Work based learning!

For work Based learning things have changed a lot over the past year.
For example over the summer i have a bit of a career change, from family studio portraiture which I still have a slight interest in and would like to experience to joining the Royal Air Force as a photographer.

I came to this decision by looking into the job role itself and from what i found out it would give a chance to travel and still have a stable job (which was an important aspect).
I went down to my local RAF careers base so i could ask any questions that the website didn't really answer for me. I found this very helpful and backed up my decision.

But for work based learning i will have to do some work experience of a length of 10 days. For this i was hoping to do some experience work with the RAF itself but it turns out because of health and safety reasons they do not offer work experience opportunities. Last year i had spoken to a local family portrait studio about working with them for a period of time so i plan to get back in contact with them and work something out.

Monster lurk everywhere!

I was lucky enough to be able to join the Monsters lecture series. I chose this series as its something i've always been interested in.
So in the first session we looked at "Don't be afraid of the dark" trailer so we could understand and pick out the elements that would be something scary and work on the emotion of fear.

We also looked at "Edward scissor hands" to see how fear can be used in a different way. 

so the we were set on the job of finding something to do with Red riding hood which would relate to our subject so this is the image i chose with the subject of red riding hood.

I Chose this because the model seems to have both aspects of the big bad wolf and the younge red riding hood. It takes a different stance on the dark story line and makes it feel quite light and dreamy.

This image interested me as a do have a interest in beauty and fashion so i thought it fitted well.

from now....

What i need to do next is start looking into relevant photographer that will sort of back up my decision to go with this film. I'm going to start on my sketch book as i find is easier to understand everything if its in one place. and start playing around with both my chosen camera and different lighting sources see which one works best for me.

I'm also going to re watch the films so i can attempt to find a different spin on it and not stick with the norm

stills...

my decision...

From watching all three films i think i'm going to go with "The man who wasn't there" i feel it would be more interesting for me and i would get more out of it. i really want to experiment a little more with medium format as i have used it before and certain films give you the harsh contrast that "The man who wasn't there" is after. what to do next. take snapshots from the films as inspiration to start on. 

O brother, where art thou?

Set in the deep south during the 1930's. In it, three escaped convicts search for hidden treasure while a relentless lawman pursues them. To me this was a more rustic and raw out of the three. at first it took me a while to grasp the story line and get into it. I feel it would give me a chance to get out and about into the landscape with my ideas and maybe try something new. the colours are very burnt out and i think it goes well with the time period of the film. 

Roger Deakins

Director of photography in "The man who wasn't there".


Roger Deakins a devon based cinematographer. His primary hobby is taking still photographs. Before he entered the National Film School, he spent a year in North Devon, England, documenting the way of life on the farms and in the villages. This cemented his passion for still photography that continues to this day.


Roger then went on to feature cinematography, starting in England and then later shooting in the United States.

The man who wasn't there.

Set in a sleepy Northern California town in the 1940s, Joel Coen and Ethan Coen's The Man Who Wasn't There stars Billy Bob Thornton as Ed Crane, a humble barber who suspects his hard-hearted and hard-drinking wife Doris (Frances McDormand) of having an affair with her boss (James Gandolfini). When a jocular stranger (Jon Polito) breezes into town hinting at the fortune to be made investing in an outlandish-sounding new invention called dry cleaning, Ed hatches a blackmail scheme he hopes will make him rich and get him some revenge at the same time. 


This film really interested me both story wise and how the film was shot. The harsh black and white theme really helps with recreating ideas. I can see this being a Medium format film. and harsh lighting. something i really like to experiment with and have done in previous projects. The period of the film is also something different to work with and i think it would really challenge myself and interest me. 

Emmanuel Lubezki

Emmanuel Lubezki - Cinematographer. The director of photography in burn after reading.

Born: 1964 mexico city, mexico.

Emmanuel first started out studying history at university of mexico. but had a underline hobby of film making and photography, started making short films. looking at his film list he has been involved in some rather influential films. such as great expectations, meet joe black, sleepy hollow and more recent ones such as harry potter, children of men and of course burn after reading.

http://www.youtube.com/watch?v=IIQQsdBaCv8&feature=related

Burn after reading.

So the first film i watched was " Burn after reading" starring Brad Pitt, David Rasche, Frances McDormand, George Clooney, JK Simmons, John Malkovich, Richard Jenkins, Tilda Swinton. 

