EXHIBITION OVER
finally we decided to abandon the 100 piece mark and allow the last week for everyone to finalise and print what they had actually made. this was only possible as we did not advertise the 100 works mark - in the end there was 76.
putting up the work and preparing the space was very hectic. although the plan was, without objections, to put up everything a day in advance, there was only one chelseans work up on time. 11. may - one day to opening - all the pieces from the uel side were up, one chelsean with work missing and i and joe ended up waiting for two more from chelsea until 8pm (i'd been with philippa the ones to arrive at the time agreed upon - 10am) to have a first look at the space. although, they had work with them, they did not hang any for some reason.
the following day was extremely busy due to the last day being a bit of a failure. i and philippa met up early in uni to get all the equipment i'd booked - we needed several projectors and a tv among other things like cameras and a tripod. the rest of the day was trying to get the chelsea guys to show up, having to in one case print all the work ourselves for the person (philippa on the library a3 printers, as i was making the signs for getting people over from hackney wick station). finally they put their work up 15 min before the opening. we also had to work out all the projections, which proved to be a big asset to the overall atmosphere adding a dynamic aspect to the whole space. the clean-up was also very late, as we had to wait for the work to be put up.
the event was a success: plenty of people, who were interested in the work and generally had a good time. we had drinks provided by the space (part of the service we paid for), we did not have a dj as planned, because of the shortage of time, but it did not make much difference.
we sold a few prints, among which was one of mine: the world map missing america. it was bought by a professional photographer named ian black, who really enjoyed it and i had a chat with when he came to pick it up.
joe and i managed to think up a kind of guide to figuring out the links between the works, but in the end it proved a bit confusing. it did not help, the labels put on the walls were a bit off in the end. if all the work would have been finished in time, there would have been a proper guide which had artist's statements and properly illustrated links between the pieces. a good aspect were the short texts everyone wrote about their practice and the particular pieces displayed.
in the end the project was a success. for many the very first exhibition outside of university, it had a professional feel. although we did not manage to get all the work and finish everything the way we would have wanted to, taking in to account how ambitious the task was in the timeframe to start with, we did well.
looking back the solution to our problems in communication would have been to be ore organised and have more collective meetings, but this proved difficult as the chelsea students were difficult to get a hold of most of the time, as they had less investment in the whole project, as they were not getting marked on this and prioritised it to be last on their mind most of the time. if we had done the whole project within our uel students, it would have been easier to orchestrate, but would have also lost some of the tension of opposing universities.
2011/05/31
2011/04/27
SIMON ROBERTS
background in human geography - ba 1996
started out as a photojournalist for a small newspaper
very particular about keeping the rights to his images. keeps track of how his images are used.
"the way you are going to survive is to have good ideas". ideas are your currency.
RODINA
he had a very aware understanding of being a white western photographer. knowingly tried not to have preconceptions or a sort of tick list - as a normal tourist would. by using text aside his images challenges further preconceptions readers might have.
methodology
landscapes straight, made for reading and being informative. inspiration from russian landscape painting.
portraits no emotional content, made to have them looking at you. interviews after images to keep distance from subject and avoid subjectivity.
for the motherland book he started using blogs as a method to make the book more widely approachable, also for publicity purposes. assigned a guestbook for people to respond in, this allowed him to build up a database of people who enjoy his work for easier publicity for later projects.
WE ENGLISH
2009
aware of placing himself in a long line of british landscape photographers. deliberately used a 5x4 camera (for rodina he used a mamiya 6x7) to slow down the process. this allowed him to become almost invisible because of the unthreatening nature of his camera and the slowness of the process of taking an image.
created a blog to gather ideas and have people propose places and events.
decided to shoot every image from an elevated hight (the caravan). included big skies as well as a reference to british landscape painting. decided to shoot beautiful images of leisure time and the idealised countryside. with the 5x4 he would find the spot first and let the situation unfold as he was there. often he would take a picture in the other direction of the first idea he had.
THE ELECTIONS PROJECT
commisioned as the elections artist.
huge amounts of research - the help of a professional.
TOP TIPS
always keep in mind the landscape and how it evidences the current time.
your own pictures work harder for you than editorial work.
never make enemies - you never know where they might end up.
clarify your intentions - then your equipment.
background in human geography - ba 1996
started out as a photojournalist for a small newspaper
very particular about keeping the rights to his images. keeps track of how his images are used.
"the way you are going to survive is to have good ideas". ideas are your currency.
