Professional Photographic Practice - Final Post

The Professional Photographic Practice module has now come to an end. The work has not necessarily finished, but provided on this blog, is a summary of the project to date.

All content relating to this module can be found under the Photographic Practice label. If you wish, you can view just the posts relating to research, or you can view those which show and explain work that I produced.

The Gorgeous Georgeo video blog can be seen here.

Below is my personal reflective evaluation.

A significant aspect of this module that I was very pleased with, was the fact that the project was self-defined: I felt I had the freedom to work on and embrace ideas which had come naturally to me.

I feel I have produced something quite original, both in the techniques and processes that I have employed (shooting through a two-way mirror and digitally painting a self-portrait), but also in the content and themes that I have addressed.

I am encouraged by the fact that the project has the potential for a strong after-life: in the progression of the pixel portrait; the continued production of Gorgeous Georgeo videos; and perhaps also a follow up to the two-way mirror work. And because of this, the audience may become engaged in the future evolution of this work, rather than simply witnessing a finalised piece.

Ideally, I would have wished for further time to advance the pixel portrait to a more realistic image, and similarly I would have liked to commit more attention to marketing the video blog. I do feel however, that the two-way mirror work was a solid success and fulfilled my original intentions. The decision to go with these three projects of the original six, was a good one I think: time was limited, these were feasible to produce, and with their variety they encompass the wider issues that I wanted to investigate.

Looking back, I can see that for the first half of my course I was interested in intimate portraiture. This then changed to self-portraiture – a topic I felt really connected to! It came naturally. The significant prompt was the ‘Picturing The Body’ module and discovering the theme of wanting to challenge my vanity, which then under-pinned the initial inspiration for this project.

 Looking to the future, I recognise that I am still open-minded in considering professional possibilities. What I do know is that I very much enjoyed conceiving the idea for this project and following it through to produce some strong artistic photographic work.  With this behind me, an importance is now placed on how I broadcast and manage its presence during and after the forthcoming exhibitions. 

Exhibition Layout for Photo Synthesis Coventry

My work will be exhibited as part of the Photo Synthesis degree show (see the website here), which will have two showings – one in London and one in Coventry (see the events page here).

For the Coventry exhibition I have decided on the following selection and layout of work. Three prints from the two-way mirror work – the third a contact sheet of selected images from the shoot, and alongside these will be the two-way mirror video camera delay installation (click to enlarge). See also the photograph in the 1:15 scale model gallery.

Note that this is primarily just a display of the work relating to the two-way mirror project, rather than showing all aspects of the Self-indulgence of Gorgeous George project. The reason for this, is because for this particular show I feel it is better to deliver less with greater clarity, rather than more with the higher chance of incoherence. Also there is an issue of limited space in the Coventry gallery. In London at the Rag Factory there will be more space, but also that exhibition (with the inclusion of other artists and photographers) will have wider range of work, and I think be more accepting of a 'mixed' showcase. And hence I will be able to physically exhibit the Pixel Portraits and Gorgeous Georgeo videos in that space, as well as the Two-way Mirror images – in other words, the complete project. 

Above is a pencil sketch of the full exhibition (how my work will appear in London). Note that the two-way mirror work is essentially the centre piece of the show, with the pixel portraits and video blog adding depth to the two issues of mirror-image and self-indulgence, respectively.

Final Edit Decisions

The selection process with the two way mirror work for this exhibition, was very challenging. The best approach was a step by step one. I knew I wanted the faces to appear oversize – to give impact to the impression they would have on the viewer – I arrived at a size close to A0, about 46 inches wide by 30 inches high. With the available wall space this meant I could have three prints. I felt that the best way to utilise these three and still deliver the meaning of my work, would be to have two as individuals – to give the 'big hit', and one as a mix of several images from the shoot – to give a description of the variety of poses and expressions produced. 

For this mix print I had to decide carefully about the number of images to use – too many and it would become a large pattern and be awkward to read individual images, too few and it would fail to highlight the rich variety of the facial performances. After much testing and imagining with dummy prints, I decided on a 5 by 5 grid. I also decided on no white borders and no frames, as I wish to display the photographs as directly as possible – I feel that there should be more emphasis on the content of the image, than the prestige of the print. 

