My Grandad will often let himself in early on a weekday morning. He brings bread, the second bakery on Batman Avenue gives him plenty for the possums. It took me a long time to accept the possum bread as ok. It’s a gift. But it did initially remind me of when the cat brought us dead birds. Anyway, it’s ok for toast.
The new German supermarket is opposite and up a bit from Batman Ave. We started getting some extras with the bread. Baked beans, tinned minestrone, alarm clocks, LED torches, and a pretty decent frozen strudel....
I was a bit excited when he bought himself a compact digital. I was truly surprised however when I realised he wouldn’t anytime soon comprehend the concept of menus, folders, tabs. How do you explain something so natural to someone who finds it equally foreign?
Friday 31 October 2008
Thursday 30 October 2008
Review 6, 2008. Artists Statement
Order & Chaos: Catching Up With The Past, is a symbolic exploration into the confusion of the misunderstood. Chaos being the state that precedes understanding, the satisfaction that results in the emergence of order, the goal. The investigation and construction is the process.The photographic prints presented in this review exploit dichotomies that result from order and chaos. The emergence of dualities is assisted by the juxtaposition of two images, radically different in subject matter. For me, one is a reflection on Cambodian infrastructure and development, the other, a personal reconciliation with family, home, upbringing. Environmental/psychological, intellectual/emotional and physical/metaphorical spaces.
Dualities are not restricted to subject matter. The most fundamental forms present echo each others’ concerns; tone and colour, positive and negative space, movement and stasis, shape, and medium.
“The camera is my tool. Through it I give a reason to everything around me.” Andre Kertesz.
The process, specifically becoming more familiar with production techniques and outcomes, reiterated to me that there is no absolute. One cannot exist without the other. Order and chaos are not only relative, they are opposing concepts on the same ever-expanding scale. Chaos is an absence of awareness of the underlying structure, form, and evidence of the inherent order present in everything.
Bibliography.
the living room
It's a pretty rough stitch but just wanted to experiment a bit with it... and show this space in context.
Monday 20 October 2008
again with the deer...
_MG_1186-20-10-2008-web, originally uploaded by jeqn.
just trying something different out... yea or nae?
been busy learning some photoshop :)
Wednesday 15 October 2008
image size guide for the Canon 400D/rebel xti
Inspired by a handy 'A Series' paper size guide over at wiki, I decided to create an illustration of how some traditional photographic printing sizes fit into a Canon 400D file (from RAW).
Friday 26 September 2008
Review 5 2008 - Portraits of Our Generation (working title)
Like a fish in water, it isn’t always easy to see the world around us. There is no doubt, however, that now is the greatest period in history of exponential technological growth ever seen.
The social implications are a great source of speculation.
Who are we? It’s not a new question. Who are we as a result of all this?
The social implications are a great source of speculation.
Who are we? It’s not a new question. Who are we as a result of all this?
Thursday 25 September 2008
the beginning of the how-to's, with a difference
I'm one of those people that in order to really learn something I need to practice it, with reference materials. Especially with Photoshop. And as a photographer, the desire to document is everpresent. So, I've come up with a grand plan to make some basic little how-to's for a friend, who I've assisted a bit in the camera & computer - hardware setup, but she's about to head off on a big aussie road trip, and I need to know that she has the tools and references to make the most of it all! What better way to learn than to teach?
The problem is, I know I've still got a long, loooong way to go. There is so much I don't know, don't understand, and it's not such an easy thing to admit at this stage in the course. But that kind of attitude won't get me far - there's an infiite amount of knowledge to gain and I will never master it all! But at the moment, I have the resources available - the people available to me at RMIT are invaluable - the best! All I have to do is ask.
So this is where I ask. I'm going to begin a series of how-to's, but this time I will include the stuff I don't know. It will give me something to bring to consults and staff, something to google, something to look for, specifically, when I don't know where to start or if I can't remember what it was that I wanted to know. And, if anyone in a similar position as me ever reads anything here, hopefully they'll find comfort in my questions.
I've always tried to be that kid in the tute who's not too scared to ask the stupid questions.
Wednesday 24 September 2008
portraits of our generation - rosemary laing & chris jordan
Rosemary Laing
Weather # 12
2006
C-Type Print
80cmx120cm
Chris Jordan
Plastic Cups, 2008
60x90"
Depicts one million plastic cups, the number used on airline flights in the US every six hours.
Detail
Chris Jordan on TED
2006
C-Type Print
80cmx120cm
Chris Jordan
Plastic Cups, 2008
60x90"
Depicts one million plastic cups, the number used on airline flights in the US every six hours.
