The choice of font for FMP submission remains firm as Granville Light. A return to inspect the style after a cooling-off period only confirms this. The use of a Typography Insight App allowed a detailed comparison with a standard sans serif font. The Granville Light style is very much being enjoyed.
Time has been spent researching san serif fonts for the FMP assignments and two fonts have shortlisted and have been installed and are being trialled:
Both fonts are very clear and Granville is being preferred on several counts including style which is more apparent on the lower case letters f and t, but also for being from a French designer at a Paris foundry given the project theme of loss in the Great War. The slight dagger-like flourishes in the lowercase letters f and t, also act as a metaphor for me as references to the Dirk and the Sgian Dubh, sheathed pointed daggers carried in Scottish national dress.
I won’t install the Granville font in this blog but provide a PDF example here:
Looking at this example a reservation emerges to do with font width, even as something that makes it more readable. Is it too wide? The answer becomes clear when the font is viewed at the required 1.5 line spacing where indeed it looks fresh and clean as seen in th ePDF above.
Two items have been held up pending 10 weeks of illness then need to create portfolio work.
These are the Video that should have been made over the break and the Critical Review of Practice CRoP.
These have been taken together, but oddly manage to support the work. The following PDF is the mind map. A CRoP is a CRoP but it has to be about something so the overview of working practice and methodology is given as a mind map. The CRoP requirement (or part of) has been mapped onto it and requires further development like issuing a draft. However, there is some referencing to other practitioners still in research. Despite having this for earlier incarnations of the work (in earlier study Modules) the work has progressed on so time for the update.
To an extent I can argue about originality and a need to mask off external influences as the work is quite unique in its standing as a branch of Art based on Science. As blogged previously I’m never surprised anymore to find original thought crop up in other places of which two examples could be cited.
Top left hand in the mind map is the Critical Review of Practice from an earlier module assignment.
The bottom left hand is a storyboard outline for a useful video resource that is being created. (This proved very helpful to visitors to the summer exhibition).
Above this is the connection to the CRoP linked to Ghost Abstract Figurative Themes. While Ghosts per se have been dropped since the review with a book designer, the landscapes remain ghost images.
Practice location top right is the piece being updated for this dynamic project. It does need to settle down urgently prints, book, portable exhibition and talk to be worked on.
There is quite a challenge here as none of the work has been subcontracted to printers or anyone else so all of the skills from the photography through to all branches of making have been absorbed and this alongside all of the marked assignment work. For anyone wishing to embark on an MA Photography Course they may wish to consider how much work to outsource to specialists. Personally, outsourcing the Book making to an online offering is not preferred over an artists book dummy and hiring a book designer would lose some of the original intent to someone else’s view of what the market would stand. The work is still too dynamic for this.
Bottom right is the remainder of the CRoP assignment requirement, which pertains to the public showing.
In terms of evidencing the work as mentioned here in an FMP lecture video then on the subject of gaining public feedback, there is a need to reach out to practitioners to elicit attendance or somehow provide comment on the work.
I now have a date of the Easter Weekend for showing the work over four days at Amersham Studios tradesecrets.live Only now can approaches be made by reaching out.
As image-making is fundamental and has been a major focus, work has been flooding forward and is now starting to receive critique (two critiques were missed through technology issues).
There is scope for an earlier pop-up exhibition at the same location. No promises yet. Details will be published and a campaign run via Instagram account foto_graphical and Facebook.
This reflection is made during the break otherwise timetabled as the first of three weeks of a University assessment period. No work on the Final Major Project FMP module is under assessment at this time. It is simply a break during which work is able to be progressed.
The activities conducted have been:
Guest Lectures and
The (optional) lectures watched back are:
Christiane Monarchi Part 1
Christiane Monarchi Part 2
The guest lecture by Jim Mottram was viewed last year. These lectures have been very useful and represent a blogging task that competes for a limited resource (time) when working on the priority task of making work. It will be necessary for completeness to return and write up the blog posts. It is interesting blogging this point of view when it is still the break.
The methodology employed is to post-process photographs of healing wounds into surreal/abstract style. Subsequent to this is a choice of theme that is essential to building a narrative.
There needs to be an oversupply of candidate images for various outcomes:
Exhibition images (for subsequent edit/reduction for the assessment PDF)
Book dummy in particular for a group meeting with a Book Designer.
Progress in post-processing
From the outset, time was taken to make the project a research-based project. This has matured and could go on longer than the permitted time for the course but now is coming together as a whole and so making has resumed.
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A mixture of figurative images or images with other referents can be seen here. In these images above the referent relates to themes of ghost, inner/outer space, landscape/seascape/mountainscape.
With research ideas in place, making by intuition took take-off once more. As this progressed, that state of flow that is spoken of returned and a variety of outcomes were generated.
Variations sprang forward as in the case of the mind interpreting the outcomes as weird and eerie then finding this feel worked its way into non-healing as you recognise the characteristics in source photographs that likely produce an aesthetic. In particular, there has been an emphasis on synthesising a project theme of inner/outer spaces.
Also, by expanding reading into the Surreal it quickly becomes apparent how geometric manipulations used appropriately can expand the scope of work produced. There is a personal appeal and education bias here. At present, more general acceptance and a decision to proceed will be down to making more geometric manipulations. The purpose is to stimulate structural interest in the original glow images from the trace of healing and life energy.
Module activity has firmly progressed from ArtSci into digital imaging, and from outcomes into how they arise in the conscious mind supported by a reading of the weird and eerie and of the unheimlich and of place.
Another branch being touched upon is a return to further artist research to aid the positioning of practice amongst contemporary photographers.
