Puppet linked with city

Ive sat and observed the city of Birmingham and its occupants...documenting the day to day happenings with photographs but the only things i personally see of Birmingham on a regular basis are the trains and station, pigeons, and occasionally the Bullring... so iconic structures, like the Bull statue.
To link my shadow puppetry with the city i've decided to take elements from the shadows cast in the city and show how i see Birmingham and most people who travel to or through the city only ever see these aspects i've plucked and magnified.

Ideas...
Pigeons- in flight, static stages but showing movement using spotlights to illuminate each image
Clock- council houses tower, showing ticking clock stages


Capture flashing images to create movement using stills...juneau projects owl image

http://www.youtube.com/watch?feature=player_embedded&v=Zi6l6o08krM&list=UUYTYWTTTeMK8n1vl_N9ockw#!


Another option rather than cutting each silhouette out of card, is to print the image onto asetate and slide the scenes in front of the lights.

I like that you can see sticks... but would asetate look more professional?

I've now made the decision to not have any sound affects, i think adding a sound track or city audio would just be unneccessary and take the focus away from the images i want to create.

The environment i display the installation or performance will need to be blacked out to create the best effect/ experience..especially if using spotlights.

Analysis of interview Paul Pickard

I find it particularly intriguing that Paul gathers his inspiration from looking at paintings rather than other photographs and surroundings etc..but two photographers he did mention as inspirational were Denis Thorpe- a photojournalist from the Guardian and photographer Albert Watson.

Steve Jobs Portrait

http://www.albertwatson.net/

Denis Thorpe-
As a Guardian photojournalist between 1974 and 1996, Denis Thorpe was well placed to record a period of upheaval in the British political and cultural landscape. From reportage of the miners’ strike and Strangeways riot to celebrity portraiture and travelogues, he captured the essence of the age. Author of ‘A Long Exposure’ 100 years of Guardian Photography in Manchester

Source: http://bippnw.wordpress.com/2012/05/08/denis-thorpe-9th-may/


Paul also asked me what I thought about the title 'Professional Photographer' and it is such a vague term especially when you think of everything that can be covered under its name. Pickard has experienced many different forms of photography within his career, photojournalist, portrait photographer, evants, fashion, advertising etc but i dont think its what your called that should define you and the way you work but the way you present yourself as a photographer. Its certainly a profession but a professional photographer could be anything nowadays.

Paul prefers 'as they happen' photos and I very much agree that timing is a major factor involved when capturing images- get it right and it could retain the emotion and feeling of the moment it was shot.

He also mentioned that he was recently working with director Shane Meadows on the Stone Roses film...a diverse career that constantly throws up new opportunites and provides exciting new shoots.

http://www.bbc.co.uk/news/uk-england-manchester-21876825

Paul's signature style, i cant define a particular characteristic within is work either but i know what others mean..not so much the style but the way in which the photos are shot is quite unique. Perhaps the method he uses or elements in a photograph he uses, but i'm also struggling to put my finger on it.
They each hold a sense of seriousness and have a dramatic feel to them, but dominate the photo and steal your focus immediately. The way colour and light is used also adds a certain signature style to each of the photographs.

 

 

 

Think its aspirational that he is such a renowned photographer, has worked with such iconic clients but was a self taught photographer and used the simple method of trial and error to learn the art of taking a photograph.
The two main pieces of advice drawn from his interview is to have experience and confidence within the field if you aim to have a successful career in photography-
'I would say it is very important but so is confidence. You can manage with one, both is better, none, and you will struggle'
Search Engine Optimisation
Definition-
Initialism of search engine optimization, the use of various techniques to improve a web site's ranking in the search engines and thus attract more visitors.
Source:  http://en.wiktionary.org/wiki/SEO

I wasnt sure what this actually was but now understand it in context, when asked about important aspects of becoming a photographer- getting yourself known is very important when  trying to start out and SEO is a key tool involved to optimise clients viewing your site.

Alison Grainger Photography- Wedding Fayre

Ive made a lot of progress with my Professional practice module.

