Emily Jane Morgan NUCA BLOG/PDP

My electronic relfective journal/pdp for my Ba Hons. Photography course at NUCA.

SOURCE: Windmills.co.uk. Questions to ask during information interviews

The art of information interviews

Information interviews are all about talking to people in the know.

They offer you an effective and well-tested way of moving your life on by:

  • Building new relationships
  • Getting vital info on work opportunities

You’ll be getting live, up-to-date information from people who’ve faced the same kind of situations as yourself and found their own way forward.

And information interviews are not just useful for work opportunities. You’ll find them valuable too for making more of those other vital areas of your life – your learning, playing and giving.

1. Find three people

First list the questions you need answering:

  • How is the field changing?
  • Where are the growth opportunities?
  • How can I get into it?
  • What should I expect?

Next think of three people who can help you.

Find names by looking through your address book, business cards you’ve collected or Yellow Pages as well as asking friends to recommend contacts.

2. Arrange a meeting

  • Introduce yourself (phone, e-mail or face to face) and say why you’ve made contact.
  • Mention the people you know (ideally the person who recommended them)
  • Explain you are interviewing key people in the sector – make them feel important
  • Make it clear why you want the discussion and how it will help you.
  • Ask for no more than 10 minutes or so and aim to meet them in person (ideally at work)

Be yourself and don’t be too pushy. Be ready to be knocked back and try alternatives such as “I know you’re extremely busy, but…” or “I really would appreciate your time.”
(You could practice making such a request with friends.)
If all else fails ask the person if they can recommend somebody else.

3. Carry out the interview

Start by thanking the person for seeing you. Aim to make a positive first impression. Smile and show you’re grateful for their precious time. Use the framework below for your questions.

Question Aims / details How did you get into this field of work? Explore both traditional and alternative entry routes plus skills/experience required
What excites you most about the job? Will it provide the things that really matter in your life? Does it:

Involve the skills you love using?
Build on your passions?
Involve people who inspire you in a place that energises you?
Link to your purpose in life?
Provide the right payoffs?
What’s not so exciting? Once again, test it against the things that really matter to you
How do you see the sector changing over the next 2-3 years? What challenges and problems do you foresee? You want to know what skills and experience they will value in the future.
What kind of people will the sector need in the future? Many job descriptions look at the present – you need to think ahead.
Can you suggest two or three other people who could help? Try identifying particular types of people and areas, e.g. personnel managers specialising in recruitment in the Manchester area.

Finally thank them for their time and follow up with a hand-written thank-you card.

4. Continuing the process

After interviewing the first three people you should have up to nine new names from their recommendations.

So now move on to your next three interviewees.

Keep questions as general as possible at first until you have lots of information.

Gradually home in on specific organisations (speaking to anyone you can) until you have the facts you need.

Then move on naturally to people who have the power to hire you.

As you move from one group to another, you will recognise the extent to which each provides those things that really matter in your life.

Top Tips

  • Make sure it doesn’t become a job interview
  • Don’t try giving your CV – it’s not a sales pitch
  • Stick to the structure and time limit
  • Note all information and look for themes
  • If things goes wrong, say “Can you suggest anybody else?”
  • Remember to send a thank-you card with your name and contact info.

Link: Ideas Mag Interview with Photographer Bella Howard

Excerpts from the interview:
”How did your career begin? 

My first break came when I was interning at i-D magazine in London, after I had completed a photography course at the Spéos Paris Photographic Institute. I was 19 and an intern under the fashion department. They saw some of my shots from my course in Paris and got me to shoot a six-page story. It was the best break I could have wished for. After that, more magazines got me to shoot for them while I was still interning. I then started assisting Matt Irwin as well as doing my own photos and my ’zine.”

What advice do you have for budding photographers?

Stay true to yourself. It can be disheartening when people say, “Oh just get a normal job,” because you’re not getting paid and you start questioning whether it’s worth it. Get a side-job and plough through. You have to be determined and keep a positive attitude at all times.

Any advice for building a portfolio on a budget?

Lots of agencies will get new photographers to do test shots of new models. It’s worth checking out, and is good for building relationships with the agencies.

You have a ’zine and are a prolific blogger. How important are these to the success of your career?

