Live on Location

During the course of our HND journey we had a project called "Live on Location".  As the name suggests we would be shooting on location rather than in the studio.  This sort of shoot for me is ideal as I enjoy being out and about and not being constrained by the studio environment.  

One of our first location shoots took place in the seaside town of Brighton.  I had never actually been to Brighton before, and was really looking forward to the day.  My only problem was that I had put my back out, and it was going to be no fun lugging all my camera equipment around all day, but hay ho I soldiered on!  

I used two cameras during the day, my Nikon D7000, and my Fuji
XF1 compact camer.  With my Nikon I would use a ND filter on the day.
 

These images were taken with my Fuji camera.  The camera was quite a little gem that had different programs that enabled you to take photographs in the style of a SLR etc.  (This was the one time that I actually used this camera before deciding that it was just too "compact".)

 These images were taken with my Nikon D7000.  As you will notice that some of the images are watermarked with my name.  I have since decided not to add this to my images as I feel that this detracts from the actual photograph.  

The final image here was taken using a ND filter to try and show the water as misty.  This was my first attempt at this, and feel that it is ok, but I would like to try this again as I like the idea of long exposures, and the smokey effect you achieve with the movement of the water.

In May 2015 we visited Witley Court. 

The visit was in order that we would produce 20 or so images for the English Heritage so that they could relaunch their website, and also use the images for promotional purposes.  The idea was that the images would appeal to an audience of 30 years of age.  I needed to research Witley Court to see what their current branding etc. was, in order that I could produce something that was “a little different”.

The English Heritage look after and care for over 400 historic buildings, monuments and sites.  They vary from prehistoric sites, castles, and forts to Cold War bunkers.

The Heritage began from small beginnings at the end of the 19^th century.  The idea was to bring the different sites to the attention of the public instead of them being privatised, and locked away.

The collection of buildings etc. that are now in the care of English Heritage began to be collected1882. At that stage heritage was the responsibility of the Office of Works, the government department responsible for architecture and building. In 1913 an Act of Parliament was passed that gave the Office new powers. These were essentially to make a collection of all the greatest sites and buildings that told the story of Britain. At that stage these were regarded as being prehistoric and medieval remains, it was only later that country houses and industrial sites were thought worth preserving for the future.

By 1933 there were 273 sites in the collection including Stonehenge (probably the most well known prehistoric site), Carisbrooke Castle and Richborough Roman Fort. Preservation of these important sites was, of course, the main objective, but telling their stories was just as important.

All these places were open to the public and had guidebooks and explanatory signs. Some also sold postcards and even had teashops.

After the Second World War the Ministry of Works (as it had become)(nothing to do with the Ministry of Magic and Harry Potter!) started to be interested in buildings other than castles, and manor houses. The first industrial sites were acquired and in 1949 it acquired its first country house, Audley End in Essex.

The Ministry had set its sights on a number of other big houses, but the Treasury was a bit wary of this. The government felt it was one thing to take on old castles and abbeys, but quite another to look after, and maintain, huge roofed buildings full of works of art. After some debate it was decided that it would be financially more sustainable if the National Trust took on the country houses and that the Ministry of Works confined itself to the older monuments.

This ruling, though disappointing to the men at the Ministry, did not stop them collecting and huge numbers of historic sites, as windmills, iron works and Georgian villas were added to the collection.

By 1970 the English part of the collection alone stood at 300 sites visited by more than 5.5m people: it was by far the largest visitor attraction business in the country. Many of the sites now had museums and shops selling souvenirs.  It was possible to buy a season ticket and visit the Ministry's sites across the country for free.

In 1983 what had effectively become the English national heritage collection was transferred to a new body set up by the government. It was called the Historic Buildings and Monuments Commission. Its name was not thought to be very snappy by its first Chairman, Lord Montagu of Beaulieu, and so it was re-christened English Heritage. Under Lord Montagu's inspired leadership English Heritage did two jobs: it cared for the National Heritage Collection and it ran the national system of heritage protection, including listing buildings, dealing with planning issues and giving grants.

It was over a period of a decade or more, the collection became better run, better displayed and the season ticket was change to a membership scheme. More buildings were collected which included country houses such as Brodsworth Hall.