Yesterday 24/02 i joined photographer Cliff Grainger at the Signal 1 Radio Wedding Fayre held at The Moat House Hotel, Hanley from 10.30- 4pm...where he was an exhibitor promoting his wifes wedding photography. (as Alison was attending another fayre at Stafford County Showground)

I spent the day on the stall with him, giving details to possible clients about the service Cliff and Alison provide and taking clients details etc. Inbetween i managed to pick his brains about their business- how they started, equipment used/ prefered, and more technical details about Cliffs side of the business- Specialist commercial photography, elevated photography for use of Estate Agents and his work for Google, as the local Google trusted photographer for Stoke-on-Trent and Staffordshire. Creating panoramic virtual tours of businesses, which can be accessed straight from Streetview.

http://www.alisongraingerphotography.co.uk/

In a few weeks time they are being flown out to Sorrento, Italy to photograph a wedding and when asked how successful the fayres were for gaining clients, Cliff explained that most of their business comes from recommendation, as this type of photography is quite a personnal thing.

We were located just opposite the catwalk stage- so was able to view the designer outfits too!

He gave me a lot of advice about the industry and provided me with more opportunities to shadow them whilst at work, including a commercial photography fayre this Thursday, a chance to join Alison on a wedding shoot and a meeting at the Focus on Imaging event at the NEC. He was really helpful and eager to share as much knowledge as possible. But i think the piece of advice that stuck in my mind the most was how they got to where they are...by being open for opportunites and not restricting yourself by only sticking to one type of photography ie wedding. Professional photography is a competitive and diverse industry that 'anyone' can provide nowadays, with the technology available. But to offer something different and get to know the client- photography is personnal.

For instance they offer a complimentary engagement shoot, at a location significant to the couple or local beauty spot..which gives the photographer (Alison) a chance to get to know them, the clients a chance to warm to posing and for them to be comfortable around each other on the day of the wedding- in order to get the best shots.

He also gave me the details of a graphic designer i could approach for more work placement, as i'd talked about approaching Panda Press in Stone. It was a great day and i thoroughly enjoyed the experience. I look forward to working more with Alison and Cliff, and was also offered the opportunity of some payed work, if i were to keep in touch in the future.

London.

The 3 galleries our group were assigned to visit were located in Hackney.
Matts Gallery
Vilma Gold
Space Studios

After taking many underground and overground tubes plus a lot of walking we eventually located each gallery successfully...each were very different institutions with different aims.

[ Space ]

129—131 MARE STREET, LONDON E8 3RH    http://www.spacestudios.org.uk

A large open warehouse space with two large rooms occupied with work- Human Wave- The videotapes of Raymond Pettibon, it consisted of a collection of televisions, a film playing on a continous loop and also a projection with a linked film.

 

 

We walked through into the connecting room to find a collection by Kernel- which comprises of several practitioners, architect Pegy Zali and artists Petros Moris and Theodoros Giannakis. Their recent work 'Inputs, Loops and Anchors' an installation of ropes and netting arranged in the blank space with the idea of ‘re-imagination of information as material’

 

 

 

 

This gallery baffled me the most out of the three we visited, i struggled to grasp the meaning behind the films and found the layout confusing untill i read further into its origin.

 

Vilmagold

 

6 Minerva Street, London E2 9EH     http://www.vilmagold.com/

 

A self-funded gallery ran by Owner/ Director- Rachel Williams

 

Vilmagold was pleased to announce the second solo exhibition by British artist Nicholas Byrne 'Roleplay' and was what i imaginde a 'traditional' gallery to be..a large white walled space with artwork hung in a uniformed manner. The work was a collection of oil paintings all drawn on linen or copper...

 

 

 

Although the paintings had no labeling they were left blank. I think this was perhaps intended to enable you to think about the pieces without being influenced by a title or material.