It’s an easier way for people to see more of my personality by looking at my blog, but I would rather have meetings. It’s much better than being an anonymous person behind some pictures. I’m quite old-school in my approach; I still prefer carrying around a huge heavy portfolio and shaking someone’s hand.

www.bellahoward.co.uk

________________________________

EVALUATION AND PDP:

-From looking at Bella’s work and reading this interview, I may consider looking into intern-work and which publications have intern spaces available shortly after my course. This would allow me the opportunity to immerse myself in industry contacts and maintain these contacts afterward. I would have experience of how different sectors of a publication operate.

- Additionally, assisting work is also a possibility which I am more drawn to pursuing at present. I feel that assisting work will build my confidence with lighting,set-up and the running of a high-level production shoot, which I need to begin working towards. I feel I would enjoy a job more where I am on location and being productive, as opposed to a job where, perhaps with interning, I would potentially be sat at a desk for a number of hours a day.
I AM CURRENTLY IN THE PROCESS OF CONTACTING PHOTOGRAPHERS WHO WORK WITHIN FASHION/ADVERTISING, OFFERING TO ASSIST IN FUTURE SHOOTS THEY MAY HAVE COMING UP IN LONDON.

- I am also very intrigued by the realm of blogging. I feel that the nature of the publication is becoming heavily-connected to the internet. Looking at Hunger.TV, editorials in the magazine are available to view as webitorials, accompanied by videos and external links. This is something a physical publication simply cannot acheive. A magazine is able to reach out to the consumer, but with a strong online presence, a consumer can reach back, and this creates much more of a stronger persona and reader-publication relationship, than ever before.


I INTEND TO RESEARCH FURTHER INTO ONLINE BLOGGING/WEBITORIAL SITES AS A POTENTIAL CONTEXT FOR MY FINAL BODY OF WORK; I FEEL THIS WOULD BE AN INNOVATIVE APPROACH TO PRESENTING MY FASHION ADVERTISING AND EDITORIAL WORK IN ONE CONTEXT, THAT IS ACCESSIBLE, SHAREABLE AND ABLE TO UTILISE MULTIPLE METHODS OF PRACTISE (MOVING IMAGE, FILM PHOTOGRAPHY, DIGITAL PHOTOGRAPHY) THAT ARE COMMONLY SEEN IN FASHION MAGAZINES. I WILL ALSO NEED TO LOOK AT PRACTITIONERS WITHIN BOTH THESE PRINTED AND DIGITAL CONTEXT TO INFORM MY METHODS OF PRACTICE TO ENSURE WHAT I PRODUCE WOULD BE TO INDUSTRY STANDARDS.

Working in a Photography Studio

Here is an example of a (old) job application for a studio internship;
http://www.studiotimephoto.com/blog/2012/01/17/photographic-studio-assistant-position-available/

The details provided tell me what is required of a studio assistant, and what roles a full-time studio assistant would play in comparison to a freelance assistant;

“Studio duties:

  • Help clients set up and breakdown photo shoots, or videos
  • Prepare studio ready for next hire, test equipment.
  • Keep studio supplies up to date.
  • Additional opportunities to support teaching workshops.

Administration/Reception:

  • General hire bookings, answering the telephone, Liaising with customers
  • Meeting and greeting clients
  • Arranging couriers services
  • You will be trained in office software Calendar, CRM input.
  • Additional learning opportunities in photo softwareWe are looking for a London based all rounder, good English a must, this position is best suited to a proactive team player who is capable of managing many tasks at once.”

________________________________________________

Although specifications for studio assistants may vary slightly from Studio to studio, this list of requirements from Studio Time’s post give a strong indicator of work ethic of a studio assistant- working as a part of a team, and maintaining the up-keep of the studio and it’s equipment.

The Pros of working in a studio:
- Less travel involved than there would be, being a freelance assistant
- Opportunity to meet various different photographers/members of creative teams, and create contacts this way
- Regular employment

The Challenges of working in a studio:
- Long Hours
- Would the payment cover living costs when working in London?

Similarly to working as a freelance assistant, I would need to acquaint myself with different types of equipment as much as possible, in addition to learning on the job. Working in a studio, there would be more time management to consider; both preparing and tidying studios in time for the next client, and tidying/closing up the studios when clients have finished.There would be more emphasis on equipment maintenance, in comparison to freelance assisting.