The membership for the Trust grew together with visitor numbers. By the mid-2000s, income from the collection was beginning to make a contribution to their maintenance and conservation. This was largely due to the number of visitors passing through the doors. In 2011, for the first time, the national heritage collection instead of costing money to open it to the public, it actually made a small profit.

With these successes in mind the government agreed that it would provide £80m to English Heritage if it transferred the national heritage collection to a charitable trust. This happened on 1 April 2015 when the old English Heritage separated into two parts: a charity that looks after the collections, and Historic England that champions the nation's wider heritage, running the listing system, dealing with planning matters and giving grants.

The sites operated by the English Heritage are open to many visitors, which also include schools and colleges.  It was through my college that I made my first visit to Witley Court. 

The Heritage relies upon donations, volunteers, and sponsorship, together with membership to raise the necessary funding, etc., to keep it accessible to the public.

I had never actually been to Witley Court before, and it was a pleasant surprise.

Today Witley Court is a large and very impressive ruin, but should you go back 100 years it would have been a very impressive Victorian country house.  The house showed the results of a profitable industrial era. 

William Humble Ward, the first Earl of Dudley, created the house and garden between 1854 and 1860.  By the 1890s Witley Court was at its most magnificent.   The epitome of extravagance was shown in the resulting royal shooting parties that were attended by the Prince of Wales, who was a personal friend of the second Earl.  The history of Witley is quite long going back to the 1400s.

The big parties of the 1900s came to an end when Earl’s wife drowned in Ireland.  The family fortunes were in decline and as a result the house was sold to Sir Herbert Smith, a rich industrialist.  He was only in residence for 17 years before a fire, which occurred in September 1937.  The fire destroyed part of the house.  The insurance did not cover the full cost of repairing the damage, and the house was subsequently sold at auction.

In the year following the fire the house, park and farm were sold off separately.  A salvage dealer eventually bought it in the 1950s.  The building was stripped and was very nearly demolished. 

In 1972 the Department of the Environment rescued the building when it was consolidated to prevent further collapse.  It was finally in 1984 that Witley became part of the English Heritage.

The house and gardens are approached from the Visitor Centre, which leads off from the car park. 

The Visitor Centre also has a small shop where you can purchase small items such as plants, small keepsakes, English Heritage products, and some food and beverages.  If you do become peckish there is a tearoom, but this is not part of the English Heritage. 

Once you pass through the Centre you then enter the gardens.  There are many walkways to choose from, the wildlife garden, wilderness play area, before you pass the large pool and come upon the restored forecourt that stands at the main entrance to the house. 

The site consists of Witley Court, Witley Parish Church (this is not part of the English Heritage), the winter garden, the conservatory, the south façade, the east parterre, Perseus & Andromeda Fountain, and finally the south parterre (parterre is another word for an ornamental garden).

I think the problem with the “English Heritage” is that is has a bit of a fuddy duddy image, and this is something when considering the brief I needed to get rid of.  I need to make people realise that it’s not just for the older generation, but that it can make an enjoyable day out for young and old alike. 

When visiting I was struck by the fact that the site is actually quite beautiful, and would make a beautiful backdrop for many occasions such as fashion photo shoots, weddings, birthdays.  There were plenty of nooks and crannies to take intimate photographs, together with the wide-open spaces that would be suitable for landscape/architectural shots.

The beautiful gardens that are beautifully maintained were originally the work of William Andrews Nesfield.  The main features were parterres (ornamental gardens).  The gardens were very formal and were designed to be looked down upon from the rooms of the house, and the raised balustrades.