RODINA
he had a very aware understanding of being a white western photographer. knowingly tried not to have preconceptions or a sort of tick list - as a normal tourist would. by using text aside his images challenges further preconceptions readers might have.
methodology
landscapes straight, made for reading and being informative. inspiration from russian landscape painting.
portraits no emotional content, made to have them looking at you. interviews after images to keep distance from subject and avoid subjectivity.
for the motherland book he started using blogs as a method to make the book more widely approachable, also for publicity purposes. assigned a guestbook for people to respond in, this allowed him to build up a database of people who enjoy his work for easier publicity for later projects.
WE ENGLISH
2009
aware of placing himself in a long line of british landscape photographers. deliberately used a 5x4 camera (for rodina he used a mamiya 6x7) to slow down the process. this allowed him to become almost invisible because of the unthreatening nature of his camera and the slowness of the process of taking an image.
created a blog to gather ideas and have people propose places and events.
decided to shoot every image from an elevated hight (the caravan). included big skies as well as a reference to british landscape painting. decided to shoot beautiful images of leisure time and the idealised countryside. with the 5x4 he would find the spot first and let the situation unfold as he was there. often he would take a picture in the other direction of the first idea he had.
THE ELECTIONS PROJECT
commisioned as the elections artist.
huge amounts of research - the help of a professional.
TOP TIPS
always keep in mind the landscape and how it evidences the current time.
your own pictures work harder for you than editorial work.
never make enemies - you never know where they might end up.
clarify your intentions - then your equipment.
week 9
the last few weeks getting anything to respond to has been tricky. i now include a plea to send anything to respond to, be it a sketch or an idea and even that i can not get a reply to most often. it is now half way through week 9 and i have not got a reply to two emails (address is correct as we have swapped before on this email address) and a facebook message. i have material i could send off as an imaginary response and later fit in, but i will try to get in touch once more.
i have a lot of work to be done yet on some of the earlier responses to get them ready for being put up - the exhibition is in 2 weeks.
the good news is the 16mm film came out great and we did not have any problems we could not overcome. joe gave me a big hand in actually making the film as it is timeconsuming. we spent a total of 7 hours in the film editing lab for the 55 s. film. that was including the first digitising, which was on a harddrive handy-cam and without a tripod. later i spent about the same time digitising it properly (720p using a nikon d3000 dslr and a proper tripod), editing + encoding it for the web and producing the soundtrack. all in all a proper viral type video.
this can now be used as the first bit of material for publicity around the web - we've already distributed it around facebook and intend to send this to different blogs as well.
after all the work is done, we will have to produce the catalogue for the exhibition in a matter of days, which will be testing. also the graphics guys are working on the posters and flyers to distribute ahead of time.
as before, the biggest worry and rush is getting the work done and it does not help to have people not even responding to emails or a simple facebook message.
the last few weeks getting anything to respond to has been tricky. i now include a plea to send anything to respond to, be it a sketch or an idea and even that i can not get a reply to most often. it is now half way through week 9 and i have not got a reply to two emails (address is correct as we have swapped before on this email address) and a facebook message. i have material i could send off as an imaginary response and later fit in, but i will try to get in touch once more.
i have a lot of work to be done yet on some of the earlier responses to get them ready for being put up - the exhibition is in 2 weeks.
the good news is the 16mm film came out great and we did not have any problems we could not overcome. joe gave me a big hand in actually making the film as it is timeconsuming. we spent a total of 7 hours in the film editing lab for the 55 s. film. that was including the first digitising, which was on a harddrive handy-cam and without a tripod. later i spent about the same time digitising it properly (720p using a nikon d3000 dslr and a proper tripod), editing + encoding it for the web and producing the soundtrack. all in all a proper viral type video.
this can now be used as the first bit of material for publicity around the web - we've already distributed it around facebook and intend to send this to different blogs as well.
after all the work is done, we will have to produce the catalogue for the exhibition in a matter of days, which will be testing. also the graphics guys are working on the posters and flyers to distribute ahead of time.
as before, the biggest worry and rush is getting the work done and it does not help to have people not even responding to emails or a simple facebook message.
2011/04/15
half way through.
the past five weeks have been straightforward for the project - everyone has been doing work.
the system has been working and most of the swaps have been made on time. the last weeks, though, chelsea has been finishing the work later and later, if at all in some cases. this is mostly due to their half-term assessments.
on april 4 we decided to call a meeting with the uel guys as to sort out what needs to be done before the exhibition. only i and joe were at the meeting though. all in all this was not a bad thing as we got most things sorted as to how the leaflets and posters + the exhibition guide are going to look like and be made. we also sent out two facebook messages (one to each school) explaining where we are at the moment with the project.
