Case study - Note to self, Connor Franta

The product I am conducting research under is a bio/autobiography titled Note to Self by Connor Franta consisting of artistic photographs in parallel to notations the artist had, this including observations, personal thoughts, emotions and an overall "scrapbook" of the artists mind at certain time periods. The book has two meanings, one personal for the artist - the fact that he wanted to document his emotions into a widely accessible piece to an audience and the other for that audience - Franta being an online influencer, starting of being a YouTuber/
vlogger, photographer and developing to a  clothing creator, his audience have followed and grown over his career, developing an attachment or so called 'fan base.' Franta's previous memoir titled 'A Work in Progress' being successful both to the specific audience and outside world, becoming New York Times Bestseller, he decided to create another piece, this being reasoning behind the creation of the product and indicating his audience socially contextual wise. The primary audience for the product therefore being the 'fan base' and secondary being autobiography readers / possible photographers, authors, etc. Franta embarked on the idea that his young age was different to the typical age of creating a memoir, though this possibly being the reason the book did so well. The overall presumed target audience being teenagers, but also young adults, as the book, Note to Self, explores deeper themes, this including depression, love and heartbreak, travelling and new experiences, anxiety, etc. The book offers advice at ends of poetry and said experiences, catering and catching the audience's attention to the fullest. Franta embarks on things he has been through over the course of a year, photographs being ones taken on his journeys and day to day life, and poems recorded in the moment. The poems include times of days and titles, these being notes Franta took in his iPhone at particular moments of high emotion, this being whats makes the wording so real and impactful - quotations and language being equally as important to the photographs within my proposed book to represent my subject context, immigration. The overall message of the book possibly being hope for those going through similar emotional situations, or inspiration. The response from the book after its distribution included a wide interaction between Tumblr and We Heart It users and a demographic of photographers. As those websites are seen as uploading aesthetically pleasing images and or videos, the composition and photographing within the book seemed perfect and fit the aesthetic vibe.

The layout of the book is aesthetic and consists of various patterns and pastel colours. The cover has been constructed with dark pink leaves and a rose, with faded shadow effects placed perfectly in the square foreground. The writing and font text is simple and lowercase in reflective series pink. Besides the writing, the background and hard surface of the book is a soft hue pink, the cover as a whole explores many shades of pink with subtle white faded areas. The creative intention behind these colours could be to provide a calm, soft mood (provided by the pastel.) The fonts and text colours are not strikingly bold, further contributing to this idea. Initially viewing, I feel the front cover is creatively intriguing, an overload of pink by a male artist further breaking stereotypes. The idea of using design to have an impact being something I have taken note of - within my book, I will experiment with placements / colours of quotes from / representing the Windrush generation. The text within the book includes bold headlines and fainted time text, indicating when Franta wrote the note. My favourite composition /page within the book being a page where the quote links directly to the photograph, but in a hidden manner - The phrase being "sometimes the quiet ones

are yelling on the inside" with the photograph on the previous page being a hand reaching upto the sky. The page in which the phrase is visible, the photograph is see through. This adds depth not only through written words but a photograph accompanying. Though this may technically / physically be difficult, I will consider the manner of portraying a message this deeply, and being especially creative when planning the pages.
Language wise, the whole book is from the perspective of Connor, metaphors and similes are used in the poetic language, for example, "our love was like a wildfire... but eventually every flame must go out" As the book is essentially 'notes' to the artist himself. In paralell to my project, where there will be notes / quotations from others, though these may be in first person with added quotation marks, e.g "I fought for my life."

The product was made through the process of large-scale printing, distributing initially in the USA then to further areas such as the UK, Australia, Asia. Marketing and getting the book out there included the creation of a trailer (link) as an introduction along with book tours within the USA,UK and Australia. Due to the online audience Franta has consisting of audiences around the world, there was an initial start point to where buyers of the book would start from and spread further through recommendations, etc. The company who published the book are Keywords press, commonly known for publishing social influences pieces of work. The company is big socially wise under the audience of what young teens and adults would buy, however in the wider industry of publishing books the company are smaller. The reach the company has is therefore revolved around individuals who have platforms on social medias, then developing on these to merch and clothing, websites, books, etc.

Contextual research - Polaroid

Progressing further into the project, due to the circumstance that I am unable to get film developed, I will be focusing on the use of Polaroids. In lead up to this, I have informed myself on the beginning of Polaroid, and where the idea of instant photography became idolised.

