, and started a foundation course on art and design

He then came to Coventry

Photography wasn’t really accepted as art at this time

So he linked it with printmaking

After that he decided to see if he could become a pure photographic artist

He grew up in Australia and had a yearning to go back there

He took a year out, and did a research project into contemporary aboriginal art

Jimmy Pike, fascinating aboriginal artist, he had never seen a white person until later in his life

Interview with Jimmy Pike, he arranged for Paul to have an evening dinner with people in the bush

from Paul Smith Lecture

by Jimmy Pike

4months later he came out of the bush, he was invited to stay… so he did

learn through stories

Went back to college, however he had no money, so he took another year out

He became a photographer for the Duke of Edinburgh’s award

Started also work with the Royals

Went to Africa with Prince Edward

Fantastic opportunity to see another culture

Opened exhibitions for him etc

Bavarian mountain climbing photography, for D of E

Try to make a 40year old climber look like a adolescent, so decided to use silhouetting

Graduated from Coventry Uni

Realized he wanted more training in photography

Went onto the Royal College of Art

Hellen Chadwick, told him to refocus on his army career and do a project on this

Inspiration was from his childhood, playing war games

It was a fantasy element, he never really thought about what would happen if he really did get shot

He looked at Great War photography, and started creating multiple self portraits

by Paul Smith

by Paul Smith

by Paul Smith

People felt that it was cheating, just fiddling with a few buttons

Tried Black and white again, however he didn’t think it worked

So he stuck to his guns and carried back on his path of working

Original artists formed the SAS

Snuck into enemy area, and sketched their tranches

Artist rifles

Borrowed weapons from his brother, as he was still in the military

His work had connections to all sorts of wars, Vietnam etc.

Charles Saatchi, a collector of art, wanted to meet him

Charles Saatchi bought his work

Flood of people came to see his work, as they realized he was going to be big, as Saatchi had bought it

Meant he could buy himself a Mac

“Make my night”, next series of work

The way you got round boredom in the army was to drink

Got hammered on a regular basis

To fit in you had to drink more etc

Need to be accepted, people identified with this

He realized he didn’t want to do this any more, so he made a series about it

Looking from a male perspective, drunken photographs became sexual

Acting up for the camera

by Paul Smith

by Paul Smith

Bought by Elton John, and Michael Jackson

New Neurotic realism


I get knocked down, but I get up again

The loops over lap, never actually a start and end of the loop, certain loops start at different times to the others etc

Intentionally design for a gallery

Wanted a piece that you could walk into and understand from any point

Shown in the Saatchi gallery and photographer gallery in London

Tom Hinkston asked him if he wanted to do an album cover

At first he turned him down, then he realized it was for Robbie Williams and changed his mind

Multiple images of Robbie related to sport

Skecthbook full of idea

Football, another sketchbook of work

Robbie loved the idea so much that it went from taking a cover, to doing a shoot for 3days, and getting a series of images

by Paul Smith

by Paul Smith

by Paul Smith

Budget was well into the 6 figures, anything within reason

Sent out to hire Wembley stadium

Got himself an agent, Mark George, represent Richard Avedon etc

Chelsea stadium instead

Robbie wanted the 80s look

Had stylists, and make up artists working for him

Cheeky chap, being a bit outrageous

Down side was that every one new him as the multiple image guy

New style


Shooting directly upwards

Designed to go on the ceiling, light boxes, only light from these light boxes

The edge of mortal immortal

by Paul Smith

“This is not pornography”

Another subject that was dear to the squaddies hearts


Dreaming about someone else

Computer usage, visual aesthetic

Absolutely smacked you in the face, of this has used a computer, visual aesthetic

by Paul Smith

by Paul Smith

by Paul Smith

What happens in hotel room?

