Research into forensic photography, publishing and film making

As I am currently unsure what I want to commit to career wise, I thought researching professions that interest me would help clarify.

Forensic Photography

I knew that I didn't want to go into commercial work, as its something I'm not interested in, but I wanted to something that is helpful and beneficial to society in some way. Therefore, I was drawn to forensic photography.

Forensic photographers produce a permanent visual record of accidents and crime scenes for use as evidence in court. The photographs they produce are used for measurement or analysis, capturing tyre marks, fingerprints, bullet holes etc.

Because it is an integral part of criminal investigation procedures- they must follow a standard methodology and produce images that are technically competent and are devoid of any artistic interpretation, in order to not sway the jury when images are presented in court.

In order to become a forensic photographer, I would need to start as a Crime Scene Investigator (CSI) or Scene of Crime Officer (SOCO) before developing my skills in forensic imaging.

It isn't necessary to be familiar with photography in order to work as a CSI, but having a photographic qualification or any experience in photography will help enhance my chances of being selected.

Also, I can contact the local police station to see if there are any vacancies; if granted an interview they will look at my decision making skills and ability to accurately evidence my actions, as well as think how to answer questions like why I want to work as a forensic photographer and how would I cope with the gorier aspects of work?

Publishing 

I have enjoyed creating my dummy books this year and collaborating with other creative minds, therefore I considered going into publishing.

Since I knew that he has worked at Pupil Sphere (publishing his and other people's photography and exhibiting their work in galleries), I asked Tom Duffield during my alumni meeting if there was any way of being able to work there: he said to interview a fellow photographer in my class and present it as a feature, to show my writing skills, and to exhibit my portfolio of photographs, to see if my skills are acceptable to work at Pupil Sphere.

Because of this, I have insight for this job if it is something I want to pursue.

Film making

I've always been creative when it comes with creating characters or stories, and, having photographic experience, I know how to compose a shot, like rule of thirds, wide shots, flat angles etc., and sequencing scenes together to form a narrative and illicit an emotion from the viewer. Therefore, I can transfer these skills if I decide to go into film making.

However, there are different courses in the film making branch, like screenwriting, cinematography, editor etc., which all sound very interesting when thinking about the larger picture of film making.

Looking online, there are various film making university courses that are different and have their own entry requirements, or I could go into apprenticeships; I would be able to earn and learn by working in the film industry at the same time as going to college, which is great if I want to start working in this industry soon.

Another alternative is to go straight to working, by creating films by myself or with a group of people and slowly expand, by networking with people working in this industry, presenting my work off at competitions and develop my skills through experience.

Through research, I now have the knowledge as to what to expect if I want to pursue these careers; however at the moment- I will take a year out and think about what is best for me, as I wouldn't want to go down a path without believing in it wholeheartedly.

Bibliography:

• http://creativeskillset.org/job_roles/380_forensic_photographer
• https://forensicoutreach.com/library/taking-the-right-shots-4-simple-steps-to-becoming-a-forensic-photographer/
• http://creativeskillset.org/creative_industries/film/ways_into_the_industry
• https://www.theguardian.com/careers/careers-blog/expert-advice-how-get-film-tv-screenwriting-careers

Deadline meeting and alumni meeting with Sam Welburn and Tom Duffield

In the morning we were given due dates for when everything had to be handed in, and what we need to do in the upcoming Easter break. An example being that we're able to have and look at our notes for our final presentation, as well as recommending to double space the text on our cards; this will make it easier to follow and allow us not to rush. Speaking of the presentation, they stated that it should include a bit from Research and Development, Professional Practice and our Major Project, in addition that it should be about fifteen to twenty minutes.

We were also told what we need to include in our final CRSes: 2000 words for our Major Project CRS (with a 10% word count leeway for under and over) and 1000 words for the Professional Practice CRS.

After that, I had alumni meetings with Sam Welburn and Tom Duffield: Sam recommended to use a different cover, in which Spink and Thackray have a range to choose from, and to possibly print the title through instaprint, and press it on any cover I choose.

When I was with Tom he declared that using tracing paper might be an interesting alternative to acetate for the abstract images, which I previously considered. Furthermore, he said to get rid of any feature of the title Dario Not Dario coming from a text book, so the viewer is surprised when they stumble upon the actual image in the book. On the topic of the title, he mentioned that there is a sense of conflict, in which there is a happy and sad side to myself, linking in with the project's theme.

Today has been a very informative day, since I now know what I need to do to meet the deadlines, in order to do my best across all modules.