__________________________________
Spring Studios:LONDON
http://springstudios.com
Clients include-Max Factor, The Olympic Games 2012 TEAM GB, Rimmel London.
Spring not only has studio space, but also provides suites for hire for castings, location equipment including van hire, retouchers, set-designers, props and post-production. Underneath the umbrella of Spring Studios alone, there are a broad range of jobs/roles.

http://www.springstudios.com/blog/
________________________________________



Jobs Within The Fashion/Advertising Photography Industry: ART DIRECTOR

One of the potential avenues that I could travel down after my course, is becoming an Art Director.

I have thought about this avenue since Dan Black’s visit 2 weeks ago. Art Direction is a role that closely liases with the role of a Photographer. When interviewing Fashion Photographer Martin Zahringer, he stated “I work with some art directors when it is needed on the job. I’m very heavily involved in the art direction and the concept.” (see my print PDP/Reflective Journal for more details on Martin Zahringer).
On most of my shoots so far, I have had to take on the role of art direction on a lower-production level; whereby the work is for submission to magazines. What I personally enjoy about this role so far, is pulling all of the elements of team required together. I enjoy casting and sourcing clothing/stylists and location scouting. I enjoy collating moodboards and creating fitting concepts, which I enjoyed especially during the BA5 Hoare Lea Brief, aiming towards a client’s needs, which I also acheived recently with a shoot for Jewellery brand ‘PinPinFinds’.
From Dan Black’s visit, this is the type of work that an Art Director undertakes along with the involvement of the photographer.

The Art Director also has the role over the photographer of communicating with the client/publication to assess needs and concepts that need to be conveyed through the imagery. An Art director also has to consider how the images will need to be presented in their context. Dan Black covered this topic when showing a catalogue/mail order he had worked on. He pointed out that the models needed to be posed in a specific,albeit cheesy, manner in order to showcase the clothes properly, so that a consumer has an idea of the cut and shape of the garment modelled. He also had to work on mock-ups of the catalogue, to pitch to the client how the publication would be ordered; where would images be placed, what size/orientation the images would be, what texts would anchor images etc. and seek feedback from the client upon doing this.

I have also researched another Art Director called Rebecca Van Ommen, who works as both a Photographer and Art Director. http://www.beckyvanommen.com//index.php?id=1
What I have noticed with Ommen’s work, is that her clients also include Getty. I feel that this is a relevant career possibility for me, as I currently am in the final stages of uploading all my submissions to Getty’s Flickr Collection. If I focus some more time into how getty operates and accepts submissions, I could potentially produce work that is highly sellable as stock imagery (with the full intention of it being a stock image too,might I add), and try and work towards getting moved over to Getty’s main collection once my first 2 year contract with them has passed.
Art directing and specifically photographing shoots for stock could be a realistic possibility for me.

The types of skills I would need to have as an Art Director:
- The ability to think visually and conceptually
- The ability to lead a team
- Working methodically and efficient time-management
- Propose/communicate ideas clearly to clients and team members
- Knowledge with computer software and programmes (Lightroom,Photoshop,Capture One,InDesign etc.)

Which skills do I need to work on from the list above, to apply to my own practise?
- Time management: creating a plan for the day of shooting so that all members of team on shoots know what should be happening, when and where.
- Computer software: I need to be able to work more fluently with mac software, in addition to windows software. Programs I need to learn more about are Capture one and InDesign (when necessary/applicable to publication/web design)

How to Be a Photographer's Assistant- Article

I have been reading this article on assisting, which gives some general advice and tips on how to be a successful assistant to a photographer. 
Underneath are my notes on how to apply this advice to my own practise; what do I already know, and what do I need to know?

“BE PROACTIVE”
- Get in touch with and keep in contact with photographers whose work I have a keen interest in
- “ “My advice would be to chat to your tutors while you’re at uni, build a network and use Twitter – it’s an incredible tool to find opportunities!”- Nik  Adam

I currently keep myself immersed in social networking, as I find this is a powerful tool to find potential jobs, opportunities, competitions and to speak to Photographers who I simply would not have known about had I not maintained an online presence. I will continue to use social networking to find out about photographers who may need assistants, and contact them directly.