 

Matts Gallery

 

42–44 Copperfield Road, London E3 4RR

 

Founded in 1979 and supported using public funding by Arts Council England

 

 

The exhibition on show was by artist Mike Nelson,  More things (To the memory of Honoré de Balzac)

 

http://www.mattsgallery.org/artists/nelson/exhibition-5.php

 

 

 This, i thought was a very unorganised exhibition at first, the work dominated the large space it was arranged in- however this was the intension and the exhibition is one of sculptural objects, constructed on site with the most rudimentary materials.

  

Each element of the work is an invocation of time spent, a votive effigy of sorts, built up to emanate a sense of 'being', soaked in the material from which it is formed. To all intents and purposes it is a sculptural experiment in presence as opposed to absence: the space around as opposed to that within. In this way the viewer is placed outside of the work and forced to look in, the phenomenology of experience and discovery receding to the point of non-existence; these works only exist in isolation.

Another exhibition running alongside this was one by artist Susan Hiller- Channels, a room with one wall covered in old televisions, all playing white noise with no real purpose i felt. However later found that if given more of a chance and listened for longer id have discovered the intension- a vast audio-sculptural installation in which disembodied voices report on 'near-death' experiences.

 

 

 

 

Interview with Paul Pickard

Ive been exchanging several emails with Professional Photographer- Paul Pickard, he has been extremenly accomadating and promptly provided me with detailed and facinating answers to the 20 questions i sent him. The email and answers i recieved are below...

 

Hi Kelly

I have attached my answers for you - if you need any more just ask

 

I am in Stafford - half an hour by train from Birmingham New Street, if you would like a chat over coffee anytime just let me know and I would be happy to have my brain picked :)

 

Good luck and keep in touch

Paul

Paul Pickard Photographer

1         When did you first become interested in this field of study?

When I had my first job, I worked in a planning department aged 19 and I bought a Russian film camera and started photography as a hobby , later converting a cupboard into a darkroom at my parents home

2         Where did you study photography?

I taught myself photography but later studied law for a short while in Sheffield – useful for a photojournalist

3          How would you describe/define yourself as a photographer?

I used to be a photojournalist - I now shoot a large range of types of photography so I guess a professional photographer is easiest label – do you have a better suggestion?

4         Which other photographers inspire you or do you admire?

Denis Thorpe was my first point of inspiration – He was a brilliant photographer on The Guardian  newspaper in Manchester, now retired. I actually take more of interest in paintings than photographs for inspiration but one photographer who stands out for me is Albert Watson

5         How important is the quality of your equipment to your work?

It has become more and more important to have good quality equipment for a number of reasons, one being the advance in technology in ‘amateur’ level cameras and mobile phone cameras. I have shifted from using a selection of zoom lenses to using top range prime lenses in order to stand out from the crowd

     6      Out of the many areas you have worked within- photojournalism, design/ad agencies, fashion houses, portraiture- which do you find most stimulating?

I find photographing things ‘as they happen’ the most stimulating as this plays to my strengths of observing and capturing the moment. I like to use available light and where possible make my photographs amusing as well as fulfilling the brief of the client

7         Is there a particular memorable shoot or key experience within your career?

 I have had petrol bombs thrown at me in riots,  that was quite memorable, I have witnessed the biggest mass murder in modern history when I photographed the dead bodies in Lockerbie after a plane was blown from the sky. I found dead bodies whilst covering a shooting in Hungerford, the gunman was still on the loose nearby. Just last week I have been working with film director Shane Meadows on The Stone Roses film. I once took Boris Johnson, Mayor of London, on work experience. I have also been fortunate enough to work with many well-known names in film, music and fashion – so being trusted by brilliant people is certainly a key experience I am proud of.

8 What was/is it like working alongside such big clients?

It can be daunting when you get a new client with a good reputation but I am usually hired on reputation or evidence so you know that the client already likes your work so it is about building a good working relationship , fulfilling the brief but also trying to add my own style to the work

9         Do your photographs each possess a signature style- one which is unique to you?

 

  I am told that many of my pictures are recognisable as my own but I find it difficult to define what that characteristic is. What do you think?

