No glass?

For the exhibition, I am toying with the idea of removing the sheets of glass from the frames. I came to realise that a piece of glass will reflect the lights in the room and more importantly, it will reflect an image of the audience member. Both these points distract the gaze and affect the intimacy associated with the work.

A reflection of the self while looking at the work shuts off the opportunity to really ponder the person who occupies the space depicted. Usefully, Camilla Brown comments on the interior photography of Anne Hardy who actually wants to use glass to make the viewer aware of the self;

"Hardy's work when printed large and covered in reflective plexiglass, similarly shows the viewer's reflection as they look at the work. This not only disallows the viewer's 'entering the scene' , but it also makes them self-conscious of their process of looking, reflecting their gaze back at them." (Brown, 2006 in Lury, 2006: 74)

The obvious issue with removing the glass from frames is the possibility of audience members touching the prints and leaving finger marks. Hopefully they won't. I quite like the idea as it assists with earlier notions of not forcing a person to gaze on the work, it aids the desire to simply invite a person to consider the work. It offers a warmer, less clinical feel.

While navigating texts regarding audience viewing, I found Anne Hardy's work quite inspiring. Although the scenes she photographs are imaginary and created by her, they offer similar unsettling and uneasy undertones present in some of my test images. I really like her work and it is useful to dissect components relative to camera angle, lighting and mood. Some of the images looked at are displayed below;


Hardy, A. (2005) Untitled VI


Hardy, A. (2003-4) Lumber


Hardy, A. (2003-4) Swoop

Audience considerations

Still life photography in the context of this project, requires constant thought regarding how an audience will interact with it. I felt it useful to consider how still life painting is received, what a closed and intimate scene presents an audience with. Norman Bryson (1990) in his book 'Looking at the Overlooked' comments;

"Still life is in a sense the great anti-Albertian genre. What it opposes is the idea of a canvas as a window on the world, leading to a distant view...the vanishing point is always absent...It proposes a much closer space." (Bryson, 1990: 71)

The images for this project must consider that although there is a backstory to the scenes and objects depicted, the nature of the genre to an extent shuts this off. This kind of research is bolstering the need for a concise context for the audience. Text, captions and a written piece need to be available within the exhibition to support the images.

Context thoughts

I keep returning to the core of the project to consider what exactly my images mean and what I desire to communicate to an audience. It is crucial to understand and pinpoint the audience appeal for a successful exhibition piece, I need to keep this in the forefront of my mind and balance the personal resonance accordingly. A key point is that the project plays on the voyeuristic tendencies many of us associate with looking into new rooms and spaces.

From a personal stance, the piece is a cautious peek into the turbulent and unpredictable life of my brother. The whole project has been in many ways difficult to carry out, and after much thought the audience should be given the information that the images are partially a personal exploration of a space that was once familiar to me but now is virtually unrecognisable.

The transformative element is useful as it underpins the initial idea of examining how a young person has gone about curating his personal space since the loss of his mother.

The transformation and evolution of the space is fluid and will probably continue as such, the sequence of images can be viewed as a snapshot of a point in a journey. The journey is of personal and emotional development as the occupant carves out his own path. The images seek to illustrate the navigation of emotions while living alone in a rural cottage.

The points conveyed in this post will be given to the audience with additional information within the exhibition setting. This is to ensure that the audience has a handle on what the images are about. It is now more apparent than ever that a defined series of images is essential to the project's success as one or two on their own would have no context. An attempt has been made to select and edit some images from the two shoots to date to give the reader an idea of what the exhibition will entail.

With the images displayed, it is clear that the provision of strong context (as summarised above) will be important for an audience.


Mother's Room


Mother's Room 2


Mantle Piece and mementos


Learn Korean


Frozen Kingfisher

John Blakemore

Black and white still life work has been useful to examine. Although i'm not working with black and white images, Terry Hope's book offers some advice relating to style development. A comment from John Blakemore reads;

"An extended period of photographing the same subject matter leads to new ideas and to unexpected responses and possibilities. The intensive exploration of a subject has always been part of my working method" (Blakemore in Hope, 2001: 38)

This project deals with well defined subject matter for extended periods. This process can be argued to be similar to that John Blakemore follows. Terry Hope focuses on tone, texture and contrast heavily throughout his book 'Still Life: Developing Style in Creative Photography' (2001). These parameters will be important to consider during the capture and image selection phases for this project.