The technology used to give the outcome of a Polaroid is an instant camera, consisting of self developing film with chemicals that allow the photograph to develop in a short amount of time. The first form of instant photography was created by Samuel Shlafrock in 1923, using an instant camera and process, in which film and photographic paper would develop under dark lighting then to be processed with chemicals. 

The first instant camera was the 'Land camera' created by Edwin Land, later developed by worldwide company Polaroid in 1948. This was the first form of technology that began instant photography.

COVID-19 - Contingency planning

Due to the current situation of COVID-19 and self isolation, there are certain limitations I have to my project, therefore ways I have planned and aim to overcome these. These are as follows, with future plans to ensure my final project still has the same impact I would like it to for viewing audiences, along with continued research and any further that will occur to inform some new ideas, as stated below, separated into the different components I have organised in lead up to production.

Film photography -
As I will not be able to get film developed due to shop closure or use film acetate within college, I will be using Polaroids and exploring Polaroid photography only, using ISO 800 film I acquire with my own Polaroid camera, in which I will describe within pre production, explaining the effect the camera and film give, along with intentions behind the use in linkage to my subject context - immigration.

Photojournalism / symbolic photography -
I aim to use my garden and home space to take the photographs, including outside nature and objects I use within personal photography and objects within my house, still following the idea of symbolic photography. I also aim to explore some garden photographers within future research, as suggested with mentor Rob, such as Derek Jarman. Much of my previous photography has also been taken within my garden, already providing me with a rough idea of certain areas/ angles of interest.


Technicality - 
Due to no access to the college's equipment / a Nikon camera, I will use a iPhone 11 / iPhone 7, changing the normal video setting to 4K for best quality, as shown below are the difference in settings, and difference they have had on my photography as I have practised - the first image in 720p HD and second in 4K, further taken within my garden. This being for the digital photography aspect.

Distribution -
Box -
Initially, I planned to order a glass / wooden box that would aesthetically be parallel to the other segments of the project in terms of visual pleasure with documentation of found sites /places to buy from, however due to shipping issues and technicality of going outside, I will be using a DIY box, made aesthetic using resources around me, whilst documenting the stage of progression on my blog with photographs / videos. This may include printing photographs onto the box with/ without text, and using skills I acquire from studying Textiles previously, including the use of plastic manipulation, heat transferring or painting, etc.

Book -
Continuing, I still aim to create a book using site Blurb with software Bookwright, considering I can access the software from home. Ensuring there will be minimum issues for the production stage, I have checked shipping updates for the site, in which I am still able to order / get the book produced. If shipping becomes an issue within a few weeks due to constant changes in current environment, I plan to create only a E-book version using the same software, considering this is also an option under Bookwright. I also will ensure that the aimed 18cm x 18cm book will fit into the box, alongside the Polaroids as a physical piece - embedding photographs of this onto my blogger.

- When viewing, the box may be open, Polaroids to one side, book on the other and phone in the middle - for example.

Prints -
With no access to the college printer, one in which prints A0 - A4 at a high GSM, my digital photography will be represented digitally - this being on a phone / iPhone or iPad, represented in a collection which I will be able to access offline in case of any internet issues. I will add this collection to my blogger, along with pre production planning of how many digital photos I aim to showcase finally -  with the other photographs possibly being used within the book, alongside quotes from the Windrush generation - as I may have contact with them through a project called Image17, based in the area in which I attend college, and other quotes through found research. The digital photography will represent the opposite to what the Polaroids represent, this being society now - therefore digital, and how times have changed, in comparison to when immigrants / the Windrush Generation faced  racial discrimination and inequality, and the link between this / when British Subjects changed to British Citizens.

Contextual research - Ansel Adams

Considering a vast amount of my photography will be black and white signifying the Windrush time period and negative connotated emotions, I have researched a significant, notable black and white photographer - being Ansel Adams.
Ansel Adams was a monochrome, western landscape photographer based in America. His work under the 19th century explored the landscape and wilderness side of america in relation to his personal interest in nature since his young age. Exploring a creative medium was bound for Adams, considering his passion for other creative mediums such as painting and music. One would say that Adams is influential and notable due to his many practises and the ability to consistently show his thought and view of a subject through perfectly technically adjusting camera settings giving the end desired image he had initially visualised. His knowledge inspiring other photographers, insightfulness provided in his written books.
In terms of my photography, I would like to follow the way in which Adams has exposed and carefully chosen certain shadows and highlights of photos, along with compositions of main subjects, and messages behind this, for example, the whole theme of monochrome and dark imagery with hints of lighter grey or white. This could symbolise how he saw things around him as negative, but with 'light at the end if of a tunnel,' possibly linking to the childhood Adams had after facing an earthquake, great fire and financial family struggle at a young age. The lighter use of colour may have represented the hope and passion he held for creative mediums, yet the blacks being the downside experiences. 

