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nevver:

Train in vain, Pierre Folk

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timelightbox:

Photo: Laura El-Tantawy
How Smartphones Have Changed the Way We Experience Photography
Smartphones have not only changed the way we make photos, but also the meaning and purpose of photography itself, an exhibition curated by photographer and film maker Henry Jacobson at the Center for Photography at Woodstock shows.

timelightbox:

Photo: Laura El-Tantawy

How Smartphones Have Changed the Way We Experience Photography

Smartphones have not only changed the way we make photos, but also the meaning and purpose of photography itself, an exhibition curated by photographer and film maker Henry Jacobson at the Center for Photography at Woodstock shows.

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A guide to my online work for my final uni project

The electronic work for my Final Project is in various places.  On this blog, everything tagged with Final Year relates to it, but especially

Elsewhere:

I deliberately haven’t put all my film into the vimeo, or submitted it all for assessment, because there are days worth of raw material there, and Shawn said it was too much to look at - and actually, the various videos give a good example of it.

My Preparation for Self-Directed study module, and the Self-Directed Study module I started but didn’t finish both very much informed this work, also being about the Harbour and water - I was approaching it from a different angle (ha!) but that was about exploring the city through the city’s water, and in retrospect, fits perfectly into the Psychogeography approach.  And my second year Places Project, from the Beyond the Frame module, was also important, especially the research/experimentation with sound, and the research on installations (there’s more in my sketchbook from that project, including lots on Bill Viola)

More research I’ve done for previous projects that is also relevant to this one:

Tags: me final year
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Putting up the installation

It’s been a strange week, putting up the installation.  I got into the room for the first time last Wednesday, and it seems HUGE without the computers etc in it.  I had Vik helping me, so on Thursday we blacked out the windows to make it light-proof, and hung the computer monitors, and checked out the films in situ.  It was strange seeing the films up - they looked too slow, but I knew they’d look different once I had them opposite the big film.

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Building installation props

In an ideal world, I would be hanging my monitors for my pigeons films on the wall, drilling the monitor back-plate into the wall.  But Paul Jones told me there was pretty much no way I’d be allowed to drill into the wall (it’s a complicated wall!) and suggested I hang from the picture rail.  So, I made solutions!

I worked out a way I could hang the back-plate onto wood strung between two hooks - I thought two hooks would be much more stable than one, and also be more likely to hang evenly.  Finding the hooks was fun - I found a couple in photography, but the person “in charge” of them told me they were “more precious than gold dust”, and only come from a specific company.  But because I’ve been around uni for a long time, I know a lot of people, and had some fun scavenging for them, until I found 6 of them.

Vik cut out the wood and built me the objects from my inept designs and conversations - now I just need to slot the monitors on and put them up.

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Really bad laptop photography - working out that the projector needs to be at a slanty angle - and can sit on the bench! I’m solving endless problems just by trying things out!

Really bad laptop photography - working out that the projector needs to be at a slanty angle - and can sit on the bench! I’m solving endless problems just by trying things out!

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Last minute doubts (again)
Came in to do a “final” build because I’ve been dreaming about how the installation should look - again.  Been trying to think about whether I should have two water films and the pigeons - two films at a right angle to each other, one the very calm scum piece, the other one of the erupting water pieces.  It’s funny, as soon as I put up the frames to show it on, it felt wrong - it’s one of these times where things that look one way in my mind look completely different in real life.  I love those, they interest me.  It makes the space seem so much smaller.  It’s a space full of compromise anyway, but I think just feeling it with the space, without the films, one extra would make it feel smaller and cramped - I’d FEEL the compromise, if that makes sense?
I need to stop thinking - it’s that weird limbo where I’m almost finished, but not quite, and my brain is trying to sabotage me.  But that’s ok, I can recognise that and remain in control….

Last minute doubts (again)

Came in to do a “final” build because I’ve been dreaming about how the installation should look - again.  Been trying to think about whether I should have two water films and the pigeons - two films at a right angle to each other, one the very calm scum piece, the other one of the erupting water pieces.  It’s funny, as soon as I put up the frames to show it on, it felt wrong - it’s one of these times where things that look one way in my mind look completely different in real life.  I love those, they interest me.  It makes the space seem so much smaller.  It’s a space full of compromise anyway, but I think just feeling it with the space, without the films, one extra would make it feel smaller and cramped - I’d FEEL the compromise, if that makes sense?

I need to stop thinking - it’s that weird limbo where I’m almost finished, but not quite, and my brain is trying to sabotage me.  But that’s ok, I can recognise that and remain in control….

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Recording (by knautia)
One of my many set-ups recording ambient sound on at the outflow - very directional mic, trying to get sounds of the path (it sort of worked, see the sounds dvd 2 for what came out)
Tascam, gun mic, and wire to the headphones on my head. Laying the mic down to keep it perfectly still.

Recording (by knautia)

One of my many set-ups recording ambient sound on at the outflow - very directional mic, trying to get sounds of the path (it sort of worked, see the sounds dvd 2 for what came out)

Tascam, gun mic, and wire to the headphones on my head. Laying the mic down to keep it perfectly still.

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How I edited my film piece

This is a description of just one of the films, but it is indicative of the process

Piece 1 – different waters – made on 21st-22nd  January

I find it very hard to document my editing decisions – it’s very much a case of living in the moment, and going with what feels right.  Of course I analyse it as I go, and make a hundred decisions, but I can’t stop and record it all, because that breaks my flow.

I made this piece with the idea that it would be part of an installation of films – I was picturing having this, and some of the individual pieces – or maybe this piece, of lots of clips of a minute-and-a-half, and another piece of clips of 3-5 minutes in length, and then one or two longer pieces in a film, with a soundpiece over the top. 

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Installation experiments, 1st May

I’d wanted to try to see if 2 films next to each other would work, so I  used the scum film and one of the erupting water ones from Christmas Day.  I really want to use more than one water film, but I can’t work out how that would work - and I know I’ve got to be careful, one of the things that is driving me is definitely thinking maybe I should be showing how much work I’m doing - which is crazy, I KNOW that’s not what art is about - but it’s worthwhile being aware of that.  So this is what it started out looking like (terrible iPhone video ahoy)

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