Considering tone, texture and contrast at all times can assist in developing appealing images for an exhibition setting.

Yoon-Jean Lee

The South Korean photographer Yoon-Jean Lee focuses on still life depictions of Eastern and Western aesthetic collisions. Her work is important to consider as the images captured for the exhibition piece will present interesting aesthetic collisions between my brother's life and beliefs and my mother's. Coupled with this, my brother has accumulated objects from all over the world, images will explore how these occupy his personal space.

Crucially with all the work of Lee's i've examined, the angles she has used suggest a fleeting glance or a natural curiosity. This ties in with earlier research in which it became apparent that an audience should be invited to engage with the work and not cajoled.

It seems vital to consider how my images should speak to the audience, with a change of angle key to changing the tone of a scene. "Diverse perspectives" (Lunsford, 2006: 32) can make for an interesting exhibition and tap into an audience's curiosity.


Lee, Y-J. (2003) Still-Life No.22


Lee, Y-J. (2004) Still -Life No.32

Photography and text

The final piece will feature images of private space that require close attention, and 'reading' to unravel what is being depicted. As the scenes have personal/emotional resonance i've got the bit between my teeth at the moment to try and figure out how to welcome an audience into the images and make sure they understand what is shown.

I'm reading this at the moment to try and get a handle on using text in conjunction with images and how an image is read;


Morris, W. (1999) Time Pieces: Photographs, Writing, and Memory, New Jersey: Aperture Foundation Inc.

Some key points so far include the idea that the practice of reading images rather than simply looking, is an integral part of its rise. This apparently began in earnest during WWII when aerial images were closely examined and a textual/vocal explanation provided. All pretty interesting.

Another point to fall out of the early sections that can be seen as justification for using text in conjunction with my work relates to the notion that few things observed simply by one individual can be considered 'seen'. For a wider meaning to become incarnate, text can be used to anchor.

"The multifaceted aspect of reality has been commonplace since cubism, but we continue to see what we will, rather than what is there." (Morris, 1999: 4)

My images have definitive things to say regarding a person's life experience so it seems prudent to provide some kind of clarity via text. I'm keen to avoid misinterpretations when dealing with family loss, trauma and my brother's home.

During the early sections of the book there seems to be a hint that since the advent of photography, words have been seen by some quarters as surplus to requirements. It strikes me that this may could be argued as a crucial oversight by society, although there is a line to be identified between support and spoon-feeding.

A note to underpin

"What gives houses of our childhood such depth and resonance in memory is clearly this complex structure of interiority, and the objects within it serve for us as boundary markers of the symbolic configuration known as home" Baudrillard, J (1968) The System of Objects

The idea of a "symbolic configuration" is at the core of what my final project deals with when considering living alone, current life and coping with loss. A symbolic configuration of images can be seen in the exhibition setting.

Exhibition format and delivery

I've recently had a bit more time to consider exactly how my final piece will be delivered. I really want to emphasise the sense of entering a personal space, therefore the exhibited work should be accessed by physically walking into a room rather than simply wandering along a corridor.

There is a room within the university that would suit the project well, but negotiation with other students is required before its use is confirmed. The room has space to place roughly three small tables with free-standing framed images, and enough wall space for eight large framed prints. I plan to use an old photo album placed on one of the tables to hold a large number of images. This will allow an audience member to sit in the space and contemplate the work deeply while being surrounded by an overall impression of the location.

I've identified the perfect aged album to use (pictured below), this album has resonance to myself, my brother and our mother as it contained images of us as children. The childhood images have been removed and stored to allow the album to be used for images produced during the project. I like the idea of an audience being able to physically engage with an aged container of memories now acting as a window to the present life of one of the brothers.





Current tasks i'm engaging with include examination of more photographers who capture images of private dwellings/scenes. I am also further investigating the power of text in accompaniment to images.

John R.J Taylor's Work

Here are some of the images I discussed. Annoyingly the captions were scanned separately as the the double-page spreads couldn't fit on the scanner bed. But you get the idea.