One of the most striking features of Witley is the Perseus and Andromeda Fountain.  When visiting Witley I was able to witness the stunning firing of the fountains.  You just need to be careful not to get too close, or you may get a little wet.

http://www.english-heritage.org.uk/about-us/our-values/

http://www.english-heritage.org.uk/about-us/our-history/

https://www.facebook.com/witleycourt?fref=ts

As you know when working on location you have to consider quite a few things, the main thing is to consider the weather.  It was a really glorious day when we visited Witley but there may be days where you are confronted with rain, snow or sleet (yes, typical British weather).  You will also want to consider the time of day that you are shooting, as this will also affect the images that you will produce.  On the day of the visit to Witley there were glorious blue skies, with very little cloud.  If you were to be photographing a model you would need to consider where you would place your model.  You wouldn't want to place you model facing the sun, as you wouldn't want her (or him) to be squinting at the camera.  You would also need to be aware of sun glare in your image.  (When working with models on location you need to think about their comfort - are they going to be hot or cold, do they need water/a hot drink, food, blankets to keep them warm, or a fan to keep them cold.)  If you are working in extreme conditions you will  also need to keep your equipment.  The last thing you want is for your equipment to become damaged by rain or snow (cameras don't like extreme cold or heat).  Cameras also don't like dust.  For the visit to Witley I took a few different lenses so that I could have a play about and change if I wanted.  Although it was a beautiful day, that didn't mean that there weren't times when it became a bit windy.  It was during one of these unforeseen windy episodes that I happened to be changing the lense on my camera.  It was only when I was taking a photograph and reviewing an image that I noticed flecks of dust which had attached themselves to my sensor.  I did try and clean it but wasn't very successful, in fact I had to take it to Calumet to get cleaned (lucky enough there was a free sensor cleaning event otherwise it would have cost £25+).  

I really think that Witley Court is a lovely place to visit and I hope to visit it again in the future.  It is especially beautiful when the sun is shining.

As part of location shoots we had the privilege of working with the talented Talia White, and the beautiful model, Hannah Gardner.  The location for this shoot would be in the college ground, Tudor House, and the gardens around it.  Talia showed us how she approached a shoot.  We used natural light shining in from a window, and a reflector to highlight.  I took several images of Hannah on the staircase and by the window.  After we had all taken turns we then went into the garden and proceeded to photograph in the hot house.  (It is worthwhile scouting out locations beforehand so that you have all the information to hand about it.)  Whilst working in the hot house the sprinkler system went off and we had to dive for cover both ourselves and the model.  We didn't want to get our equipment wet, and we also didn't want to get the model wet.  After the hot house we retreated out to the garden areas to take a few more photographs before it was time for our model to leave.

In the early summer of 2015 I was asked at very short notice to photograph a wedding vow renewal.  I had never actually photographed anything along this line before, and was quite scared about the prospect of this.  Between the actual request for photographic work and the actual renewal was actually only 2 weeks.  I had envisaged a more relaxed, storytelling style of photography, but my client wanted the more traditional style.  This entailed photographing in the church, and afterwards taking the traditional group photographs (bride and groom, bride, groom and parents, etc).  

I have actually attended the church myself for christenings and weddings in the past so I knew the layout of the church, and what the lighting would be like.  

Being a typical British summer on the day of the renewal there was torrential rain for most of the day with the occasional dry spell.  To cope with this I had my daughter helping me, and we had quite a few umbrellas.  The umbrellas were to keep guests dry, and also to keep my camera equipment dry.  Even with the umbrellas this did prove quite difficult, but we survived and that was what mattered.  After the church ceremony and the traditional group photographs I then attended the reception where I continued to take photographs.  It was all in all a very long day, but it was also quite an experience, one I hope to do again.

FMP update

I presented my FMP idea to my peers in order that I could get some feedback.  I went through my Powerpoint showing my ideas, and the reasons why I was considering each option.  I referred to different photographers, artists, and painters. 

My first idea was a portrait of someone dressed as something they aspire to be, similar to Soela Zani, but not like the images produced by Stefan Bremer.  The images would empower the person to show what their dreams, and hopes for the future are.

The second idea was to do a portrait with me editing the final image either in Photoshop or by physically cutting the image.  I was quite fascinated by the idea of pixelating the image, which could be done in Photoshop, using dispersion, or cutting the image and offsetting.  The idea is that you would have to stand back from the image to get a better view of the image, or to get the’whole’ picture.

My final idea was to use instant cameras to take photos of small parts of a person’s portrait to make one final image.  It would be similar to David Hockney, abstract like Picasso, and inspired by Andy Warhol.  Again the idea is that you would stand back from the image to get a better sense of the person behind the portrait.