“COME PREPARED”

I need to make sure that I am prepared to know how to use a photographer’s equipment. With lighting, I have a good understanding on assembling lights, but I will be likely to come across different models/makes/fittings/symbols of lighting equipment. I can prepare myself for this by downloading and reading instruction manuals for popular brands of lighting equipment before a shoot, if I find out what equipment the photographer intends to use. This also applies to different camera bodies/lenses.

-This term, I have already learned more about strobes/flashguns, and using them on location and using gels to change colour temperature/ add surreal,dreamy effects to an image. I know how to increase and decrease power on a strobe, and using the strobe manually as well as ETTL
- I have been in the studio for 3 weeks of this unit, in order to build up my confidence with using light set-ups/equipment to strive towards creating images that will be cohesive with the style,feel and visual elements of my location work- as well as to develop areas of my practise that require studio work as part of industry expectations (fashion advertising/editorial/look-books etc.). Although I am planning on moving back to location work during BA7, I will continue to use the studio when possible and necessary towards my practise, to both develop my ideas and my technical skills.
- I also need to build a contact list of places where equipment may be hired (e.g Calumet), so in the event of needing extra equipment on a shoot down in London, I can find near and handy places to the location/studio I am shooting at to hire equipment.

-SELF-CONFIDENCE
- I am still working on this within the studio, and also learning to believe that my photography does have a purpose, and that I do have a skill set. This will come when I get more involved with the industry; working with model agencies and assisting Photographers.

Andy Earl- Lecture notes

Having Andy Earl coming into NUCA on a fairly frequent basis is a god send, as I feel more connected to the industry. Andy is like this gateway, who can explain what is coming up ahead, and what you should expect when getting into the industry. These are some of my notes, which I have jotted down after listening to a recording of his lecture in Duke Street;

- Techniques which he developed at college, he was using within the industry ( e.g a slower shutter speed with flash), on shoots with musicians like Duran Duran (below).

On this particular shoot, the slower shutter speed, and deliberately knocking the tripod the camera was mounted on (after the flash exposes the subjects) created a blurry background of the city skyline at night. Andy chose this method in order to convey the band’s ‘electronic’ genre of music, and so that the location could not be differentiated as london (this was for the band’s ‘Rio’ shoot). 

DuranDuran by Andy Earl. London, 1983 

- Andy stated in his Q&A that he was very lucky not have to knock on many doors when he started getting into the industry; this was because of the controversy of his shoot with Bow-wow-wow, and this hype led him onto other jobs within the industry such as the above shoot with Duran Duran. He advised that in most cases, you may have to knock on doors and find opportunities.

- Andy also said that CONFIDENCE IS EVERYTHING. On a shoot, you have to be confident and have conviction. Self-belief is important in order to have a team/ client trust you.

- At 1:10 minutes on my recording, Andy mentions the change in the Photography industry. He says of Canon’s plans for their cameras that “5 years time their cameras are going to be HD Video…taking photographs is going to be coincidental”

-This is a really important point that I took on board, because in the Fashion/Advertising industry, contexts are beginning to use videos on their websites (such as Hungertv.com), and this change is becoming more evident with the rising profile of social networking and easy-sharing. We can share videos instantly, in this era on our phones as well as computers. It makes sense that this change is happening, so I NEED to learn more about video and begin acquiring the appropriate skills in order to not be obsolete in this area of the industry, before I even begin!-


Additionally Andy also said,
- The first couple of years after University will be hard, and that most of his fellow graduates had to have a job on the side (e.g working in a bar) whilst they were photographing, so they could have an income of some form, as photography for the first couple of years is likely to be an inconsistent source of income. He added that some graduates gave up photography after the first couple of years completely, and expresses that if you are passionate about what you will do, you will get there eventually.
- People buy you because of your own style and to be assured of what they are going to get
- Experiment and be inventive 