John R.J Taylor

I've found a photographer who has conducted a similar project to that which i'm undertaking. Effectively his work shows the interior of various suburban London homes, with textual captions which are direct quotes from a tape recording.

What led to this finding is my continued pursuit of wishing to display my images with captions, based on the explanations my brother gives of the scene or object. I think it will personalise the images further and remove some boundaries between audience and exhibition. In this vein I also want to use free standing frames of varying sizes on a table that the audience can pick up and examine. Not too sure whether that approach will work though.

I also like the idea of viewing the exhibition as a museum of life and emotion. My brother can be viewed as the curator for example. This can lead to the notion that the images displayed in the exhibition space, are artefacts of importance displayed for a specific purpose. Although the images may show relatively unglamorous scenes or objects, it will urge the audience to think about their importance.

Tangent over, back to the work of John R.J Taylor. The front cover of the book i've looked at is below;




It seems difficult to find any of the images in the book online so i'll have to scan some and put them up. Initially, the one that I find quite inspiring is simply a face-on picture of a potted plant on the landing of a staircase. The image does seem to show the audience a corner of the next set of stairs suggesting they warrant walking up in exploration. The scene has the caption "I always have something like that up there. There's a table up there at the moment with something on it. I get fed up with seeing things in the same position...I just like change."

Text can be powerful in accompaniment to the images for this project and is something to look at in depth.

All the other images in the book are interesting so i'll post them up here soon.

Final Project - Ethical Considerations

After the hand-in of project two, the focus has quickly shifted back to the final project. After brief discussion with a member of the support staff, it became apparent that i've failed to fully acknowledge the ethical implications of undertaking a project of the nature desired.

The ethical implications to consider can be divided into loosely defined points;

1. In a basic sense, ethical implications of exhibiting images of a person's private way of life to an audience.

2. How aware my brother is of certain undertones the exhibition could transmit to an audience. Themes could include family loss, personal struggle and/or living alone.

It will be crucial to discuss the exhibition and images with my brother to confirm his awareness and comfort. There are texts that i'm yet to fully read that offer a good grounding in ethical concerns surrounding a project of this nature.

A text that at first glance seems useful to incorporate into the initial stages of exploring prevalent ethical issues is from Tom Wheeler entitled 'Phototruth or Photofiction?' Not all of it is relevant as it is targeted at journalists, but i'll look to pick out some key points to note on here and in portfolio two.

I've not really got anything definitive to write about at this stage, i've just realised I should examine some ethical considerations.

Final Project Commissioning/Sponsorship research

For the final project it is a requirement to examine possible sources of sponsorship or commissioning. There are a few i've come across for Portfolio Two but a major one which is good to note on here relates to the work of Toby Glanville. Glanville worked on a project for three years between 1997 and 2000 in an effort to convey life and local identity in Kent villages.

Glanville's work could be argued as being similar to mine as he seeks to convey the essence of a person/people living in a specific place or in a certain way. My project looks at a young person living alone in rural Norfolk. The main source of funding Glanville received came from various district councils in and around Kent. There is the possibility that Norfolk County Council or the Parish would deem my project worthy of local interest and grant me funding, or even commission it.

A fairly long but relevant passage regarding Glanville's 'Actual Life' piece reads;

"The commission that initiated this work focused on the Kent villages of Westerham and Goudhurst, and was supported through a partnership project involving Photoworks, Kent County Council, Sevenoaks District Council and Tunbridge Wells Borough Council...The commission resulted in an exhibition, Proving Places, that toured to various galleries in Kent during 1998/99. The second commission was conducted by Kent County Council in 2000, and the resulting work was subsequently exhibited at County Hall in Maidstone." (Glanville and Editor, 2002: 94)

Two of Toby Glanville's images from the commissioning are displayed below. Both relevant to the direction of the final piece;

Portfolio Two development

Portfolio Two is in full swing and there is loads of research to trawl through. Rosy Martin's comment on her still-life project 'Too Close to Home?' has been really useful in rationalising my subject and the way he operates within his home;

"I find myself engaged in an archaeology of the self. Now that I am custodian of every thing within this place, I must classify, select and discard. This task has some similarity to curating, choices must be made.” (Martin, 2006: 53)

Strangely, one of my test shoots captured an image of an old mirror at the location, with a story behind it, before i'd even stumbled across Martin's work. The image below is from her project 'Too Close Too Home?' The project captured images of objects and scenes in her mother's home after her death. All the images in Too Close to Home? have been useful and some merit further discussion at length within Portfolio Two;

Final project update

With the second project chugging along nicely now, its probably best to put a comment up relating to how the final project is progressing.