One of his books which I have studied is "the making of 40 photographs" this including information of Adams best work, including technical and aesthetical qualities about each piece. One photograph within the book which is my favourite being "Moon and Half Dome," 1960. The composition of the shadows and placement of the darker mountains in contrast to the lighter ridged landscape creates an interesting, aesthetical end view. I particularly enjoy how no part of the part of the photo stays at one predictable shade and renders through the monochrome stage unevenly. The question I found myself wondering about this photograph being what the main subject is - the moon due to its clarity and not overexposed brightness, and perfect composition timing, or the big sized cliff taking the foreground, dominating the photo in terms of size. The element I enjoyed reading/ researching most was Adams intentions behind the photo, taken in his grown up environment of photographing, Yosemite Valley. His visualisation of continuously going and photographing in the valley based in California, but always having different visualisations of what the photograph will be, though the same area. Considering how fast landscapes change in terms of lighting and ways in which certain trees move, for example. His comment on this photograph, "I have photographed Half Dome innumerable times, but it is never the same Half Dome," "Half Dome is a great mountain with endless variations of lighting... and seasonal characteristics" (Adams, 1983) In terms of historical photography figures, Ansel Adams provides all technical settings he used to capture certain photographs, and explains his reasoning behind them and references other photographers. His evidenced work has acted as guidelines & as inspirations for developing photographers from 19th century onwards. Realising the passion he held behind the locations chosen has made me realise the importance location will have for my final photographs and possibly how these places hold significant personal meanings. I also intend to take inspiration from his composition techniques and consideration, - "you don't take a photo, you make it" (Adams, 1960) 

Contextual research - Metro imaging

Taking in information from my meeting with my mentor Scott, I am beginning to research film photography, using negatives, Polaroids, etc. I aim to use film photography within my project to replicate truth in emotions of the Windrush Generation and Scandal, as I feel the dark, vignette effect adds aesthetic depth to the feelings I wish to replicate, - (these being sad related, linking to the struggle and racial discrimination many from the generation faced) an example being a Polaroid of broken glass on the floor. A darker, vignette effect would show the photograph in a completely different manner than if taken digitally in vivid.

Metro Imaging - Metro imaging are a professional photographic specialist company associated with the Barbican and V&A, ranging from printing, framing, retouching, scanning and film processing. Their company has services that indicate what can be done with film processing, ones in which I have seen / feel are relevant to my project are the following -


Giclee printing - A digital, fine art printing process combining pigment based inks with high quality archival paper (acid free paper) to achieve an inkjet print of high quality. Commonly used by artists due to the high result pigment of colour.

C-type print - A photographic print on a 'light-sensitive' paper. The photograph is exposed in a different manner to darkroom techniques using digital technology, created by exposing the paper to lasers or LED's rather than a traditional bulb in a darkroom. The paper is then processed within a photographic developer and bleach fixed, then washed to remove all processed chemicals - following the same process as a darkroom (only for the second half of the process)

Duratran print - Translucent base film that allows light to diffuse through an image. Processing done within LED lighting in a light box.

Film processing - Metro imaging are a company where you can get film processed, using 'dip and dunk' processes. Photo processing for transparency (E6) means colour reversal, and negative (C41) means coloured films, in which are formed of dye. Prints are developed from 6x4 or 7x5 frames.

Reflection - week 2

Within the week, I have spoken to my mentor Scott, asking questions about the use of film photography and overall explaining my idea. From the meeting, I aim to look into Metro Imaging, a professional printing company, and Magnum, a photography company that has supported many famous photographers in the past, and have archives and information of many of their works. Considering my idea will be around the Windrush Generation, Scott has also provided me with a contact who is in touch with the Windrush generation, called Image17, in linkage to a photography project some students within the department were apart of, this meaning I can get in touch with said contact and ask whether they require help with their organisation and programme, and whether I could photograph those from the actual Windrush generation.