Back towards the end of June, I had a little adventure playing a different role as part of the production team of a Photo shoot. The lovely Ladies who run Norwich’s ‘A Most Curious Party’ got in touch with me to ask if I would like to be one of a set of models for their promo photos.(Just as a reminder, I got acquainted with the women of ‘A Most Curious Party’ through my contacts at ‘Goldfinches Vintage Fashion’, and back in February I documented their Spring event, which was an incredibly rewarding experience, as I made many contacts and met many creatives! I wrote a short blog entry here about the event http://emilyjane-photo.blogspot.co.uk/2012/03/february-2012-vintage-wedding-fair.html ) I couldn’t pass up the opportunity to see a professional photoshoot from a different perspective. I wanted to experience modelling so I could educate myself on how a model feels during the process of a shoot, in order for me to improve the production of my own photoshoots. Again, it was a wonderful opportunity to make new contacts, and to look at the different levels of production values going on.The shoot involved wedding dresses (of course), a wedding cake, Animal-esque headpieces of a deer, a ram, a rabbit…, a make-up artist, a Florist, 7 models, a hairstylist and Joanna Millington was the Photographer. It was interesting to see how all these pieces were pulled together. I learned that the dresses and headpieces were acquired from non-local designers and a deposit had to be placed down for them to be used. We were under strict orders that there must not be a single mark on the dresses, otherwise the deposit would be lost. I realised then how pressurising it can be for models when wearing designs that costly, and you find yourself becoming incredibly self-aware of the way you are standing wearing something that costs more than your student loan, making sure you don’t crumple it or get it dirty. I knew that if anything had happened, the responsibility would be down to the organisers of the shoot, so there is a strong element of trust that is needed when working on a team.The major hiccup of the shoot was the weather. It was originally meant to be outdoors, but with the rain so heavy, a new location had to be sought, with one of the team members calling up nearby locations to ask for permission to shoot in their venue. I feel that if this had personally happened on a shoot of mine, I would not have known what to do, so it was encouraging for me to see that the team were working together to find a solution, and not applying the pressure and stress onto one person to deal with, because they were all incredibly passionate about this publication. A new location was found quickly and just around the corner.Another issue was lighting. Joanna had to make a decision about whether she could manage with the available light inside the room we were shooting in. With small windows and a cloudy day diffusing the sunlight, Joanna went for a decision I would have done, and used a flashgun, bouncing the flash off the low ceilings along with making the best of the ambient light. This meant that the shoot could go on for longer, after the issue of the weather lost a lot of time.Sitting with the models, we essentially had to do a lot of waiting, and I found this quite challenging, because I knew there were times where an extra pair of hands could have been needed to carry things. Modelling is more challenging than it appears. Hair and Make-up doesn’t always feel like a pampering experience, because this adds to your self-awareness about the way you stand/sit/pose/eat/drink. With make-up on your face, you don’t want to ruin it, so any habits like nail-biting or frequently drinking, or scratching an itch on your nose you have to refrain yourself from doing. I didn’t realise how hard this actually is for a model, and what I have taken away from this experience is getting your times right is essential, so the models can feel at ease, and be doing their job as swiftly as possible (easier in a studio than on location!), and the make-up artist needn’t have to touch up make-up as frequently.Overall the shoot was enjoyable. The day was long, but it was brilliant to make so many new contacts. The models were from Sandra Reynolds, so I will be sure to bear those girls in mind when I am casting, and speak to Emma who runs the Norwich office. Watching Joanna direct models was also good to see, as I have always wondered how other photographers’ direct their models and the shoot, and Joanna was in control completely. I have asked her to let me know if she ever needs an assistant on a shoot to give me a bell! The overall nature of the shoot was fun and enthusiastic, and I want every single one of my shoots to feel like that, no matter how big or small the team is!Being at this shoot has really encouraged me to push my production values higher and higher. 

Back towards the end of June, I had a little adventure playing a different role as part of the production team of a Photo shoot. The lovely Ladies who run Norwich’s ‘A Most Curious Party’ got in touch with me to ask if I would like to be one of a set of models for their promo photos.
(Just as a reminder, I got acquainted with the women of ‘A Most Curious Party’ through my contacts at ‘Goldfinches Vintage Fashion’, and back in February I documented their Spring event, which was an incredibly rewarding experience, as I made many contacts and met many creatives! I wrote a short blog entry here about the event http://emilyjane-photo.blogspot.co.uk/2012/03/february-2012-vintage-wedding-fair.html )
 
I couldn’t pass up the opportunity to see a professional photoshoot from a different perspective. I wanted to experience modelling so I could educate myself on how a model feels during the process of a shoot, in order for me to improve the production of my own photoshoots. Again, it was a wonderful opportunity to make new contacts, and to look at the different levels of production values going on.

