This is a bit of a collective post for weeks 8-10, as I had to return home un-expectantly for compassionate reasons so instead of trying to sort my notes in chronological order I will just include them as they come. This will include updates on capturing with my large format camera and highlights from lectures that I want to include into my CRJ because I think they will inform my practice now or perhaps later on.
David Falthi Guest Lecture: I listened to the first part of the lecture about Falthi’s body of work ‘Anecdotal’ this seemed like a interesting concept looking at the use of Nuclear bombs. How we visualise and represent the nuclear bomb, his argument being it is represented in a very fictional way. Fathi uses a quote by Stanley Kubrick “People do not react to abstractions, they only react to direct experience.” Which I can place within my current work, looking back to the people of NI they would have had an indirect experience from propaganda films and news stories of WW2. Their direct experiences from WW2 would have been the displacement and upheaval for new airfield sites and contempt with incoming troops from USA and mainland UK. I’m afraid I don’t quite understand how the final piece comes together (I tried looking at his website, maybe I missed something there!) but Fathi uses a lot of archive imagery ranging from fictional, fact, propaganda, documentary and film.
Elliott Hall Gallery Guest Lecture: This was a great lecture to hear about their process of submitting work and tips for working and building relationships with other galleries too.
Key points were- Research the gallery, who are they, who do they represent.
Treat it like a job interview, be formal, and give the gallery a call to ask about their submission process, as they are more likely to look out for your email.
Introduce your work with 1-2 lines as the gallery will only give your submission a few seconds, include an artist statement but be mindful that this will not be read at this stage of application.
Include 6-10 image containing the best selection (seeking advice from peers) and include a website link. Big emphasis on first image to summarise the body of work, be aware that this might not be your best image.
It is important to keep the gallery updated on body of works either new or refreshed ones. Continue to work on a relationship with gallery or curator, see it as a collaboration. Ask them questions and advice on things like presentation as this could help with portraying your intent.
Have a look at selling platforms such as artsy.net
Jesse Alexander Guest Lecture: This lecture looked at Jesse as a writer in the photography world, it was interesting to see different publications that he has been associated with and the process how each project came off the back of another. I found most interesting the factors he considerers when reviewing a publication and Jesse goes into listing some of the physicality’s that this would involve. Such as size, weight and shape, typography, sequencing, print quality, design/structural feature and the inclusion of captions. This is good to hear the perspective from a writer because it shows the importance of design along with the way you present the content
Sarah Davidmann Guest Lecture: ‘Ken, to be destroyed’ is interesting body of work that uses a personal archive of letters and photographs. In these letters from 1950/1960s, Davidmann’s Auntie describes to her Mother about the fact of her husband Ken being a transgender person (obviously in that era was quite taboo and not seen in public). Davidmann uses archive imagery to digital manipulate, placing Ken’s head onto Hazel’s body, who is dressed in female clothing. This being Davidmann’s response to the archive and her interpretation of how Ken/Kay would want to be viewed as a female. Both Aunt and Uncle are now deceased and I’m not entirely sure how I feel about the final pieces.
I love the fact Davidmann has used a personnel archive and that it deals with issues that would have been difficult during those times and in comparison it is much more acceptable to be transgender. However it is a male head on a female body, his male identity. Davidmann says he does not identify himself as a male but she uses this male identity to create her representation of how Ken/Kay would want to be seen, I just wonder if that would be Ken/Kay’s vision but I fully appreciate the concept and how transgender is perceived past and present.
Processing large format film: I have been practising with my camera and I feel pretty confident with it now, however still trying to sort processing into the machines. I tried to use a film holder as a type of loading/light box by sealing off the opening at the front. In the hope to insert film in the dark and leave a lip out in order to tape to the leader in the light. Unfortunately when leaving a lip out it was not actually light tight, so a strip of fogging is visible on negative. So next I still used the film holder but kept the light off and managed to stick the leader on fine so this will have to be the method I think, not full proof but the best I can do with equipment I have.
The images below show failed lightbox attempt with fogging and images of WW2 buildings. I use a programme called Silverfast to scan the negatives in, which is little difficult to navigate the pre-sets with the type of film, so I just played around with them. Absolutely love the look of this film well film in general. I find it so satisfying with actually creating an image start to finish as appose to digital. The detail, colours that can be achieved are well worth the hassle of carrying around the bulky equipment.
References
All guest lectures were recorded by Falmouth University and feature as part of the MA Photography programme.
http://www.davidfathi.com/work.php
https://www.saradavidmann.com/work#/kentobedestroyed/
https://www.jessealexander.co.uk/writing
Critical Research Journal 