At the start of the exhibition process, My design and Olivia’s creation digitally won as representing the exhibition. I was really proud of this. This was the final poster submitted. It used a custom font and a back photograph taken by myself. I loved the colour scheme as everything complimented each other on the page. It has a modern vibe and would fit in the city. We did later go flyering to advertise the exhibition.
From the word go, I wanted to be involved in the Exhibition. Last year we were put in charge of our own and I loved it all for the launch night and what we gained as artists from it. I knew of the stress that would be involved along with the added work load, but I wanted to be part of the structure of my final degree show. There were key areas in which I got involved with:
Communication for BA group
Quotations for products
Construction and painting
At the start of the process, It was asked for idea generation and designs for the look of the exhibition for marketing. The theme was around the word Umbrella. With this, as you can see in my sketchbook, I developed a clever way of tying in the theme with the type face itself. I went on to purchase a specialist font to make the exhibition design feel more individual. I then collaborated with a graphic design student who helped to put my design into a digital design. We were successful and were chosen for the design for marketing of the show. Next in line was looking for a location that would fit the big amount of students and guests expected. I put myself to forward to help with location hunting and visiting spaces to assist with measurements and documenting the visits. Once settled on a space, it was vital to visit Piccadilly Place myself to see what the space was like and find out the restrictions. Doing this I gave myself a heads up on being able to explain the space to the BA group. Once the ball was rolling, it was vital that we had money to create the exhibition that we wanted. Everyone had a fee to pay to get a basic starting figure. However, we were far from the total that we needed. Because of this, fundraising was important. I got involved in creating a raffle for a Starbucks Prize Bundle, in which we managed to raise over £45.00 to put towards the fund. In more recent times, the main direction was being put towards the physical elements that were going to be needed. In particular, the boards for the exhibition. I contributed by trying to get quotes through contacts I had. Then, once they had been purchased, painting them white was essential. They required several coats and a big effort was needed to achieve the task we had with the amount of them. So, myself and other BA photography members helped out with the painting and managed as a group to achieve a great number of boards painted.
Whilst all this was going on, I had to also consider my own space in the exhibition. With careful planning and constant design ideas for the space, I chose a space 8ft X 8ft wide and high. My artwork was clean and needed the space itself to compliment it. I went through several different designs and thought processes throughout the project. However, In the end I settled on a clean and simple approach to displaying the work as I felt it was strong and didn’t need any distractions around it. In addition to the mounting, other aspects had to be considered such as lighting. These can all be seen in my final exhibition space plan. I’m looking forward to seeing my work in the exhibition space.
Today I have sent my work to print so that I can have the time to physically manipulate the work for the final exhibition work. These will be one off unique pieces so they will be seen by the examiner on Tuesday 11th June. It’s imperative that I get the perfect.
With this in mind, I needed to get them sent off to a printer that would be able to print my photographs on A2 as they would then have to be cut down to correct size. This proved difficult cost wise and quality wise at first. Anything A2 and above all seemed to be classed as poster and therefore the paper quality was reduced. However, I did go back to DSCL to see their new rang of high quality fine art papers. I thought about the situation and thought no expenses should be thought about at this stage and I should pay what was needed for my final degree work. With that in mind, I chose a fine art paper at 285 gsm. It was classed as portrait white which had a brighter white finish on it. This then complimented skin tones, which was the perfect description for my work! In total they cost me over £80, so there’s no room to mess up now.
I have started to consider my thoughts more towards the conforming with controlling identity idea. I have started to think back to my research during the pitch. It took me to the victims of ideology. I have now questioned if i want to conform to ideology or do i want to go against it? I think I now want to break the rules of ideology and identity control.
Everyone should be allowed to be how they want to be and embrace their own identity. My models all have their own individual identity. Underneath the physical lies individual beliefs and elements that make them who they are. Who are we to judge or control anybody else? The theory I have recently read into has made me think about my own identity. I have my own beliefs and individuality that i hope nobody would control. With this in mind, I have chosen to embrace the unorthodox approach to identity. I believe it is important to let a personality and individuality of identity shine through. I now want to show this through my physical work.