The shoot involved wedding dresses (of course), a wedding cake, Animal-esque headpieces of a deer, a ram, a rabbit…, a make-up artist, a Florist, 7 models, a hairstylist and Joanna Millington was the Photographer.
It was interesting to see how all these pieces were pulled together. I learned that the dresses and headpieces were acquired from non-local designers and a deposit had to be placed down for them to be used. We were under strict orders that there must not be a single mark on the dresses, otherwise the deposit would be lost. I realised then how pressurising it can be for models when wearing designs that costly, and you find yourself becoming incredibly self-aware of the way you are standing wearing something that costs more than your student loan, making sure you don’t crumple it or get it dirty. I knew that if anything had happened, the responsibility would be down to the organisers of the shoot, so there is a strong element of trust that is needed when working on a team.

The major hiccup of the shoot was the weather. It was originally meant to be outdoors, but with the rain so heavy, a new location had to be sought, with one of the team members calling up nearby locations to ask for permission to shoot in their venue. I feel that if this had personally happened on a shoot of mine, I would not have known what to do, so it was encouraging for me to see that the team were working together to find a solution, and not applying the pressure and stress onto one person to deal with, because they were all incredibly passionate about this publication. A new location was found quickly and just around the corner.

Another issue was lighting. Joanna had to make a decision about whether she could manage with the available light inside the room we were shooting in. With small windows and a cloudy day diffusing the sunlight, Joanna went for a decision I would have done, and used a flashgun, bouncing the flash off the low ceilings along with making the best of the ambient light. This meant that the shoot could go on for longer, after the issue of the weather lost a lot of time.

Sitting with the models, we essentially had to do a lot of waiting, and I found this quite challenging, because I knew there were times where an extra pair of hands could have been needed to carry things. Modelling is more challenging than it appears. Hair and Make-up doesn’t always feel like a pampering experience, because this adds to your self-awareness about the way you stand/sit/pose/eat/drink. With make-up on your face, you don’t want to ruin it, so any habits like nail-biting or frequently drinking, or scratching an itch on your nose you have to refrain yourself from doing. I didn’t realise how hard this actually is for a model, and what I have taken away from this experience is getting your times right is essential, so the models can feel at ease, and be doing their job as swiftly as possible (easier in a studio than on location!), and the make-up artist needn’t have to touch up make-up as frequently.

Overall the shoot was enjoyable. The day was long, but it was brilliant to make so many new contacts. The models were from Sandra Reynolds, so I will be sure to bear those girls in mind when I am casting, and speak to Emma who runs the Norwich office. Watching Joanna direct models was also good to see, as I have always wondered how other photographers’ direct their models and the shoot, and Joanna was in control completely. I have asked her to let me know if she ever needs an assistant on a shoot to give me a bell! The overall nature of the shoot was fun and enthusiastic, and I want every single one of my shoots to feel like that, no matter how big or small the team is!
Being at this shoot has really encouraged me to push my production values higher and higher. 

Preparing Images for Getty At the moment, I am still working on the tax details for Getty Image enrolment, but I have been thinking about the legal documentation my images are going to need. I understand that I will be needing model releases, but before now I have never come across a property release. One of my images in particular of Happisburgh lighthouse would have potentially required a signed property release, so I emailed the Happisburgh Lighthouse trust to enquire as to whether I would need to compensate them for image use and legal etceteras. I received this kind email back expressing that they have no objections to the usage of this image for Getty, and therefore a property release will not be necessary.I am glad that I looked into this, and I will be looking further into Getty’s forms once I have gotten past the current part of the enrolment process I am undertaking! I am fortunate enough that my family has an accountant, so I have been speaking to him to guide me through anything that has confused me! 

Preparing Images for Getty

At the moment, I am still working on the tax details for Getty Image enrolment, but I have been thinking about the legal documentation my images are going to need. I understand that I will be needing model releases, but before now I have never come across a property release. One of my images in particular of Happisburgh lighthouse would have potentially required a signed property release, so I emailed the Happisburgh Lighthouse trust to enquire as to whether I would need to compensate them for image use and legal etceteras. I received this kind email back expressing that they have no objections to the usage of this image for Getty, and therefore a property release will not be necessary.

