Concepts And Planning: FMP

(This is a repost from a different section of my blog posted last month)

Following a test shoot 2 weeks ago and a tutorial with Diane Bielik, we were reminded that as photographers we are visual people. There is absolutely nothing wrong with planning shoots, refining concepts and evaluation with words but we need to plan visually.

How do you that?

By putting together a series of test images and printing them out! Images behave very differently on the computer screen than on Instagram, your online portfolio or a studio wall. Think about your end result. If your exhibition will be on a wall or in a gallery, it is pointless to have your collection on a folder on your computer and scramble to curate your work on a wall/physical space a week before the exhibition.I was advised to put together a working edit of prints (and negatives) I had from my previous exhibition that has been extended and see how they interact. I will admit, I was very hesitant to do it because it would remind me of how much more work I have to do and improve. I got over myself and did it and the change happened instantly!

Notice how this was arranged, purely on what visually looked good together. I walked away from the wall space, came back 5 minutes later, did some rearranging and then this happened…

Notice how with minimal rearranging, the set of images become more balanced and already the ‘pairs’ or ‘triplets’ that should move together are being formed. I went on to refine this set of images, reject two and note down what the collection need more of but what I learnt was so powerful I had to share. We as photographers are visual people, do not be afraid to do this type of proofing with your series work, the results will change your practice forever.

My Personal Photography Brief

See my previous post for an explanation.

  1. I am documenting the regeneration happening in London; it is a current issue; also, an extension of my project from last year (The Lines that Divide)
  2. This will be shot in London – the specific area will be selected as I continue shooting, London is a big place!
  3. Previously, I was using a Nikon Fm10 and Canon AE1. I’ve been challenged this year to see if I could transition my practice digitally to save money. I will decide on using a Canon DSLR very soon but will still try to capture on film as well.
  4. Key influences (I have to select a total of 10) I am currently on 2 – see my previous post Idea Moodboard . Attention to detail RE composition, a deeper meaning in photographs, photographing a popular topic in a unique way.
  5. Creating a moody atmosphere, strong highlights and shadows (heavy contrasts). This will be achieved in the editing – push processing was implemented in the darkroom. This aesthetic will now have to be achieved in the digital darkroom.
  6. None unfortunately! I work with natural light, no flash or additional lighting.
  7. (See image below) as an example from my previous project (which influenced this one) for the type of aesthetic I wish to achieve. Quite moody photographs, coming from a concerned approach so there will not be image/subject objectivity.
  8. Documentary photography – this will cross over into architecture, portraits, city landscape and maybe still life. The images have to have the same look and feel. Nowadays people are less strict about a series containing both colour and black and white images. If this affects the visual authenticity then it this method will be abandoned for a slightly more traditional approach.
  9. 10 – 12 images (out of 40-50) from this work will feature in my final exhibition and it may receive press coverage. Newspapers, journalists and other people in the art world will view it. All the pictures from this series will be published in a book. I will make money from it by making a limited edition and keeping numbers very small. This will ultimately impact the way the series is edited and print/publishing decisions.
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Gabrielle Guy, A shadow, Lines That Divide, 2016