Contextual research - UK immigration & Windrush Generation

In terms of subject context  and theme in which I have decided to focus on within my project, I aim exploring the Windrush Scandal and Windrush Generation, and further immigration into the UK. Researching into these subjects using the internet and library resources, I have discovered the Convention Relating to the Status of Refugees 1951 - a United Nations Treaty defining what a refugee is and what human rights they have. I feel this Treaty is relevant, considering it defines the basic, legal human rights a refugee has, playing an extremely important role within immigration history. The treaty further separates the difference between refugees and war criminals, those that disobey legislation's made for war and violate other individuals within society, and includes the history of what countries agreed and which didn't with names of politicians.

Some examples within the 1951 Treaty include:

- Freedom of Movement
- Travel Documentation
- Self Employment / Wage Earning Employment
- Housing
- Personal Status
- Public Education
- Labour Legislation

Refugee Convention 1951 Treaty -
https://documents.law.yale.edu/sites/default/files/RefugeeConvention1951FullText_0.pdf

Windrush Generation -
Beginning in 1948 after the war, the Windrush Generation followed Caribbean individuals who came to Britain post-war in aim to repair Britain, acquiring the many jobs that were available for repairment. Considering the Caribbean was still owned by the British government, Britain had the power to encourage individuals to come over to work. 'The Empire Windrush,' a famous boat, travelled thousands of miles to arrive at Tilbury Docks where the Caribbeans were departing to start their new lives. On arrival, many experienced vast amounts of racial discrimination, and it was highly difficult for the generation to get jobs, considering most white, British companies stated that they did not want ethnic people to work within their firms. As discrimination, inequality and bullying got worse from parents' work places to bullying in children's schools, many riots occurred with racial attacks. 

British Nationality Act 1948 - Each country part of Commonwealth would legislate for its own citizenship, therefore having an independent status rather than one shared under all Commonwealth countries. This provided independence to British individuals in terms of status, first discussed in 1946 within Canadian parliament,and agreed in Commonwealth conference in 1947. This links to the idea of nationalism:

Nationalism - The idea that a country would succeed by itself, considering its aims and goals would be more beneficial by acting independently rather than collectively with other states. Hence the name of nationalism, the country would have more national goals over international goals.

British Subject - Terminology used to describe British nationals before the British Nationality Act, those who had been born under British owned land, but were Commonwealth citizens.

In terms of my project, I feel that the exploration and representation of this at is highly important, considering it's one of the first Acts that legally defines a British Citizen, in linkage to the acts acceptance and societies response to immigrants arrival off The Empire Windrush - the parallel between those both is one I aim to explore photographically, representing the emotions: independence, ignorance, ethnic anger but British happiness, etc.

Windrush Scandal -
The Windrush Scandal is one of the most recent British, racial, political scandals occurring in 2018, following citizens of the Windrush Generation and their children, who had been accused of rights to live within the UK due to immigration law change in 2012. 83 cases were wrongly deported by the Home Office, being wrongfully denied of their rights, causing them to lose places of living and jobs. After reviewing upto 11,800 cases. Home Secretary and Theresa May, prime minister of the time, had apologised for wrongfully removing individuals, and helped anyone who had left the UK to return.


Bibliography -
Wiki, 2020 https://en.wikipedia.org/wiki/Convention_Relating_to_the_Status_of_Refugees [2020]

Gentleman, Amelia (2019) Chased into self deportation, the most disturbing Windrush case so far https://www.theguardian.com/uk-news/2019/sep/14/scale-misery-devastating-inside-story-reporting-windrush-scandal [2020]

What is the Windrush Generation? https://www.bbc.co.uk/newsround/43793769 [2020]

Contextual research - Don McCullin

Don McCullin -

Historically, the change from painters to photographers to document the truth happened within the 1850's - therefore the beginning of war photography. War photography plays a huge role in the historical development of photojournalism, hence my research within the specialist study on well known British photographer Don McCullin. I had explored the idea that there was/ is a photographic role required for the documentation of war, showing how photography may be more of a real reflection than another medium, in terms of documenting the truth of a scene. I had used information on the photographer from Matters, Military (2011) Don McCullin Biography, https://www.military-history.org/articles/don-mccullin-biography.htm [2020] 
The source explores the history of the photographer, and his importance within the war time period. I found it using the web, and noticed further points made about the photographer such as 'Took huge risks to take his photographs' and 'Bears a heavy burden of doubt and guilt'  (Military Matters, 2011) in which signify how passionate McCullin was about his work hence his accomplishments within the photographic medium. His ambition within the work is one in which I would like to replicate, representing not only the grittiness of subject within the photograph, but also representing how it affects the photographer / myself capturing.