I am glad that I looked into this, and I will be looking further into Getty’s forms once I have gotten past the current part of the enrolment process I am undertaking! I am fortunate enough that my family has an accountant, so I have been speaking to him to guide me through anything that has confused me! 

Last weekend whilst I was away at the beach I felt the itch to go photograph, and decided to create a self-portrait, which is the only thing I do these days that feels therapeutic.I wanted to start processing ideas for images where inspiration comes from non-visual material. The reason I want to do this is because- it helps me to pick research from a broader range than I have before.- It prevents my ideas from being influenced solely from visual art that has been created before. Sometimes when I go on a shoot, all I can see in my mind’s eye is somebody else’s work, distracting me from what I want to achieve, because that is all I feel I have looked to for inspiration. Because my inspiration in this case came from a non-visual source, I was able to visualise nothing but my photograph as I wanted it to be, which in this instance for personal work, was ideal. For this image, the inspiration to create it came from this piece of music;  I felt that the serene feel of this music, and the intensity of it too, made me think of the sea, and the unknown. The idea of leaving and ‘packing your bag’ just gave me this idea of escaping from a place and running into the unknown, which is very much what is on my mind with my photography and personal life at the moment.I feel that the beach and the sea is a very alien place. This was the perfect location in my mind to photograph an image about running away from what you know and to a place you don’t.In terms of compositing, which is a -very- trendy trick of the trade at the moment, I was initially unsure whether to go down this route. This photo isn’t meant to be one of ‘Emily’s magic tricks’, but it felt right to have multiple bags in the frame. Theoretically because the composition needed more balance and depth. Conceptually on a personal level, each bag represents something/someone that I love and would want to leave with.The biggest challenge was the movement. I am well-rehearsed in a simple hair flick for a shot, but it was more challenging, with my camera set to manual focus, I had to run into frame with correct timing and pace to get a dramatic result, and with the shot I ended up using, I felt drawn to the similarity in the form of the hair to the crashing waves in the background, which create tension.Audience? I guess this image being conceptual would be ideal for contexts such as a magazine feature, fine art prints, or even for commercial projects such as sleeves/covers for books or  musicians’ albums, which can be very conceptually-orientated to evoke the feelings of the album/narrative into one image to ‘sell it’ to their target audience. I am speaking very generally of course, as the genre of product and target audience are usually something that you know of when photographing if you are being commissioned, and so you aim the image towards them. A lot of book covers from my snooping in the library, I have noticed come from Getty/Trigger Image/ other image libraries, so as far a being a photographer for a stock site goes, you have to trust your judgement and do your research and be honest to yourself as to what types of markets may be drawn to your work. I feel in some respects that conceptual photographs like this image above can be very suitable for book/album covers. An example is of Rosie Hardy’s image for Maroon 5’s Album ‘Hands All Over’ which similarly plays with multiplicity as does my image.  I intend to get in touch with Rosie Hardy, and ask her a few questions about her commissions and the area of the industry in which she works. So for the time-being I will not de construct this image, and save it until I have hauled some more primary research together and looked into Hardy’s work and this context a little deeper.Meanwhile, back on the subject of my self-portrait, I also tried this little technique in post-production, when I couldn’t decide between two images at the time (I concluded that both were too static because of the fixed,rigid poses); Using layer masks I merged two separate images of myself together to create this surreal photograph. I like the connotations it has the potential to convey (split personality,schizophrenia,torn in two/indecision etc.). However, I intend to aim my photography somewhat more commercially/fashion-orientated than what this image is suitable for. This image conveys more about personal struggle, and may be ideal as a fine-art image, but If I feel like I want to address some of those connotations in a fashion editorial/commercial project at any time in the future, I can use this image as a foundation/preliminary research and apply the concept to more high-end fashion production values.

Last weekend whilst I was away at the beach I felt the itch to go photograph, and decided to create a self-portrait, which is the only thing I do these days that feels therapeutic.