In all truthfullness, I am very inspired by all three ideas (possibly using them in the future in other projects), 

After considering all the feedback, and speaking with my tutor I have decided that I want proceed with my third idea, to use instant cameras. 

I already have a Polaroid camera, and several boxes of Impossible film in both black & white, and colour.  I also have an Instant Lab by Impossible which produces Polaroid films from images on your Smartphone.  The use of these two different types of cameras could produce quite an interesting project, mixing the modern with the traditional.   It would also be interesting to possibly approach the project by using the Emulsion Lift technique.  I have a kit which I can utilise.  This could possibly give another dimension to my FMP.  I have researched whether it is possible to produce Emulsion Lifts with Instax Film but from my research it appears that you cannot do this as the liquids that are held in the film will dissipate in water if the film is cut, and the emulsion comes out clear.

As well as my Polaroid camera I also have 3 Fuji Instax cameras.  I have a Instax Mini 70, an Instax Mini 90, and an Instax Wide 210.  The Instax minis use a credit card size film, whereas the Instax wide uses, as the name suggests, a wide film.  Where the mini is the size of a credit card, the wide is double the size of the mini film.   Instax film only comes in colour at the present time whereas Polaroid comes in colour, different strengths of black and white, as well as different tones of colour.  There are also different colour borders as well as shape of border. 

Instax film develops much faster than the Polaroid Impossible film, and the Polaroid film can be quite temperamental giving varying results. 

I have purchased the 3 Fuji Instax cameras, these have varying prices, depending on the seller.  At present Amazon is quite a good site to purchase both the cameras and the film from.  I have looked at the lomography sites, and Impossible Project site, and they tend to charge top prices. 

Out of all of my ideas for my FMP I feel that this project will be the most costly due to the price of the film used.  Both Polaroid and Instax films are quite expensive, and a box only usually contains 10 films.  You have to be more thoughtful and think through when and where you take your image (similar to how you work with a 35mm camera).  There are no do-overs with instant film once you have pressed that shutter button unlike digital.

The Instax Mini 90 is quite an interesting camera in that it has two added modes to the standard Instax Mini camera.  This camera has a double exposure option, which I think will produce some interesting images, together with bulb mode.  I am hoping to try and incorporate these into my project somehow.

 I can start my project by photographing my son who has a learning disability. 

Regarding legislation and ethics – I feel that there is no current legislation that I need to consider when looking at my FMP idea, but I do feel that there are ethics to be considered.   You have to show the person that you are photographing respect, they are human beings, with the same rights as everyone else, and they do not deserve to be exploited. 

I do not think that my FMP would work with just one image, and therefore I feel that I would have to produce 2, 3 and possibly a 4^th image.

When displaying my images I want them to have a more sculptural feel.  I would want to place the final images onto foam board.  I am not sure whether this should be a portrait style or whether the foam board should be cut around the actual Polaroid/Instax images.  I feel the latter would aesthetically be more pleasing rather than a bog-standard portrait shape.  The final images would in effect make up a large jigsaw, with some overlapping in certain areas, and some parts and features enlarged.  (Similar to a Picasso painting – abstract.)  With this in mind before actually gluing the films in place I would have to make sure that the images were representative of the person I have photographed, and not a mockery. 

My FMP I feel is all about how we perceive people, and I want to look at how we look at people with disabilities, and how they are perceived by the images we produce. 

For the past 12 months I have been undertaking projects where I work with people who have disabilities, and I have taken photographs with them in different situations.  I hope that I can continue to do this work and work with organisations that promote self-esteem, positive attitudes and the like for people with disabilities.  I have through my work with Fox Hollies Special School made many contacts, and feel that I can continue to make links in the community because of this. 

I do not intend to only photograph people with disabilities but I feel that I have an empathy with them; an understanding, and I feel that I can communicate with them quite well.  I hope to continue to do this. 

FMP 2016 Ideas

Since commencing my 2^nd year on the Photography HND I had become very interested in disability and the perception we have of people with disabilities.  I have already produced a research project where I looked at a group of young people with learning disabilities who worked as a dance company in collaboration with a local college and the Birmingham Royal Ballet.  The idea of this was to show them from the start of their rehearsals right up until their final performance.  I wanted to show them in a positive light, and hoped that when people look at the images I have produced they will see the pride that they have in their performance. 