To then choose these 25 for the mix print, I had to start and edit down from the 100 or so that made up the whole shoot, this was a simple case of whittling down those that were similar, those that were a bit placid etc. I was also keen to include some of the more varied poses (inclusion of arms, twisted faces etc.) in order to break from the repeat view of straight-on head and shoulders, and keep the overall image 'fresher' on the eyes. Following this was then the matter of choosing the two images to be printed as individuals at full size. The emphasis I placed on this decision was balance – I wanted a pair which suggested both humour and extremism, and which were different enough whilst still remaining related.

The Two-way Mirror Project

The initial test shoot with the two-way mirror rewarded me with little, but taught me a great deal. The most significant lesson learnt was that it's all about the light, of course!

A two-way mirror is essentially a normal piece of see-through glass or acrylic, but with a sort of 'semi-coating' of reflective foil (a normal mirror has a full, light-impenetrable coating), which means that it has the ability to allow light to pass through, as well as reflect it. The function of a two-way mirror is dependant on the ambient light on either side of it. The side intended to behave as a mirror needs a lot of ambient light, so that it bounces back an image, and the see-through side needs to be dark, so that the image will pass through. Another explanation is provided by the very helpful people at mirrorworld.co.uk (where I purchased mine from):

In reality this means that the two sides must be isolated from one another and the difference in light needs to be dramatic. In fact, if I wish to produce pictures which will appear as straight portraits, then the 'window side' needs to completely dark so that the camera doesn't see itself in a partial reflection.
My solution to this - bin bags. And clothes pegs.

This way the camera sits in a completely unlit environment, and as far as it is concerned the mirror is effectively a window. Meanwhile the subject (me) is well illuminated by the studio lights, and experiences only a mirror. And what does this particular subject do when he encounters a mirror...

Progression of Pixel Portrait

The pixel-painted self-portrait is a long term project, making slow but steady progression towards equalling a photographic image in its appearance and pixel construction. A detailed explanation can be found on the proposal, and the first two pieces in the series can also be seen there. The next two are below.

Pixel-Painted Self-Portrait #3 

Pixel-Painted Self-Portrait #4

The time scale of the project has brought up a few issues, I've had a haircut, and my skin has got slightly darker as summer approaches. The way around this is, rather than attempt to match what I see in the mirror in each session, it would be better to use the reflection as a starting guide but at later stages work the pixels already there into a more realistic appearance. 

The fourth portrait was a big step in closing in on an accurate facial shape – the jawline was thinned, eyes slightly enlarged, and nose lengthened. It was at this point that I had the first notion (faint as it was) of the portrait taking on my character – for a brief moment the canvas was alike to a mirror. This gives me the encouragement to press on. 

Richard Brilliant discusses the captivation of viewing a portrait as an oscillating experience: identifying and relating to the subject - feeling their presence; whilst also accepting their absence - replaced by a subjective image with a degree of likeness. If at some point a viewer (who knows me by sight) can feel that they recognise me or my character on the canvas, perhaps even feel that they are looking at the real me, whilst still being aware of the images 'painted' creation – then that would be a very intriguing experience to incite in an audience. It's a long way off, but it would mark this project as something of a success. 

Symposium Playback

Self-Portrait, Self-Mockery, The Mirror. Here is the audio track for those of you that didn't make it to the symposium.

Self-Portrait, Self-Mockery, The Mirror.

Post-Symposium Thoughts

Below is my evaluation following our research symposium on Friday. (My work leading up to this can be found under the 'Photography in Context' label.)

Delivering the talk - Photo by Craig Leaper

I feel that my presentation went well, and equally I think the symposium was an overall success – I certainly enjoyed both. Although the idea of delivering a presentation was immensely nerve-wracking and the relief felt afterwards was substantial, it does feel something of a shame now that it’s over. I am looking forward to having a digital version, which can be dispersed online to a potentially larger audience. I feel I have a reasonably strong ability at public speaking and providing an engaging talk, so when coupled with the slides, this online presentation could hopefully prove appealing.

I based several elements of my presentation on the lectures of Dr Sally Miller, of the University of Brighton. Aesthetically, I kept the slides clean and simple using a white background, black text, a comfortable font, and straightforward arrangement of content, so that the audience would not be distracted. I also took inspiration from her lectures regarding the structure of the talk: firstly a theoretical introduction highlighting the wider points of the topic and bringing them together to construct an argument; secondly a progression evidencing practitioners’ work to demonstrate that argument; and finally – concluding on a specific thematic point, which related back to the exampled work, and therefore provided an argument in a manner which could be readily absorbed by the audience. It was this aspect of Sally Miller’s lectures – being in depth but also easily understood – which I wished to emulate. Asking some of the listeners afterwards, it seems that this was achieved.

