I’ve combined these two weeks as they felt like a whirlwind and by the final presentation of my work I was a flustered mess :-/ with a table top of printed images, cardboard viewfinders, test layouts for a print publication and drafts of my writing. I’m using this post to collate what I’ve done, what felt too unwieldily, too disconnected in week 3 to present coherently!
Let’s start with week 2 slides, these include the drafts of my critical analyses and a small collection of the images I’d been making.
And on to week 3, the final presentation of this brief. This week I continued reading and made some further changes to final reference list, which is presented in my written response, the final bibliography includes all the readings and references that I looked at whilst whittling down to the final twelve.
Editing image sequences, finding meaning
I started making layouts by paste up, which was good or getting a quick material sense of things.
Then I tried printing out layouts based on those in B&W, which look quite effective, similar to the 100pp publication, though I find these images a strange translation of Dolphin Close with either a voyeuristic or decorative/psychedelic look I don’t think they necessarily help to make visible what happens in process of making them, particularly as putting them down in print prioritises them as visuals, but I’d rather they spoke more of process or were somehow more active.
I’ve worked on a few test spreads combining text from the film transcript and images I’ve taken through filters and some clean screenshots. Wondering what other text could be good to bring in, thinking of the botanical descriptions used alongside my images in the Positions through iterating publication.
Viewers taking part, workshop it?
Printouts of particular stills and card viewfinders, how would this need to be presented and what sorts of prompts or activities would be part of a workshop or is it better as exhibit of images with viewing tools? Why give viewing tools rather than prescribed framing?
I’ve printed out a selection of stills on A4 sheets and provided card and leaf viewfinders in our tutorial. I’m not convinced that this kind of watching is very valid with printed stills but do think there is something in opening this up to be more about the experience of the filters intervening in watching or looking. I will need to consider how to produce a situation in which this can happen.
Making images, tools and processes
After my final presentation it was clear I needed to take better stock of where my work was. So I got some large sheets of sugar paper and drew out my processes and tools.
I also arranged sequences of images I’d made into reference posters. These are working documents, scrappy, but useful for visualising what I’ve got.
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