Great Eastern Hotel


A turning point, where he realized commercial work was beneficial

Lloyds building, inspired by the action

by Paul Smith

“Mr Smith”

Celebrity culture, people would assume that because he worked with Robbie, so that he would be best mates with him, and know gossip

Touched by a celebrity

Series where he slowly turned into a celebrity

by Paul Smith

by Paul Smith


Completely different

Bullets, how they appeared afterwards

Ricocheted of a wall

Creating beautiful objects to photograph

by Paul Smith

A brilliant talk that I found deeply inspiring. It was amazing how similar my ideas have been to his already. My work I have previously done echoed a lot of similar ideas. I understood where he was coming from, and greatly enjoyed the talk.

To Edit series

To edit

 -Prepare material for publication by correcting, condensing, modifying

-Choose material for  (a media production) and arrange it to form a coherent whole

-(Edit something out) remove unnecessary or inappropriate material from a text, film, or radio television programme.


Select material

Condense/remove unnecessary material

Organise into a coherent whole


The edit is dependent on the dissemination method:


-Photo book

-Portfolio- book or box of prints

-Magazines editorial

-Photojournalism/photo essays- print layout or digital slide show

-Online website, blog or slideshow

The edit is also dependent on the type of photography project

-Sequential or series/collection

1. A sequence of photographs only makes sense in a certain order

2. A non-sequential series of photographs can normally be arranged in two ways:

-To create a narrative

-To compliment formal (colour, tone, shape) aspects of the pictures

-Or both

How to begin:

-Contact prints of all work shot to date on your project

-Or Small work prints to spread out on a table

Contact sheets tell the truth behind a photograph

They unveil its process, and provide its back-story. Was it the outcome of what a photographer had in mind from the outset?

Diane Arbus, chose because of the power and craze behind it, different feel compared to the others

Did it emerge from diligently worked sequence, or was the right shot down to pure serendipity

by Diane Arbus

Editing technique- the sequence

A family album is an edited chronological sequence

Eadward Muybridge is famous for his series work

by Eadward Muybridge

Steven Pippin, Laundromat Locomotion (1997), a modern take

by Steven Pippin

David Hilliard, “Andreu (man at mirror), 1997

by David Hilliard

JoAnn Verburg, “exploding Triptych, 2000

by JoAnn Verburg

A possible idea to display a series would be a Concertina Books

Duane Michals, The spirit leaves the body

by Duane Michals

Non-linear serial work

Narrative work

-Julian Germain, 2005

by Julian Germain

Poetic narrative work

“Roaming”, Todd Hido, 2004

by Todd Hido

Alec Soth “ sleeping by the Mississippi river”

by Alec Soth

Magazine work, the double page spread


Dazed and Confused

Tim Walker

by Tim Walker

Vogue, Tim Gutt, Star Signs editorial feature 2010

by Tim Gutt

by Tim Gutt

After we did an exercise on editing a series for a magazine spread, I found it interesting to see how many different options there were, and how my group edited compared to the professional edit. I still personally like our personal edit, as we kept black and white with black and white, and colour with colour. The professional edit mixed to two, which I didn’t agree with personally.

Carolyn Lefley

Carolyn Lefley


-BA Fine Art 1997-2000

-Wanted to do painting, however changed her mind and decided on photography

-Robert Rauschenberg

“ Painting relates to both art and life. Neither can be made, (I try to act in that gap between the two)”

by Robert Rauschenberg

-Using the ready made, combining photography with painting

-“Empty Homes” 2000, Accessing homes between owners

-Traces of where the previous occupant had been living

-“View point” 2001, She sees them as portraits, lonely seaside watchmen, abandoned telescopes, personifying inanimate objects

-“The watchers” 2004, printed 1m, you get a sense of being in the space

-The TV became almost a segregate member of the family, each image on lit by the TV screen light, 10mins exposure, taken from the TV viewpoint

-Get into the régime of working 9 till 5 and then watching TV

by Carolyn Lefley

-MA in photography, “Home” 2005, Homeliness, Happiness, you can tell somebodies life

-Photographed her familiar family home where she grew up, however it feels unfamiliar coming back to it, and over grown child.