In summary;

* Most basic form = The work is a focus on the current life and times of my brother. He inhabits a Norfolk cottage that used to be lived in by myself, my mum and him. He now lives alone and has made the space his. Mum's influence still seeps through and it is a great environment to visually discuss him and his experiences.

* It aims to conjure the essence of a life through the depiction of still-life, documentary style images.

* The images captured will be a direct result of comments and input from my brother as to what he feels is most important, and which pieces in his home have a story or tale. If there is an area I want to photograph I will ask about it and note down the response.

* Portfolio one research led me down the path of trying to remove bias from the images I capture but after discussion and feedback from the presentation of portfolio one, it appears that no matter how much effort is made on my part to be objective, the spaces and links between my brother and mother make my work totally subjective. It is the opinion of many, and now mine that my involvement is key to harnessing a strong interest in the work.

* I have conducted a test shoot with a 40D and a 50mm lens, the final shooting phases will seek to deploy full frame technology with macro, wide and portrait style shots. It is probably worth illustrating my developmental process by showing a couple of the images.

*The one of my brother's old mirror I really, really like and am considering using one of the versions of it in the exhibition. If he hasn't moved it when I take the 5DMKII down for the next shoot I will take loads more shots of it.

*The shot looking across the washing up at the 'welcome' plaque is a perfect mix of my brother and mum's influence. It resonates with me as a perfect image reflective of living in a cottage alone. A mother's influence on her son is described really well I feel.

Nigel Shafran - Dad's Office

As the project focuses on my brother who has experienced a serious loss and at times alienation, it seemed important to examine how artist's have conveyed these type of events. Val Williams comments on Nigel Shafran's 'Dad's Office' project; "Nigel Shafran in the Dad's Office series...began to create a particularly anarchic form of still life, which explored loss and alienation. Less interested in the objects themselves than in the lives they describe." (William, 2003: 6)

Images from Nigel Shafran's work as discussed above;

More Nan Goldin

These images, although absent of people seem to have a residual human feel. The spaces imply that they have been recently inhabited and although the subjects tell a story, there is a sense that the images as a whole tell a story too. Very useful for the final project.

Peter Fraser's work - updated

This is the image that yesterday's post referred to. I like the idea of inanimate objects taking on a narrative and meaning once an audience is given some more information. It would appear to help to assist the image itself in telling a story.

Peter Fraser's work

I think i've found a decent anchor point for the final project. I plan to let the audience view the final images with generic captions which literally inform them of the objects or settings within the scenes. Once they have examined all the images there will be a facility allowing them to slide open the original caption which will inform them of the human aspect of the depictions.

The way I came to this was through examining Peter Fraser's 'Two Blue Buckets' book. I cant find the image that inspired me the most online, but there is one that is perfect to underpin the project. I'll scan it in and update this post tomorrow. The quote that has progressed the idea is long but is worth reading as it summarises what I want to achieve;

“…the eyes of a young boy gaze out from a black and white photograph through a kind of lens formed by the rim of the wine glass. The effect is disturbing even before we know that the boy, the photographers nephew, was killed in a road accident. With that knowledge the photograph takes on a different meaning, as if the boy in the black and white photograph belonged both symbolically and literally to another world.” (Martin, 1988 in Fraser, 1998: 5)

Further text relating to Peter Fraser's image defines what would work for this project;

"“In that tragic perspective the objects in the room, the patterned wall-paper, the electric fire on which the framed photograph and the empty wine glass rest, the enamelled ashtray and the notebook with two pages torn out, take an unreal intensity, a sense of familiarity and otherness.” (Martin, 1988 in Fraser, 1988: 5)

Further thoughts.

I've decided the project involving my brother has enough scope to be undertaken as the 'final project.' The reason for this decision is that it is a project I am happy to work on throughout the summer and feel I can engage extensively with.