"
Hello,
As we’re all well aware, it’s now week 6, and there’s barely 5 weeks of work. This can be sorted out incredibly quickly though. We’ve just mobilised our group to upload everything to the dropbox so we can figure out what’s missing and sort everything out as quickly as possible. What we’re trying to do is fill in every missing piece by Friday (8th April).
It’s all turning into a bit of a military operation at the moment, this is essentially a repercussion of our terrible organising skills. We haven’t communicated enough, and pieces are getting missed out (it happens to the best of us). So it’s time for a half term review.
If anyone is aware of missing pieces, they need to fill them in by uploading to the dropbox. (Just looked and it says that Jessie isn’t part of it, do you need another invite?). Then pieces that are missing, can be filled in with anything, as long as they are filled in. What the people in the UEL group are doing is using work they’ve done before which they feel like exhibiting and slightly fits in with enough blagging. So if you have any nice work, that you want to exhibit, here’s your chance.
To let you know what’s happening our end:
We’re in the process of sorting out fliers and posters, to be given to you to distribute round University, that’ll be done before the 20th of April, as this is the date Stour space will be distributing them for us and starting the online campaign for advertising.
So please keep an eye out for anywhere you could advertise the exhibition your end, as soon as we have any material we’ll send it straight to you.
Mattias is in the process of developing a video to advertise as a sort of viral advertisement that’ll be spread round blogs etc.
The posters are going to be screen printed at our Uni as it’s free, and will look good hopefully. We’re working on a few designs at the moment, thinking of one that plays on the recycling logo using our respective universities logos and using nice brown parcel paper. Do you know if we’ll need permission to use the Chelsea logo?
The exhibition guide is going to be a booklet made using a photocopier and different paper stocks, a short run of about 150. There’s an example of what it might look like here,
http://pleasedonotbend.co.uk/work/gossip-scandal-and-good-manners-catalogue/
This is my typography tutor’s work, so he’s going to help us layout and do the process. He just won a D&AD award for it, so it can’t be too bad an idea.
The main concern here is just to get back on track with the work, like I say if we can sort everything out by Friday, we can carry on as normal and have an amazing exhibition. There’s going to be free booze, my mates dj-ing and if anyone else wants to organise entertainment feel free. It’s just a big ol’ party.
On a serious note, we all need to meet up again, as a group of 10 and sit down and talk about how it’s going. If not have a couple of drinks at least.
Best of luck, enjoy yourselves and don’t worry about single pieces of work. You’re going to have 100 pieces to be worse than yours. (or better)
Please please please, reply and just generally be a part of the process, if you want anything done a certain way let us know ten heads are better than five, and more chaotic.
--UEL guys "
this was sent on joe pleass's facebook, hence the my and i.
we decided to try and have another meeting with the group on the following thursday ( as this is the day everyone should be in anyway for professional practice). this time it was ali, joe and i. we further discussed the posters and guide, as there had been some conflicting views within the 4 graphic designers as to how they all tie together. i also explained the video idea i had for our publicity campaign.
this would be a 16mm film comprised of transfers made from actual pieces of work made for the exhibition. this ties in together with the whole idea of swapping (magazine - clear tape - film) and would make an interesting piece within itself as well, as it would not be a straight invitation or representation of all the works. i tried finding clear leader film on the internet, but could only find them available to order in the us. i then asked dean at uni, if there is any possiblity of using the school facilities and he then showed me the 16mm cutting room and how to use the machines. they also have plenty of clear film and also scrap material to use.
at the moment we are trying to get everyone back in the spirit of the project and as well as keep the swap going try and fill in the gaps that have appeared. for this we sent out a new invitation to the dropbox for everyone and reminded them to upload all the work they have so it would be possible to keep track of what is missing.
the past five weeks have been straightforward for the project - everyone has been doing work.
the system has been working and most of the swaps have been made on time. the last weeks, though, chelsea has been finishing the work later and later, if at all in some cases. this is mostly due to their half-term assessments.
on april 4 we decided to call a meeting with the uel guys as to sort out what needs to be done before the exhibition. only i and joe were at the meeting though. all in all this was not a bad thing as we got most things sorted as to how the leaflets and posters + the exhibition guide are going to look like and be made. we also sent out two facebook messages (one to each school) explaining where we are at the moment with the project.