-Photographing at night, with the shadows, using the aesthetics to show her feelings

-The duvet almost seems like an ocean, a landscape within the room

by Carolyn Lefley

-“Semi Detached” 2006, an architectural mirror in the next door neighbours, but different

-The neighbours were very private, so she used a friend’s house she was familiar with and her neighbours

-They didn’t realize how similar they were, so similar

by Carolyn Lefley

by Carolyn Lefley

-“Belonging” 2006, she wanted to keep working on the home, and identity, wishfullness of wanting your ideal home

-Dolls houses, was it real or a dolls houses,

-Is it streetlight, moonlight, or studio light?

-Grotty bed, old wall paper

-Goldilocks and the three bears, different beds, which one will fit, Freudian link

-Published in stimulus respond, issue winter 2007

by Carolyn Lefley

“Within” 2007, The mini home, with the huge as well, small and large, a dolls house, with the real homes stairs through the window. The earth and the Universe, Scale

by Carolyn Lefley

Troika Editions, has interviews of artists talking about their work

Photomonth (exhibition in London)

“Quotidian Snapshot” 2007-2008, (used as a breather from her serious work) one picture everyday, visual diary of 2007-2008

07.11.07 Carolyn Lefley

10.11.07 by Carolyn Lefley

“Realm” 2009-2012, Long term project, digital double exposure using photoshop, woodland scene and derelict interior

-Started with a question, road trip around Scotland, interested in visiting a landscape, linked with a fable or story, interested to see if you could reveal that story with photography? What people believe, and why people believe, photography is usually a believable document

-Realm, Fairly woodland (supernatural) with real interior, a visual language, with describes the possibility of another realm, (The lion the witch and the wardrobe, Alice and wonderland)

-Using a blending overlay on Photoshop, made it highly saturated, so then used adjustment layers, and masking some bits are revealed more than others, if using a complete double exposure, there was no room to breath

-HDR used on the window, as it was overexposed

Realm by Carolyn Lefley

-Timespan Artist in Residence

-Timespan Carolyn Lefley, to see blog

-“Wilderness” Holton Lee studio residency, 2010

-Made a forest, thinking about the creation story, 50+ stories

-Made her own Garden of Eden and then bringing in other stories

-Wanted it to look unreal, always using the same set, however different stories, belief and believability in a photographic image and faith

by Carolyn Lefley

Seeing how Carolyn Lefley’s work has progressed and developed through time was immensely interesting. I was amazed how she could photograph interiors in so many different ways.

Encountering Culture


“Know thyself”

The thought of knowing who your truly are. To be able to understand the world around you, you need to know who you are and “know thyself”, without this you will not understand why you feel the way you do, to be able to understand the world you need to know who you are.

Many people think they are what they do, for example Johnny is an accountant, so when you ask him he would say he was an accountant; but is that truly who he is.

The idea of knowing who you truly are scares people, they hide behind a mask. What if they didn’t like who they found out they were? People put across a persona that isn’t really them, an act they get used to playing and start to believe themselves.

Unless you were to delve deep down and figure who you are, you may not realize how many masks you use.


I wanted to look at these images as they look at reflections of how people may see themselves, compared to how they are. The old see themselves as young for example; they see themselves as who they once were. These photographers were taken by Alex Kisilevich; an award-winning photographer from Canada.

by Alex Kisilevich

by Alex Kisilevich

I came across Richard Burbridge, a photographer who has worked for Vogue and Harpers Bazaar. I liked this series that he did on masks, as the ominous masks contrast against the women’s natural beauty. I also want to use the idea of masking.

by Richard Burbridge

Here is a shoot I did on a 35mm film using the Pentax K1000:

by Jenny Stonely

I wanted to show my ideas about peoples reflections and them changing that using makeup and aftershave etc. Making themselves better than they thought they were originally. Changing themselves.


When I saw Dan Mountfords work I realised that this was a technique I wanted to try; by using a double exposures he superimposes two images together. The double exposure effect against the bright sky means the object cuts the portrait to its shape.

“We are Nature” by Christoffer Relander uses multiple exposure to superimpose portraits with nature. His images are magical and mysterious. I want to try to do this myself, adding a mystical feeling to my images.