I've attempted to look at audience interaction and the way in which they respond to documentary photography. I'm wary of simply depicting objects that have emotional resonance to me and my brother, I want to create an actual image that has a meaning too. This caution was ushered in by a quote from Aaron Siskind;

“I found that I wasn’t saying anything special. The meaning was not in the pictures but in the subject. There was no new reality.” (Siskand, 1947 in Bunnell, 2006: 92)

I will attempt to convey a new reality, a story that develops from the picture itself. Difficult to get my head around at the moment. More works from Nan Goldin sort of get at what I mean;

I've started looking at the way photographers create a sense of what a space is about, and how it speaks to the audience. Nan Goldin's 'Wedding Bed' is relevant. The way in which the red lights and gaudy wallpaper play on stereotypes of a personal environment work well and is something that I really like. It will be interesting to try and convey my brother's space through images that maybe contain very little but say a lot about the type of person he is.

Second Project

The initial idea for the second project at MA level is to create a documentary piece about a person through an examination of objects and spaces.

The focus will surround the environment inhabited by my brother. He lives in a cottage that is a mix between the old and modern, in the sense that it has exposed wooden beams but has been renovated. Matthew is a relaxed guy who almost leads a 'hippy' lifestyle. His cottage is a great environment for photography as it houses a vast array of weird and wonderful objects which all have stories behind them.

I contacted Matthew yesterday and he has no complaints at all about me undertaking the project. Shooting has been planned for Sunday 21st February. It was suggested to him to have a think about some objects that mean a lot to him or have an interesting story behind them. There is scope to use a wide angle lens to capture sweeping shots of the most interesting areas of the environment. The focus should however, be on creating a sense of Matthew's character through images of objects.

A possibility may be to use audio over the top of the images to further their impact.

Initial action points are to examine some artist's work that try to convey a sense of personal space.

Initial thoughts (ALL SECOND PROJECT POSTS)

This blog has been set-up as a repository of thoughts, planning and anything related to my Digital Imaging and Photography MA. Initial thoughts for projects include;

- Explore the idea of sleeplessness, allows for low light atmospheric photographs. Would be an ideal chance to use a recently bought Canon 50mm F1.4 lens for low light portraits. Try and find philosophical texts relating to sleeping/waking for inspiration and background research. Look at other established photographers who have conducted low light work to convey a human state or feeling. Consider using multiple frames on a background to tell a story.

-Separate project relating to shortcuts/alleyways. Use physical alleyways and wide angle photography as a metaphor for taking emotional shortcuts through life. Use a wide open road scene as an opposite? Illustrate photographically that taking a shortcut might seem inviting but very uncertain, an established road is long but proven? Research philosophy! This idea really needs development but it seems to offer interesting scope.

Below are all the posts relevant to the second MA project. I've removed them from their original date posted as I need the blog to focus on my final MA project only. Second project posts read from most recent to oldest.

Major update
I seem to have neglected this blog recently but not for the lack of project work. The main achievements since my last update;

1. Images selected based on research then scanned in to produce TIFF files
2. Selected images edited and saved a JPEGS
3. Images integrated into a working web-based slideshow
4. Audio cut-up and edited into a sequence for the slideshow
5. Project 2 paperwork finalised

I selected the images for my slideshow based on textual and visual research. The work of Peter Robinson and Stuart Clarke is vast but some of the inspiration that ended up being key to project decisions are;








It is difficult to summarise exactly why these images were so important as it is discussed at length in the project write-up. Their importance is to do with the desire to be involved in a community, this desire can then lead to subconsciously competing for fan status which forms a hierarchy.

My slideshow with sound can be found at;

http://photomedia.lincoln.ac.uk/afrancis

I will update more in the coming days with comment on the final project. I have been stupidly busy trying to finalise this second project so blogging has fallen by the wayside unfortunately. The image below is a screenshot of what the final slideshow looks like;



Football Fanaticism Project
Another shoot for the second project was conducted on Saturday 3rd April. Some images are really pleasing and will be included in the work handed in for assessment. Two of the images I like the most, and ones that integrate into research surrounding fan interaction and behaviour at football matches are given below.

The files are low-resolution and quite small but the relevant negatives will be scanned and minor adjustments made before final delivery. Another shoot is to be conducted on Saturday 10th April.