"
Hello,
As we’re all well aware, it’s now week 6, and there’s barely 5 weeks of work. This can be sorted out incredibly quickly though. We’ve just mobilised our group to upload everything to the dropbox so we can figure out what’s missing and sort everything out as quickly as possible. What we’re trying to do is fill in every missing piece by Friday (8th April).
It’s all turning into a bit of a military operation at the moment, this is essentially a repercussion of our terrible organising skills. We haven’t communicated enough, and pieces are getting missed out (it happens to the best of us). So it’s time for a half term review.
If anyone is aware of missing pieces, they need to fill them in by uploading to the dropbox. (Just looked and it says that Jessie isn’t part of it, do you need another invite?). Then pieces that are missing, can be filled in with anything, as long as they are filled in. What the people in the UEL group are doing is using work they’ve done before which they feel like exhibiting and slightly fits in with enough blagging. So if you have any nice work, that you want to exhibit, here’s your chance.
To let you know what’s happening our end:
We’re in the process of sorting out fliers and posters, to be given to you to distribute round University, that’ll be done before the 20th of April, as this is the date Stour space will be distributing them for us and starting the online campaign for advertising.
So please keep an eye out for anywhere you could advertise the exhibition your end, as soon as we have any material we’ll send it straight to you.
Mattias is in the process of developing a video to advertise as a sort of viral advertisement that’ll be spread round blogs etc.
The posters are going to be screen printed at our Uni as it’s free, and will look good hopefully. We’re working on a few designs at the moment, thinking of one that plays on the recycling logo using our respective universities logos and using nice brown parcel paper. Do you know if we’ll need permission to use the Chelsea logo?
The exhibition guide is going to be a booklet made using a photocopier and different paper stocks, a short run of about 150. There’s an example of what it might look like here,
http://pleasedonotbend.co.uk/work/gossip-scandal-and-good-manners-catalogue/
This is my typography tutor’s work, so he’s going to help us layout and do the process. He just won a D&AD award for it, so it can’t be too bad an idea.
The main concern here is just to get back on track with the work, like I say if we can sort everything out by Friday, we can carry on as normal and have an amazing exhibition. There’s going to be free booze, my mates dj-ing and if anyone else wants to organise entertainment feel free. It’s just a big ol’ party.
On a serious note, we all need to meet up again, as a group of 10 and sit down and talk about how it’s going. If not have a couple of drinks at least.
Best of luck, enjoy yourselves and don’t worry about single pieces of work. You’re going to have 100 pieces to be worse than yours. (or better)
Please please please, reply and just generally be a part of the process, if you want anything done a certain way let us know ten heads are better than five, and more chaotic.
--UEL guys "
this was sent on joe pleass's facebook, hence the my and i.
we decided to try and have another meeting with the group on the following thursday ( as this is the day everyone should be in anyway for professional practice). this time it was ali, joe and i. we further discussed the posters and guide, as there had been some conflicting views within the 4 graphic designers as to how they all tie together. i also explained the video idea i had for our publicity campaign.
this would be a 16mm film comprised of transfers made from actual pieces of work made for the exhibition. this ties in together with the whole idea of swapping (magazine - clear tape - film) and would make an interesting piece within itself as well, as it would not be a straight invitation or representation of all the works. i tried finding clear leader film on the internet, but could only find them available to order in the us. i then asked dean at uni, if there is any possiblity of using the school facilities and he then showed me the 16mm cutting room and how to use the machines. they also have plenty of clear film and also scrap material to use.
at the moment we are trying to get everyone back in the spirit of the project and as well as keep the swap going try and fill in the gaps that have appeared. for this we sent out a new invitation to the dropbox for everyone and reminded them to upload all the work they have so it would be possible to keep track of what is missing.
2011/03/17
MIKE WHELAN
graduated from UEL photo in 2007 - first BA photo to graduate.
background in cartography - thus the connection with the aspect of transfer and the inbetween in his images.
student -> assistant -> photographer
a fairly common path to gradually doing your own work and the way he took.
a very prudent self-advertiser.
takes part in many competitions every year. he compiles a list of all the competitions he would consider entering for the year. researches them and selects the ones he wants to enter.