I chose to watch this film as i wanted to have a bit of a contrast to the more older films that the Coen brother have done. It took me a while to get hold of the story line, as at the start it splits into four different directions. While watching the film i was looking out for film stills which i found interesting and could potentially be re-made. 

recent activity...

over the past couple of weeks i've ordered the films that i wanted to watch which is:

- O brother where art thou
- The man who wasn't there
- Burn after reading

i changed my mind as i thought they would be more of an interest to me and also gives me a range. I started watching "O brother where art thou" and found to not understand the story line. I have been advised to a book called " the dude abides" which will hopefully help me understand better. Im still awaiting the other films.

the Coen brothers...

Joel David Coen (born November 29, 1954) and Ethan Jesse Coen (born September 21, 1957) known together professionally as the Coen brothers, are American filmmakers.They are known in the film business as "the two-headed director", as they share a similar vision of their films.


films im interested in so far:


- burn after reading.
- intolerable cruelty.
- oh brother, where art thou.

summer project!

Ok a new start for the summer.
over the summer i'm going to look into the coen brothers and watching a few films made by them. so keep posted theres more to come!

Iain McKell

We have recently had some well known photographers into the college to talk to us about their experiences and photographs they have taken. Ian McKell was one of them. His work really stood out from the rest as they were so different from what I had seen. His work mainly consisted of his past, telling us the story of his childhood working on a beach with a small monkey and taking pictures of his home town and the people that were there. He had also made a body of work taking photographs of gypsies in their enviroment and their way of life. He taught himself photography through books but was inspired by a pair of scissors being left on photographic paper and the shape being left behind. Overall he is a photographer to look at. His work has a sense of time and i am sure going to look for his book.

www.iainmckell.com

Research!

Ive started looking into things that would interest me as a career or something I would like to experience. I came across Dawsons Strange a local based family portrait studio. As a starting point I think this is the way to go. There I can build on my photography skills even more. i Wish to email them or even pop into there shop to have a chat about some work experience for next year.


http://www.dawsonstrange.co.uk/dsp-photo-gallery.html

Interview with Emma Richardson

Emma Richardson is a local based wedding photographer who also works within Plymouth college of art as a learning support tutor. I deicded to Interview her as im also interested in the same photographic field.

Firstly I’d like to say thank you for speaking with me, and my first question is how did you get into photography?

Emma: well at school I was really into my painting and I was really interested in light on people. I wanted to apply that into my painting and I went to do a foundation course at Bedford college, while I was there, there was this really cool guy like jack D and he taught me a bit of photography. And I think it’s his influence as well that when he was looking at the sort of pictures I was doing he would be like “oh you’ve got really good eye for composition”. So I kind of scrapped painting and started doing a lot of black and white photography. It took off from there and I ended up taking the course  and worked from there really.

What really interested you about the subject?

Emma: well i think it was when I did my options at school; I was interested in art but really loved science. And the subject really combined both and I was really interested in the technology and how it worked, the chemical process and obviously learning the black and white first time round is excited when you first see the paper come up and you’re like wow its magical. And it as just sort of the combination of learning about light and technology, science and art all combined so that was all the things I love all in one go.

After your learning, how did you promote yourself?

Emma: well when I decided to do my degree, before I even moved down to Exeter from where I originally lived near London.  I sent emails out  to all the photographers in the area, I was kind of a bit savvy I guess, I was kind of thinking I know that when people go and do the degree you often have to have work experience as well, and the degree didn’t provide that. So I just sort of waited for a reply from all the photographers in the area for work experience luckily I sent them off in September and a had a reply from a local photographer looking for an assistant and I started from there. Worked for him for 3 years, after I left I had a break and then went back to working for him full time for a couple of years and then decided to set up on my own. And that’s how i got into it really. 

Are you mainly film or digital?

Emma: well if I could I would be film all the time, but it’s just not economically viable in this day and age. And a lot of people expect digital so that’s the way I work. So it’s all diggy everything, which is a shame.

From looking at your website, I’ve noticed you have done quite a bit of wedding photography, what would a client expect from you as a photographer of their wedding?

Emma: well I think people come to me because firstly I can take pictures and I’ve got a good portfolio. Plus I’m not very intrusive on their wedding day; it’s not about the photography it’s about making a recording sort of like a documentary of their day so not taking over and bossing people about. So I think they come to me because of that and just because of the recommendations I’ve have. People have always said “thought she was a guest just taking pictures and not getting in the way”.  So that’s the kind of thing people should expect also just kind of tactfulness and sutilty and just being in the right place at the right time and just bring the experience I had from working for 3 years with somebody else I thought I could start my own business because I had taken on board all the stuff he had taught me and taking it off and trying it out. I made sure I knew exactly what I’m doing before I go out and take pictures, because it is some ones wedding day and you’ve only got one chance.

What equipment do you use?

