Sunday, 20 May 2012

Elizabeth Chandler - Assignment rationale


Elizabeth Chandler - Assignment rationale 
BA(HONS) Photography
Level 4
Module – Directions within photographic communication
Upon completion of this assignment I wish to evaluate my productivity and final outcome via this rationale. I will discuss the development of my project as well as justifying my choices for my photographic work and book layout, exploring the appropriateness of each of my decisions.
To give a brief overview of the assignment I will explain my project in terms of it’s social context and intent.
This project has been re-visited from a previous assignment completed as part of study on this course. The body of work was aimed at highlighting the effects of the British binge drinking culture; an attempt to expose the nocturnal lifestyles of today’s younger generations. A side of youth culture most are often ignorant to. 
My aim was to create a series of images, which visually explored spouts of violence, criminal damage and public presentation, In addition the ways in which such actions are often unacceptable and wouldn’t necessarily occur so frequently during daylight hours without the presence of alcohol and other intoxicating substances.
There is a stark contrast between the comical images, which present the idea of the urban playground and show people coming alive at nighttime when they have escaped their formal lifestyle. Much like the theory of the habitus discussed by French sociologist Pierre Bourdieu. And the gritty displays of vulnerability. Although I focused mainly on presenting the grotesque elements of the club scene I intentionally included a few select lighthearted images to break up the flow of the book and ensure the viewers expectations weren’t constantly met.
The combination of unseen secret moments which I captured clandestinely and the more apparent common events produce a true reflection of the scenes that occur almost every weekend in almost every city.
I adhered to snap shot aesthetic, in order to ensure a feeling of spontaneity. Although some images have much more clarity and sharpness than others I like the combination of the two together. The grain and motion blur was appropriate for some of the photographs and reflects a feeling of drunkenness, which the viewer can relate to as the book progresses and the context becomes more fluent.
I feel in some examples, had the images have been too formally constructed; the sense of impulse could potentially have been diminished, and the photographs could have began to look like a less truthful depiction of the scene in front of the camera. I experimented with many different ways of capturing my photographs and in the end made the decision that visually the two aesthetics I chose complimented one another best. 
In terms of the choice to use colour images, again this decision wasn’t made without experimenting and careful consideration. After looking at my images in black and white and referring back to research material in the field of the snapshot aesthetic such as Billingham, Day and Goldin I decided that colour was an important element of my images and lightened the sense of nighttime. The neon lights and unnatural glow of colour on my subjects also creates a visual variety dependent on the available light sources. Some images have a tungsten glow whereas others have a florescent aura. In all cases this was achieved by incorrectly setting my white balance to intensify the colour glow.
In regards to the choices I made for my actual book design and layout itself. I went with a small square book (180mm by 180mm)
I knew from the start I would utilise a small size as to ensure the book was engaging and required the viewer to really interact with the content.
I chose to have a unevenly weighted balance of content across the two pages, with one page consisting of what I initially intended to be a full bleed print of a photograph to give the impression of the content almost spilling off the page. In the construction stage I decided to alter this and have the images centered around a thick black border as not only was it visually more appealing, but it also seemed to be more consistent on each page.
The un evenly weighted content makes viewing the pages feel a bit unbalanced which i think reflects the mood of the images.
I placed 3 or 4 images alternately down the left hand side of the left page to give the effect on a continuous time line flowing through the book. On some pages I flipped the layout and had just one large image with the time in large font. A reversal of the more frequent layout, which also features the time running vertically along the left. This adds variety and ensures the layout is consistent but not predictable. 
The colour of the time starts as full black and decreases to a 5% tint as the book develops as to present the idea of time fading away. In addition I hope that it will require a sub conscious effort of the viewer to read.
The text, which occurs on each page, begins to blur and reaches a 6.0% blur, which I applied in Photoshop. At it’s most intense the blur still doesn’t make the text illegible yet means more time will be required to read the passage.
The text has been modified and adapted and is the opening passage from a book called Inside Clubbing In which the author Phil Jackson recalls his own personal account of a night clubbing.
The passage is somewhat of a glorification of clubbing. I have utilised this to create juxtapose between the text and images and evoke a powerful reaction from the viewer. I think the combination plays on the whole idea of good nights turning bad. Although much of the text and the structure of the passage has been taken from the book I have adapted it and modernised it. I wanted the passage to be slightly abstract and appropriate to my photographs. 
In addition, I have also included a design page at the front of my book, which follows the style of the rest of the book in terms of the page layout, colour scheme and font family used. 
Throughout the duration of this assignment I have been taking screen prints of twitter and facebook updates about being drunk/hung-over or excited to go out clubbing, this text has formed the content of this page.
I think it works well as a kind of abstract introduction to the book as it sets the scene and mood for the rest of the pages that follow without giving away too much detail. The layout of the page means that the reader can really engage with the text and visually explore through their own self directed path, this is especially useful as the title could be considered a little vague initially. Despite this i think the relevance of the title becomes extremely significant to those who understand the reference after they view the images and experience the narrative of a night out through images and text.

