PE R SONA L PROJ ECT THE ANALOGUE PROJECT
HARRY WILSON
I N S P I R AT I O N
GREAT OCEAN ROAD Rich Stapleton
The Great Ocean Road is an article in the Cereal magazine (a travel/lifestyle magazine) issue 09. The article is on a set of images taken by photographer Rich Stapleton, taken along the great ocean road of the south coast of Australia.
Rich Stapleton Rich Stapleton is a photographer and the creative director of Cereal magazine, also with a vast client list which includes big brands such as Adidas and Aston Martin. His photography has a very minimalistic feel and look where he uses white space. The images also have a very film-like look with the way in which he has processed the images using faded tones and a subtle amount of grain.
K E FA L O N I A In Response To Rich Stapleton
This set of images I took while on a trip to the Greek island of Kefalonia. I have been inspired by Rich Stapleton and taken images in a similar style by using white space and thinking about the composition of the images. I have then processed the images in Lightroom using curves to give a faded effect then used the luminosity adjustment to make the colour tones more filme like then added grain.
USING CURVES AND LUMINOSITY ADJUSTMENTS TO GIVE A FADED FILM LIKE LOOK
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A N A L O G U E P RO J E C T Film format images of Kefalonia, Taken on a Pentax K1000
Colour 400 ISO or this project I have chosen to focus on film/ analogue photography, exploring different formats of film type, cameras and techniques within the dark room. I have chosen to do this as I feel there is much more inspiration to use film as you never know how the images are going to come out, also each camera and film will give a different look and style to the image. Here for example, I have taken a roll of black and white and a roll of colour using the same camera and already there is a large difference between the images, with more contrast than you would get with a digital camera. Then with the colour, it has given a faded look with incredible tones of colours.
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B&W 100
N A D AV K A N D E R N
adav Kander is a world renowned photographer know for his portraiture and landscapes, also his style of images and the way he develops his images. Where he has taken images in certain weather condition when there is mist thus giving a more serial look. Also with the processing of images he has added a blue/ green tint and an overall fade this has either been achieved via film or the film processing. Bringing film and digital together. He has been inspired by travailing the fall east of Russia finding undiscovered city from the cold war and seance of the secretary that is conveyed. Taking many images of test sites and landscapes where there had been no rain for 20 years. Also taken the theory of “buildings are designed so when they are destroyed they still maintain their beauty or re-create it�. Also, he thinks about the composition of an image, using cameras which use a waist level viewfinder were the image is upside down to help with the composition.
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ere I have responded to Nadav Kander by waiting for the right weather to allow for mist that he has used strongly in his images. I then have taken a photo shoot that responds to his style of images and edited them to the style of a film image by using faded tones and grain. I have used digital images here as the film versions did not come out.
CAHORS Film format images of Cahors, Taken on a Bronica Medium format 4x5
RALF PETERS R
alf Peters is a conceptual photographer who creates visual studies of places and objects, often in a series. Taking images of subjects which would not allways be looked at as a photo but taking the image in a way that makes the images more interesting via composition. He uses negative space, for example, the image below, where the subject being the fields is at the bottom third of the image leaving the top two-thirds of the image to be negative space. Whereas, with his petrol station series he has taken the image at night taking advantage of the light that is being given off and then de-branding them to give a more surreal and contemporary look. His manipulation of digital images challenges the viewer’s conception of traditional photography: between fantasy and reality.
MY RESPONSE TO RALF PETERS
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ahors is a city in France just outside of Toulouse. The city is full of interesting classic French architecture surrounded by valleys. Also, more suburban areas which interested me the most with this abandoned railway where this bridge is located. In this image, I have used perspective to compose the structural image. The use a film camera has encouraged me to take much longer over taking an image and think more about lighting and composition.