Detail
Chris Jordan on TED
Saturday 30 August 2008
call for entries - bsg picture this 08
Opening Fri Sept 12 at 6pm to Sept 25
Download entry form from Picture This 08 or email your images to mark@bsgart.com.au.
Entries close Friday 5 Sept 2008.
$9000 IN PRIZES (ACQUISITIVE)
1st Prize: Canon 5d camera kit with 24-105mm f/4L USM lens, 8gb memory valued at $5000
2nd Prize: Canon 70-200mm F2.8L IS USM lens valued at $2500
3rd Prize: Canon 24-70mm F2.8L IS USM lens valued at $1700, plus 10 merit awards.
The prizes are acquisitive which means BSG takes possession of the work in exchange for the prize awarded (excluding merit awards)
LOCATION
Brunswick Street Gallery, 322 Brunswick St, Fitzroy 3065
DEADLINE
Return entry form and payment to BSG 322 Brunswick St, Fitzroy 3065 or pay fee online to our bank account BSG, CBA, BSB 063212 AC 10172051 and email number of images, title, size, medium, price and an image of each work you are submitting for the show by Friday 5th September 2008.
SELECTION
All entries will be accepted for the exhibition.
EXHIBITION DATES
12-25 Sept 2008
EXHIBITION OPENING
Friday 12 Sept at 6pm (including announcement of the prize winners)
NUMBER OF ENTRIES
Each artist may submit up to four photographs.
FEES
2 works $45, 3 works $60, 4 works $75. You can submit one work but the minimum fee is $45. If making payment online or by direct deposit please put your name on the transaction.
FORMAT
Photographs must be no larger than 60x60cm including frame. Works do not need to be framed but if unframed will be pinned to the walls. Framed works must have wire on the back. Work submitted that is larger will not be accepted and the fee will not be refunded.
DELIVERY
Works must be delivered Thursday Sept 11 Sept between 8am and 8pm. Interstate artists should post it so it arrives before 11 Sept 2008.
COLLECTION
Melbourne Artists: Unsold works must be collected from BSG, 322 Brunswick St, Fitzroy on Thursday 25 September 2008 4pm to 8pm or Friday 26 September 2008 8am to 10am. Work not collected by this date will be charged a $25 late fee. Interstate Artists: We will post back any works unsold COD. Please provide your full address details on a separate sheet with the work.
COMMISSION
BSG will charge 22% commission on works sold plus a 2% eftpos/credit card fee if applicable. Payment for work will be made by 10 October 2008.
INSURANCE
While BSG takes every care with your work BSG takes no responsibility for theft, loss of the works or any damage whatsoever. If you are concerned about this you are advised to take out your own insurance.
Friday 22 August 2008
on buying a compact camera - canon powershot g9
A friend of mine who has shown a desire to get into photography for as long as I can remember, is finally going digital! He doesn't want an SLR just for the bulk inconvenience factor... so I've found him the next best thing... the Canon PowerShot G9. Totally manual, RAW capabilities, changeable lenses, beautiful (masculine) design... perfect. Check out the details over at Digital Photography Review.
For a compact (these days) they're pretty pricey, around AU$700RRP... if only I knew someone in Hong Kong (not so subtle hint!). I'm thinking eBay... should I be hesitant? But oh it's so pretty... and really, the specs make it look like my little 400D is just a G7 in SLR clothing!
latest thoughts on "The Self" (working title)
So I just started writing my bestie an email when I realised how utterly boring it would be for her. So here it is instead! hehe well it says in the title this is a digital version of a visual diary, I can messily rant in order to sort my thoughts out! It's not as if the net isn't already known for that...
------------------------------------------------------------------------------------------------------------------------
blah blah...
*ok so im not really sure if i explained this but part of the inspiration for the series which will probably be called "the self", was based on jung (& folklore's) archetypes. Basically there are recognisible simplifications or epitomes of personality traits in people particularly literature & film that are subconciously universally recognisable... but im going in a more Jungian/me style.
* i think ive thought of the subtitle for your portrait if you let me do it. i really wanted something poetic and deep... but something simple just occured to me. "the friend". what do you think? i think we help bring out the greatest aspects of friendship in each other... and its something i value enormously and consider so important... and if its going to be anyone its gonna be you! so thats my latest thought.
* i think for megan ill do the artist/scientist. "They are a builder, an inventor, a seeker, a dreamer, and a thinker. Distracted by their own thoughts, they frequently have to be pulled in out of the rain. They are simultaneously vastly knowledgeable and yet innocent, impulsive yet cautious. They represent the wonder to be found in curiosity, and the dangers.[1]"
* i think ive thought of the subtitle for your portrait if you let me do it. i really wanted something poetic and deep... but something simple just occured to me. "the friend". what do you think? i think we help bring out the greatest aspects of friendship in each other... and its something i value enormously and consider so important... and if its going to be anyone its gonna be you! so thats my latest thought.