For me, there is a lot of importance placed on the verbal delivery of a presentation because it has a significant effect on keeping the attention of the audience. When producing the final text, I found it easiest to write as I would speak, so quite often not in proper or formal sentences and frequently using colloquialisms. Under the advice of Ed Dimsdale, I practised the talk about four times – not too much (so as to keep it sounding fresh) but enough to become familiar with it and remember parts so that I could break from my script and look at the audience. I very much believe that a talk should be spoken and not read.  

If any area of the symposium could have been improved, then I think it would have been the question sessions. This was something that I think everyone suffered from, and was probably due to an audience that was small, possibly nervous, and likely fatigued after an hour of listening. I had prepared and hoped for questions regarding the gender of self-mocking practitioners, or possibly on the ranging variations between performance and autobiography within self-portraiture. Having said that, I was quite pleased that a dialogue began around the elements of my practice which were related to this research, and furthermore how I could develop and present my own work. On reflection, this connection between my research and what I’m hoping to produce, has probably been one of the most beneficial outcomes of the module. I now have a solid contextual grounding which informs my own progressing work, and I also have a presentable piece of supporting research (and further background knowledge) which can assist the manner in which I convey my practice.

It is now clear in light of the above, that I have achieved that which I set out to: an investigation which informs and is informed by my practical work. I have learnt that to conduct such a study is hugely valuable to an emerging practitioner. Looking back to the proposal, the investigation became more specific with the theme of self-mockery taking precedent. This I think made the enquiry a more original piece. I have gained confidence in both undertaking and presenting research, a task which I would be happy to tackle again. 

The Proposal

Below is the proposal I recently submitted for the Photographic Practice module. It's rather long for a blog post - the first part explains the theoretical approach and reasoning, the second half goes into detail of the practicalities of producing the work. If you want to know simply what I will be doing, and see sample images of those intended projects, then scroll down to the 'Plan/Schedule' heading.


Name

‘Gorgeous’ George Rippon

Title

Me, My Reflection and Him

or

The Self-indulgence of Gorgeous George

Description of subject to be investigated

I am interested in the persona that we present in order to display our desired qualities. Our relationship with our reflections and the images of ourselves that we experience, are significant in the conscious creation and adjustment of this public self. I’m seeking to examine the response of the individual to their awareness of their own absorption with their presented image. This response includes self-mockery, self-indulgence, narcissism and an admittance of a need for recognition. Moreover, I’m interested in the manner in which this performance is continued, and what relationship then ensues between the ‘reflective-private' and the ‘performed-public' selves.

Context

“I love acting. It is so much more real than life.” Oscar Wilde

Within the field of self-portraiture there has always been some kind of exploration into identity. Because we are aware of the capability of an image to depict (in the case of portraits) a person’s character, we are then conscious of the level of performance that manifests from the subject. Since in self-portraits the artist is both subject and creator, there is often an analysis and manipulation of the performance from both angles. When artists use self-portraiture to question the different versions of presented ‘self’, their approach is fundamentally relevant, due to the insight they hold of ultimate knowledge and access to the subject.  

The following practitioners form the context to this study because they are engaged in the variance that exists between a conscious performance and a natural behaviour. The works of Cindy Sherman and Yasumasa Morimura, are concerned largely with masquerade and elaborate performances; however, in consistently using themselves as the subject, there is an element of their own character underlying their play-acting. Alternatively, Nan Goldin’s The Ballad of Sexual Dependency, and the collaboration of Patrick Tsai and Madi Ju’s My Little Dead Dick, are both strongly autobiographical works, although a sense of performance (or the possibility of) to the camera can be inferred. Claude Cahun’s work has a strong case for illustrating the perpetual (and destined to fail) efforts of artists to discover their true self behind recognised personas: “Under the mask is another mask, I will never finish lifting all these faces.” (1930, cited in Bright, 2010). Anita Khemka obfuscates what is staged and what is spontaneous by taking her self-portraits in public places, allowing the environment and people around her to contribute to the result. Bas Jan Ader appears to give the rawest insight into his personality in I’m Too Sad to Tell You, and yet by using photography and video to document his expression, still leaves the viewer questioning to what extent his behaviour is genuine or performed.