What is pleasing about the timing of the project, is that the football club in focus is on the verge of promotion. This has seen some fan behaviour amplified and a 'carnival' atmosphere around the ground.


Both these images will form part of the second project submission.

This image was captured after a shot was taken by the opposing team that just ran wide of the goal. The closed eyes of the central man suggest despair and relief, along with the youngster who has physically turned away from the pitch.


This second shot is illustrative of people from an older age group displaying the care-free attitude associated with pre-match banter, usually found within the younger generation. The interaction between the man on the left and the balloon blowing clown is interesting, along with the man in the cap engaging an in-depth discussion with another clown.


Second Project. Linking Visual Research to Textual Research.
I've been reading a lot relating to fan culture so decided to switch to looking at some images that might convey what is being written about. The few below are from Stuart Clarke who appears to have captured hundreds of images from teams across the football league. Some contain Norwich City fans which is helpful.

I like this one because it is sort of bizarre. No matter what age a fan is they are all united in one moment observing the same thing;



I also read a lot of Matt Hills' (2002) work surrounding the idea that fans of a certain 'thing' are subconsciously aware of the constraints and barriers in their fan community. This could be argued to lead them to almost 'compete' for fan status. This links into the work of French social theorist Boudieu who also discussed the idea of a recognition of rules within a fan culture. He comments on the desire to vary and stand out in the hierarchy.

The image below (again from Stuart Clarke) pretty much sums up part of what i've been reading. The guy in the picture is well known throughout the Carrow Road ground. This could be seen as further indication that a social hierarchy rather than simply a fan community is at work across certain areas of football stadiums.


Second Project Textual Research Approach
When dealing with a project relating to 'fans' of something it has become apparent that I need to examine both sides of the coin. To do this i've broken my research into two areas.

1. Cultural texts - these are books, magazines etc that are actually targeted at the group of people themselves. This research can reveal what a football fan expects, dislikes, wants, values etc. It will help when scouring a football ground seeking to convey the true essence of being a football fan.

2. Academic/theoretical texts - Necessary to understand what makes someone 'fanatical.' These texts are probably not targeted at the fans themselves but theorise on what makes a person fanatical and what that actually means. Useful to the project as it aids in pondering why large groups of people gather in one place on a saturday afternoon all for the same reason.

Examples to illustrate what I mean;

Cultural - Velody, M. (2009) Can We Play You Every Week? , London: Short Books.


Theoretical - Hills, M. (2002) Fan Cultures , London: Routledge.


Un-project related Holga tests
Its probably a good point to note that i've been testing out how the Holga performs under different lighting conditions, the images below I quite like.

These were done on 200 speed film but I think 400 for the next proper shooting phase at a football ground might provide more versatility for if I go into inside areas.







Second project concept
I've been trying to think about how what i'm doing links to football fan culture as a whole. This quick diagram supposes a fan's team wins in parallel with my image capture phase during a match. Not sure about it but kind of interesting and something I will draw into my project proposal paperwork;



Test Shots for second project
I've reeled off a few shots to test out what I am likely to get out of the Holga. I'm pretty pleased with some of the results. For the next match I need to literally take a pocket full of films and get as many shots as possible. I need more to sift through.

I'n terms of project concept it has developed after thinking more about the way in which football has changed over the years. I've started reading books about fan memoirs too. The summary of additions to the idea;

* Using older, rudimentary technology can reflect and hint that no matter how many years have passed, football has always been about the fans. When financial difficulty or on-field problems are stripped away from football clubs, the people who fill the stands make the history and are most important. The imperfect nature of Holga introduces the idea that through aged eyes, a football crowd can transcend the decades.

* Using a modern digital camera to capture pictures of a crowd does not convey the nostalgic, timeless nature of fan interaction. Depicting fan culture through Holga imagery removes all the glitz and glamour associated with the modern game and returns the focus to the fans. Almost a memorial to football days past.

Some books relating to fan experiences have been looked at. I like the idea that people are complaining about the modern game but still show allegiance to a club. Bolster the idea that a fan today really only wants the same as a fan did decades ago.









Right..
..pretty much sorted Portfolio one and the presentation for pre-production unit. A few points to note since I last updated.