10     Is there a single photograph which you are especially proud of or is a personal favourite, why?

No. I realise other people like certain pictures more than others but I do not have one image in mind. It is a cliché, but is has to be the next one

11     How difficult did you find it to begin your career?

 

I began at the bottom, by printing black and white photographs  in a dingy darkroom which was useful as a skill but I was a photographer wanting to get out.

12     Why photography? Is professional photography something you’ve always pursued?

 

I worked for five years in a local authority planning drawing office – I hated it. One day someone brought in a black and white print they had made themselves. I then knew  what I wanted to do o went out and bought the exact same camera and film that day,and taught myself by trial and error

13     During your career have you ever considered changing direction?

 I have always liked making pictures and hope never to stop

14     How has your practise changed over time?

The main change over time is obviously digital and the internet. When I started in photojournalism I had to shoot a roll of film, then in a black cloth bag, develop the film in the boot of my car and then dry the film with a portable hair dryer. There was no internet and no digital cameras. Hard to believe now, even for me

15     What do you believe motivates you?

To make pictures that make me happy – Fear of poverty

16     In your opinion, what makes a good photographer?

 

Someone who can see a picture in anything ,the everyday, and  capture it, without upsetting anyone

17     How important is experience in this field?

I would say it is very important but so is confidence. You can manage with one, both is better, none, and you will struggle

18     What would you say is the most important aspect of becoming a photographer?

An ability to see a picture in the mundane, able to communicate easily, good humour, some funding for the first three years, stamina, an ability to do SEO ( Search Engine Optimisation)  An understanding  of how other businesses work, an understanding of economics and a partner who will listen to your boring stories about how you got a certain picture

19     Which out of your many experiences has proven most beneficial to you?

The experience of seeing how all levels of our world live and exist. This job has given me an understanding of how and why people behave and act and how they might behave and act in the future. I have photographed death, poverty,  beauty, wealth, anger, greed, sadness, energy, and the everyday mundane world of how most of us live – this has been a privilege, something I wish our senior politicians had also experienced

20     Is there any advice you would you give to a photographer just starting out- that you wish you’d been given  at the beginning of your journey?

I am not sure what advice I was given or not. But the advice I would give to someone now is ask yourself why should anyone want to employ you – above the tens of thousands of other new young photographers?  Research the market you think you want to enter – thoroughly, and ask hard questions about projected incomes and expected expenditure.  Study the effect of supply and demand – this is a fundamental  requirement . If you become a photographer and supply a service that already exists then you can only really compete on price, unless you are exceptional .If you compete on price then it is a race to the bottom . Marketing is very important but, if you can produce something that is scarce, you have a better chance of controlling the price and therefore of staying in business as a photographer

Paul Pickard

youtube videos- research

Ive browsed youtube for some videos on shadow puppet performances, in order to view techniques and methods used..


http://www.youtube.com/watch?v=bNeVXdlRCSk

Surf advert- shadows and silhoettes, works beautifully- strings are visable on puppets and adds a nice affect to the piece, very short due to it being an advert but comes across with ease, doesn't feel the need to be any longer

http://www.youtube.com/watch?v=UfB9rbB-BwI

Baku shadow puppet film- made up of pre-set static scenes, the moving puppet is very basic- no need for over detail, lighting controls what you see- a film edited to flip between scenes.

http://www.youtube.com/watch?v=z_l8YUAr_DU

Cinderella- ways in which i could activate the puppet- again techniques with light control the show, like how the puppeteers are shown in this 'Making of' film

http://www.youtube.com/watch?v=lradb1SzAtY

Perseus and Medusa- Another example of this style of shadow puppetry- moving static puppets in a very eratic unfluid way, i want to create something different but i particularly like the background changes of this film and the focusing created.

http://www.youtube.com/watch?v=OJ3byLgA6mM

I also found this Warhorse shadow puppet sequence interesting



Problem solved- maybe I dont need to find a way of hiding scene change, like that you can see sticks but needs to still be well made and professional.