I looked through “The Photo Book” and came across Heinz Hajek-Halke, El Lissitzky, Arnulf Rainer, Wanda Wulz. I was inspired how they had all masked photographs in different ways, from multiple exposures to paint.

Heinz Hajek-Halke “Home of the Sailors”

Home of the Sailors by Heinz Hajek-Halke

El Lissitzky “The Constructor”

by El Lissitzky “The Constructor”

Arnulf Rainer “Angst”

Angst by Arnulf Rainer

Wanda Wulz “I+cat”

I +cat by Wanda Wulz

by Christoffer Relander

by Christoffer Relander

A Disguise:

Having thought about not really knowing yourself, I wanted to explore the idea of disguising your self. The idea of masks, and putting yourself across as something you aren’t. Covering the face with objects perhaps, maybe magazine pages ripped out, or multiple exposures to obscure the face.

First Attempt (Digital Shoot Nikon D300):

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

Second multiple exposure shoot (Mamiya RB):

Having tried out the multiple exposure technique, I have decided that this is how I want my project to develop.

I asked people what they use to mask themselves:


-magazine fashion

-make up

-clothes and shoes

by Jenny Stonely

dark room testing

-6 secs and 12 secs F16: too light

-15 secs F16: too bright still

-16secs F16

dark room testing

-2secs F5.6

-4secs F5.6: too dark

-6secs F5.6: way to dark

-2secs F5.6

Digital back up images (Nikon D300)

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

Third multiple exposure shoot (Nikon D300):

Having done the previous shoot against a plain wall, I realise that it is the bright over exposed background that makes the images work, so for this next shoot I will use a window. I need the light to spill through and cut the persons face into the object.

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

Fourth multiple exposure shoot (Mamiya RB):

by Jenny Stonely

dark room testing

-3secs F5.6: too light

-5secs F5.6: slightly too dark

-4secs F5.6

dark room testing

-5secs F5.6

-9secs F5.6: too dark

-3secs F5.6: too light

16secs F16: too light ( not a large enough aperture, need a large hole, more light)

-5secs F5.6

Fifth multiple exposure shoot (Mamiya RB):

by Jenny Stonely

by Jenny Stonely

dark room testing

-2secs, 4secs, 6secs: F11 (strip test)

-6secs F11

dark room testing

-3secs, 6secs, 9secs, 12secs: F5.6

-10secs F5.6: 9 secs too light, 12secs to dark

-Using card I dodged the arm out of the image, however I think I actually prefer the image with the arm, otherwise it looks like a floating hand. I could reshoot and use string to hold the butterfly in place, however as you can see the portrait shows up better on the hand rather than the butterfly alone, as it is a solid object. This means if I was to reshoot using a suspended butterfly it would not work.

Digital back up images (Nikon D300)

I wanted to carry on using the objects that people use as a mask to multiple expose over the portrait.

However I have realised that I need to use a larger window as the framework was getting in the way.

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

I now understand the technical side of what I’m trying to do

However my images just appear like a technical task, they are not beautiful

I now need to develop how I will make my images technically correct as well as beautiful

I need to move people with my imagery; I want the viewer to be caught in a moment of wonder.

Perhaps I could use fantasy objects, to create this, as they are seen as beautiful and mysterious. I like the butterfly image from the previous shoot as this is one that is beautiful as well as technical. I feel that the butterfly has a certain feel of fantasy about it as well as beauty.

I like the idea of using inspiration from childhood stories, for example Alice in Wonderland. I could use objects like the pocket watch, or teacups and fairy cakes; these objects are all linked to a story so will also work well as a series. I will carry on using the multiple exposure techniques to create a mask with the objects.

The idea that society uses makeup, or clothing etc to mask themselves is to make themselves appear better than they think they are. Perhaps I could just use objects of beauty to mask the portraits, as this illustrates how they want to appear, beautiful.

Sixth multiple exposure Shoot (Nikon D300):

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

I had a look through the book “Wonderland” which inspired a few fairy tale ideas.