Eighth dummy book

In response to my meeting with Richard Higginbottom and Stella- I have considered the layout and sequences of the photographs and made the dummy book at university, using recycled paper for the main images, and acetate for the conceptual photographs.

I chose to go back to my original title of "Dario Not Dario" since I think it best summarises the project; however, I used the image the title originated from and focused on that section, creating an innocent look that draws the viewer in, by thinking what the title means.

Then, in the first section, I've placed the archive and object images high on the page, illustrating the idealised notion of memory; as the sequence goes along, the images get smaller and lower. This signifies coming back to reality, until the full-bleed image of the floor acts as a harsh realisation.

After that- the images are low on the page, to reflect on the harsh reality of my life currently, as well as depicting that the memories that come with the archive images aren't as picturesque as I remember.

Also, the use of conceptual photographs represent the haziness and fragility of memory, and that we can sometimes make new memories if we convince ourselves long enough. They are scattered throughout the book to represent my feeling of displacement, memories of the past and what will happen in the future. And by using acetate, it creates an ephemeral nature to the images as well as a space within a space, which links in with the feeling of displacement (in response to Stella's feedback).

I've included text to help contextualise the book, by writing a personal response that should hopefully coincide with the project. Within it I have deliberately not capitalised 'i', so as to emphasise the loneliness and displacement I feel. Therefore I have spaced 'i' and 'me' further away from the rest of the sentences. And I chose this font because I thought its simple look complemented the quiet nature of the project.

Since it would have been difficult to bind the book using both recycled paper and acetate through saddle stitching, I had to use a binder. As a result, parts of images and text are hidden due to the bind; this is important as the text helps add some context to the book, and would incite the viewer to look through the book again.

Nonetheless- I am very happy with the book as the recycled paper has a nice texture that illustrates a homemade and rough aesthetic, and the acetate images work well in the manner I am using them. The various picture sizes work well to demonstrate the disorganised nature of displacement, in which you can tell it has all been considered.

Going forward, if I use the binder again, I will leave space between the bind and the images/text, so that it is all visible.

Final Interim show and meeting with Garry Clarkson

In our interim show I chose the images I thought best represented the project at this point, and arranged them in a descending order, which reflect being brought down to reality. For the archive and object images, I chose A5 because of its intimacy and it allows the viewer to move in closer to the work. Also, for the paper type I chose Kodak watercolour paper, because I wanted to experiment with paper type. Meanwhile, for the conceptual image, I chose an A4 size gloss paper because it coincides with the aesthetic.

To start our day we went around in groups and, answering questions that were given to us, we gave feedback to our respective group's photographs, in order to help progress their work and develop it for the final exhibition.

The feedback I was given was promising, since it reinforced everything I've done, which means I'm on the right track. An example being that the middle image is reminiscent of a mind blank, which is what I was going for.

After that- I had a meeting with Garry Clarkson by my board, who hasn't seen my work since my first interim show last term, and gave me feedback: he liked the first two images, but felt the last picture was too obvious, and would've liked it if I used an image I photographed that was suggestive. He also said next time to include no more than five images for my exhibition, with perhaps one main image surrounded by other pictures; this will lead the viewer to the photobook, which is the crux of the project.

Overall today was very helpful in reinforcing the work I am doing so far, what I need to do to perfect the project and generate ideas for the final exhibition.

Meeting with Stella

For my latest meeting with Stella, I showed her my last dummy books, as well as a digital copy of my eighth dummy book; she stated that the images work nicely together, but I should consider full gloss for the full spread conceptual images, as it goes well with the aesthetic.

For the grey abstract images in my eighth dummy book, due to how I've laid them out, she said it would interesting to print them separately on tracing paper or acetate, and overlay them on the images; this will create a space within a space, which also connects with the displacement theme and creates agitation in the work.

Furthermore- we discussed what type of book would work well for this project (e.g. hardcover, softcover etc.), and we both agreed that a zine would be interesting due to its flimsy and easily breakable nature, linking in with the idea of displacement and memory.

Finally, she gave me bookbinders and book websites to see how other artists have laid their work out, and look at items that can help with making books. She also said to play around with spacing in my text, in particular the word 'I'; when I presented the book to her I forgot to capitalise I in the text, but she said that if I left it as it is and spaced it out in the sentence, it would reflect the loneliness and displacement I feel.

Overall it was really helpful to receive feedback and collaborate on how to improve the book; I am looking forward to using the feedback that's been given today and develop my latest dummy book even further.