REFERENCE
LANAKILA MACNAUGHTON [ MARIE NOELLE]
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a Moto Cyclette is a project by Lanakila MacNaughton for the woman’s motorbike exhibition. She was inspired by the smoggy LA air mixed with the bright blue skies for the solo helmet shots (The image on the right). Also, she has used a white wall of an observatory to reflect the natural light to allow for the helmet to get a nice gradient of light and colour. Lanakila MacNaughton is a Portland based photographer and motorcyclist. Her work focused on documenting the woman’s motorcycle culture in Portland using her Hasselblad 150CM medium format camera. This has the benefits of getting really clean contrast and nice faded colour tones but using a Hasselblad makes taking images of motorcycles moving at up to 40mph a challenge where the viewfinder moves in the opposite direction to where you point it.
THE MOTORCYCLIST
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or this set of images I shot a mini portrait shoot in response to Lanakila MacNaughton. I have used my Bronica ETRC medium format camera. This has allowed for really strong contrast to the images and a deep depth of field, allowed by the 120mm film size and the aperture of F2.8.
DODGE AND BURN TECHNIQUEDodge and burn is a technique used during the printing process to manipulate the exposure of a selected area on a photographic print decreasing from the rest of the image’s exposure. Dodging decreases the exposure for areas of the print that the photographer wishes to be lighter, while burning increases the exposure to areas of the print that should be darker. I have used this technique to bring more light to the area of the face and add more detail to the motorbike.
THE FINAL PRINT
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ere I have added a film border to the final print by taking some thick card and cutting out a template that fits the image, then I have taken another piece of card and cut it giving a border to the image (as seen).
CH UCK CLOSE CONTA CT SHEETS
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huck Close is one of the most celebrated artists working today for his self-portrait
images using both art and photographic mediums. With his fine artwork, he has created largescale self-portraits using intricate patterns, also creating his images block by block on wood by girding the image to give a more intricate image.
Also using printmaking techniques such
as etching, woodcuts, lino block printing and screen printing. His work is bold but there is some simplicity within the images. I have referenced Chuck Close as his contact sheets have inspired me to create contact sheets leading on from the ‘The Motorcyclist’ photo shoot.
CONTACT SHEET IN RESPONSE TO CHUCK CLOSE
DIGITAL PROCESSING Here I have taken my negative sheet onto a light box and using a DSLR I have taking an image. I have then taken the image into Lightroom via tethering so I could invert the image live, thus making my workflow faster, and allowing me to preview the inverted images straight away. I then used the curves to invert the image and then adjusted them to process the images to look the way I wanted.
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ere I have taken one of my prints and traced the outline of main shapes that make up the images and illustrated the main elements, also adding some hand lettering. I then scanned the illustration into illustrator and image traced it converting it into a vector. To Finalise I brought itin to Photoshop to add colour and texture.
Vector Art Experimentation
Punk Poster Reference Here I have referenced punk posters for experimentation. As they have used different type of halftone textures from screen printing their photographic images. Also, the overall style of punk posters is interesting with collaring and overlaying of text and shapes.
Half Tone Silk screen Ex.
Here I have taken one of my prints into Photoshop and taking the style elements to the punk poster, I have added a halftone to the image and added text.
MULTIPLE EXPOSURE EXPERIMENTATION Here I have taken two contrasting images from my images and overlaying both negative and placed in the enlarger thus creating a multiple exposures via sandwiching negatives.
Mark Weaver M
ark Weaver is a contemporary graphic designer and Illustrator from New York. Focused in these elegant illustrations mid-collage mid-assembles, with combining the techniques of multiple exposures with a mix of retro and modern referenced collage. His most wellknown clients being Wired Magazine with an article “NASA Snooping Was Only the Beginning. Meet the Spy Chief Leading Us Into Cyberwar� where he has done images combining a portrait, landscape and engineers drawing of a weapon (Image on the right) and American Airlines. For his images, he has used a combination of screen printing and digital images to create the authentic retro look conveyed by the texture that screen printing gives. He has use gradients to make the images interesting giving a light leak effect.