Having shot some digital images along the idea of Alice and Wonderland, I can now see that there is a weak link to my original idea of  “know thy self”. I looked back over my images and still really like the butterfly image. I started to consider why I used this object to mask the face. Holly had previously told me that since having come to Uni she feels more comfortable in herself. Perhaps she has grown up and due to this has become more comfortable in her skin. This links back to the idea of the butterfly, the hungry caterpillar; the moral of this story is about change and growing to be yourself.I now want to use this idea to take portraits with the multiple exposure technique, about people knowing themselves.

I need to think up other stories from childhood, that people could link to themselves, about why they are the people they are today, and then take an object from that story to mask the portraits with.

Becky Woodall:

“I’ve been thinking… it’s my music that makes me who I am, definitely. I’ve always been in a choir since I’ve been young and I’m always singing and I always really identify music, I’ve got songs that make me cry for happiness or ones that I cry to when I’m sad!”
I plan to link Becky with Fantasia, this film includes classical music conducted by Leopold Stokowski;  mostly performed by the Philadelphia Orchestra. 
Thoughts about Output:

Format/ Print size/ Finish

Format: Book project, Exhibition

Finish: Matt, Semi Matte (satin or pearl), Gloss

Large or small: what will suit the work

All portrait/ landscape or a mix of the two?

In a portfolio?

Large or small paper size?


With borders?

Daido Moriyama- Double page spreads and no borders/ “full bleed”

by Daido Moriyama

Full frame- Thicker base border


Full frame

Oversized border

Portrait format, borderless sides (landscape images)

Julian Germain- importance of white space

by Julian Germain

Blurb: on demand print book

Japanese stab bookbinding walk through- CU photography on Vimeo by Jonathon and Matt


Working in triptych: David Hilliard ( Andreu, Man at mirror)

by David Hilliard

Rinko Kawauchi: doubles/diptych

by Rinko Kawauchi

Photo zines:



Sophie Calle: The Hotel (1981)    text gives it an intrigue

by Sophie Calle


Why she formats her work the way she does

Bespoke portfolio or print box

Concertina Sketchbook by Sea white

Think about how best to present your project

Does it have a linear narrative?

Would it work as a small book?

Do the prints work best as small or large?

After another lecture on how to present our work, I had another think about other Photographers work

Tom Hunter:

by Tom Hunter

Decided to document the area and lives of his squatting surroundings

Decided to mount into model houses

Museum of London

Historical documentation of this squatting in the 90s

Andreas Gurski:

by Andreas Gurski

Epic cityscapes

Huge print sizes

Size does matter

What techniques to artists use to show you their prospective?

Dominque Blain :

by Dominque Blain

Slaves, getting on all fours to look at her work in the gallery

How presentation can effect how you view that image

Barbara Kruger:

by Barbara Kruger

Feminist conceptual artist

How we make asumptions about things

Make a third meaning

Corinne Silva:

by Corinne Silva

2010 work, Imported Landscapes

House of Vernacular at Fabrica

House of Vernacular at Fabrica

“Aircraft fusilage constructed for photographs of 1970’s Dictators Jets”

Had to go into a set to view the work, to do with aircraft, had to enter an aircraft to view it.

I then visited the Herbert Gallery:

© 2012 The Herbert

I wanted to find a piece of work that I think had been displayed well, and a piece where I didn’t think that the display did the work justice.

The Coventry Sculpture by Peter Laszlo Peri

I really liked the presentation of this piece, as you could walk around it and view it all from all angles, it was easily viewed and enjoyed.

Scenes from the passion, Wednesday week by george shaw

I didn’t personally appreciate the display of this work, as the work wasn’t easily viewed because the glass because created bad reflections, obscuring the work from the viewer.

Having look at this work I have decided to show my images in a Fairy tale book. I want to show the link between my images and the type of stories they have come from. Perhaps if I was to do this again I would use a zine format; using scans of fairytale stories from books next to my images.

After thinking things through I have decided to buy an old style book of fairytales to mount my images into; as my project is about childhood stories and their links.

I organised my shoot and asked people about their lives, linking their experiences of why they are who they are today to a childhood story. I then used this story to choose an object from and mask their face with. This used the last lot of films I could get hold of in time, as I needed 400ISO medium format for the light sensitivity of the film to pick up the effects I needed.