A photograph used within my specialist study in which replicated with me:

Contextual research - Nan Goldin

Nan Goldin - 

Within my specialist study, I have explored how well photojournalism has helped construct the truth over time. To help explore this, I have researched significant photojournalists, to which I have found Nan Goldin. Information on the photographer has been gathered from websites, in which Goldin's photography has been described as "celebrated and controversial" (Abrams, 2016) The source I have used - Abrams, Loney (2016) 'How Nan Goldin's Snapshots of Sex, Drugs, and Death Redifened Photography' https://www.artspace.com/magazine/art_101/close_look/how-nan-goldins-snapshots-of-sex-drugs-and-death-redefined-photography-54026 [2020] explains how Goldin's photography has broken through for the time period she photographed in, and how she had exposed the truth of subject manners that were not so widely spoken about.
I found the source by researching on art websites and searching the photographer's name, this photographer also discussed with mentor Vanessa. She, as a photographer, has also had a significant role within LGBT history, documenting their lifestyles for everyday audiences, her impact of this making her a successful photo-journalist.
Another source I used within my study to inform my final project in terms of context - https://www.theguardian.com/fashion/2019/may/23/heroin-chic-and-the-tangled-legacy-of-photographer-davide-sorrenti Edward, Helmore (2019) 'Heroin chic and the tangled legacy.." [2020] describing the 'Heroin chic' look, a popular fashion trend converging with photography, where models would have skinny, bone exposing facial and body features with tired under eyes and light, pale skin. (Helmore, Edward, 2019) This research informed me of the time period that Goldin based her photography around, giving me a rough idea of worldly topics that I would like to replicate within my photographic work, in hope to inform modern audiences.

Historical research

Early forms of photography -

Exploring the medium of photography within my project means I require relevant knowledge on the subject, this including where it all started and further development in terms of techniques and technology, providing me with an overall important, wider understanding of photography. The technology that started photography was the pinhole camera/camera obscura, used in the 10th century, using light rays passing through a tiny hole and reversing the opposite way round onto something placed parallel to the hole. This phenomenon lead to events such as the discovery of white light by Isaac Newton 16th century, the process of refracting white light of a prism splitting into various rainbow colours.
One of the earliest physical examples developing throughout centuries being Heliography in 18th century, consisting of a pewter plate with added coated substances from the artist's previous experiments such as Asphalt by the artist Joseph Nicéphore Niépce. The plate was placed opposite the camera and was exposed to the sun, creating a hard patterned surface in the end product. After Nicépce's work was photographer Louis Jacques Mandé Daguerre, developing the self-titled Daguerreotype process. A Daguerreotype is a heavy metal plate, producing sharp, clear and detailed results. The end product is fragile and vulnerable and is a development from Niepce's work as it requires minutes of exposure, rather than days.  An artist named William Henry Fox Talbot then created a photography presented technique called Calotype, consisting of chemical substances such as salt and sodium chloride also following the camera Obscura exposure settings and creating negative calotypes. The process involves darkrooms and exposure to light timing settings. The idea of developing photographs within darkrooms and depending on exposure as a big element of the photograph intrigues me and has informed my decision on using film photography, involving the possible use of Polaroids and darkrooms. 
The first colour photography by artist James Clerk Maxwell was produced in 1861, taking Isaac Newton's colour/white light theories into account by photographing through red, blue and yellow filters. The Lecia camera was one of the first to be factory produced in the 19th century, this developing to the cameras that allowed technology to develop the further the years passed, including the Rolliecord, Polaroid and Fuji Fulix. The first camera we use frequently today in our projects being a Nikon was 1959, the Nikon F. 20th century further developed to roll films, full-colour photography on phones with the flexible and easy access to select desired filters or options in black and white and cameras with technology/companies such as Kodak, Nikon DLSR, Casio and Canon. The camera I will use for instant Polaroid photos is the Instax 9 - FujiFilm with ISO 800 film.
The development under technology including colours and filters is an important subject to consider within a photography project in itself, signifying referencing changes made and how, along with how these changes have had an impact in terms of being able to express something through photography. For example, the growth from black and white photography to colour, new settings added to modern cameras such as white balance. These settings not only meaning the aesthetical features of a final photograph can be adjusted but the perspective and manner in which the photograph can be interpreted. 