JOHN VOGL A GRAPHIC DESIGNER
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ohn Vogl is a graphic Designer focused on limited edition concert posters that he designs and then screen prints. Owner of Bungaloo a small print shop in Denver. His work is moderately simplistic where he takes the subject and simplified it in a single tone image, thus making it easer to produce a print from as he will only have one or two passes through the screen. He also uses textured backgrounds to add a feeling to the image from example with the Eric Church motorcycle print the background has given it a more grungy look which is appropriate the subject.
MY RESPONSE
THE PIT SLIDER A SHORT FLM
Controller | Tokyo | Samuel Burgess-Johnson
MONO No. 2 by Daniel Barba
Da Sampana Ao Jactoplanador
EDITORIAL REFERENCES
EDITORIAL EXPERIMENTATION
Kate Holstein
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n image from Kate Holstein project for Cereal Magazine ‘PANAMA CANAL: CONNECTING OCEANS’ capturing the industrial dock of the Panama Canal. She has used a very contemporary style of image by using faded/ muted tones and take aesthetic from film photography such as the grain and tone of the images. Also using the overall ascetics of the dock and shipping container with painted skins rusting away from the sea air. The colour crating a gained colour tone from the image going from light to dark colours of the shipping containers. (Left)
An image from another project for Cereal Magazine by Kate Holstein ‘ICELAND: EARTH & SNOW’ an image capturing southern coast of Iceland with the contrasting vast landscapes with the black sand beach with the soft blues of the sea. (Top)
24 HOURS IN FALMOUTH DIGITAL
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ere I have taken a photo shoot responding to Kate Holstein, taking the industrial theme from her work and tried to take my own approach to respond. I took the the opportunity of travailing down to Falmouth to full advantage with its large industrial docks and coastal landscapes. The weather allowed for interesting colours in the early morning and at sunset, this type of light also helped with responding to Kate Holstein as it gives a similar look to her images.
I have also use a gradient filter in Lightroom to remove the clouds and add more interesting colour and tone to the images. In the image to the left it has given a mist effect to the foreground of the image making the cove stand out and give a surreal look. I have then edited the image to give a more film like look by using the luminosity adjustments and grain as-well as the basic adjustments.
ANDREAS GURSKY
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ndreas Gursky is a German Photographer K for his large format architectural and landscape colour prints, from areal or face-on view. He also captures an incisive and critical look at the effect of capitalism and globalisation on contemporary life. Capturing vast mounts of people or objects in confided spaces, concentrated on sites of commerce and tourism. Making work that draws attention to today’s high-tech industry and global markets. From a vast spread of contrary such as Shanghai, BrasĂlia, Los Angeles and Hong Kong. His work is well known for being taken on large format 8x10 film this allowing for incredible detailed and the ability to scale up to huge sizes that he displaying in galleryies all over the world.
This Image above from Paris, Montparnasse, 1993 which is part of his collection of large scale print being about 1x4 metres located in the White cube in London. He has captured this enormous bloke of flats witch is full of detail from all the windows/ balconies, also crating a vast amount of colour tones that are muted from the age from being abandoned. . . . . .
LARGE SCALE PRINT RESEARCH
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n response to Andreas Gursky I have made the decision to try large scale printing with my previous 120mm film images such a the Cahors bridge and the motorbike portrait. From research I have found that Ansal Adams also created large scale print from his large format negatives by putting a enlarger on its side on a track so he could adjust the distance then would use magnets to put the photographic paper on the wall. I have then found a video on YouTube of a photographer going though the hole process of developing a large scale print. In this video he uses the same technique of exposing the image then use large scale bath for the developer, to make this less expensive I have chosen to buy 3 large planters to put the chemicals in. Then with the print, I will roll them in the chemicals apart for the developer where I will roll the developer on to the print. . . . .