* i think for megan ill do the artist/scientist. "They are a builder, an inventor, a seeker, a dreamer, and a thinker. Distracted by their own thoughts, they frequently have to be pulled in out of the rain. They are simultaneously vastly knowledgeable and yet innocent, impulsive yet cautious. They represent the wonder to be found in curiosity, and the dangers.[1]"
*for squeak I'll probably do the "Animus". It's essentially just recognising in him masculine qualities that I probably have in myself.
* I found a photo I took at Nanas on my bday, I really love it but I'm not sure if it will fit in visual style of the series. It's of my cousin and it'll be "the inner child" or something a bit less chessy. Maybe just "the child". I really like it though. There's another from that day that I also like and probably fits more but has less punch, of my nana. She's the best.
Tuesday 19 August 2008
self portrait - kerrie (the saboteur) v.2
This is just a rough quickie to compare to the image I presented in the review. Shane (very awesomly) suggested I shift the composition, and give a bit of dodging & burning a go. I'll get back to the Real World photoshop then actually get started on doing this thing properly!
Overall though, on this monitor, this v.2 actually looks a lot closer to the print in terms of colour and lighting... so the net's not really the best forum for this kind of comparison. I am yet to work out how to get something 'print-ready' 'web-ready'... yet.
Overall though, on this monitor, this v.2 actually looks a lot closer to the print in terms of colour and lighting... so the net's not really the best forum for this kind of comparison. I am yet to work out how to get something 'print-ready' 'web-ready'... yet.
Friday 15 August 2008
Review 4 2008 - The beginning of the not so self self-portraits series
The first draft of the new series: (apologies for the shitty colour profile transfer I can't be both'd right now and am in a hurry to go see other reviews!)
Self Portrait – Kerrie (The Saboteur)
My work often employs themes based around the juxtaposition of order and chaos, in an informational context. However, the process generally reveals an investigation into the psychological meanderings of everyday life.
Photography inherently encourages exploration of identity, visual communication, and documentation. The photograph serves my desires well. I am able to shoot until I find that something… to ‘capture’ it… and after a period of reflection, am able to tweak the symbolic codes into a visual commentary.
Self-Portrait – Kerrie (The Saboteur), is the first in a series of portraits of people I know, who provide a resonant truth of their identity. Something familiar. Something in me.
Dualities are heavily prevalent; self/other, order/chaos, absent/present, etc. However, the greatest shared truth appears to be based on self-sabotage. This variety, born from the paradox of choice, where freedom results in a paralysing matrix of options. If you don’t make a choice, or change an old one… the outcome is predictable. You’ve come this far. But in order to escape it now, you must avert your gaze. The screen can be good for that.
Or is it?
Self Portrait – Kerrie (The Saboteur)
My work often employs themes based around the juxtaposition of order and chaos, in an informational context. However, the process generally reveals an investigation into the psychological meanderings of everyday life.
Photography inherently encourages exploration of identity, visual communication, and documentation. The photograph serves my desires well. I am able to shoot until I find that something… to ‘capture’ it… and after a period of reflection, am able to tweak the symbolic codes into a visual commentary.
Self-Portrait – Kerrie (The Saboteur), is the first in a series of portraits of people I know, who provide a resonant truth of their identity. Something familiar. Something in me.
Dualities are heavily prevalent; self/other, order/chaos, absent/present, etc. However, the greatest shared truth appears to be based on self-sabotage. This variety, born from the paradox of choice, where freedom results in a paralysing matrix of options. If you don’t make a choice, or change an old one… the outcome is predictable. You’ve come this far. But in order to escape it now, you must avert your gaze. The screen can be good for that.
Or is it?
timeline & budget templates
Just wanted to post the templates I made (kinda - with the help of iWork), in case anyone wanted to use them... I made them in the Mac version of Excel - Numbers... which is much prettier and transfers pretty nastily to Excel. Anyway, you can have either the Numbers, Excel, or a pdf to use or pretend to use. It really does help though so do it!
Timeline, semester 2, 2008. Review dates etc, blank for all your busyness.
.numbers
.xls
.pdf
Budget. Input for income, expenses, handy little graph and a fancy other helpful thingy.
.numbers
.xls
And there's really no point giving you the pdf for this one. Save your ink.
Last semester I invested a big chunk of time in iCal, then printed each month out calendar style - helpful, but useless now that my laptop died. Again. But the iCal print options are pretty snazzy, check 'em out.
Timeline, semester 2, 2008. Review dates etc, blank for all your busyness.
.numbers
.xls
Budget. Input for income, expenses, handy little graph and a fancy other helpful thingy.
