After Wendy gave me some other photographers to reference she made a comment about my own photography,
Fig. 1: Slade 2020
I've been studying the importance of imagination and 'play' in childhood and Wendy mentioned that so far my images only reflected MY OWN imagination. She recommended I look at contemporary photographer Gemma Willis and her work with postpartum.
Fig. 2: Willis 2018.
Gemma is a recent graduate of Falmouth's program. Her final images are very real and in the moment with lighting that enhances the emotion and increases the punctum.
I can't stop thinking about Wendy's comment about my images and looking at Gemma's work I am inspired to get my images more real and closer to the source. It will definitely be a different approach for me- and be somewhat out of my comfort zone, as it likely means getting images in intimate settings such as children in their own home.
While I was looking up Gemma's website I also happened upon the project of Wing Lun Cheung and his work with cubicle tenants and the homeless. His images are also very moving and eye opening.
Fig. 3: Wing Lun 2019.
There is something about the 'real' that can't be denied.
I think this second face to face meeting with Wendy was very productive. We began with some feedback on my proposal as well as looking over some of my new images.
Fig. 1: Slade 2020.
Fig. 2: Slade 2020.
Fig. 3: Slade 2020.
Wendy gave me some photographers to reference, including Eammon Doyle and Guy Ben-Ner. Guy Ben-Ner is an Israeli photographer and video artist that often features his children and family. His productions are often humorous and profound (Breckner 2020). He made a conscious decision when he began working with his own children that they should be able to enjoy the end product (Cattelan 2018) and that is why his work is somewhat appropriate and meaningful through a variety of ages. He often references well know works of literature and fables.
Fig. 4: Ben-Ner 2000. Moby Dick
I appreciate his involvement with his own children. My husband and I are raising 5 children from preschool to teen. Parenting is my first career and we love our big family. That said, there are no freeloaders at our house. My kids are involved in running the household and everyone has responsibilities. My kids know that my photography is important to our family and they support that. It often brings financial blessings as well as being a fulfilling creative outlet for me (and when mom is happy, the happiness level of the entire family is raised-true story). Because my photography is something that takes everyones support to happen, the end product should be able to be enjoyed by everyone. I can't imagine studying or creating images that I would have to censor my children from seeing. And since we take our children's mental health seriously we try to keep their visual consumption age appropriate.
Eamonn Doyle was born in Dublin. He actually produced music before returning to photography in 2008 (Doyle 2020). Wendy originally recommended Doyle because she thought I would enjoy his work with the shape of the human body in his collections of 'K images.' I did but I was actually more drawn to his street work particularly his series On. The thing I always wonder about images such as this collection is, if I would appreciate them as much if I was from that area. Like, what do the Dublin people think of his images and why does is the rest of the world attracted to them. If I did images of Idaho would the people of Dublin find them interesting? Probably- especially if I had the talents of Eamonn Doyle.
But the most interesting comment that came from Wendy McMurdo during our discussion was about my own images. Which I'll talk more about in a follow up post.
BRECKNER, Jennifer Louise. 2020. 'Guy Ben-Ner; Israeli Video Artist.' Encyclopedia Britannica. [online] Available at:https://www.britannica.com/biography/Guy-Ben-Ner [accessed 29 February 2020].
Arthur Tress is an American photographer that grasped the powerful emotions of childhood dreams and expressed them in an series of images created in the 60's and 70's, using surrealism to capture children's nightmares as inspired by actual kids.
Fig. 1: TRESS
What inspires me about Tress is his ability to capture surreal IN the real. His work was done before the boom of PHOTOSHOP and he didn't even start shooting color until the 1980's (Tess 2017). Of course it didn't hurt that he had the super awesome photography-playground of Coney Island, including abandoned theme parks (that is pure ingredient for childhood nightmares right there!)
Since I am hoping to use more 'real' in my surreal his images inspire me even though I will be conveying different emotions and expressing how kids imagine or 'dream' completely awake (i.e. the imagination) but I still hope to incorporate unique locations, items and wardrobe to convey a 'surreal' felling such as the amazing Tess.
The Romanian documentary photographer Andrei Nacu was featured as a guest lecturer for Falmouth University on February 5th 2020. The following are notes and insights personally mine, gleaned from the lecture.
Fig. 1: Nacu 2018. Mining in Deposits of Light (Screenshot of video by author)
"In his creative practice he is using documentary photography, the family album and the photographic archive to create stories which analyze the junction between personal memory and social history. His most recent work includes video, installation and performance and focuses on the politics of representation and media archaeology." see more at: http://andreinacu.ro/index.php/info/about/
Nacu grew up in Romania, and studied there as well. Starting with a passion for visual art and photo journalism and eventually ended up studying at Falmouth.