I wanted to start processing ideas for images where inspiration comes from non-visual material. The reason I want to do this is because
- it helps me to pick research from a broader range than I have before.
- It prevents my ideas from being influenced solely from visual art that has been created before. Sometimes when I go on a shoot, all I can see in my mind’s eye is somebody else’s work, distracting me from what I want to achieve, because that is all I feel I have looked to for inspiration. Because my inspiration in this case came from a non-visual source, I was able to visualise nothing but my photograph as I wanted it to be, which in this instance for personal work, was ideal.

For this image, the inspiration to create it came from this piece of music;
 

I felt that the serene feel of this music, and the intensity of it too, made me think of the sea, and the unknown. The idea of leaving and ‘packing your bag’ just gave me this idea of escaping from a place and running into the unknown, which is very much what is on my mind with my photography and personal life at the moment.
I feel that the beach and the sea is a very alien place. This was the perfect location in my mind to photograph an image about running away from what you know and to a place you don’t.

In terms of compositing, which is a -very- trendy trick of the trade at the moment, I was initially unsure whether to go down this route. This photo isn’t meant to be one of ‘Emily’s magic tricks’, but it felt right to have multiple bags in the frame. Theoretically because the composition needed more balance and depth. Conceptually on a personal level, each bag represents something/someone that I love and would want to leave with.

The biggest challenge was the movement. I am well-rehearsed in a simple hair flick for a shot, but it was more challenging, with my camera set to manual focus, I had to run into frame with correct timing and pace to get a dramatic result, and with the shot I ended up using, I felt drawn to the similarity in the form of the hair to the crashing waves in the background, which create tension.

Audience? I guess this image being conceptual would be ideal for contexts such as a magazine feature, fine art prints, or even for commercial projects such as sleeves/covers for books or  musicians’ albums, which can be very conceptually-orientated to evoke the feelings of the album/narrative into one image to ‘sell it’ to their target audience. I am speaking very generally of course, as the genre of product and target audience are usually something that you know of when photographing if you are being commissioned, and so you aim the image towards them. A lot of book covers from my snooping in the library, I have noticed come from Getty/Trigger Image/ other image libraries, so as far a being a photographer for a stock site goes, you have to trust your judgement and do your research and be honest to yourself as to what types of markets may be drawn to your work.

 I feel in some respects that conceptual photographs like this image above can be very suitable for book/album covers. An example is of Rosie Hardy’s image for Maroon 5’s Album ‘Hands All Over’ which similarly plays with multiplicity as does my image.
 

I intend to get in touch with Rosie Hardy, and ask her a few questions about her commissions and the area of the industry in which she works. So for the time-being I will not de construct this image, and save it until I have hauled some more primary research together and looked into Hardy’s work and this context a little deeper.


Meanwhile, back on the subject of my self-portrait, I also tried this little technique in post-production, when I couldn’t decide between two images at the time (I concluded that both were too static because of the fixed,rigid poses);

Using layer masks I merged two separate images of myself together to create this surreal photograph. I like the connotations it has the potential to convey (split personality,schizophrenia,torn in two/indecision etc.). However, I intend to aim my photography somewhat more commercially/fashion-orientated than what this image is suitable for. This image conveys more about personal struggle, and may be ideal as a fine-art image, but If I feel like I want to address some of those connotations in a fashion editorial/commercial project at any time in the future, I can use this image as a foundation/preliminary research and apply the concept to more high-end fashion production values.

I was lucky enough to be given enough votes in an online contest (at least 77) in order to be one of thousands of artists featured in Times Square, New York during the Art Takes Times Square exhibition. Of course, I couldn’t be there, but one individual spent their evening photographing all the images featured on the digital screen nearest to them, and lucky for me, one of my selection of photographs was one of those images, and shared across the internet. I am so pleased to see one of my images presented this way, and to be part of such a huge exhibition.

I was lucky enough to be given enough votes in an online contest (at least 77) in order to be one of thousands of artists featured in Times Square, New York during the Art Takes Times Square exhibition. Of course, I couldn’t be there, but one individual spent their evening photographing all the images featured on the digital screen nearest to them, and lucky for me, one of my selection of photographs was one of those images, and shared across the internet. I am so pleased to see one of my images presented this way, and to be part of such a huge exhibition.