Ansil Adams Darkroom
DOCUMENTATION OF LARGE SCALE PRINTING
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ere I have taken a medium format enlarger and rotated the head 180 degrees so that I could have a larger distance to print larger print. But then ran into the problem that the lens of the enlarger can only focus for a enlargement just over A4 size. From research into this problem, I have discovered that I needed to use a longer enlarger lens (75mm) to allow me to focus the image to a A2 size.
TEST SHEETS
FINAL PIECE REFERENCES
Here I have found a selection of references of instillations that I think would work as inspiration to my Final Piece.
FINAL PRINTS
LARGE PRINTS (A2) FINAL PIECE IDEA 1
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or this final piece idea I am going to print 3 of my favourite images from previous shoots printed in the dark room as final art print A2 sized then lay them out horizontally stretched with bulldog clips and metal wire as I have mocked up above. For this, I have been suggested the idea of lay them out like a story referencing to Che Guevara film ‘Motorcycle Diaries’, maybe also adding a quote from the film as reference. This would all relate well with my other print project with the film posters.
WHITE IS THE COLOUR (2002)
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hite Is The Colour was an exhibition in 2002 in the Diana Theatre where the artist as set up an installation using 2 Video projectors, 2 DVD players, 2 DVDs, 1 Lighting fixture, Lighting filters and existing architecture, to create this surreal looking image projection like a hologram.
FINAL PIECE IDEA 2 I have referenced this as I think it would be a really interesting concept to use with my own work. Using my multiple exposure image above to project on to the light in a misty room, that I would create with a fog machine and a powerful LED light facing up projecting the image into the ray of light into the fog.
FRANCE
VOYAGE CAHORS TOUR-DE-FAURE
44.476195 , 1.653355
LE CÉLÉ
TRAVEL POSTERS FINAL PIECE IDEA 3 Here I have continued with the idea of making travel posters from my images. I have decided to make 3 different travel posters using my previous two as well as create a new and different design one from my image from Cahors, referencing the references bellow. Taking location information and using it as graphics elements that I have overlayed over the images, but to make the text stand out more I have added a blank black layer over the images and reduced the transparency giving faded look to the images and making the text stand out. Also taking the 3D element idea to make text in the left reference by duplicating the ‘VOYAGE CAHORS’ layer and switch to a stroke and shifting it to make a 3D effects.
REFERENCES FOR EDITORIAL
CHE GUEVARA THE MOTOR CYCLE DIARIES
The Motorcycle Diaries was a Spanish film written by Che Guevara about the journey of his expedition in 1952, initially by motorcycle across South America by Guevara and his friend Alberto Granado. I have referenced this film as I think it relates well to my project with how if I combined my main images such as the portraits of the motorcyclist and the bridge I could make the two images into a travel story similar to Che Guevara’s film. With the idea of displaying my prints in a line creating a story then adding a quote from Che Guevara’s film.
“I now know, by an almost fatalistic conformity with the facts, that my destiny is to travel...”
“I finally felt myself lifted definitively away on the winds of adventure toward worlds I envisaged would be stranger than they were, into situations I imagined would be much more normal than they turned out to be.”
PREP FOR LARGE SCALE CONTACT SHEET
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ere I have taken a digital image of the contact sheet using a light
box then brought the image into Lightroom. Were I have inverted the image by inverting the curves, then use the basic adjustments to make the black deeper and bring back some of the detail in the highlights as they are slightly over exposed. The contact sheet had a slight distorted to the image were I did not tape it down so I have used the distortion transform tool to flatten it out.
I N S I D O U T S I D A N B E T W E E MOCK EXAM
HARRY WILSON
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recently went to the Photographers gallery where there was a small exhibition instillation of Nomie Goudal’s work. My first impression of the work were that I loved the way that she was placed images in side other locations that had a similar ascetic give a Surreal look especially with the images of the abandoned room with the image of the underside of the jetty where the line of the roof of the room lead in to the underside of the jetty. Also the scale of the image made the images really dramatic but subtle with cool tones of the images.