Early forms of photojournalism -

Photojournalism began when members of the public gained more of an interest in social and political events within the 1850s. The process of practicing photography as an occupation rather than as a hobby or source of entertainment intertwined with the sudden liking to current affairs meaning a convergence of the two- the beginning of photojournalism. Technical wise, the daguerreotype process was still the most developed and used form of photo documentation, though due to the long exposure time of up to 20 minutes, capturing fast movement/journalistic events was 'a major stumbling block.' (Baatz, 1999: 48) This lead to the Collodion process, a faster exposing, wet plate process requiring Collodion, a nitrate chemical and a darkroom producing a positive image demonstrated by photographers such as Phillip. H Delamotte, beginning early forms of photographic documentation. As processes and technology grew with profits to be made, documenting war through photography became more popular and reliable than documenting using paintings beginning from the 1850s onwards. One of the first notable war photographers to overtake a painters job was Roger Fenton. With war documentation from 1855 of the Russian-Turkish war, Fenton's role was to make the war seem more interesting by photographing English troops supporting the Turkish in battle as assigned by the British war ministry. When viewed by the public, the photograph's intentions were to 'sway the... critical public opinion of British participation in the war.' (Baatz, 1999: 49) This, as well as war photographers moving soldiers bodies and tampering with the scene for better composition, strikes the controversy stigma that photojournalism holds - is it a true reflection of reality, did painters replicate a scene in a more truthful manner than photographers, and, in linkage to our theme, does photography help tell the truth?

Another impactful story in linkage to photojournalism and the truth is 'The starving child and Vulture,' a 1993 photograph captured by Kevin Carter, in which the photographer travelled to Sudan to document South African life. On his journey, he came across a starving child and a vulture, in what seems like the vulture is about to attack the child. Carter had a conflicted moment here - if he should save the child, or take the photograph. In taking the photograph, he was awarded a 'Pulitzer Prize' and 'American Magazine Picture of the Year' (McCabe, 1994) Though these prestigious rewards, Carter could not help but feel guilt after taking the photograph, considering he had just experienced a situation in which he could have helped the child, but did not, and therefore committed suicide. This story demonstrates the physical emotion in which photojournalism can have, hence its importance and possible reasoning as to why it was a chosen medium over painting back in the 18th century.

Bibliography:
- Baatz, Willfried (1999) 'Photography: A Concise History' London, Laurence King.
- Goldberger, Jones, Ben, Radhika (2019) Starving Child and Vulture http://100photos.time.com/photos/kevin-carter-starving-child-vulture [2020]

SWOT

SWOT - 
Strengths
Weaknesses
Opportunities
Threats

- Commonly used in businesses for upcoming ideas
- Can we clearly identify who would buy the product using SWOT?
- USP, the unique selling point

Strengths - 
Having a previous interest in the medium of photography has provided me with technical skills that I have continuously developed due to my liking to the subject and desire to continue professionally within the future, these technical skills include the ability to alter ISO, aperture and shutter speed on a DLSR, along with use of white balance and monochrome - vivid filters on a Nikon camera. Technically, I also have the ability to use BookWright, the software I aim to use to create a small induction book to the project that will explain the idea behind the project and some historical context.  On the topic of software, I can also use Adobe Photoshop for retouching of images before final printing and embedding. Previous planning in lead up to this project means I have models to photograph within the photography studio (with access to this studio,) these being models I have used in previous units having built a rapport and further friends of these models.

Weaknesses -
Skills I may require in order to successfully begin production include the process of printing on celluloid film and using photographic film/negatives. This will be a new, experimental medium, considering I have not explored the process before. Access to certain locations in London is also limited, due to a large amount of population and photographers wanting to use these locations, for example, street photography in Soho. Previously photographing in this location, I have been restricted by shop owners of photographing their location, e.g an aesthetic cafe. The same applies to God's Own Junkyard, a neon gallery located in Walthamstow where professional cameras are prohibited.

