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<p><b>The Moon.</b></p> <p>I recently got a new camera off my girlfriend which I LOVE, and I took this picture of the moon the other night and thought I’d share it with you all.</p> <p>I know it’s not professional but I really liked it. Hope you do too!
People trust what feels intentional.
Consistent lighting, balanced colors, and clean edges quietly tell the viewer: “Someone cared.”
Photo post-production isn’t about making things perfect. It’s about making them believable.
Website: https://qondletechnology.com/photo-post-production/
PUTTING TOGETHER A WEBSITE [why it would be useful] - A more “professional” platform than Tumblr. - Easily identifiable bodies of work, links to other social media platforms. - Relatively cheap (free Wix trial, purchase domain name). - Reflection of contemporary practice. - Additional online presence, opportunity to reach a wider audience. [things to include on the website] - An eye-catching homepage / banner image, archetypal of oeuvre. - Links to current / ongoing / upcoming bodies of work. - A link to my BigCartel store, where I can sell zines and prints. - A blog? E.g. book reviews, artist interviews. - “Contact” section, with various contact details - CV / List of exhibitions & publications. - “About Me”, as I am a person as well as a photographer.
PERSONAL PROMOTIONAL STRATEGIES (INSTAGRAM, LINKEDIN, BIGCARTEL & ORDER FROM SUB-EDITOR OF PYLOT MAGAZINE) I try to remain active on more photography-related social media sites such as LinkedIn and Instagram, where I keep followers up to date with my work (professional) and life (personal) respectively. I also promote my BigCartel page where people can purchase a copy of my self-published zine. One morning, I woke up and shortly after received an email from BigCartel about a new order, from a “James Ross”, under the email address “[email protected]”. PYLOT Magazine is my favourite contemporary publication, and I know the editor’s name is Max (Barnett). Quickly checking an issue, I discovered James Ross is the sub-editor. So, my favourite photography publication had just purchased a zine from me out the blue, which is most likely driven from my Instagram (where I promote my work, along with Tumblr and Facebook). It was quite odd to consider that you never really know who’s looking at your work; in which case, your online presence should be the ideal of how you want to be presented. Not to quote American Beauty’s Buddy Kane, but “in order to be successful one must project an image of success at all times”. Right?
Appraisal
Appraisal
‘Its Grim Up North’
Initially in my research I started to look into alternative ways of living, often people find themselves house sharing and living in different ways to the conventional house, this is usually down to financial problems and a lack of support from the government. Whilst researching on the Guardian - the client for the brief - I was looking into the housing crisis and austerity measures and came across an alternative way of living which is far more affordable than the normal housing, but much more secure than renting a property. I started to research housing co-ops and got in touch with a woman who has lived in one for quite some time, I managed to build up some trust with her after meeting up and then sent of a proposal of my idea, unfortunately communications seemed to fizzle out - this meant I needed to come up with a new brief for myself.
Whilst out for a friends birth i found myself on ‘The Yorkshire Flyboat’; an events boat that cater for parties, i took some photos on my iPhone as i found it was an interesting was of using the canals, a business I would've never thought existed. After reviewing my images I started to collate some information on the canals and found that they were struggling with the upkeep and government funding had drastically been cut to the point in which the British waterways had to be rebranded as a charity to pull in more funding. Once I had some information I proceeded to contact the owner of the Flyboat; prior to me calling (this was the only way of contact on the website) I wrote down some prep notes so I covered all grounds. A successful phone-call, we arranged to meet so i could interview him and find out more information so i could come up with a solid concept. The brattish Canals are a heritage site and were one of the reasons we were such an industrial powerhouse, particularly in the north and I wanted to show the Flyboat’s appropriation of the canals in modern times. I met up with Hugh at the boat and discussed my idea and his way of life in an informal interview, at this point we look through our schedules and can up with some appropriate dates in which I could come and explore the boat whilst photographing. I felt it was appropriate to come up with dates for the 2 weeks the boat was running, this way I could get prepped for each shoot, sourcing the equipment I needed and being at the boat in time to set off up the canal. I was reading up on the guardian and came across a quote form John Gossage, he says, “I always hated the colours when you shoot on film stock, as they are decided by the manufacturers. When I shoot colour nowadays, I use digital equipment so I can adjust the colours to the way I see them.” prior to seeing this quote I was planing on using film but I really understood what he was saying in this quote and believe that using digital would be completely appropriate for this brief, i wanted the images to have a fully contemporary and clean look in order to reflect the genre I would be working in, but also to show this new way of using the Canals. For the three dates I had chosen to photograph on a I made shoot plans. However only after each shoot did I create the next plan because it is a documentary piece its naturally explorative and for each shoot I did I became more informed and new what I was looking for. Due to me research into the issues of the canals and lack of money, I new to be looking signs of disrepair but my images were also about the boat and crew so I needed to be exploring how they interacted with the canals. Like i said previously, my choice was to work in digital. I chose a canon 5d and l series lenses in order to get the best image quality I possibly could. Due to my planning I was also aware that I would be photographing at night, this meant I had to use artificial lighting. The Metz flash seemed the most appropriate due to its size to power ratio; its powerful enough but not too bulky as I would need to be free to move around a lot. During this time I was researching the sort of imagery found in he Guardian weekend magazine, to find out if my images were appropriate for the client and viewers. The weekend magazine is factual and using images of the documentary genre, and I feel my images were also of that genre, therefore appropriate for my client. Once I had a range of images to work from I first shortlisted down to 18 which I felt worked well individually but also as as series, using Camera Raw and photoshop for post production I made small changes to the image, often things like minor colour balance but due to my choice of equipment the images were already very high quality. These images then were Printed on to a satin paper produced at the same size for continuity in the series, I wanted the boarder to be simple and nondescript in order to avoid taking visual quality away from the image, again this was something I learnt in my research on Gossage’s series ‘Pomodori a Grapolo’. Finally my layout, I cut out physical contacts of my images and put them in pairs groups or singles in order to see how they would work together, I then cut out a few of my images in order to make the brief requirement of 12-15 images. I proceeded to do experiments by hand to then apply to InDesign later on. Finally placing my images into their chosen sizes and layout. My layout was influence from the guardian weekend magazine layout thats I had primarily researched; often formal and images reproduced to the same sizing for series continuity. I have presented my final magazine layout on Issue to give see professionally what the final layouts would look like.