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oémie Goudal is a French artist focus on the photography of derelict landscapes and the combination of images offering a new perspective into the photographic canvas. Reconstructing its layers and possibilities of extending the image with complimentary images that have a similar look to them. I have referenced her work to start of my project has I intended to be influenced by here work by creating simple image but creating images that compare and contrast with different landscapes, for example, a woodland with a city road.
NOÉMIE GOUDAL
FINN BEALES PHOTOGRAPHY
Finn Beales is an award-winning landscape photographer that uses a film like looks to create a more contemporary style to his images. He also uses a central composition throughout his images as if the images lead to somewhere; his work mostly involves traveling to interesting locations for magazines and for social media platforms such as Instagram, as well as large brands such as Adidas, Johnnie Walker, Red Bull and The BBC. Finn started off as a graphic designer but then moved to photography being drawn to photograph inhibited destinations such as Canada, Iceland, Denmark, India, Norway and St Lucia. He uses a mix of film and digital but as seen, he processes his digital images to have the look as it was taken on film with it tones and cinematic style.
WOODLAND PHOTO SHOOT FILM PORTRA 400
IN RESPONSE TO FINN BEAGLES I HAVE VISITED A LOCAL FOREST AND TAKEN IMAGES THOUGH THE VIEW FINDER AND AN IMAGE WITH MY MEDIUM FORMAT CAMERA TO CREATE THE SET
WOODLAND PHOTO SHOOT DIGITAL IMAGES LEADING LINES
CITY PHOTO-SHOOT DIGITAL
LEADING LINES
LEADING LINES
CITY PHOTO-SHOOT FILM
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or these three shoots in London and at a local woods I have taken the images using the leading lines composition rule. For these, images I have also used a combination of film and digital using my DSLR and my medium format camera. As from my previous project I have really enjoyed using film and It gives a nice tone to ascetic to my images. For these images I have focused on taking images that use the composition rule of leading lines some image will be more obvious than others, with such images as it one of the bridge leading to St Paul’s and others that will be less obvious will be image such as the one on the left and above but in my opinion there still use the rule of leading lines, as there are strong lines creating structure of the subject. Even though it is not a conventional use of leading lines. I have chosen to use the rule of leading lines as it adds faire and impact to the images and also makes the images more balanced.
LEADING LINES
Here I reiterated the composition of the images by adding composition lines in Illustrator using the pen tool, I also think it gave a interesting look to the images.
RICHARD GALPIN
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REFERENCE
ichard Galpin is an artist well know for his abstract construction images. Where
he will take an image of buildings in cities and cut and selectively peel back the emulsion of his glossy prints, “revealing other structures and networks that seem to underlie them. The new art was so radically unlike any expressive form known it was given a new identity of its own and to explain the solid theoretical structure behind the apparent jumble of shapes and colours� I have referenced Richard Galpin because I found is work really interesting and I though the concept would work well with my structural images.
RICHARD G A L P I N RESPONSE
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ere I have responded to Richard Galpin by taking two of my images into Photoshop and breaking them up using the section tools, parting all the main elements of the structures. I have taken my image that I took in the Saatchi and Saatchi gallery and have broken it up and added
textures.
LONDON ARCHITECTURE FILM
T Y C H O | M U S I C P O S T ER
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hese gig posters for the band Tycho are by the artist/photographer Anthony Ciannamea. For these posters he has taken a photographic image and using graphic elements and renders overlayed on top of the original images, creating these dramatic posters that he has used Lithograph (a print makeing technique) to print. He has also used complimentary tones that work well with the images, also using interesting gradients that have a grainy texture. I have referenced these posters as the concept will work really well with my images, for example, I could taken the idea from the image on the left and make a orb shape with a similar gradient effect and overlay it on my images.
EXP MIRRORING OF IMAGES
THROUGH THE VIEWFINDER PHOTOGRAPHY SECONDARY RESEARCH
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hrough the viewfinder photography is a technique in photography where you get a film camera with a waste level viewfinder or a large format camera and set up a shoot with the film camera. Then with a digital camera take the image though the viewfinder of the film camera to give the effect of a second perspective.