I went to buy lighting for the inner frames and considered the differences. At first, I was looking at the string lights, but i thought they would be too weak. These were available from Clas Ohlson.
At the time, I also came across another set of lights, which were LED light sticks that seemed strong. I suppose they just need to be tested to see if they do the job.
In the mean time, I tried to experiment with the lighting that I had myself presently for ideas. Below is the first of a few lighting experiments. As I have said before, I don’t want my work to look tacky or cheap. So this was going to take time and patients to work out. I even tried it with three light pods at once stage but the results were poor. They were each in a thick case too so they were too close to the back of the paper anyway.
1. I took the frame apart.
2. Punched holes in the sample sheet.
3. Put the paper to the front of the glass.
4. Inner wooden frame removed.
5. You can see here the thickness of the frame.
6. I put in the small glow lights behind the holes.
7. You can see that it didn’t work well at all. Too weak.
So, I started to think of power over positions of the lights within the frame. I found some fairy lights to practice with in terms of seeing the power behind the holes. First of all, I padded out the back of the frames so no light could seep through the thin paper. This helped to make it more realistic to what the final print would be like thickness wise. Once the lights were on, there was no light seeping through apart from where it was supposed to be doing through the holes. A lot stronger than i imagined power wise. So now i know i have to use a strong lighting, probably LED so they are brighter.
The exhibition is getting nearer and I have now chose my frames for the prints. EXCITING! Because it means we are close to the finished product being finished. I can’t wait to see what it will look like but I am nervous at the same time.
So, I have gone for a white frame. I have decided the elements like the frames need to assist the work. With the photographs being washed out and bright, I think the frame being white is the right choice. If I had gone for a black frame for instance, I think it may have made the print inside appear restricted and reduced its impact. Having it white will compliment the colours in the photos and the overall feel.
The frames are now becoming more important by the day as I now have plans to put lighting within them. I want the light to shine through the holes I will create within the photograph. This concept comes from “letting the true person shine through”. I wanted to try and re create this physically with the portraits too. I don’t know if it will work at this stage, but it’s something I am very keen on getting right.If it looks cheap, I don’t want to do it. They appear to be deep so it looks like they will be pretty helpful.
52 CM X 52 CM (SQUARED)
4.5. CM DEPTH
As the frames are 4.5 CM deep, I should have room to fit lights behind the print. I will bring the front frame forward against the glass to make the room and lights will be attached to the back wood panel.
I decided to go for the square format of the final photographs. This is due to peer feedback who said it suited the style better and would have more impact as there was less space around the subject. I agreed because there is a clear size difference of impact this way. I will have to finish it off well with a goo frame and a thick border is something I am considering at the moment.
When i started to experiment during the pitch research, I started to play covering the eyes. As I stated then, I wasn’t completely satisfied with the work and the result because it was not of a standard I deemed good enough. It looked rough and too tacky. So, I know this time the standard I have set for myself. My next plans are to play around with paint and covering the eyes…see how this goes.
The next stage in the process of my images is the editing. I managed to get my lighting pretty close to what I wanted. I wanted to achieve a washed out feel, a clean bright and almost faded photograph.
With this is mind, I wanted to retouch the skin so that the models would look smooth and plain. I also wanted to mess around with the shadows slightly, so I used the dodge and burn to brighten and darken certain areas around the face and edges of the skin and bones.
To adjust the end lighting, I tried several ways to process this in editing.
In the end I decided to settle with the following set up for shooting and editing:
SHOOT STUDIO LIGHTING SET UP:
– Beauty dish head on above subject > brightest setting > no flash > 3.0
– Side light with grid > no flash > to the right of the subject > 1.4
– 1/25 > F4.5 > ISO 400
– Curves > 60 from left
– 20 desaturation
– Dodge and Burn process
– Skin retouching and air brushing
By recording these details here it will be much easier for me to reflect and look back on to recreate the set up easily.