My critical essay has also looked at disability, but that of military veterans who have been injured in recent conflicts.  Again, it is all about the matter of perception.  I compared two photographers, and how they had portrayed their images.  One photographer had a more subtle approach, whilst the other used a more theatrical approach with HDR inspired images.  The different styles affected how the viewer of the images reacted. 

During my research for my critical essay I had come across a photographer called Soela Zani who had photographed 18 young people with Down’s Syndrome in the style of different artists i.e. “Master John Heathcote” by Thomas Gainsborough, and “Harriet Ann Seale” by John Hoppner.  The photographer has taken images of the young people stylized in costumes similar to the original painting, and in some instances Photoshopped them into the same background as the original.  In some instances she had used a similar background.  Each image is produced sympathetically, but you don’t feel sorry for the young people.  The images aren’t a mockery even though they are a mock up of the original image.

Upon seeing these photographs I thought that I would like to produce a series of images of young people with disabilities dressed as someone they aspired to be, with that in mind I wouldn’t want the images to be seen as insulting.  I would hope to show that I have treated them with the respect that they deserve.

With a view to getting some primary research for our FMP’s we had a trip into Birmingham City Centre to visit BMAG, and the Ikon Gallery.   At BMAG, the Waterhall Gallery they had an exhibition called ‘New Art West Midlands 2016’.  We had a wonder around the exhibit, looking at the various styles, ways of exhibiting/hanging/framing etc.  It was during this visit that I came across an installation by Rebecca Fellows called 0-Lift-Off (2015) which mimics a large scale plane model kit which is impossible to physically construct or fly.  These could sometimes be found in ‘Lucky Bags’ or as party favours.  The originals were made of polystyrene.  What struck me about Fellows’ work was the pixilation of the airplane.  You had to stand back from the display to actually see the full picture, then the pixilation was less evident, and especially if you squinted your eyes.

It was once I had seen the pixilation that I thought about wanting to produce an image, or series of images that were possibly pixelated, and where you would have to stand back to get the full picture.  This I felt is somewhat of a metaphor for what you have to do in life.  I feel that only once you have the full picture that you can understand a person. 

I spoke with my tutor about this idea, and she said that there was an option in Photoshop to apply a filter, pixelate, and then go to color halftone.  Obviously, I would have to look at the filter, and investigate other ways of trying to pixelate an image.  When I was at school I did an art project where I copied an image of Paul Newman, and I reproduced his image by making dots of differing size and colour depth to produce a final image.

Another option in Photoshop would be to use dispersion to break apart the image, so you

don’t have the full image.

Examples of dispersion using Photoshop.

I have looked at several different artists, photographers, and painters, David Hockney, Andy Warhol, and Picasso for inspiration. 

David Hockney, and inspired montages.

Andy Warhol.

Picasso

Portrait of Ambroise Vollard

3 Mini Project Proposals

1.         Take DSLR images of a model, portraiture, studio or location dressed as someone who they aspire to be.

Take DSLR portrait images of a model and then in Photoshop distort the image by either pixelating the image, or using a dispersion technique.  Cover the model’s face with props – flowers, butterflies, their hair, etc.  (I have looked at several YouTube videos on how to produce dispersion of an image, and a Photoshop Bookazine with several different techniques.)

2.         Distorting the image by cutting it, and moving parts about.  Cutting in circles within circles and moving the image slightly.

3.         Use a DSLR, Polaroid or Fuji Instax camera to produce a montage of images of a model, and then creating a portrait of them from these. 

I have just purchased a Fuji Instax mini camera that has a double exposure option, and possibly taking a montage of images again, and again creating a portrait. 

I’m also looking at Polaroid lifts for a different effect.

I now need to consider approaching different people to act as models for me, this may or may not be a person with a disability as the image produced won’t actually be a true reflection of the person I photograph.

When using my DSLR there is no real expense apart from the final printing of the image, but when using Polaroid and Fuji Instax film this could become quite expensive (although a faux Polaroid could be produced using the DSLR).