ROLF TIETGENS CANDLE 1946
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olf Tietgens was a photographer born in Germany. Rolf visited the West on a visit to the United States in 1933 and made a series of photographs of American Indians. Creating a project under the title ‘’Rain drums.’’ He came to live in the United States in 1939 and became a commercial photographer. As well experimental surrealist studies and documentary photographs. This image on the left by Rolf Tietgens uses the same concept as he has used the window to frame a second image of the rock in the background.
TTV SHOOT
LOCATION: SOUTH DOWNS + BRIGHTON
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ere I have continued on with idea of taking images through the view finer of my camear. Firstly going to Brighton and finding interesting subjects that I can coincide with the theme of leading lines. When I found locations I would get both cameras out and set the aperture on the bronica to allow for the right exposure though the viewfinder using the light preview button. I then set the setting on my camera keeping the aperture between f1.8 and f3 to allow for a deep deaph of field to the images. I also whent to the south downs when it was snowing as an extra location. After the shoots I brought the images into Lightroom and adjusted the exposure and backs of the image with the basic adjustments and curves.
TTV SHOOT 2 LOCATION SHOREDITCH
SOUND LAB
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eica Sound Lab was a project by Saatchi & Saatchi to celebrate the 100th anniversary of the first Leica camera. To celebrate the centennial and also promote the opening of Leica Gallery São Paulo - alongside the Cannes Grand Prix winning ‘100’ film they created Sound-lab, a project to recreate the sounds of some of the most important pictures ever taken with a Leica. They did this by researching every detail about the image such as where it was taken and what the surrounding was. Then they have recreated the sound of some of the most important pictures of all time, in a recording studio using a stereo microphone to create 3D sound so that when the your are wearing headphones your are immersed in the surrounding sound of when the image was taken.
CREATING AUDIO TRACK FOR WOODLAND IMAGE
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n response to the Leica Sound Lab project I have recorded the sound of taking the woodland images. I have done this by setting up my tripod in the position that I will place the camera when taking the image, then I have mounted a microphone to the tripod leg and pluged it into an audio transceiver via a XLR cable. I have then set the levels whilst previewing the audio through headphones. I then press record and recorded the sound of me opening the bag and getting the camera out and placing it on the tripod. Setting the settings then taking the image. In the woodland, I also recoded the background noise being the wind blowing in the tree and birds tweeting. After recording the photo shoot I brought the audio file into Logic Pro x an audio software. Listening back to the track I noticed that there was too much wind noise, so using the EQ levels and finding the frequency of the wind I adjusted that frequency until the wide became more pleasant to listen to.
CINEMAGRAPHS PHOTOS BY
BROOKE HOLM
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inemagraphs are still images where there is a subtle amount of repeting movement is added which is then made into GIFs. The term was first discovered by U.S. photographers Kevin Burg and Jamie Beck who used the technique to animate their fashion and news photographs beginning in early 2011. I have referenced Brooke Holm’s Coffee project where she has taken a series of conceptual surrealist images of the element of coffee by taking high-speed images, for example, the image on left with milk being added to the coffee and then going into the coffee mug. She has achieved this using a fast shutter speed and maybe with the combination of a speed light to help freeze the action . She has then taken 2 or 3 images for the different actions and then combined and composited the images together removing the part that were not wanted such as the hand. I have referenced Brooke Holm’s coffee project as I though it could be used as an interesting concept for a cinemagraph.
RESPONSE SHOOT
COFFEE AND COCKTAIL SHOOT FOR COMPOSITING IN TO CINEMAGRAPH [MOVING IMAGE]
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ere I have done a cinemagraph shoot inspired by Brooke Holm’s coffee shoot. For this, I have set up a mini studio set up on my desk at home as it has a white gloss finish making it perfect for this shoot as it will reflect the light and I also wanted to use all white to give a clean effect. For lights, I have set up two lights in a triangular formation with one closer to light behind the subject and then one further way to act as a fill light. After setting that up I set up a camera that allowed my to shoot in slow-motion as I thoght it would be appropriate for the final outcome setting the aperture to 2.8 to give a sharp deaph of field to the image. Then used a shutter speed of 160-120th of a second to freeze the action. Finally, I adjusted the ISO and light until it was lit the way I wanted.