There he started some new approaches to his work including longer term projects and more intimate, like his project, A Family Holiday, where he spent some weeks with a Polish family on holiday in a van, spending day and night with them, to tell their story.
Fig. 2: Nacu. A Family Holiday.
Looking through the collection he did an amazing job capturing the story. I particularly loved his use of light and motion in the images. And the natural and fluid movements. It's interesting to me that a family would allow this and I wonder how intimate their relationship with Andrei was. But when their children are grown it will be an amazing gift.
Listening to Andrei he seems to do a good job at obtaining funding for his projects. This is something I would love to know more about as this is something I have not been successful yet.
He stretched himself as a photographer when he began his final Falmouth project with photographing his parents. Here I was surprised to learn he was not trying to tell their story, but capture larger issues. In The Forsaken Garden Time is a Thief was published in a book as well. Showing the social and political change in Romania, as his parents lived it. He tried to give his parents their own voice in the project as well, giving them cameras and involving them in the image selection.
I liked how he went for an unconventional gallery space in one project where he ended up hanging images on the stairway up and down the flats. What an amazingly great idea for those involved. This reinforces my effort to look for a non-traditional gallery space as well.
Nacu is definitely more political in his projects, such as in the project, In Almost Every Frame, or Witness where he questions the role of the Romanian people, the hangman and the victim and who is who.
I think Andrei Nacu is quite adapt at noticing what is around him and gleaning inspiration in letting both current and historical events as well as inanimate objects guide his work.
I appreciate how he follows his passion and his circle of influence to create a voice.
Let's get real here, just for a minute.
As I prepared to submit my:
FINAL PROJECT PROPOSAL
I admit- I started to have some mentally overwhelming feelings (aka- freak out!) freak out freak out freak out
HERE IT WAS! My FMP was finally here and as I recognized it as a great opportunity to create a meaningful collection. I began to think about what I really wanted to exhibit as, whether I decide to do a show, or a book, or some other end output this would really be something of my first 'self-promoted' journey into introducing myself to the world as a photographer.
UP until now my photography has always been part of someone else's project.
Like when I was featured on Mommy Blogger 'Lily Petals World' (103 K Views!!! Not so bad!)
Or when I was able to participate in the world wide effort along side Karen Alsop in this years 'The Christmas Wish.' (She chose my image as cover!) It was an AMAZING experience, particularly the involvement with the families and children.
As I contemplated my ideas and options I ran into a problem that I am sure is familiar to many photographers, professional or novice who have discovered photography as the creative outlet that gives you VOICE: I wanted to try and do so many themes that were meaningful to myself.
My mind literally whirled with the possibilities, AND in simultaneous juxtaposition of self doubt! (What if I do it wrong! What if I don't know what a theme is! What if my images flop altogether!)
After some very helpful emails to Wendy McMurdo (who said- you can do this) I realized I had to look internally for the answers I was seeking. So I started looking at my work from the entire Falmouth journey.
I had begun creating images of children facing childhood opposition:
Fig. 1: Slade 2018-2020, collage of images created.
I enjoyed this work. I have always been a fan of children's illustrations and enjoyed the dreamy and 'illustrated' or 'painterly' look of my images. But the themes were not being truly represented and the topic for research wasn't solidifying.
Next I enjoyed a shift from my other work and tried my hand at participatory art and workshops with children.
Fig. 2: Slade 2019 2 Perspectives.
The work was engaging and utilized my undergraduate degree in Elementary Education and my experience in the public schools.
I began participating regularly in a local classroom. I offered to help the students create their own 'voice' through photographic images and the teacher asked me to join them in a current project bringing awareness to the plastics problem.
FIg.3 Slade 2019. Swimming Lessons.
I enjoyed my images here as well. I felt like they had good narrative and were illustrative of the message we were trying to send and our processes. But as I contemplated finishing them out as a FMP I felt I wouldn't be a true representation of me as a photographer. I do care about the environment, but I don't plan to be known for my environmental work, at least not at this time.
My big question ? began to fall under the category of THEME. What theme did I really want to express. I enjoyed my imaginative images the most. I felt they were the truest representation of my own personal style and specialty.
But I didn't want to express the OPPOSITION the kids were facing along side their RESILIENCE. I have found if there is angst next to or combined with hope it is the angst that wins out. It's hard to look away from angst. But I did recognize that only showing the 'resilience' side was leaving holes in my narrative.
But as I watch my own children be continually bombarded with images, whether apps, media, videos, they are flooded continually with images of darkness, violence, tension, angst. It comes in the form of 'educational' games, Disney movies, memes, posters, book covers, superhero movies, news clips and many other ways, and most are socially labeled perfectly fine and even 'geared' for children. But I know just as what you EAT affects your BODY what you CONSUME VISUALLY affects you MENTALLY. And since I am so closely tied to motherhood and the well being of my own children, as well as youth everywhere...