Layout Rationale
Front cover.
I chose this image of he cup of tea firstly due to the composition, i felt it would work really well with the copy a and header due to the amount of negative space. It was also chosen due to the content, like i said in a previous post, its a cliché that tea is linked with the North and hard working so i wanted to exploit this Cliché, this also makes it an easy image for the viewer to read, easing them into my series.
1st DPS
For this double page I have just put one image to go with the copy. This image is a context image and even has readable information, the text in the image gives an incite to the location (North of England) and also give context as to what the series will be about. Its full bleed so the viewer can easily read the type.
2nd DPS
This Spread has 4 images running across the page along the bottom. I bundled these images together firstly because their content all links, these are all images of either inside the boat, where the events happen or are linked with the events. The colour palette was another reason for me linking this images, i feel the it flows.
On page the left hand page, you see the chairs and table along with the image of the fire extinguisher, these images are to show features of the boat, giving context to the viewer, their colour palettes work really well together with very warm yellows and reds.
On the right hand page, there till along with the kegs outside are a reference to the boat making money through selling, this just helps show the business aspect.
3rd DPS
Full bleed image on the left gives more context of the boat and how it is run, this images works well alone and is self explanatory so the full bleed choice was intended for the viewer to be able to glance and moved on without getting close and really reviewing the Image
The right hand side has an image if the lock showing 2 perspectives, i chose to have these together as there is a visual link of the lock arm in both, which visually links the 2 together.
4th DPS
Again a full bleed on the left, this is to link to the previous page, so the viewer still views the series as a whole entity. The image was chosen at that size to also emphasise something which is clearly a problem. The 2 smaller images on the right are to go along with the full bleed image. they show one of the crew clearing the engine of rubbish, the images are produces smaller than the left to show a more intimate and detailed version of a problem in the canals that the crew have to deal with daily.
5th DPS
All there images on this page where chosen to go with one another due to their colour palette of greens, whites and blues. this will hopefully be aesthetically pleasing to the viewer but will also add and element of fluidity and formality. It shows the images are thoughtful and not just clunked together.
The images on the left of the page worked together as they show regulations and bureaucracy which wouldn't be something most would link with canal boats, this helps show the niche business being run here.
The image on the right was chosen as my final image as it was an image taken as the boat was in dock after a days work, metaphorically ending the series.
Issuu
You can find my Final Layout over on Issuu
http://issuu.com/danielsproul/docs/gaurdian_weekend_magazine_pdf
Indesign Layout
InDesign Process
1 front cover, 10 pages (5 double page spread) this means I need 11 pages all together. In industry you would normally have 12, (the 12th being the back page) but for the sake of this mock-up I’m not required by the brief to have a back page.
The dimesnions of the magazine from what I gathered are as follows. Full page: W 246mm x H 292mm Double page ; W 492mm x H292 The specified bleed is 5mm all around I have imput these measurements into indesign to get the correct size for my digital version of the magazine.
Info on measurements found at : http://specle.net/uk/guardian-news-media/guardian-weekend-magazine
I also measured by hand one of my copies of the magazine just to be 100% sure and accurate.
Front Cover For the front cover I have created a placement for the cover image, allowing some bleed of the image over the edges, this is industry standard to leave bleed for printing purposes and the client (The Guardian Weekend magazine would expect this). Placing the fornt cover as central as possible to get the cup of tea in the centre, this is done to emphasise what the viewer should be looking at and also to empower the composition of the image. This also will also make adding the headers and copy much easier due to the negative space within the image.
Page 1-2 (DPS 1)
For the first double page spread, I have placed my chose image, full bleed on page 2 allowing for a little bleed and making sure the compositing of the image; contained within the constraint’s of the magazine page size still encompassed all of the elements of the mage I wish for the viewer to see. The composition of the image is positioned to work with the text of the article .
Pages 2-4 (DPS 2)
Using 4 images to work together. The spacing between each image must be the same, this gives them an equality on the page that hleps link them together, its also just good graphic design practice and works with the guardian layout style. I have used the gap tool to measure the distances, the gap between image 1 and 2 on the left hand sie is 25 and the same goes for the 2 images on the right hand page. The two images that sit flush to the gutter are slightly further apart (25.4) this is to account for the loss of space you would loose from the centre of the page.
Pages 5-6 (DPS 3)
Placing another full bleed image on 5 and then the 2 on page 6 to the bottom. In order to get the 2 smaller images the same size as the pervious pages smaller images, I just copied their layout and measurements over, this keeps the layout flowing and coherent.
Pages 7-8 (DPS 4)
Again page 7 is a full bleed image but for 8 I have used the same size but a slightly different position on the page, I have centred them just so the pages didn't mimc each other too much. I feel this would allow the reader to skim past due to boredom. I hope by altering the layout slightly will keep the viewer interested.
Pages 9-10 (DPS 5)
For page 9 I have again reproduced my images to the same size, but placed them along the top of the page. Page 10 has a smaller image on its own which is a signifier of the end of the article and images. I aligned the images across the DPS for formality to fit in with the guardians formal layout.