Ive also decided I want the performance (if thats what i create) to be silent.

Puppet theme

I cant see a way of linking the oriental origins of shadow puppetry with Birmingham City...surprisingly!!

So i've decided to focus on the fairy tale theme that most shadow puppet performances take, ill draw aspects from the listed buildings of Birmingham for the scenes..
Cathedral/ Margaret St - castle like structures would fit in nicely
Town Hall- myth style

I now need to take some photographs of my own of the buildings i feel would work..i can then draw up the shiloettes and experiment with composition etc

Could include the bull and other aspects of the city..

This has reminded me of one of my previous pieces..creating a shiloette backdrop from paper..themed on nursery rhymes and similar to the fairytale style id like to create.

I also need to think about what the shadows will be printed onto..a prepared screen? walls? etc and how they will be fixed in front of the lights..suspended/ held in place or fixed to a frame?
So the sooner i finish the puppets and begin experimenting the better..in order to overcome any issues that occur in plenty of time.

Placement update...

Im making good progress with finding placements, so far ive arranged to spend some time shadowing a local photographer and have an interview lined up with another freelance photographer..im still hoping to hear back from the graphic designers ive approached.
 However think it would be wise to contact some more possible placements to ensure i get a range of experience.

Link to the photographers website that ive managed to arrange work placement with so far..

http://www.alisongraingerphotography.co.uk/

The email i recieved from Alison is below, and have organised to meet and discuss in more detail.

Hi Kelly,

What a lovely e-mail.

Thank you for the kind comments. It's always nice to receive praise from fellow creatives.

We'd love to help you and you'd be most welcome to shadow us for a few days. It depends on what sort of work experience you need.

We have a couple of wedding fayres coming up, a big business exhibition, commercial work and social portraiture that you could come along to. How does that sound?

When are you free for a chat?

Alison

A printing company in stone Panda Press, seems like a good business to approach..a lot of experience with big named clients and also have there own photography studio, so encorporate design, printing and there own photography.

http://www.pandapress.net/contact

Ive decided to pop in and see them rather than email, as they are local and can gain an instant responce face to face...i also think im more likely to get somewhere with this approach.

If i can spend the bulk of my placement hours between Alison and a graphic design company, ill have achieved my initial aim..i can then interview several practioners from various areas to gain a broad range of experience.

Colab- CRB

Ive looked into the circumstances around CRB checks and have gathered the following information..from what i can gather 'teachers and youth workers will continue to be vetted but volunteers who do occasional, supervised work with children will not.'

http://www.employers-guide.org/take-action/agreeing-what-to-do/crb-checks.aspx

So this should apply to me and Alice, Zoe (who has the work placement with the college) will be working directly with the students, already has a CRB check...aslong as we are accompanied by a teacher there should be no problem when  collaborating with the students.

Tutorial Feedback

After speaking with Sean im still unsure as to which idea to run with but need to draw up a few ideas first to see which would work best.

My first idea is to create a small scale shadow puppet show, printing onto fabric to create different backdrops and cutting detailed shiloettes into card- experimenting with lighting effects etc a light hearted, silent movie style performance. Punch and Judy esk, with audience gathered around the mini stage

The other was to be much more invasive and for the shadows to take over an entire space- reflecting onto walls or perhaps in a confined space. Want the puppets to be all you see and for it to dominate the space its displayed in.


When discussing the themes, i'd forgotten that the brief had stated the puppets have some link with Birmingham City...but could encorporate this by reflecting city scenes or iconic buildings onto the walls. I need to encorporate the city in some way...

Placement Progress

I contacted Cadbury world using the no. provided, the person i spoke to informed me that the Design Services Dept. was now closed and put me through to Kraft recruitment to see if they could help.

I was then put through to an automated message and told to get onto the cadbury world website, as Kraft recruitment were no longer looking to exapnd their workforce..i couldnt speak to anyone and returning to the website is where i began so unfortunately have come to a dead end with this placement option.