RESEARCH THE JUDGES. if they shortlist your work or you win / are mentioned, call them up or email thanking them and ask for a possibility to show them your work. all in all, the hard part is over, because they've already seen some of your work and are more likely to give you an audience than someone who wrote in out of the blue.
first successful series - DLR, submitted to BJP, went very well.
he reflected on the series and identified qualities in the images that might be intrinsic to his style and made the images distinct. then capitalised on them to create a visual correlation between his landscapes - creating a recognizable "trademark" style.
he often digitally manipulates his work, although he works on film mostly. has his images retouched and top tip is : have things done properly. skimping, especially in the first stages of trying to be recognized will make you look bad and unprofessional.
graduated from UEL photo in 2007 - first BA photo to graduate.
background in cartography - thus the connection with the aspect of transfer and the inbetween in his images.
student -> assistant -> photographer
a fairly common path to gradually doing your own work and the way he took.
a very prudent self-advertiser.
takes part in many competitions every year. he compiles a list of all the competitions he would consider entering for the year. researches them and selects the ones he wants to enter.
RESEARCH THE JUDGES. if they shortlist your work or you win / are mentioned, call them up or email thanking them and ask for a possibility to show them your work. all in all, the hard part is over, because they've already seen some of your work and are more likely to give you an audience than someone who wrote in out of the blue.
first successful series - DLR, submitted to BJP, went very well.
he reflected on the series and identified qualities in the images that might be intrinsic to his style and made the images distinct. then capitalised on them to create a visual correlation between his landscapes - creating a recognizable "trademark" style.
he often digitally manipulates his work, although he works on film mostly. has his images retouched and top tip is : have things done properly. skimping, especially in the first stages of trying to be recognized will make you look bad and unprofessional.
JOHN HOOPER
studied in camberwell college.
has worked for sleaze nation, the wire, margaret howell (lookbook on 5x4), channel 4, big smoke..
- if you know exactly, what your going to do, then what's the point in doing that?
does not think of himself as an artist. does not have to look for work, he has solid connections and long collaborations that keep getting him new work. is very adaptable.
john hooper has worked together with michael molony for a long time. his entire career is built on having strong connections and being up for anything. after doing mainly photogography, he has also moved into producing moving image. his top tip was for every photographer to be able to produce a film as well, because a lot of magazines or online publications will want to put out a making of or podcast of their photoshoots or may even want to produce an advertisement on the side of the shoot.
studied in camberwell college.
has worked for sleaze nation, the wire, margaret howell (lookbook on 5x4), channel 4, big smoke..
- if you know exactly, what your going to do, then what's the point in doing that?
does not think of himself as an artist. does not have to look for work, he has solid connections and long collaborations that keep getting him new work. is very adaptable.
john hooper has worked together with michael molony for a long time. his entire career is built on having strong connections and being up for anything. after doing mainly photogography, he has also moved into producing moving image. his top tip was for every photographer to be able to produce a film as well, because a lot of magazines or online publications will want to put out a making of or podcast of their photoshoots or may even want to produce an advertisement on the side of the shoot.
2011/02/22
project iii
the entire group met up on the 12. of february in new cross.
the group is:
uel
1 - Mattias
2 - Ali
3 - Joseph Pleass
4 - Sumayyah
5 - Phillipa
chelsea
1 - Joe Myers
2 - Joe Mania
3 - Jessie
4 - Danny
5 - Steven
this is also the swapping list. first swap 1-1, next, 1-2, 2-3 and so on.
the word i got for a start is AMERICA.
this is the text i accompanied with the work:
The idea for the project was inspired by a soviet children’s book I once found, entitled ’There is no America’. The book was published in the 1970’s and is meant for elementary school. It’s basically a short story that often states (as it claims in the title) that America doesn’t exist – asking the children: have you been there to say indefinately that it does? The soviet kids obviously hadn’t and couldn’t.
When you think about it America really doesn’t exist. Atleast not anymore, if it ever did – and definately not in a freedom-for-all way the country is portrayed. In a way it’s a hoax, an enterprise - especially in the light of Wikileaks exposures and overall degradation of capitalistic values in the years of the depression. The american dreamer is obese, not Marlon Brando.
The other side of the work – the part I’m more interested in – is the whole idea of (purposeful or accidental) misdirection and being lost. I like the idea of deliberately altered, faulty to begin with or incomplete maps (when Columbus ’discovered’ America he actually thought he was in India, so by his map, there was no America inbetween). Also the fact that Americans are generally very poor in geography because of their ignorance towards what lay outside of America (I’ve encountered people who thought Europe was a country) – so in a way their world map is limited to America, whilst I present the absence of.