Final Shoot (Mamiya RB):

by Jenny Stonely

by Jenny Stonely

Nikon 9000D negative scans:

Test Strips:

Sketch Book test strips scanned in

Lucy Bartlett:”I chose Charlie and the Chocolate Factory as I was able to identify with the main protagonist as a child, and I still sort of can. Charlie is seemingly unlucky, which I can empathise with, particularly as a kid. But his luck changes and his dreams become a reality. Everyone has a golden ticket, but it takes something to happen or change in your life to remind you of that fact. I guess I could say that all you really need is a little bit of pure imagination to realise what you’ve actually got in life.” This is why Lucy has a chocolate bar as her double exposure object.

Becky Woodall:For Becky I planned her shot around Fantasia, as this film includes classical music and Becky feels that music makes her who she is today. “I’ve been thinking… it’s my music that makes me who I am, definitely. I’ve always been in a choir since I’ve been young and I’m always singing and I always really identify music, I’ve got songs that make me cry for happiness or ones that I cry to when I’m sad!” This is why I decided to place music sheets as a double exposure for Becky.

Dan Olding:
“Ever since I was young I never really seemed to grow up, I mean my body aged and I grew in size but in my mind, a child still played and was in control, I still laugh at childish things and the need for constant attention. The ability to grow old but stay young has always appealed, I guess it’s to Never Never Land with me then.” Even Dan realised that he was similar to Peter Pan, the fact that he doesn’t seem to grow up, and will always stay childish; this is why I chose to use the fairy wings, as they all can fly in Never Never Land.
Kerrie Caine:
“Having a best friend that has many different health problems, it was difficult for me to watch her destroy her body with drugs. Seeing the side effects they had on her body and putting her in hospital so many times made me realise how much I am against taking them.” This is why I based Kerrie’s picture around Alice and Wonderland, as it is believed that Lewis Carroll was under the influence of drugs whilst writing this book. I then decided to use cards as I associate cards with Alice and Wonderland.
Aaron Sehmar:
For Aaron I based his around Alice and Wonderland, The rabbit. ” Being someone who is always late, it has made me who I am as people not only associate me with this, but it has made me learn the value of timekeeping. I see myself as the rabbit from Alice in Wonderland as he is rushing to get somewhere and I feel like that is what I am doing with my life.” This is why I placed a pocket watch over Aaron’s face as a double exposure.
Matthew Owen:
“They have made me want to do the degree I’m doing, and have seriously influenced my future decisions for my career. Having done a static line parachute jump I believe I am a stronger person, it has surprisingly not only added to my confidence in adventurous activities but also improved my confidence in many different areas of life. I feel I am the strong, confident person I am today because of the opportunities that the ATC (Air Training Corps) have given me.” I linked Matt with the childhood story of Budgie the Little Helicopter, as he is a helicopter and all his life is based around flying; all his friends are helicopters or planes too. Seeing as Matt is mainly interested in flying aeroplanes, I decided to place a plane in-front of his portrait.
Catherine Pryor:

“My life is similar to the wizard of Oz ad the character Dorothy because there is not place like home as when I was younger at boarding school even though I loved school and had all my friends around me I couldn’t wait to get back so there is actually no place like home.” This is why I placed Ruby red slippers over Catherine’s portrait, as there is no place like home.