However...

Ive been exchanging emails with Paul Pickard...and has agreed to meet up so i can interview him about his work, am waiting to organise a convienient time. I also need to give Paul an idea of the quetions i will be asking so that hes prepared. My aim is to do this before the end of the week.

I also got in touch with Russ James Design- he requested my cv, so i've forwarded it him with an email attatched explaining what i aim to gain from the work placement.

Research into suitable placements

Ive come across a few freelance designers and design agencies that i think would be quite interesting to spend my work placement with...ideally id like to divide my hours between a variety of placements, so that i get a chance to work with a diverse range of people.

Russ james Design- a local graphic designer who has produced branding and advertising for the brewery of the pub i work at..he hasnt got an email address so need to call him.


Cadbury world- My aim is to work within the Design Services Dept. of Cadburys and hopefully gain some experience in branding/advertising...i contacted them via email (shown below) with the only address i could find and recieved this reply.

To whom it may concern- Cadburys Design Services Dept.

I'm currently in my second year at Birmingham City University, studying a BA Hons Degree in Art and Design- based at the Bournville School of Art.

I was wondering if it would be possible for me to spend a few days working within your Design Department, between now and March/April time, as part of my work placement module.

Id like to gain some valuable branding/ advertising experience from Cadbury's, experience which will hopefully be beneficial to me in the future.

Please let me know if this would be something you'd consider and if so a time thats convienient for you- it would be much appreciated as im sure your very busy. However i am aware that you may no longer have a Design Dept. at Bournville and if this is the case, than obviously my request is no longer relevent. But if you could offer me any other form of experience i would be very grateful.

Thankyou, I hope to hear from you soon

Kelly Robinson
 
                                                                                -

Dear Ms Robinson

Thank you for your recent email

Cadbury World is completely separate from Cadbury itself, you are able to contact Cadbury directly on 0121 458 2000.

Kind Regards

Eleanor Lyon

Office Administrator
Cadbury World

Kraft Foods Europe Services GmbH - UK Branch

Tel: 0121 458 2000 ext 3851 Fax: 0121 451 1366 Email: eleanor.lyon@mdlz.com

I now need to call the number provided and enquire again...


Paul Pickard- Photographer
I contacted him via email and recieved a reply the next day...

Dear Paul Pickard,

Im currently in my second year at Birmingham City University, studying a BA Hons Degree in Art and Design.

I was wondering if it would be possible for me to come and spend a few days with you- between now and march/april time, as part of my work placement module.

I'm really inspired by your work and would love to gain some valuable experience from shadowing you, please let me know if this would be something you'd consider and if so a time thats convienient for you- it would be much appreciated, as im sure your very busy!

Thankyou, I hope to hear from you soon

Kelly Robinson

 

-

 

Hi Kelly

Good to hear from you

As I now have my office base at home in Staffordshire I am afraid that a work placement is not really practical

If I can assist in any other way please do get back in touch anytime

I hope you have better luck with other photographers

Best wishes

Paul

 

I will get back in touch with Paul and ask whether it would be more convienient to interview him instead.

 

Im also yet to get in touch with a Design agency in Wolverhampton to see if i have much luck with them...

Collaborative Project

Originally i had decided on joining Pippas group- as she plans on running an art class for children, teaching being something which ive always been drawn to. However the group grew quite a bit and im quite shy so wasnt sure whether i would be able to imput as much as i'd liked with it being such a large group. 
So after speaking with Zoe about her placement at Stafford college- which we both used tp attend, we decided to collaborate with Alice and organise an exhibition of the work students made..forming a collaboration with the photography students.

I think this will be an opportunity for me to seriously consider teaching as a career option and decide whether its the right path for me..

Alice and Zoe are currently away on the Berlin trip for the week so havent had chance to discuss our project much in detail, but ive set myself a task to research into possible venues for the exhibition and have already got carried away with ideas for how it could look. I also need to enquire whether it would be possible to work with the students aswell..so im involved in that aspect of the collaboration too.