Saturday, 19 May 2012

elements of my book design





Here is the page in my book i created using text captured from twitter and Facebook status's over the past weeks.





Here is an example of one of the kind of page layouts i used in my book. Every now and again i flipped the layout and chose to display only one image as to increase visual impact, encourage the viewer to spend more time with the image to consider it's significance in terms of the entire body of work and also to ensure the flow of the book didn't become too predictable.





Below is the other layout i have used which appears more frequently that the layout above.
Although the images run in a timeline sense i have also grouped the images according to the content and whats occurring within the frame as to enhance my message that these activities frequently occur each weekend.



Another example of a 2 page spread which features one large image accompanied by some smaller ones


You may notice the time on the pages which is displayed vertically and adjacent to the larger image.

As the book progresses the intensity of the colour black fades as to represent the time disappearing and also to encourage the reader to subconsciously spend longer taking in all the information. In addition the supporting text which gives the images more context and narrative blur's as the book develops.
this was achieved in photoshop. Although the text never becomes entirely illegible i hope that the reader will increasingly struggle and therefore spend more time on the pages.
It is an attempt to take the viewer on a journey and almost provide an interactive experience of becoming more and more drunk.

Example of the text at it's most blurred (below) 





Thursday, 17 May 2012

"Nocturnes"by Lydia Goldblatt

"The setting for this series of images by Lydia Goldblatt is that of a London nightclub. In a project undertaken alongside Royal College of Art graduate, Lucy Levene, her work explores an environment of abandon, fantasy and desire that exists only in the dreamtime of darkness. It presents a world that is exclusively populated and controlled by youth, from which all other sections of society are exiled. Using available light and slow exposures, she creates images that combine rich colours and movement to visually mirror the sensuality and surreal quality of the setting. A sense of unruly freedom passes through the work; a freedom that we know will end with sunrise.
Included in the series are a sequence of un-posed portraits of individuals and couples, which explore moments of isolation and connection. In each of the photographs, we see people who are self-absorbed and isolated from their surroundings. Whilst some of these are passive spectators of the world around them, and others are living within their own, separate fantasies, all of them are characterised by a feeling of absorption and separateness that becomes the underlying subject of the work.

Lydia Goldblatt is a London-based photographer who graduated from University College London in 2001. Since then she has created work for international brands such as Pepsi, Guinness, Renault and Citroen. She has also been commissioned by major publishing agencies, and by leading editorial clients such as the Guardian Weekend Magazine. Her work is featured in private art collections both in the UK and abroad."

(http://milim.com/new-work-info.php?&id=19)




Some of her images feel more spontaneous than others and have an almost fashion like feel to them, subjects are isolated and in some cases composed in an awkward manner which encourages the viewer to really question the mood of the subject, especially considering the nature of the environment in which the photographs are being captured.

I love Lydia Goldblatt's approach to photographing in clubs, she creates a real sense of atmosphere and chaos whilst still singling out individual subjects. The photographs are lit in such an atmospheric way that they reveal enough of the vital information whilst remaining ambient and moody.




Goldblatt manages to combine multiple features such as motion blur and grain whilst still keeping important elements of the image at the forefront of the viewers attention. She carefully utilises the environment and the available backdrops to create a particular mood in the photographs, for example the red visible in some images enhances a passionate mood which compliments the activities occurring within the frame.



Joseph-Philippe Bevillard Photography

Woman with unusual make-up, Limelight Nightclub, New York City 1993


Emma Knowles - PAINTER

Emma Knowles is a passionate painter of portraits that pull no punches. She paints what she see, in a style that is honest, personal, and unique.

Emma's series of portraits from early 2000 from several visits to Friday's Nightclub in Didsbury, Manchester.

















Derek Ridgers - The Endless Night. 35 years of nightclub portraits 1977- 2011

The Endless Night. 35 years of nightclub portraits 1977- 2011

An exhibition of Nightclub Photography by Derek Ridgers
at The Museum of Club Culture, 10 Humber St., Hull, HU1 1TG



Derek Ridgers is a professional photographer with 35 years work of experience working mainly for UK magazines and newspapers like NME, The Face, The Independent, The Sunday Telegraph, Time Out and Loaded. From 1978 onwards he has recorded the young inhabitants of London's streets and Soho's club scene. A record of a highly inventive through ultimately transient youth culture. He is also the author of 'When We Were Young, Club and Street Photography 1978 – 1987' A solo authored book with100 photographs. The Museum of Club Culture is pleased to be exhibiting a selection of his photography work.

''certain clubs and some excessive looking people. Some of the people I'm interested in, I will have photographed and got to know over a 10 year period''

His work shows various subcultures, fetishes, body piercing and other unusual forms of adornment and Ridgers hopes it will be published in book form. It is an aspect of London that most of us may feel unfamiliar with, but still a very much a part of the 'cities of people'.