STILL IMAGES FOR USE WHEN COMPOSTING THE FINAL CINEMAGRAPH
VIDEO FOR USE WHEN COMPOSTING THE FINAL CINEMAGRAPH
I started the process of making the cinemagraph by taking the still images into Photoshop and removing the background from the cups. I did this using the selection tool and the refine edge function to refine the selection, I also used the rubber to do the final removal.
After I prepared all the files I combined them using the layers and the timeline. But after doing all this it did not work as the was to much movement in the video so it would drop in and out of the mask. This was unfortunate but it was a good experiment.
I have then imported the video files into the document. Then removed the background and neatened elements by creating a layer mask for each video and using the brush tool to mask out what was not needed.
THIS DID NOT WORK
INSTILLATION INSPIRATION FINAL PIECE RESEARCH
WILLIAM KENTRIDGE
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INSTILLATION REFERENCE
illiam Kentridge is a South African artist best known for his prints, drawings, and animated films, but he his also renowned for his exhibition insulations and how he chooses to layout his work. For his exhibition instillations, he keeps every detail into account such as the layout, medium, presentation and even the colours of work. As you can see on the left he has used two tones of greys to compliment his work. He uses a vast amount of different materials and medians to present his work using grid formation frames, light boxes, large scale prints, images/ video and perspex. In the in the video ‘Met-collects—Episode 1: William Kentridge on his Installation “The Refusal of Time”’ he talks about his Instillation ‘What Time Looks Like’ and how artist makes things we cant see and makes it visible, then how he present his work in a way that makes it very viable. For his exhibition ‘What Time Looks Like’ he has set up two screens that gradually get out of sync with each other with images that combine with each other. He would also include machines work the pieces of work then used megaphones to allow the audience can choose weather they listen to the dictation or not by the use of direction of sound.
LAYOUT REFERENCE PIP GREEN + OTHER ARTISTS
Here I have referenced some layout designs to reference to when carrying out the layout design for my final peice. I have referenced both photography and graphic layout work as it will give a broader range of layouts.
FINAL PIECE MOCK UPS INSTILLATION MOCK UPS
RE-EDIT
GRID
FINAL PIECE EXPLAINED. For my final piece I have created 4 ideas using the images included in this book but I have also created a final peice that complements my previous book ‘The Analogue project’. So I have combined the books together as they work so well together. For my first and preferred final piece I have chosen to have the TTV images with image that was taken on the left of the TTV images, this will be combined with my other final piece for this book as I have used the Cahors Bridge image with the TTV image for that image. Presentation wise I will print the TTV image to the scale of the hight of the printed images, printing the TTV images on aluminium as it will create an interesting finish to the images. Then I will have the processed enlarged film image next the TTV image printed on glossy photo paper, suspended by bulldog clips and copper wire. Underneath the final peace will be headphones with a soundtrack for each image to immerse the viewer into the image and the environment it was taken in . For my second Idea, I have chosen to present my best TTV images in a panoramic grid formation printed on A3 aluminium. The idea is simple and has a minimal look it will be dramatic by the use of layout. This would be mounted directly to a white wall. For my third idea, I have to choose to create a poster combining the best part of my project in a layout inspired by the bottom right image on the layout illustration page. This will have a more graphical approach with dashed lines and grids. This would be printed on newsprint as it gives a texture to the image and is appropriate to the poster design. Also, I would create a second poster presenting the TTV images and globe experimental image in a grid formation.
INSTILLATION DESIGN
H A R RY W I L S O N H A R RY- W I L S O N. S Q UA R E S PA C E . C O M