Emma: I use all canon stuff. I’ve got an arrangement of different cameras I use depending on what sort of day it is, but I use a canon 40D and I’ve got another one of those for back up and I’ve got a canon 50D as well. But I’m thinking of  getting a canon 5D but I’m sort of toying with the idea of going full frame or not as I quite like the compression that you get with it. The main lens that I use, I always take two cameras around so I’m not changing lens all the time, is a 50 mm prime lens to use in like low light conditions and you get a shallow depth of field with the picture which is really good. I use a zoom lens  for my pap type shots, getting people off guard and I’ve got a 70 300 and I also use  an image stabiliser lens which I’ve got recently which is really good for low light conditions like inside church’s and venues anywhere where it is dark especially in the winter.

During your photography course, who would you say mainly inspired you?

Emma: when I was doing my course because of the work that I was doing I wanted a completely different slant to the wedding/social portraiture/studio stuff that I was doing so I did a lot of gimmicky fashion stuff. I was quite interested in body image and talking about how in the world of fashion the theme of stereotype. I looked at a lot of fashion photographers like Nick Knight and sally man. I kind of liked the more cheeky ones and was quite interested in Gregory Crewdson. A lot of my work was about building sets and stageing stuff (the constructed image).

What would you say you’re all time goal is?

Emma: Be happy! I can’t think photography wise. But I would love to do some travel photography but apart from that I haven’t really got a goal of such I just want to use my photography to give people happy memories.

Are you working on any projects at the moment?

Emma: no not really. I’m always sketching down ideas and stuff in sketch books but I’ve kind of gone away from doing my own work because I’m so busy with teaching and all the other stuff that I do. But when i have holiday like in the summer I normally get a little project on the go. I tend to do a lot of stuff which is photography based but with a bit of illustration on top, playing around with drawing on top of images and using photography to make other little bits of art that is kind of personal to me. Experiments really.

For anyone starting out in the same field, have you got any tips?

Emma: go and work with somebody who knows what they are doing. Get lots of experience in the field that you want to go into, it is very competitive and you need to know your stuff. There are so many things that could go wrong on a wedding day and you need to be very prepared, you need like 6 backup cameras and you need 5 of everything. I’ve been in situations where both of my flash guns broke and you kind of have to make do with what you have around you like natural light, which is a nightmare especially if it’s an evening event. So I’ve got backup everything  I even have a backup car plan just in case I can’t get somewhere, you just need to think about everything that could go wrong and make sure you have a contingency plan for everything.

Well thank you for your time.  

Simon Norfolk interview!

I was very lucky to get the chance to interview one of my favourite photographers. his work has always stood out from the rest and has been an inspiring figure in my photography. this was a phone call interview as he is a very busy man but over all the experiance was one to remember.

I’d just like to say thank you for speaking with me, I’d like to start off with asking you how you got into photography?

Simon: oh well that’s um 25 years ago or something. I wanted to be a sociologist and I didn’t like the idea of making sociology research that wouldn’t be read by anybody. And then my tutor, her husband was a photographer and he showed me one or two photography books, where there is a lot of research with photography as well, the mix meant that it was a much more readable project and so I thought that bond with photography and words was really interesting. So I could put the two together in some way. Sometimes I still do it.

Who inspired you and why?

Simon: I know exactly which the books where, it was a book called “working for ford” by a sociologist called Huw Beynon with a photographer called Mick hedges. Where the writer and the photographer got jobs working with a ford factory and what is was like working in a ford factory and I’ve always thought this was brilliant. A book called "Blood, sweat and coal" by a photographer called John Sturrock it was about the miners’ strike in Britain during the 1980’s. And all of those where books that were a really heavy blend of words and picture like half and half. But it was more of picture paints a thousand words or something.

From looking at your work on your website, I’ve always found interesting the photographs you took on genocide and memory (for most of it a have no words), what was going through your mind experiencing  those places knowing the history and what had gone on there?

Simon: it was very moving. Quite kind of humbling, certainly when I went to Rwanda was the first time I’d ever seen lots of dead bodies and it was very upsetting and very shocking. It’s more about really setting my self a task of photographing something that was absent. It wasn’t every day events so you had to tease that out of the place. And because it wasn’t obvious it made me work much harder and make better picture because you really had to compare it to something that happened 60 years ago. So I find it very exciting photographically because it was something I hadn’t really done before. In some ways if you set yourself an impossible task, it pushes you to produce your best work simply because you can’t just knock it off with the easy stuff.  it was a very exciting time for me, four years of travelling round the world I had some fantastic adventures but at the same time emotionally it was very difficult because some of the stuff was truly, truly horrible. Some of the worst in Rwanda in particular was just awful.