Kat Korwaser:
“For a few years now I have dreamed of becoming a photographer but I have stuck by it even when I felt I was no good or got rejected from universities. And now I’m at university and feel like I could be coming closer to my dream. This is similar to the Little Mermaid as she never gave up on her dream of becoming human.” This is why I decided to overlay Kat with a shell, as this reminds my of The Little Mermaid.
Tom Padula:
“Alcohol…The momentary release from a day of worry, or a particular stress. The social appeal, loss of self consciousness, but, how much is too much? Where is the line? Have I yet to reach it? or have I already passed it…” This is why I linked Tom with the drink me bottle from Alice and Wonderland, the choice to drink or not to drink..?
Katie Bayliss:
“Being the youngest of my family, I was often teased by my brother and sister. They would blame me whenever they themselves had done something around the house that would make my parents angry, they would also try and make me do their chores whenever they were too lazy to do it themselves. Being accepted into university meant that I no longer had to do what they said and do what I wanted, when I wanted.” This is why I connected Katie with Cinderella, the first object that popped to mind when think of cinderella was the pumpkin, which is what I chose to overlay her portrait with.
Holly Constantine:
“It’s hard to believe that before I came to University I was the shy, awkward girl that wasn’t confident enough to show who she truly was. From a young age I have always been uncomfortable in making a fool out of my self so was often found quietly at the back to save myself from possible embarrassment. Since coming to university and being able to grow as an individual, I have come a lot more confident in myself and have found that people are willing to except me for who I am. As my father keeps saying, I see myself as a ‘blossoming flower’, I keep on growing and there is know way that I plan on turning back time. I like who I am.” This links to the hungry caterpillar; the moral of this story is about change and growing to be yourself, hence why I chose a butterfly.
Having shot my last films in fear of running out of time, I realise now that I should of bought the fairytale book before hand and linked my ideas to those stories. However now I have used all my films, and the book only has a few of the stories I have covered. However I like the link still, I want to mount my images with a brief explanation underneath to the story and their life experiences.

I like how the book has an old feel to it, however I don’t like that my images stand out as being very white against its stained pages. For this reason I am going to order a sepia tone in the hope that it comes in time for my deadline.

Having got hold of some Foma Sepia Toner, I used it on a few trial test strips. I mixed up the Toner and bleach to a ratio of 1part chemical to 9parts water. I let the prints soak in the bleach for 5mins, and then washed them thoroughly (5mins), Having washed them I then placed them in the toner for 5mins and thoroughly washed again to finish(5mins). I like the effect it had, however it didn’t sepia tone the white area of the print. I want my prints to blend with the pages of my fairytale book. For this reason I decided to finish with a wash of tea (1+1/2 mins), this stained the paper again, making the white a sepia tone as well. The combination of the two stains worked really well, and I am really pleased with the final tones. Having practised with a few test strips I completed the staining on my Final 10 prints.

test strips and colour stains tests by Jenny Stonely

Flatbed scans of Final prints:

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

by Jenny Stonely

My Final Piece:

by Jenny Stonely

by Jenny Stonely


I’m really pleased with my final 10 prints. This technique was completely new to me,and I feel I have grasped this idea, and made it my own. I feel that I chose a successful way to show my images as a final product: a fairy tale book, as my final prints are all about childhood stories, and knowing thyself. This project was a challenge and developed a lot from my first ideas. My first ideas were to document people masking themselves with makeup, and reflections, however this quickly moved on to multiple exposures. At first the multiple exposures were about the objects people use to mask themselves, however I moved on to knowing thyself, and masking people with objects from childhood stories that link to why they are who they are today. I had to solve the problem with lack of light by using huge windows on a bright day instead of a white wall. I also had to figure each individual exposure for the negatives to print from in the darkroom, I found this particularly difficult as they were multiple exposure negatives with differing types of detail. If I was to come back to this project at a later date and work further on it, I feel that I would continue by making it into a photozine or book.I am really proud that my multiple exposures were all done in camera, instead of other methods which can be used such as layering negatives in the darkroom; however I managed to successfully use the all in camera technique.I feel my work is  eye-catching and dreamlike, much like stories were as a child.


Wonderland (Book)

Edited by Robert Klanten, Sven Ehmann, Birga Meyer

Published by Die Gestalten Verlag, 2004


“The Photo Book”

First published in 1997 Phaidon Press Limited, London

Pages: 191, 280, 372 and 497



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What is Fine Art?

-A creative art form that allows artists to show their views

-Paintings and sculptures

-Expensive art



We cannot determine what fine art is, as groups of artists, movements come along and change how we think.What was considered art eye pottery with beautiful carvings, is now sub categorised as arts and crafts.