Generally what I would like to achieve with this is at first glance a standard map, but with a major subtraction – to question peoples knowledge and attention span.
The final piece would be printed as a large map and folded, or I’m also exploring the idea of making a globe.
the first swap was a bit complicated, because joe (pleass) lost the swapping list and because he, ali and philippa are in america with tim, there was a bit of a confusion about who was swapping with who. it has been sorted out now and most people have done the swap - although a bit later than intended.
to try and avoid future confusion, i created a facebook group to keep everyone up to date and avoid confusing emails that might not get sent to everyone.
i received my first project to respond to from joe myers and his word to start with was DIALOGUE. it's a text piece describing a conversation he had with a man on the bus. i'm not yet sure how i want to approach this piece, but my preliminary idea is inspired by the font he used - it's a generuc 70's style font. and the 70's always remind me of slap bass, and discoish music made by mufftops. so i'm thinking of making an interactive machine (maybe based on ableton or such) that will able the user to create their own generic 70's music. the idea may change radically, because i'm not entirely sure how to create the machine. we'll see.
the entire group met up on the 12. of february in new cross.
the group is:
uel
1 - Mattias
2 - Ali
3 - Joseph Pleass
4 - Sumayyah
5 - Phillipa
chelsea
1 - Joe Myers
2 - Joe Mania
3 - Jessie
4 - Danny
5 - Steven
this is also the swapping list. first swap 1-1, next, 1-2, 2-3 and so on.
the word i got for a start is AMERICA.
this is the text i accompanied with the work:
The idea for the project was inspired by a soviet children’s book I once found, entitled ’There is no America’. The book was published in the 1970’s and is meant for elementary school. It’s basically a short story that often states (as it claims in the title) that America doesn’t exist – asking the children: have you been there to say indefinately that it does? The soviet kids obviously hadn’t and couldn’t.
When you think about it America really doesn’t exist. Atleast not anymore, if it ever did – and definately not in a freedom-for-all way the country is portrayed. In a way it’s a hoax, an enterprise - especially in the light of Wikileaks exposures and overall degradation of capitalistic values in the years of the depression. The american dreamer is obese, not Marlon Brando.
The other side of the work – the part I’m more interested in – is the whole idea of (purposeful or accidental) misdirection and being lost. I like the idea of deliberately altered, faulty to begin with or incomplete maps (when Columbus ’discovered’ America he actually thought he was in India, so by his map, there was no America inbetween). Also the fact that Americans are generally very poor in geography because of their ignorance towards what lay outside of America (I’ve encountered people who thought Europe was a country) – so in a way their world map is limited to America, whilst I present the absence of.
Generally what I would like to achieve with this is at first glance a standard map, but with a major subtraction – to question peoples knowledge and attention span.
The final piece would be printed as a large map and folded, or I’m also exploring the idea of making a globe.
the first swap was a bit complicated, because joe (pleass) lost the swapping list and because he, ali and philippa are in america with tim, there was a bit of a confusion about who was swapping with who. it has been sorted out now and most people have done the swap - although a bit later than intended.
to try and avoid future confusion, i created a facebook group to keep everyone up to date and avoid confusing emails that might not get sent to everyone.
i received my first project to respond to from joe myers and his word to start with was DIALOGUE. it's a text piece describing a conversation he had with a man on the bus. i'm not yet sure how i want to approach this piece, but my preliminary idea is inspired by the font he used - it's a generuc 70's style font. and the 70's always remind me of slap bass, and discoish music made by mufftops. so i'm thinking of making an interactive machine (maybe based on ableton or such) that will able the user to create their own generic 70's music. the idea may change radically, because i'm not entirely sure how to create the machine. we'll see.
MIKE TROW
picture editor for vogue uk for 6 years.
when starting, he really did not like fashion that much. he had only seen about 4 issues of vogue in 15 years. in a way he just got sucked in.
his first shoot was of nick hornby. really did not turn out that well, but was on schedule - he himself does not know why they stuck with him after that shot.
pointers for photographers
the bigger you are, the more important production and planning becomes. you will work on a tight schedule and be expected certain results from.
especially for fashion photo it's not about pressing a button, it's the lighting, hair, makeup, art direction, correct model that all come together to make the shot.
the research you do and the people you have working on the shoot will finally make the picture.
think ahead: what do you need to get from the shoot, what does the client want.