.numbers
.xls
And there's really no point giving you the pdf for this one. Save your ink.
Last semester I invested a big chunk of time in iCal, then printed each month out calendar style - helpful, but useless now that my laptop died. Again. But the iCal print options are pretty snazzy, check 'em out.
Thursday 14 August 2008
street art meets animation equals awesome!
Of of the most incredible animations/street art I have ever seen!
MUTO a wall-painted animation by BLU from blu on Vimeo.
MUTO a wall-painted animation by BLU from blu on Vimeo.
Sunday 10 August 2008
shortcuts
Mac
See the Mac OS X Shortcuts page for a decent list of handy Mac timesavers. My most recent fave... Command+Tab (and Tab again) to alternate between open applications.
Photoshop
Trevor over at Trevor Morris Photographics has created a comprehensive 4 page pdf for CS3 for Mac's (and plenty more for older systems and PC's).
Otherwise take Shane's lead and use the space on your keyboard keys for what you will primary use them for - shortcuts. Stickers and/or skins such as in the image below are available from US$30 via Photojojo.
30 more not-so-secret shortcuts.
See the Mac OS X Shortcuts page for a decent list of handy Mac timesavers. My most recent fave... Command+Tab (and Tab again) to alternate between open applications.
Photoshop
Trevor over at Trevor Morris Photographics has created a comprehensive 4 page pdf for CS3 for Mac's (and plenty more for older systems and PC's).
Otherwise take Shane's lead and use the space on your keyboard keys for what you will primary use them for - shortcuts. Stickers and/or skins such as in the image below are available from US$30 via Photojojo.
30 more not-so-secret shortcuts.
Tuesday 17 June 2008
photobooth
I had to write a five year plan for Professional Practice. It was scary. It forced me to overcome a lot of 'hopefully it will work itself out in time' ideas about the future... it forced me to really consider my worth and self-worth... wasn't good timing in terms of confidence. But it really did feel great to finish. Like anytime you realise you have ideas, that you can put into practice if you really want to... but more on that later.
I've been considering the idea of creating a semi-pro portable photobooth... maybe a softbox and digital setup like the santa photo style of instant screen & print (ugh even though I really despise the prints...) and it seems like something to really consider to support myself financially. Here's some preliminary research I've come across... probably boring to you all but I won't loose it if I store it here!
http://jwz.livejournal.com/tag/photobooth
http://www.shinesf.com/
http://www.canon.com.au/sdk/eula.html
http://www.kodak.com/global/en/professional/hub/themed/themedIndex.jhtml
http://triprism.com/kodak/
I've been considering the idea of creating a semi-pro portable photobooth... maybe a softbox and digital setup like the santa photo style of instant screen & print (ugh even though I really despise the prints...) and it seems like something to really consider to support myself financially. Here's some preliminary research I've come across... probably boring to you all but I won't loose it if I store it here!
http://jwz.livejournal.com/tag/photobooth
http://www.shinesf.com/
http://www.canon.com.au/sdk/eula.html
http://www.kodak.com/global/en/professional/hub/themed/themedIndex.jhtml
http://triprism.com/kodak/
self-publishing
So I've become a bit more interested recently in the idea of self-publishing - not digitally, like this blog... but the old school hard copy, paper style! It's seems a bit like just being an artist - investing a lot (generally) in a project, and then working reasonably independantly to get your work out there. But for more small-scale projects it's a really valid and exciting option.
Here's a few links to some preliminary research of interest:
http://issuu.com/explore
http://magcloud.com/home
http://www.lulu.com/en/products/paperback/?gclid=CKOC06X2-pMCFQtvGgodcnzhWg
http://photojojo.com/content/guides/diy-magazine-publishing
http://www.theage.com.au/news/Books/Punk-publishers/2005/05/16/1116095902899.html
readings
polyester etc
Here's a few links to some preliminary research of interest:
http://issuu.com/explore
http://magcloud.com/home
http://www.lulu.com/en/products/paperback/?gclid=CKOC06X2-pMCFQtvGgodcnzhWg
http://photojojo.com/content/guides/diy-magazine-publishing
http://www.theage.com.au/news/Books/Punk-publishers/2005/05/16/1116095902899.html
readings
polyester etc
Monday 9 June 2008
recent influences
links
https://www.lifelounge.com.au/
http://www.printsandprintmaking.gov.au/Symposiums.aspx
http://www.library.yale.edu/aob/booklinks.html
http://www.tate.org.uk/research/researchservices/library/artistsbooks.htm
http://umbrellaeditions.com/
http://jab.lib.uchicago.edu/
http://www.philobiblon.com/bonefolder/
http://www.colophon.com/journal/exlibris/
http://www.dmoz.org/Arts/Crafts/Book_Arts/
http://www.pickafightbooks.com/Library.htm
http://www.colophon.com/toc.html
https://www.lifelounge.com.au/
http://www.printsandprintmaking.gov.au/Symposiums.aspx
http://www.library.yale.edu/aob/booklinks.html
http://www.tate.org.uk/research/researchservices/library/artistsbooks.htm
http://umbrellaeditions.com/
http://jab.lib.uchicago.edu/
http://www.philobiblon.com/bonefolder/
http://www.colophon.com/journal/exlibris/
http://www.dmoz.org/Arts/Crafts/Book_Arts/
http://www.pickafightbooks.com/Library.htm
http://www.colophon.com/toc.html
Sunday 8 June 2008
paperography
What's the difference between a piece of paper and a photograph? We don't often look beyond the literal reading of it and see it for the rest of it's contents. Sometimes we have no choice.