Meeting with Richard Higginbottom

I met up with Richard Higginbottom to discuss the latest dummy books, and in turn we collaborated on sequencing and the layout of work, to coincide with the idea of displacement and finding objects in the attic. In addition we used inspiration from Paul Graham's The Whiteness of the Whale, as well as his book called Does Yellow Run Forever?, which was recommended from my last meeting with Rich and Yan; the layouts in these books have a consistency and consideration that keeps the viewer guessing what will follow on.

Richard recommended to use the grey conceptual images as motifs in the work, to represent the haziness of memory or show personal growth in the series.

He also said to play with layout and sizing of images so it could be messy, coinciding with the project's theme of displacement; paper type was another recommendation to experiment with, like with the "Dario Not Dario" image: he said to perhaps print it separately on a different coloured tracing paper, and have it slide in amongst the images. This will allow the reader to interact with the book, as well as making it distinct between the other images.

Today has really inspired me to experiment and consider different layouts and sequences, developing the book to the finished product.

Does Yellow Run Forever? and When I was Six

From the recommendation of Rich and Yan, I bought Does Yellow Run Forever? by Paul Graham and When I Was Six by Phillip Toledano.

After being initially unsure of what Does Yellow Run Forever? was about, I personally think it explores themes of dreams and aspirations, which is exemplified by the rainbow images; the sleeping pictures symbolise the middle ground between dreaming and reality, and the pawn shop images represent the harsh reality of having to achieve monetary gains through any means.

All of this is demonstrated in its layout of the images: the rainbow images are in the top half of the page, the dreamer photos are in the middle edge of the page, and the pawn shop pictures are in the lower section.

This has really opened my eyes to use interesting layouts that inform the work, rather than using standard layouts.

When looking through When I Was Six- I noticed that the layout and format of the images coincide with their subject matter: the objects found in the box are slightly cut off at the edge, in order to highlight the differences between them and his conceptual imagery that he created (which illustrates his idealised world of trying to escape from his reality when he was younger).

Of note is his use of text, which is littered throughout the book: it varies from short sentences to concise paragraphs that contextualise his project, by explaining how he felt at the time of his sisters death and how this project has allowed him to come to terms with it.

However I think sometimes it can be a bit too obvious. For instance, after explaining the conceptual images, he states that he found a box containing memorabilia belonging to his sister, and he is literally and metaphorically unboxing the contents and himself, as well as how the imagined landscapes saved him as a child; whilst this is good information, it feels like it isn't needed as we can tell what he is doing with the images, and because he is reiterating himself.

Left image: explains conceptual images; right image: contextualises project but it perhaps reiterates what the images successfully show

Overall, these books, whilst different subject wise, have really opened my eyes to think about various layouts and how incorporating text brings all the images together to inform the project.

Group meeting with Rich and Yan Preston

When I showed both of my current dummy books to Rich and Yan, they said that the sequence is there, but I now need to focus more on the aesthetic and production of the book, i.e. whether the book will be cloth or leather bound, experiment with different paper types, binding and formats, to see which would be appropriate for this project and what would make it stand out (since Yan mentioned there are a lot of photobooks of this personal nature on the market).

Furthermore, to see how other practitioners have approached their photobooks, they recommended Paul Graham's Does Yellow Run Forever?, because, as mentioned by Yan, his and my images aren't anything special, but Graham's layout of the work transform the project into something unique. They also wanted me to look at Phillip Toledano's When I Was Six again, in particular his use of text and how just a small amount of it clears the narrative and elevates the project as a whole.

Therefore they stated that I should include text in the book, so as to clear the narrative of the book and ponder upon what the conceptual images do to the book; they also wanted the text to relate to the archive and current imagery, and how they represent the past, present and future

Though I felt some of the comments from Yan directed towards my work was a bit disheartening, I know she was saying it in order to push my work forward, and the comments I have received has given me a lot to consider, which in the end will hopefully turn my work into something I wouldn't have thought possible.

Finalised sixth and seventh dummy books

As shown here I went to university to print my images double sided, so as to be reminiscent of the final piece. I then stapled the book together along the spine, in order to make it secure when I bound it with a book binder; I chose white this time, compared to my previous dummy book which featured a black book binder, to see what it looks as a complete piece.

For book seven I decided to make it at home, as it'd be cheaper and easier for myself; I started by printing the images, cutting them down to A5 size, bluetacking some of the images together that were to be double sided, hole punching them to their correct layout and then binding them together with string.

It was really fun to make the book and see the differences between them. Out of them both, I prefer book seven because the sequence is more considered by using the conceptual imagery as transitions in the flow of the narrative, and the smaller size make it more intimate than an A4 book.