Long story short, my photography is my contribution to visual consumption, it is my trace I leave behind. So I choose to create mentally healthy images. But what was the THEME or THEMES I was exploring as I created this fantasy world children step in and out of on a regular basis? OH. (Slaps forehead) I guess that is my THEME. (It was a duh moment).
Childhood based themes, particularly circumnavigating daydream, fantasy, and the imagination.
BUT I still had the feedback that my images were a bit tooooo post processed. To the point one might be distracted by the process and miss the image itself.
SO
My themes will be themes of childhood- but I will push myself for more 'SOOC' set ups and less reliance on digital editing and post processing.
Fig. 4: Slade 2020.
This will be a real stretch for me but I feel it will help me grow as a photographer in ways I was hoping this educational experience would push me into. I will be short on time to create a strong portfolio so I will try to make every image count.
Figures 1-4. Bren SLADE. 2018-2020. Created as part of Falmouth University's MA program.
Photographer Wendy McMurdo was able to sit with book designer Victoria Forrest via. a guest lecture at Falmouth University, on February 4th, 2020, where Victoria was able to give us great insight in the book making process from beginning to end.
She began by showing us images of a series design as well as a one off- presented at a museum and something I'd never heard of which she called 'augmented reality'- where you combine book+phone to get sort of a 'digital pop up.' Sounds interesting although I have questions about the technical end it is something I would be interested in looking into. Book making: The Process Two elements to design work (and how they crossover): 1. Design= (graphic design, 2 dimensional) layout, colors, typography, sequencing etc. •Part of design work is typography- how the word appears is very important in the design. •Then there is the cover, which she describes as 'the sparkle' or the 'special part' - obviously the cover is the first thing people see so attention to it must be taken seriously. 2. Production= actual 3d object manufacture! The actual product. First you look at your page size, then you start to study the colors you might use. She often uses color swatches, foil swatches, and cloth swatches to see and examine in real time.
Image curtesy of Envato Elements
It may depend on your printer, and what your cost/budget is. You deal with both a reproduction schedule and a print schedule. A process of checks for writing a book: Start with Chromalins- first step, when you have your design solidified. The printer showing you exactly what is planned, but in a very raw form. Next you get the F&G's (folded and gathered) version, here you can check the pages, order etc, then the final book! Color checking happens all throughout. The printer you use and the quality that ensues reflects on yourself and your work. Communication can be really key, and the printer you choose will effect the experience you have. I can't express all the good information that Victoria was able to share but the book process definitely has MANY details that must be given proper attention if you want a successful and professional finished product. Otherwise there will be likely mistakes and regrets.
As I am approaching this Final Major Project and looking at my final proposal, I decided it would be a good time to reflect back through the completed modules and re-visit some of the feedback I received from each one. This will help me stayed focus in my growth during my FMP
Fig. 1 SLADE 2020
My Strengths (via modules' feedback):
•Good command of technical skills
•Attention to detail
•Well achieved color pallet choice
•"Magical realism through the use of Tableau and a constructed narrative" (best compliment ever!)
•Confidence in showing a more positive side to this genre
To Work on (via modules' feedback):
•Keep my work simpler and stronger by being more selective in my chosen portfolio
•Grow in my professional audience
•Over processing, which can create an unintended distraction
•Too much visual detail
•Move away from the predictable/ cliche
•More subtle constructed realities
The journey through my Falmouth modules has been an interesting one. I have learned a lot, realized how much I still don't know, and have been pushed to try new extensions of my own practice. I've looked deeper into my motives as a photographer, scrutinized my methodology, and explored new themes.
The big question now is- what will be my key themes and methodology for my FMP (Final Major Project)? What will be my processes and my output? The answer is....
I. Don't. Know.
Gasp! What? Shouldn't I have that all in place? One of the elements of this program that I greatly appreciate is it's fluidity in allowing us to evolve as photographers.
In my last module I had been experimenting with participatory art. Working with kids I had been helping to create images that reflected their concern for plastic awareness and the effect on the environment.
Fig. 2: Slade 2019
I loved this project but feels it wouldn't represent me well as a photographer for my Final Major Project. It was all about helping the children use photography as an outlet to promote their passions, but, while I am concerned about the environment, I am not pursuing environmental photography at this stage or time.
What then?
In meeting with Wendy McMurdo she challenged me to 'go back to my sketchbook.' I have taken this to heart and am spending the next couple of weeks going back to my 'sketchbook' but also taking a fresh look at my motivations as a photographer and my desired methodologies.
Some questions I am looking at:
•What theme would I enjoy and find passion in researching?
•How would my processes help me grow as a photographer?
•What impact can I make in the professional realm (what would be my contribution)?