I'm a collector. Not surprising, given my interest in photography. It was born out of the desire to collect. To keep a physical, tangible (or digital) file of moments, people, places... memories. Storing, sorting and selectively archiving the past.
My collections are not specific or interesting or even obvious. I guess I'm more of a hoarder. But 'collector' implies interesting, 'hoarder' implies Today Tonight. I just keep stuff.
I don't even know if I like stuff. It builds up and adds unorganised chaos to my life. But I'm attached. It's excess baggage in literal, tangible, ugly, cluttery form. But all of us (except for a handful of monks), are incredibly attached. It is not easy to let go. Letting go is one of life's greatest sufferings.
A lot of my stuff is paper. Last year, after studying Artists Books as a Printmaking elective, I began to see paper differently. It was no longer just a means to an end. I had no idea how complex paper in and of itself as a medium could be. Soon enough I fell in love with it. It's one of the most common materials we encounter in daily western life, and well suited my interests in information storage, transmission and recording. Once I started reading beyond the words on the paper, I realised I now read paper like I read photos. Paper is tangible. It indicates context. It inspires memories. And evokes emotion. The lines were blurred, and I found my new form of expression: paperography.
During a particularly rampant junk exorcism last year, I encountered a lot of paperwork. I was determined to get rid of it all. Clean and sharp cuts. As if it were that simple! I started flicking through the pages. Old emails, notebooks, sketchbooks, diaries & documents... most were from an ugly era, which I really wanted to loose, Lacuna Inc style. Perhaps that's why I have such a terribly bad memory. I've trained myself to erase things before they even get a chance to become the past/memories. How ironic that my primary interests lie in the documentation of life in order to keep it. Or maybe I'm just a control freak.
The documents I encountered were powerful catalysts. I was instantly brought back - the locations, emotions, events and even atmosphere suffocated me. The me of now wasn't impressed with this unexpected blast from the past. But anything that can invoke such powerful emotion must be important. Throwing it all in the recycling pile wasn't enough. I needed to transform these catalysts into something new, recycle it myself. The actual physical manipulation served my diy self-help needs... and this is the result.
I feel good about it. It worked. Because now I love it.
Where does it go from here?
Now that I have a resolved and complete product, I have decided to go with the diy/zine/underground distribution style. I'm setting up a store on etsy, I'll go buy then rewatch the first series of Not Quite Art to get some ideas, and I'll sell them in independant bookstores around Melbourne such as Polyester. Maybe I'll even try to get it in some libraries around town.
Previously...
This video is the powerpoint presentation I showed last year when I started this project.
I'm a collector. Not surprising, given my interest in photography. It was born out of the desire to collect. To keep a physical, tangible (or digital) file of moments, people, places... memories. Storing, sorting and selectively archiving the past.
My collections are not specific or interesting or even obvious. I guess I'm more of a hoarder. But 'collector' implies interesting, 'hoarder' implies Today Tonight. I just keep stuff.
I don't even know if I like stuff. It builds up and adds unorganised chaos to my life. But I'm attached. It's excess baggage in literal, tangible, ugly, cluttery form. But all of us (except for a handful of monks), are incredibly attached. It is not easy to let go. Letting go is one of life's greatest sufferings.
A lot of my stuff is paper. Last year, after studying Artists Books as a Printmaking elective, I began to see paper differently. It was no longer just a means to an end. I had no idea how complex paper in and of itself as a medium could be. Soon enough I fell in love with it. It's one of the most common materials we encounter in daily western life, and well suited my interests in information storage, transmission and recording. Once I started reading beyond the words on the paper, I realised I now read paper like I read photos. Paper is tangible. It indicates context. It inspires memories. And evokes emotion. The lines were blurred, and I found my new form of expression: paperography.