BE CLEAR, ALWAYS BE HONEST. this way you will not waste time and energy.
also you need to try and keep people happy, be sensitive to others, because ultimately you need a strong and able staff.
it's nice doing what you want - in a way it's imperative to establishing yourself - but you will have to fit yourself to different shoots, different people. on the other hand compromising too much too often you'll become a generic jack of all trades - get lots of work but smaller and less important bits.
because of short deadlines there is not much room for trial and error - you need to deliver.
whenever you work with people (especially famous or famously difficult) find out what they are like and how do you need to be around them to avoid conflict.
a fashion photographe rhas to have an ego to direct, but be able to suck up anything another ego(-maniac) may throw at you.
especially when doing portraits you need to imbue confidence.
specific pointers
ASSIST BIG PHOTOGRAPHERS - find out how it's done.
working with film is good for a start - that way you understand your shutterspeeds, f-stops and lighting much better as there is less room for error.
all in all you need to embrace new technology - to accommodate short deadlines. also you need to be able to produce moving image on the side because of the age of the ipadphoneapp.
establish relationships with young designers straight away - they might become your loyal future customers.
try and include a narrative to the shoot - inspire models, keep the day progressive.
mike trow appeared to be confidently relaxed - a trait that is definitely the norm for a man in his position. i imagine he copes very well under pressure and is able to deliver in about every conceivable situation. if necessary, he did the entire shoot himself or arranged it done in a day. i liked the fact he became the photoeditor of vogue in a sudden, alost casual way that even for himself was a bit of a suprise. in a way i can relate to this very well, because i have done several projects in a similar matter - not quite knowing what i'm getting myself into. but in the end these are the most memorable projects.
i enjoyed the relaxed outlook he had on megastars he had dealt with. it was a bit of a suprise, because when i think of vogue a thedevilwearsprada'esque snob'ishness comes to mind. turns out they (atleast some of them) are people too.
picture editor for vogue uk for 6 years.
when starting, he really did not like fashion that much. he had only seen about 4 issues of vogue in 15 years. in a way he just got sucked in.
his first shoot was of nick hornby. really did not turn out that well, but was on schedule - he himself does not know why they stuck with him after that shot.
pointers for photographers
the bigger you are, the more important production and planning becomes. you will work on a tight schedule and be expected certain results from.
especially for fashion photo it's not about pressing a button, it's the lighting, hair, makeup, art direction, correct model that all come together to make the shot.
the research you do and the people you have working on the shoot will finally make the picture.
think ahead: what do you need to get from the shoot, what does the client want.
BE CLEAR, ALWAYS BE HONEST. this way you will not waste time and energy.
also you need to try and keep people happy, be sensitive to others, because ultimately you need a strong and able staff.
it's nice doing what you want - in a way it's imperative to establishing yourself - but you will have to fit yourself to different shoots, different people. on the other hand compromising too much too often you'll become a generic jack of all trades - get lots of work but smaller and less important bits.
because of short deadlines there is not much room for trial and error - you need to deliver.
whenever you work with people (especially famous or famously difficult) find out what they are like and how do you need to be around them to avoid conflict.
a fashion photographe rhas to have an ego to direct, but be able to suck up anything another ego(-maniac) may throw at you.
especially when doing portraits you need to imbue confidence.
specific pointers
ASSIST BIG PHOTOGRAPHERS - find out how it's done.
working with film is good for a start - that way you understand your shutterspeeds, f-stops and lighting much better as there is less room for error.
all in all you need to embrace new technology - to accommodate short deadlines. also you need to be able to produce moving image on the side because of the age of the ipadphoneapp.
establish relationships with young designers straight away - they might become your loyal future customers.
try and include a narrative to the shoot - inspire models, keep the day progressive.
mike trow appeared to be confidently relaxed - a trait that is definitely the norm for a man in his position. i imagine he copes very well under pressure and is able to deliver in about every conceivable situation. if necessary, he did the entire shoot himself or arranged it done in a day. i liked the fact he became the photoeditor of vogue in a sudden, alost casual way that even for himself was a bit of a suprise. in a way i can relate to this very well, because i have done several projects in a similar matter - not quite knowing what i'm getting myself into. but in the end these are the most memorable projects.
i enjoyed the relaxed outlook he had on megastars he had dealt with. it was a bit of a suprise, because when i think of vogue a thedevilwearsprada'esque snob'ishness comes to mind. turns out they (atleast some of them) are people too.