The following issues are also relevant: the philosophical debate of the notion of ‘self’ – suggested to be an entity that merely perceives (Hume); the psychological arguments concerning the ego and alter ego (Freud) and the ego, other, Other, and subject (Lacan); the anthropological discussion around the use of webcams and Youtube for self-performance (Wesch).

My standpoint on this investigation is an inquisitive one, attempting to unravel and perhaps ameliorate a complex I have with my continual introspection: I’m always thinking about myself and wondering why.

Plan/Schedule of work

1.      1. A set of self-portraits using a two-way mirror, so I look at and interact with my reflection rather than a lens, but line up the eyesight to give the impression of a straight portrait, aiming for high clarity and minimum background detail (similar lighting and composition to Emma Sailah’s  Mirror Mirror). I will then re-enact the extreme facial performances as done to the bathroom mirror - to investigate: my altering of presentation; relationship between inner (thought) and outer (visible) selves; attempting humour; challenging attractive appearance.

‘Hannah’ and ‘Minh Ai’ from Mirror Mirror by Emma Sailah. 

Test images using normal mirror with a hole in its centre for the lens. One diffused light above camera. Poor focus is an error, background will have no detail, composition is suitable, lighting needs to improve. Images ©George Rippon. All Rights Reserved.

2. A similar process to above, with others in front of the mirror – where I photograph them attempting to copy my extravagant facial contortions, as a means of continuing the humour, and exploring the universality of the face (relevant to physiognomy). Perhaps also ask them to photograph themselves, to make their own self-portraits, with cable release or remote – to see how they respond given the opportunity to present a desired look.

3.      3. As a continuation of my Self Videos, produce a regularly updated diary of webcam performances - displaying a general indulgence of trivial aspects of my personality, experiences, thoughts etc – investigating further the desire to be celebrity/revered/known through attempted humour.

Self Videos (still)

Forehead Letters (still)

4.      4. A self-portrait of pixels (I can't paint) – using a mirror, and Adobe Photoshop – ‘painting’ with various colours, various brush sizes, producing several pieces – forming an overall progression, striving towards a realistic portrait (eventually looking like a photograph). Inspired by the Johannes Gumpp painting of himself in the act of painting a self-portrait (likewise Norman Rockwell’s Triple Self-portrait), I plan to investigate in what manner and with what adjustments I will reproduce my image.

Self-Portrait with Mirror and Canvas by Johannes Gumpp

Pixel-Painted Self-Portrait #1 and #2

Making of Pixel-Painted Self-Portrait 

5.      5. I’m a ... (artist) - a series of videos in which I attempt to prove my creative multi-talents (musician, actor, painter, etc.), but which ultimately highlight myself as a failure and fool, wanting appreciation – inspired in part by Bjorn Veno’s promotional videos for PXSnatch.

6.      6. A video piece based on my Body (own) collage where each image is moving rather than still. However the movement will be very subtle, aiming to give the impression of a still image on first glance, and then following with the realisation that the body is moving/breathing/alive. Similar motive to the original piece – to present own body in unflattering manner – but with heightened representation.

Body (own) 

Body (own) (still)

Audience

·      Fine art/gallery community – aiming to attract attention at exhibition in London held during a week where photography is highly popular in the area due to degree shows. This to be at a gallery (The Rag Factory) which is establishing itself as a popular venue at the time of these events. The intention is to involve other established practitioners, to elevate the exhibition above a student degree show and encourage a larger footfall, and also the potential to make connections with curators/gallerists etc. There is the chance of the exhibition being reviewed owing to the supporting factors above, which will further enhance the publicity. Additionally, there has been a recent growth of interest in contemporary self-portrait photography with the publication of Susan Bright’s book Auto Focus.

·      Online – a personal blog, George Rippon Photography which is updated regularly with latest work, ideas and research; combined with a Twitter account as a means of spreading the work to a remote audience (aiming to increase interested following, particularly those based in London in lead-up to the exhibition). Utilising social media to present and build up a recognised brand name – YouTube channel, Twitter account, and a video blog, all as ‘GorgeousGeorgeo’.