During a particularly rampant junk exorcism last year, I encountered a lot of paperwork. I was determined to get rid of it all. Clean and sharp cuts. As if it were that simple! I started flicking through the pages. Old emails, notebooks, sketchbooks, diaries & documents... most were from an ugly era, which I really wanted to loose, Lacuna Inc style. Perhaps that's why I have such a terribly bad memory. I've trained myself to erase things before they even get a chance to become the past/memories. How ironic that my primary interests lie in the documentation of life in order to keep it. Or maybe I'm just a control freak.
The documents I encountered were powerful catalysts. I was instantly brought back - the locations, emotions, events and even atmosphere suffocated me. The me of now wasn't impressed with this unexpected blast from the past. But anything that can invoke such powerful emotion must be important. Throwing it all in the recycling pile wasn't enough. I needed to transform these catalysts into something new, recycle it myself. The actual physical manipulation served my diy self-help needs... and this is the result.
I feel good about it. It worked. Because now I love it.
Where does it go from here?
Now that I have a resolved and complete product, I have decided to go with the diy/zine/underground distribution style. I'm setting up a store on etsy, I'll go buy then rewatch the first series of Not Quite Art to get some ideas, and I'll sell them in independant bookstores around Melbourne such as Polyester. Maybe I'll even try to get it in some libraries around town.
Previously...
This video is the powerpoint presentation I showed last year when I started this project.
Friday 23 May 2008
is the real girl really the real boy? is that so hard to believe?
Lars and the Real Girl
The initial discomfort in Lars' delusion (other than the uncomfortable truth of the existence of Real Dolls), is partially the fault of the film's marketing department. The promotional material, namely the poster, styled not too dissimilar to Garden State, Napolean Dynamite and Juno, screams quirky indie comedy. The comedy however, is only a result of the drama; chuckles of relief from painful and ridiculous scenarios. Not surprising given the first-time screenwriter Nancy Oliver's history in the dark, but often quite comedic HBO series Six Feet Under (Remember when Ruth accidentally gets high on Ecstasy?!). What kind of audiences would a film with a sex doll as a main character attract? Quirky indie comedy is safer, closer to the truth, and it gets bums on seats.
By the time Lars orders his Real Doll, and his delusion has come to fruition, we have largely forgotten the premise of the film, and are now invested in a sweet yet intensely socially withdrawn character. So the arrival of his new girlfriend and his eagerness to share not only himself, but his new girlfriend with his family, comes as quite a shock. Her integration into his life is the make or break point in the film.
Thankfully, sex is ruled out before we can apply to him any creepy labels. His interpretation of her background is relieving (also hilarious and poignant). He wants only goodness. It's at this point that he is officially diagnosed as delusional. Not only a harmless condition in this case, but potentially very positive. It's his chance to allow himself to grow. Once the community gets on board, we're either with him or we're his brother. Accept Bianca or find the whole thing just too ridiculous.
The suspension of belief in films is an everyday occurrence. However we don't generally see it in this context, or in this formula. It's uncharted territory. Not easy to accept. But if we do let go, and side with Lars' plight, we may realise how not uncommon this is. As children, we project characters onto beloved dolls and bears. Many of us give our pets and inanimate objects personalities. We often even project our own qualities onto those around us in order to establish and maintain relationships, and we seek relationships with people that possess qualities that we aspire to. Perhaps it was a bit of that, as well the compassionate nature of the local community, that allowed them to so readily accept and play along with his delusion. If nothing else, it gave them an opportunity to interact with, and ultimately help get Lars where they wanted to be - with them.
Bianca's existence was not so simple as to simply fill Lars' girlfriend void. She was all the things he wanted to be, but couldn't. She was necessary for him to make such a dramatic transition. She paved the road from his broken and emotionally stunted past, into his desired future of shared familial and communal love and acceptance.
Being a separate entity from her creator, Bianca served inspiringly as the hero's projected metamorphoses. Emotional growth and communal healing, made possible only by the compassion, love, and kindness of those around him. Which is all any of us ever really want. How we achieve that is never simple, and can often appear somewhat ridiculous.
The events of the film may not realistically reflect life as it is, but it does show us how it can be.
Reviews & Interviews:
Roger Ebert review
Wall Street Journal review
At The Movies: review or director interview
Director's interview on Ain't It Cool News
Scribe's interview in the New York Times
More reviews
Official trailer via Apple.com
A psychological list of defenses including projection
Delusion - Wikipedia
The story of an emotionally stunted young man who finds salvation in a saintly sex-doll-as-human with community support, has proven to be a difficult premise for many to accept. Why has this story gained so much more resistance than the false realities presented in so many other contemporary films?