2011/02/10
SEMESTER B
group project iii
group:
alice whehelan GD
joseph pleass GD
philippa rabbitts GD
sumayyah GD
mattias malk PHOTO
ali, joe and me knew we would want to do the semester b project together. philippa i have worked with on the first project and sumayyah i've met before briefly.
the idea for the project came in to being straight away after forming groups. joseph proposed a project about correspondence(inspired by an exhibition he saw. an englishan and american started an exchange responding to eachother's work). the group liked the concept and we started discussing technicalities.
at first we thought of doing the exchange within the group, but soon found it would be a dead end. then joe remembered a friend in chelsea college and that we could have an exchange with 5 people from there. this started of us having a project to do for a week - sending them the project to draw inspiration for their work, again with a deadline of a week - they would then send it back again. we finally decided on all the 10 people doing 1 project per week and exchanging simultaneously - so all in all 100 pieces of work in 10 weeks (10x10).
we decided to mull it over during the holidays.
sumayyah knew a space in hackney wick called the stour space which is a charity that supports local talent. there was a viewing on the 7. of february - the gallery is spacious enough for the project and they are really up for giving us the space and any support they can (curators, publicity, contacts). at the moment the opening is planned for the 12. of may and the exhibition will be up for 3-4 days.
saturday, 12. february we've planned a meeting with all the participants (including the chelsea guys) in new cross to get acquainted and do the draw (everyone brings a word to put in a hat for the draw that will start off the whole process. the next exchange will happen in a weeks time and every week after that). i plan to do video interviews with all the participants - once in the beginning of the project, then half way through and then a final recap. this will become an illustrative video of the entire process through all the participants.
all in all there is a great mix of different disciplines including graphic design, illustration, moving image and photography. i definitely look forward to the opportunity of getting to be inspired by work from different people and media - and in turn use different methods to suit my intended output. pretty much have fun with it and enjoy the absence of conceptual pressure.
i had an idea to have a talk as a part of the final exhibition as well inviting someone with a background in cultural studies or media to come and conduct and mediate an exchange with visitors - i'm the only one who has had an exhibition before and know from experience that this can prove to be a very good assett to a successful exhibition - evoking actual reflection and reaction is a part of the project anyway.
at the moment everyone is eager to get started and the project is taking off really well and feels as though is taking on a life of its own.
group project iii
group:
alice whehelan GD
joseph pleass GD
philippa rabbitts GD
sumayyah GD
mattias malk PHOTO
ali, joe and me knew we would want to do the semester b project together. philippa i have worked with on the first project and sumayyah i've met before briefly.
the idea for the project came in to being straight away after forming groups. joseph proposed a project about correspondence(inspired by an exhibition he saw. an englishan and american started an exchange responding to eachother's work). the group liked the concept and we started discussing technicalities.
at first we thought of doing the exchange within the group, but soon found it would be a dead end. then joe remembered a friend in chelsea college and that we could have an exchange with 5 people from there. this started of us having a project to do for a week - sending them the project to draw inspiration for their work, again with a deadline of a week - they would then send it back again. we finally decided on all the 10 people doing 1 project per week and exchanging simultaneously - so all in all 100 pieces of work in 10 weeks (10x10).
we decided to mull it over during the holidays.
sumayyah knew a space in hackney wick called the stour space which is a charity that supports local talent. there was a viewing on the 7. of february - the gallery is spacious enough for the project and they are really up for giving us the space and any support they can (curators, publicity, contacts). at the moment the opening is planned for the 12. of may and the exhibition will be up for 3-4 days.
saturday, 12. february we've planned a meeting with all the participants (including the chelsea guys) in new cross to get acquainted and do the draw (everyone brings a word to put in a hat for the draw that will start off the whole process. the next exchange will happen in a weeks time and every week after that). i plan to do video interviews with all the participants - once in the beginning of the project, then half way through and then a final recap. this will become an illustrative video of the entire process through all the participants.
all in all there is a great mix of different disciplines including graphic design, illustration, moving image and photography. i definitely look forward to the opportunity of getting to be inspired by work from different people and media - and in turn use different methods to suit my intended output. pretty much have fun with it and enjoy the absence of conceptual pressure.
i had an idea to have a talk as a part of the final exhibition as well inviting someone with a background in cultural studies or media to come and conduct and mediate an exchange with visitors - i'm the only one who has had an exhibition before and know from experience that this can prove to be a very good assett to a successful exhibition - evoking actual reflection and reaction is a part of the project anyway.
at the moment everyone is eager to get started and the project is taking off really well and feels as though is taking on a life of its own.
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