Opportunities -
In terms of the market for my product and overall exhibited piece, there are separate audiences for each section of work - from those who enjoy viewing film photography to those who view photography as printed pieces, therefore, having an interest in photo-books. Those interested in journalism may converge with photojournalism, etc. Journalism orientated audiences are seen as an opportunity considering their large amount, this factor influencing future ambitions I hold to progress in the medium, considering the large market it has in modern-day and has played in terms of importance in history. The distribution of my project as an exhibition is also modern, considering the increase in using exhibitions and galleries to demonstrate photography over the years, examples in London being The Photographers Gallery and National Portrait Gallery.
The narrative being aimed to coming of age audiences including a subject manner that many can relate to / have families in similar situations makes it the unique selling point (USP,) considering, as media practises, you would want your audience to feel involved and as if they relate to what you are creating, or that they need what you are creating. In conclusion from this, I therefore feel the immigration and country division exploration narrative is the USP.
Recently on social networking sites such as We Heart It and Twitter, there has been an increase in Polaroid aesthetic, using Polaroids to take photographs, or taking photographs of the Polaroids along with the cameras used, including Fuji and Instax. The 'Kodak' film effect has grown on audiences who are not photography oriented, n social websites such as Snapchat where similar filters have been made, inspired by the Kodak film frame with side writing -

Threats -
Though there is an audience for photo-books within society, considering this audience is niche there is an even smaller audience for the convergence of photo-books and other mediums, in this case, practically wise, photo-books and photo boxes. There is also not as big of an audience for photo boxes within photography, though they may be used aesthetically for decoration, or for events such as weddings. Intertwining a photography audience through the use of film with audiences outside of the medium may be a threat, but also a risk worth taking. Another threat may be that a book may seem outdated, considering an e-book or other form of online content would be available.

Reflection - week 1

Within the first week of my project, I have begun thinking about ideas to direct and begin my proposal. I had found starting the proposal and outlining my initial idea slightly difficult, as I feel more research is needed into the logistics of how the narrative will be, and how to explain this. Getting into the flow of completing a final major project again is difficult, as I feel the workload and commitment is higher, requiring me to adapt.

Pecha Kucha presentation

Pecha Kucha presentation planning

Slide 1 - (Intro)

Slide 2/3 - 

• Beginning in this course I initially learned how to use the photography studio, having wanting to study photography
• How to use a DLSR camera 
• Silhouette photography development

• Importance of composition and how to use this to tell a story

Slide 4 -

• Doing photography within the course inspired activities outside - what I have experienced
• Things like script-writing, reading, and speaking to people in pre-production at SUMS film internship

Slide 5 -

• What I have experienced outside the course in terms of film 
• The course allowed me to take part in extracurricular activities, where I learned skills in Adobe Premiere Pro at the BFI Film Academy.
• Pinewood studios exp, experience with assistant directors, camera trainees - first given call sheet with my name.

Slide 6 -

• Final Major Project first year. 
• Skills in Bookwright and Photoshop
• The book gave me the opportunity to develop my photography and become more confident with a camera and story, and how to make an impact on an audience as a media practitioner 

Slide 7 - 

• After FMP, progressing into what I have learned in my second year
• Learning a new theory

Slide 8 -

• Specialist study - exploring the truth of photojournalism 
• Has photojournalism acted as good documentation of political/ historical times?

Slide 9 -

• Photojournalism explored outside of this course: Had experience with Alex Bailey where we explored photojournalism theory, and explored the work of Henri Cartier Bresson
• Completing a 2yr program at the BBC acted as a foundation to my journalism knowledge

Slide 10 -

• Idea 1, Photographs that will reflect a political story to do with the theme of immigration between the UK and Europe, with film photography hidden in a box and digital print photography presented in a collection.
• The idea that photos in a box represent hidden emotions, and photos on display happier emotions using symbolic photojournalism
• Also create a small book that introduces the project, giving some contextual history behind the idea and instructions as to how you view the photographs

Slide 11 -

• Idea 2, all photos in film photography and Polaroids
• Writing on Polaroids as shown, the writing would be real quotes from people who have been through migration problems

Slide 12 -

• The last idea following only Michel Szulc's photography, collection of A2-A3 printed photographs that follow a story visually in collection
• The same idea of a journalistic, political story
• Photo montage / collage 
• Sequence photography

Proposal.