The initial discomfort in Lars' delusion (other than the uncomfortable truth of the existence of Real Dolls), is partially the fault of the film's marketing department. The promotional material, namely the poster, styled not too dissimilar to Garden State, Napolean Dynamite and Juno, screams quirky indie comedy. The comedy however, is only a result of the drama; chuckles of relief from painful and ridiculous scenarios. Not surprising given the first-time screenwriter Nancy Oliver's history in the dark, but often quite comedic HBO series Six Feet Under (Remember when Ruth accidentally gets high on Ecstasy?!). What kind of audiences would a film with a sex doll as a main character attract? Quirky indie comedy is safer, closer to the truth, and it gets bums on seats.
By the time Lars orders his Real Doll, and his delusion has come to fruition, we have largely forgotten the premise of the film, and are now invested in a sweet yet intensely socially withdrawn character. So the arrival of his new girlfriend and his eagerness to share not only himself, but his new girlfriend with his family, comes as quite a shock. Her integration into his life is the make or break point in the film.
Thankfully, sex is ruled out before we can apply to him any creepy labels. His interpretation of her background is relieving (also hilarious and poignant). He wants only goodness. It's at this point that he is officially diagnosed as delusional. Not only a harmless condition in this case, but potentially very positive. It's his chance to allow himself to grow. Once the community gets on board, we're either with him or we're his brother. Accept Bianca or find the whole thing just too ridiculous.
The suspension of belief in films is an everyday occurrence. However we don't generally see it in this context, or in this formula. It's uncharted territory. Not easy to accept. But if we do let go, and side with Lars' plight, we may realise how not uncommon this is. As children, we project characters onto beloved dolls and bears. Many of us give our pets and inanimate objects personalities. We often even project our own qualities onto those around us in order to establish and maintain relationships, and we seek relationships with people that possess qualities that we aspire to. Perhaps it was a bit of that, as well the compassionate nature of the local community, that allowed them to so readily accept and play along with his delusion. If nothing else, it gave them an opportunity to interact with, and ultimately help get Lars where they wanted to be - with them.
Bianca's existence was not so simple as to simply fill Lars' girlfriend void. She was all the things he wanted to be, but couldn't. She was necessary for him to make such a dramatic transition. She paved the road from his broken and emotionally stunted past, into his desired future of shared familial and communal love and acceptance.
Being a separate entity from her creator, Bianca served inspiringly as the hero's projected metamorphoses. Emotional growth and communal healing, made possible only by the compassion, love, and kindness of those around him. Which is all any of us ever really want. How we achieve that is never simple, and can often appear somewhat ridiculous.
The events of the film may not realistically reflect life as it is, but it does show us how it can be.
Reviews & Interviews:
Roger Ebert review
Wall Street Journal review
At The Movies: review or director interview
Director's interview on Ain't It Cool News
Scribe's interview in the New York Times
More reviews
Official trailer via Apple.com
A psychological list of defenses including projection
Delusion - Wikipedia
Monday 12 May 2008
not quite art
The art show that believes there is life outside the galleries.
Marcus Westbury, creator and host of the utterly fantastic ABC series Not Quite Art is working on season 2, and he wants your ideas.
From the Facebook group Friends of Marcus' Not Quite Art TV Show:
Dear friends of the show,
Sorry for the spam but at least i am trying to consolidate these things now.
1. If you loved Not Quite Art (or hated it and just want a decent quality copy to complain) then you can now buy DVDs of the first series. A bargain at $34.95! I'd sign them for you but i'm not physically near the big room with all the DVDs in it. However i do promise to buy you a beer if you see me around and you have some verifiable proof that you bought a copy!
Buy them from here (or make someone else buy them from here):
http://www.barefoot.net.au/films/not-quite-art.aspx
Buy one, i'm poor!
2. I've written a big essay for a fancy literature journal. It's called Fluid Cities Create and it is in the current edition of Griffith REVIEW. If you watched and liked NQA you will probably recognise a lot of the themes that i've explored in the essay.
To read all about it and download a PDF for FREE, go to my web site:
http://www.marcuswestbury.net/2008/05/10/griffith-review-essay-fluid-cities-create/
3. Last, but not least, I am still on the lookout for interesting people, artists and ideas to appear in the next series (which was going to be called Culture Shock and is now probably going to be called Not Quite Art again). To find out more about what the series is about visit this page:
http://www.marcuswestbury.net/2008/03/25/culture-shock/
Oh, and if you're bored and trying to kill some time you can also read about my hilarious shenanigans at the TV Week (tm) Logie (tm) awards (tm). Strangest. Night. Ever:
http://www.marcuswestbury.net/2008/05/05/a-night-at-the-logies/
thanks,
marcus.