“The use of skill and imagination in the creation of aesthetic objects, environments, or experiences that can be shared with others”

Aboriginal art:

-Some of the earliest traces of art


-A story, a collection of ideas

-Cultural, cavemen would understand, perhaps we don’t

-Not a linear story

Jimmy Pike:

-Probably the most famous contemporary aboriginal artist

-Lived a traditional aboriginal life

-Had a fight to the death over a woman (aboriginal tradition)

-Ended up in prison

-Psychologist in prison introduced him to our ways of artwork

-Landscape, illustrates the land and where the people gather, similar to an ordnance survey map

by Chris Ofili

Chris Ofili:

-“Virgin Mary”

-Traditional paint and canvas

-However uses elephant dung

-In America this caused an uproar, as it was controversia using elephant dung to paint the virgin Mary

-Although he didn’t mean to cause offence, a christian himself

-Was band from exhibiting it

-Suddenly it was all over the newspapers, and he became a house hold name in america, because of the controversy over it

by John Everett

John Everett:

-Ophelia (1851)

-Shakespeare inspired, drawing inspiration from other aspects of culture

-In 1850 music, metalwork and crafts were all considered fine art

-Family member of the  Pre-Raphaelites, changing the way you think about art

-From portraits of the Kings (similar to celebrity), leading to painting because they were interested in it

by Tom Hunter

Tom Hunter:

“The Way Home” (2000)

-He was the first photographer to show work at the National Gallery

-Re-creating paintings, which is why he was allowed

-taking stories from local papers and linking them to paintings (re-creation of that story)

-The Royal Shakespeare Society then commissioned him

-All his work is based in Hackney

-The neighbourhood and whats going on around, contextualizing it

-a chapter of ongoing stories of his neighbourhood

by Jean Louis Theodore Gericault


“The Epsom Derby” (1821)

-Horse running, though we know now that they don’t run like this

by Eadward Muybridge

Eadward Muybridge:

-Motion Studies (1877)

-Bet that horses galloped differently to how people thought

-Afterward horses were never painted in the same way again

by Duchamp

Marcel Duchamp:

“Art for Arts Sake”

-Found an exhibition where you could submit anything as long as you paid

-At first he wasnt allowed to enter his piece; a urinal

-However he then took a photograph of this and enetered that

-He signed his piece R.Mutt, “Mutt” meaning fool

-Deliberately taking the mick out of the art world

by Tracey Emin

Tracey Emin:

“My Bed” (1998)


-Link to Duchamp

-Is this just another object in a Gallery?

-The difference from just seeing her bed in her room is that in the gallery it is branded a piece of art

by Damien Hirst

Damien Hurst:

“For the Love of God”

-One of the most expensive contemporary pieces of art, Left unsold

-He paid £15million, trying to sell it for £50million

-When he was making it there was an economic high

-Little did he know that when he had finished there would be the economic crash

-Hirst thought it would come across dark however he now thinks its mesmerizing

Gilbert and George:

-“Bend it”

-Something that comes from within

-Performance piece

-Self conscious

-Perhaps it is all about the idea of not feeling comfortable dasncing, how stupid you look at dancing, and celebrating that!

by Gillian Wearing

Gillian Wearing:

-1997 Turner prize

-The notion of the everyday and everyday people

-Front stage and backstage of our lives

-Wearing a mask

-Inner most thoughts clashed against how society sees them

-Public and Private is at the heart of Gillian Wearings work

Tank Development

8 Steps to tank develop your film:

1. In the dark you are to retrieve you film.

2. Enter the film ( still in the dark) into the luggs and pull the end through the ball bearings. Using the twiddle sides real all the way on.

3. Once the film is on the real, place in the tank and firmly shut the top with the funnel screw lid

4. Using a developer of stock solution ID (1chemical-3 parts water)at 20 degrees C, pour into the tank and develop for 20mins, agitating every 20secs

5. Stop with running water, 1 min

6. Use Fixer (1 chemical-4parts water) for 6mins, agitating for the 1st 30 secs, and then every 30secs after that.

7. Rinse through with running water for 10 mins

8. Dry