1. Spoke to arguably the one of the best sports photographers ever about my football fan culture project.
2. He looked into getting me into a game with professional camera equipment.
3. Can't because every photographer has to be approved by the football league and enter a number online before a game. Rubbish.
4. So i'm sticking with the lo-fi idea. I can argue that it is reminiscent of the gritty image of football fan culture prevalent in the 70s and 80s.

Been undertaking some visual research surrounding fan culture and i've bought these three books cheap.








Need to scan some images in to put on here and in the write-up. The next step is to examine fan culture in general, and read some theory on it. Then I really need to begin to type up some paperwork for it. Not to mention taking a pocket full of films to some games and doing some intensive shooting.

Really pleased with..
how the weekend went. On Saturday I took a few shots with my new Holga at a football match, I've got a better understanding of what I want to capture for the project now. Captured some crowd noise on the sound recorder on my phone which when played over the top of the images should give a raspy, grainy feel to the whole project. I definitely need to do between 3-4 more shoots to get enough material to piece together a project from. If I cant get down to a Norwich City game, I will have to go along to a few Lincoln City matches.

In terms of the final project, the discussion with my brother about the most important areas in his home went very well. He is open to the idea of the piece which is great and I was allowed to roam freely and take some test shots of different areas. I also made a list of stories behind certain objects which will help when exhibiting the images.

I took over 100 images in the time I was there and some really do have potential, another shoot should provide enough material to organise into an exhibition piece. I do have some images i'm proud of but am loathed to put them up on here as I want the exhibition to have an impact. I may put one or two up once i've looked through them all.

Brief First Project Reflection
In a nutshell the first project examined the feeling of insomnia and the suggestion of 'counting sheep' to assist in sleeping. Research looked at the work of Max Ernst, Chip Simons and Ralph Eugene Meatyard. A lot of the project underpinning came from David Bate's musings on audience interaction with surreal imagery.

I'd of liked a little more time to produce more of a narrative in different environments, which is why I view the images as only partially successful. Cheers to Kerri for being my sleepless model. Four of the eight images are shown.





All set..
For a test phase of the second project on football fanaticism..

1. Visit pubs popular with Norwich City fans before kick off on Saturday. Fire off a few shots with a roll of 400 to capture the camaraderie and banter.

2. Wander to Carrow Road, take pictures of lairy away fans/celebrating home fans/half-time pint/fan groups after the match. Possibly use a roll of 100 or 400 depending on cloud cover.

The Holga i've bought seems to let me shoot at F/8 or F/11 which is handy. I also decided to go for one which takes 35mm film instead of 120. Reasons for this include the ease of processing, and any developers on the high-street SHOULD be able to give me high-res files on a CD. This offers a degree of control for the 'digital imaging' part. (Probably important considering the course title.)

I also plan to tap into the 'digital' part of the course through capturing some crowd noise and atmosphere via the sound recorder on my phone, along with some grainy video and images to possibly use as part of an audio/visual experience when delivering the final images.

The technique's for this project are rudimentary for a reason. Clean, clinical elements probably wont capture the raw essence and atmosphere desired.

In terms of outcomes, I hope to have a number of images to examine and ponder as to what works well/not so well. It should set up a solid plan for further capture visits.



Second Project - Tools and Rationale
I'm fairly settled on the idea of looking at football fanaticism for the second project. I began to consider what a football fan is, how they behave and what they may expect. When broken down a football fan endeavours to see a club, who they've offered their allegiance to, to obtain a desired result. Sometimes, the result may not be achieved in a perfect manner or even yield what they expect, but as long as it happens, it is cherished.

Taking this notion and incorporating it into the capture of images for the project would be interesting. I plan to buy a Holga camera and take it along to various football matches and into pubs showing football matches to capture crowd activity, friend groups, desperation, excitement, hope, despair etc. Fingers crossed, the images produced will hint at the unpredictability of being a football fan and offer a dream-like, hazy quality associated with 90minutes of a game, with a pint in-hand whether it be at a stadium or with a group in a pub.

This is what I want. 65 bucks well spent.



In terms of the second project, i'm interested in attempting to convey the notion of football fanaticism. The project offers scope to conduct portrait photography, close-up imagery of crests and badges along with a social aspect. I am keenly interested to depict the allegiance to a club and how it can produce strong social bonds between people.