In the digital post action, it is necessary to limit change if the image becomes overprocessed. For example, banding can occur. In a project that encompasses the real and the imaginary, there is the analogous of realistic depiction and an imaginary version of the image found to be displayed sometimes on screen.
Artefacts first noticed in some processed images in an earlier module returned to haunt a number of edit in FMP. The previous observation was of fringing, now it was of banding.
Eventually, this was traced to image zoom level affecting how the software adapts. The software creates in effect, fleeting visual outcomes that do not exist in reality when saving a file or printing and image. This seemed quite ‘haunting’ until an explanation was found on a technical forum.
The software maker in its attempt to reduce the processing load for a displayed image that is zoomed interpolates the pixel data and injects impermanent changes. Surreal/abstract imagery developed for the FMP Project can be prone to showing the desired finish but it is not possible to save or print.
It is not just the camera that sees differently to the eye, but now the editing software which is deemed an integral part sees differently to the author The camera never lies can be extended to the editor software never lies?
In defence of the software manufacturer, the product is intended for general purpose use within particular specialisms. The type of processing used for the FMP project is susceptible to showing up the problem discussed. It is especially true where there is an openness towards challenging the computing limits.
Integrity checks are now performed on new images during the making. An integrity check would be defined as confirming what is intended is what you see on screen and what you get as a result. We are used to JPEG saves adding artefacts in performing destructive processing when reducing file size. We are already aware of this. It is more of a surprise to see transitional effects that exist completely within the editing software and then vanishes.
If the effect is desirable and needs to be made permanent, then this involves using a camera to photograph the screen. This may or may not be successful by individual image.
Two checks have been routinely incorporated.
First is to add a curves layer with solarisation characteristic. High contrast shows up transitions and identifies banding. Fringing, by comparison, is already directly obvious to the eye.
Second, as an alternative is to merge layers – the difference is immediately obvious. If editing layers have to be retained then unmerge once the check has been performed.
Finally, try to work at 100% zoom for the true image or switch zoom to check the render. Full zoom at 100%, however, is usually less desirable than fit-to-screen that allows the overall image to be viewed.
Depending on the aesthetic and theme, some forms of banding are referent of DNA testing and so may be desirable in a print.
Some photographs taken before FMP have been reprocessed to use more refined techniques that have been developed.
This increases the variety of source material and is consistent with good ethics given the nature of the subject, healing wounds.
More reprocessing is in progress and as the number of outcomes increases a decision can be made.
The decision is pending at present around the visual theme. Adding archive to the mix is felt to really strengthen the presentation making it more accessible to the viewer. One processed image has had a second processed image layer added where the still was dropped out of video footage. The combination works well. There is a judgement needed in such pairings and whilst a second paring was found it still remains at present to increase the stock of surreal/abstract images.
The intention is to deliver something art-based (rhyme or graphic text or image titles) over the upcoming period between terms as noted in the Final Proposal. An intention is to experiment to discover if contextualisation and visual language can be built with Recombinant Rhymes or DNA Art.
The idea is to use imagination in selecting words like TELEOLOGICAL that contain DNA base letters ACGT and combine them for effect, perhaps making a video with a reading of a rhyme. Words are intended to be selected for their connection to narratives of the project.
Select from the following ACGT words for some connected meaning:
Interestingly, the validated list contains the terms Abstracting and Photographic.
In short, “Motherline” is the name presently chosen. This is less politically charged than the earlier proposed project name “Matriarchy”.
Matriarchy like patriarchy has political overtones, so is not so attuned to the themes of the work.
Christiane set-up Photomonitor and explained how this was set-up from her getting involved in Pluck and Portfolio and a desire to find out what was on. across a range of areas over and above the large institutions. She would advise in how to set up a niche.
Gaps were found in the offerings of:
Art List – large institutions
Art Rabbit.com – global and no UK focus
New Exhibitions Guide – major mostly historic items
British Journal of Photography – stopped doing listings
Photoworks – annual, great read but infrequent
Christiane’s requirement was UK and Ireland centric, for artists and emerging writers and all in an up to date guide of what’s on now. Here need was to bring people to photography and go and see it, think about it and spread the word. All without ads and is free.
The result in 2011 was www.photomonitor.co.uk. From the front page, key links are the Portfolio link written by the artist rather than mediated, there are listings sometimes with reading more depending on the gallery and their subscription. There are Reviews including of live exhibitions. Interviews talking to artists. Essays that have been researched. Auctions cover smaller upcoming auctions. Collections are interviews. Book reviews cover self-published and large publishers.
Christiane encourages artists to take a break and listen to others.
In terms of making a publication the 5 Years’ statistics were given:
The right hand column draws funding and that pays for commissioning the items on the right as community members.
In summary there are many many opportunities to see work that is shared.
Commissioned pieces are paid at 20p a word to a maximum as a budget constraint. 500 words on a screen are practical.
Commissioning is wider than London covering Wales and Ireland. Timeliness is key as mentioned to get people to the exhibitions. Social media is important for sharing.
Christiane talked about potential for growing Photomonitor including into streaming of live audience talks.
Some Inspiring Platforms were listed:
Anyone with new ideas is encouraged to get in contact.
Response to Online Publication.
It is always exciting to see the smaller business venture establish itself and succeed. Any personal involvement would be to read Photomonitor and assess how it stands alongside say for example, major gallery memberships.
The online element is approached as a Portfolio website and as Instagram for marketing (planned) not to mention this blog site created for the MA Photography course.
There is still more to discover in Part 2 of Christiane’s guest lecture.