Candidate Name	Annishah Razaq
Candidate Number
Pathway	Photography
Project Title	Truth
Section 1:  Rationale (approx. 150 words)
Beginning this course, I had no media skills having not previously created visual work, changing soon after experiencing challenging technical and theoretical situations in still image and film. In terms of photography, the medium I will continue to progress in for the project, I have become more confident with the use of high-key and low-key setups whilst mixing gel lighting with key lighting within photography studio settings, in comparison to my previous experience in landscape photography that allowed me to technically develop using ISO, aperture and shutter speed, creatively playing with the beauty of lighting. Demonstration of worldly subjects and issues as shown within unit 8 through the creation of 'The art of dreaming' further indicates my desire to use photography to have an impact for audiences, hence my exploration of a new medium being photojournalism with future aspirations to travel and document various areas/ cultures of the world as a professional photographer.
Section 2: Project Concept (approx. 200 words)
Exploring our theme of truth, my project will follow country/language division and nationalism, with the hidden and exposed emotions immigrants and political parties face & have faced in British history represented using 35 mm and digital photography, reminding first-world audiences of an issue many less fortunate globally face. Considering I will be reflecting a certain wave or time period chosen during production research, the produced photojournalism will be symbolic, requiring audiences to feel the story and analyse rather than just viewing on initial reaction. Theoretically, research into UK immigration from starting to present, previous photojournalists such as Don McCullin briefly explored within my specialist study and global/geographical migration will be pursued, using bibliographies of journalistic photographers and websites indicating political timelines. YouTube may also be used for contextual and technical knowledge e.g videos on how to capture portraiture at night or the use of a Nikon camera setting that changes colouring of an image. Audience research and mentoring will also be part of this project, using my photography teacher Scott and publicist photographer Alex Bailey, figures that are experienced under photojournalism / film photography with the ability to inform me practically, from how to produce film negatives to notable photojournalists, overall informing the development of my project.
Section 3: Evaluation (approx. 150 words)
To document my strengths and weaknesses throughout this project, I will convert notes and thoughts made throughout the week into voice recordings. Notes may be recorded on my phone considering its convenience, whilst using the voice recording app or microphone in a silent room. The ongoing reflections will consist of what went well that week and what I had struggled with, keeping a dedicated day e.g Friday to ensure consistency and organised time management. Keeping voice recorded files together is also key, considering I may use Adobe Premiere Pro and Audition for alterations, requiring designated folders to reduce the risk of file loss. In terms of the overall evaluation, using the weekly reflections I aim to write about the progression of the project from pre-production to distribution, what the most challenging point of the project was and most rewarding, alongside where the project is progressing long term whilst embedding supporting material.
Proposed Research Sources and Bibliography (Harvard Format)
Research including the beginning of photojournalism and history of photography - Baatz, Willfried (1999) 'Photography: A Concise History' London, Laurence King. Political history and information on nationalism - Breuilly, John (1998) 'Nationalism and the state' Manchester, Manchester University Press. Famous journalist photographer Don McCullin - The Economist (2010) At War: photographer Don McCullin. https://youtu.be/OVZe4rQKcls Henri-Cartier Bresson's influential movement in photography - Bresson-Cartier, Henri (2003) 'The Man, The Image & The World: A Retrospective'  London, Thames & Hudson. Sequence photography inspired by photographer Michel Szuluc Kryzyanowski for the distribution of my photographs - Krzyzanowski, Michel. (2013) The life of a pioneering photographer. http://www.szulc.info/blog.html

Project Action Plan and Timetable
Week	Date Week Beginning	Activity / What you are intending to do - including independent study	Resources / What you will need to do it - including access to workshops
1	9/3/2020	- Present Pecha Kucha  - Contextual research into the themes I aim to explore - researching into immigration and UK politics/laws into migration - Contextual research, celluloid film / film stock.	- Access to a library  - Fellow peers who may have family members involved in the subject manner, building up stories
2	16/3/2020	- Begin researching photojournalists and artists who use film photography - Conduct case studies	- Books, journals and the internet for research purposes
3	23/3/2020	- Reproduction of case study work and the final idea of the story - Deadline to have more of an understanding of physical film	- Internet and research sources - College library - Work with photography teacher Scott
4	30/3/2020	- Case studies - Audience research	- Pen or paper / online place to document results - Focus group workshop - Work with Technician Julian
5,6	6/4/2020 - 13/4/2020 (Easter break, independent study)	- Planning finished. Begin production, reflections of this update and continued. - Photography production - Begin planning for the book	- Nikon / DLSR camera, SD card and card reader. - Access to
7	20/4/2020	- Production - Film photography	- DLSR - Film acetate - Instax Polaroid camera
8	27/4/2020	- Production                                        - Considering printing A0-A3 for digital photos	- Printer with high GSM (used for portfolio) - A0-A3 print paper
9	4/5/2020	- Last week to finish/order book - Last week for final photos	- Access to software BookWright
10	11/5/2020	- Exhibiting work - Evaluation using previous reflections	- Fluent access to blogger, intertwining previous skills up to this point.