I can imagine it can make an impression on you for the rest of your life seeing those sorts of things

Simon: yes very much and I was a bit of a kid and I just kind of wondered into this stuff, and the speed that you can get from normal domestic life into something really horrible is quite extraordinary. In an hour’s time you can get from here to really extreme horror cost you about £400. So that speed that you can get to it kind of knocked me over really.

What would you say your best piece of work is?

Simon:  oh I’ve only ever shot three good pictures, or maybe four. I think really good ones. Those are the staircase at Auschwitz, the man with the balloons in Afghanistan , a from Iraq of some trees reaching up at the sky with a broken arch on the right hand side and  a picture in Bosnia of a frozen lake which had red water on top of the lake. Those are the four that I’ve shoot that were really everything I was trying to do all kind of lined up, everything just fell into place.

Well done they came off really nicely

Simon: well I think four in a career is not bad is it? One every five years

How did you promote yourself to become so successful?

Simon: I’ve always thought I was rather bad a promotion. When you look at some photographers like Rankin, Who are all promotion who must have full time PR people working for them. I think the most important thing I gained is the books, because the books really travel. Quite slowly sometimes but I’m amazed that they always turn up in the weirdest places and  then you get a phone call from somebody and say “oh I’ve just seen your book” and I’m like what has it just turned up. And then I got called up by national geographic magazine, like 4 years after the afghan book came out and they said “ oh we’ve just seen your book, it just landed on our desk would you like to work for us” somewhere who I would never of dreamed of approaching. I don’t know why it took 4 years for the book to get in the door but it did and it got me two assignments with them. The books have really paid the path way for me I think, and working through the galleries that I do and the print sales. That’s what really made a difference for me economically because that’s where I make most of my money these days. And I guess the third way is the assignments that I’ve done over the last 10 years for New York Times magazine. It’s given me a real like presents in America, people know me in America because of the New York Times and they take me seriously because it is a serious magazine. If you work for them you’re a proper photographer.

And you can be a proper photographer as far as advertising people are concerned, as far as galleries are concerned, and as far as print collectors are concerned its strange its very wide open. In the UK if you’re an advertising photographer, you will be an advertising photographer till the day you die and you will never be anything else. Its very pigeon holed in the UK and the US is very catholic.

What equipment do you use?

Simon: well I’ve just switched all my equipment around actually so everything that you’ve seen on my website is all shot with a wooden 5x4 cameras and film. I’ve been using that for 10 years since going to Afghanistan. But since 2001 I’ve worked with nothing but the wooden large format new camera. I’m just in the middle of a new piece of work which comes out in May, which will be a new book, a film and a show at Tate modern. And for this I’ve been using a digital back and I was in Afghanistan before Christmas working with the back on a colossal, very high resolution digital back which id had on the back of a wooden camera but when I go back to Afghanistan ill be putting it on a phase one digital back quite a small little 6x4x5 sort of camera like a hasselblad and that’s fairly new to me. Switching over the the digital way of doing things, which is very expensive its cost me so much to buy this digital camera a have to get all the money back by using it. But the quality of the pictures are very very good, but actually using the camera itself it’s not a lot of fun.  Compared to the 5x4 that’s fun. 

Well my next question was, are you working on any projects at the moment?

Simon: it’s off in Afghanistan and its following in the footsteps of a photographer called John Burk. who was working in Afghanistan in 1879.  He went with the British on what became the second Anglo afghan war, as a war photographer. So it’s kind of following his footsteps and re-photographing the things that he photographed. It should be coming out in 2011. So yes I’m making a book, a film and there will also be a show at Tate modern.  So I’m working very hard on that at the moment. It’s also a research project because I’m also trying to find out about the life of this guy, who isn’t very remembered at all. So it’s a research project and a re-photographic project

And the final question for anyone starting out in photography what advice would you share with them?

Simon: don’t run with scissors. Well the first thing is I can’t offer you the advice I took when I was starting out in photography because that was 25 years ago and the landscape was very different then. And now days you have a different economy and although people make picture different and where you want your picture to appear are different. When I started all I wanted to do is to work to have my pictures in observer magazine. Whereas now a days when you leave photography and if you go out working the places you want your pictures to appear are on like blogs it’s a very different landscape. I don’t know about advice but the one thing I regret is that I did spend the first 10 years of my career imitating other people, trying to be a photojournalist, trying to be a portrait photographer, trying to be Dom Mcullin. It took me a long long time before I started making picture that where actually my own pictures. Where I actually had something where I wanted to say something. So that’s the only bit of regret I have, I wish someone had told me earlier. The pictures you’re making now are someone else’s picture, so defiantly start making your own pictures and have the confidence to do that. When you take picture and think “they are alright but they look like so and sot’s picture” stop doing it straight away. That’s the best thing I could say really.

Well thank you very much for your time.