·      YouTube viewers – humour is popular, short videos, a homemade aesthetic is well accepted. There is a potential to go viral, although this seems to be down to chance and is very much a snowball effect. If popularity is found on YouTube, then considering the nature of the project and its delivery, an interest could follow from the fine art community.

·      Academic – as the project is based on the reflection of photographic imagery in self-portraiture, its content may be relevant in the study of photography theory/behaviour. There is also a relevance to research in the fields of philosophy, psychology, anthropology and other areas in which the notion of ‘self’ is questioned.

Anticipated method of presentation

Gallery:

·      Two-way mirror project (1.) – large prints of oversize face, to give impression of “Ah it’s a big face!” – so as to show off their absurdity, and impress/oppress my image upon others.

·      Potentially include a two-way mirror as a means of involving the viewer. Place a large rear-projected print behind a two-way mirror, with the projection light triggered by motion (similar to a burglar light) so an apparent mirror turns into a picture as viewers pass.

·      And/or a video camera concealed behind a two-way mirror, with the footage output delayed and shown to the side - so people can play to/with their reflection and then view it moments after.

·      Video projection – of selected ‘self-videos’ (3. & 5.).

·      Medium prints (40x40cm) making a progression piece of pixel-painted self-portrait (4.).

·      May have smaller prints of mirror portraits of others (2.).

Online:

·      Blog of videos (like diary updates) and a YouTube channel – refer to Ask A Ninja/What I Wore Today – comical, intending to have the potential to develop a mass following.

·      Simple web gallery of mirror portraits (one for self-portraits, one for others) (1. & 2.)

·      An interactive view of the pixel-painted portrait, with a slider so it can be quickly seen how the portrait developed. See Girlpower –Retouch  

Budget/Resources required.

·      Two-way mirror – £44.48

·      Wood and construction materials for mirror stand – £40 - £50

·      Construction tools and assistance – provided.

·      Loan of Hasselblad H3DII with 50mm lens from Calumet for 2 days – £530*

·      Prints for ‘Two-way mirror’ project:

Option 1 – 3x 110x110cm prints on fibre based paper, mounted on 5mm Foamboard (from The Print Bureau, Coventry) at £69.58 ea = £208.74.

Option 2 – 3x 101x101cm Giclee prints, mounted on DiBond with battens, and acrylic seal, incl. delivery (from The Printspace, London) at £326.54 ea = £979.62*

·      Prints for ‘Pixel painted self-portrait’ project:

Option 1 – 6x 40x40cm prints on resin coated paper, mounted and laminated on 3mm Foamboard (Print Bureau) at £8 ea = £48

Option 2 – 10x 40x40cm C-type matt prints, mounted on 3mm Foamex with acrylic seal, incl. delivery (Printspace) at £63.68 ea = £636.80*

·      Blog space and YouTube channel – free.

·      Web domain and hosting – already owned.

·      Projection equipment with audio – provided.

·      DSLR camera, studio space, lighting equpiment – provided.

·      Video camera and editing software – provided.

·      Normal mirror, Adobe Photoshop software, Apple iMac desktop computer incl. webcam – already owned.

* indicates a non-essential but ‘ideal’ expense.

Total minimum (essential) budget: £341.22

Total maximum (ideal) budget: £2,240.90

Some additional images relating to the 'context' section of the proposal:

Self-Portrait on the Rocks, Levanzo, Sicily by Nan Goldin

Claude Cahun and Marcel Moore by Claude Cahun

Travelling by train from Bangalore to Mumbai by Anita Khemka

I’m too Sad to Tell You by Bas Jan Ader

Photo Synthesis Symposium

The Photo Synthesis Project refers to all major work – research and practical – of the final year students of the BA Photography course at Coventry University (myself being one of them). The first event to come under this banner is the following symposium, where the major research projects will be presented.

Click to Enlarge

Coventry University Photography up for Auction

On Thursday the 3rd of March, Photography and Fine Art students of Coventry University, will be holding a fundraising auction, selling a selection of their best work, and including several high profile pieces donated by their tutors. The money raised will be put towards their degree shows.

The auction will take place in the Herbert Art Gallery, Coventry; but bidders can also participate remotely via paper and telephone commissions. A full catalogue can be found here, and below is the selected photography pieces.

More information can be found on the Herbert website, including terms and conditions.

Contact:
Bruce Fletcher
T: 07816966892
E: bruce_fletcher@hotmail.com