Marcus Westbury, creator and host of the utterly fantastic ABC series Not Quite Art is working on season 2, and he wants your ideas.
From the Facebook group Friends of Marcus' Not Quite Art TV Show:
Dear friends of the show,
Sorry for the spam but at least i am trying to consolidate these things now.
1. If you loved Not Quite Art (or hated it and just want a decent quality copy to complain) then you can now buy DVDs of the first series. A bargain at $34.95! I'd sign them for you but i'm not physically near the big room with all the DVDs in it. However i do promise to buy you a beer if you see me around and you have some verifiable proof that you bought a copy!
Buy them from here (or make someone else buy them from here):
http://www.barefoot.net.au
Buy one, i'm poor!
2. I've written a big essay for a fancy literature journal. It's called Fluid Cities Create and it is in the current edition of Griffith REVIEW. If you watched and liked NQA you will probably recognise a lot of the themes that i've explored in the essay.
To read all about it and download a PDF for FREE, go to my web site:
http://www.marcuswestbury.
3. Last, but not least, I am still on the lookout for interesting people, artists and ideas to appear in the next series (which was going to be called Culture Shock and is now probably going to be called Not Quite Art again). To find out more about what the series is about visit this page:
http://www.marcuswestbury.
Oh, and if you're bored and trying to kill some time you can also read about my hilarious shenanigans at the TV Week (tm) Logie (tm) awards (tm). Strangest. Night. Ever:
http://www.marcuswestbury.
thanks,
marcus.
Saturday 10 May 2008
the first official fuglies ceremony and how I came to be their first official photographer
Ok so I'm using the term 'official' a bit strongly here. Either way it makes us all feel a bit more special, so why not.
So other than the obvious, what are The Fuglies? Well I'm glad you asked...
The Fuglies were started as an alternative to the Logies for people who wanted to vote for the worst of what has been on TV in categories that TV Week magazine keep forgetting to add to the Logies voting form.
Well, I was fortunate enough to attend the official ceremony itself, last Friday (in between reviews - go me!)... as the 'official' photographer. The guy from MX showed up... he seemed a bit disappointed that no-one showed up to accept their awards... hmm. Well MX guy, maybe next year. I'm sure Kyle Sandilands will make the effort, he was a big winner this time.
Anyway, it was great fun. The lovely sponser boys from Another Bloody Water were filming for an entertaining, upcoming (will add it when it's up) youtube video. David Knox was reporting for his blog TV Tonight. And the host/organiser/and very not fugly creator Anthony was great... he's just got a way with connecting to the masses.
Um no that's not me that's the MX guy... obviously.
Friday 9 May 2008
game on
Play your way through the history of video games.
How awesome is ACMI!
I've been looking at this exhibition the wrong way though. As soon as I heard of it, I thought, perfect, I'm gonna shoot there. But the bigness of that idea has probably prevented me from actually going.
I just wanna go and play games! After that, I'll think about whether or not I want to shoot there. My sister's coming down from Perth tomorrow, I'll try and convince her to come. I think she'll just get flashbacks of me kicking her ass at Mortal Kombat when we were kids, essentially killing any interest in games or competition for the rest of her life. Sorry Sara. I think I'll have to bring my other sister instead... we've spent probably around 3 years trying to clock Vice City... and then settling for leaving Tommy in a quiet car on the beach so we can just listen to Wave 103 in the background.
And on a random sidenote... when I was studying animation at Deakin, I had grand plans of directing a music video for Datarock (who kindly gave me permission to play with their music, thanks guys!), for their crazy cool tune, Computer Camp Love. I envisaged a Summer Camp fantasy with Kip from Napolean Dynamite as the hero, intercut with big band/80s staged dance shots and animations from a Commodore 64 (and since I have no access to one the closest my imagination could get was an Atari). Obviously my glad plans were way too big for me... but it gave me a chance to try and learn a bit of Flash and After Effects. This is the first 8 seconds of my video... which is coming soon... promise.
How awesome is ACMI!
I've been looking at this exhibition the wrong way though. As soon as I heard of it, I thought, perfect, I'm gonna shoot there. But the bigness of that idea has probably prevented me from actually going.
I just wanna go and play games! After that, I'll think about whether or not I want to shoot there. My sister's coming down from Perth tomorrow, I'll try and convince her to come. I think she'll just get flashbacks of me kicking her ass at Mortal Kombat when we were kids, essentially killing any interest in games or competition for the rest of her life. Sorry Sara. I think I'll have to bring my other sister instead... we've spent probably around 3 years trying to clock Vice City... and then settling for leaving Tommy in a quiet car on the beach so we can just listen to Wave 103 in the background.
And on a random sidenote... when I was studying animation at Deakin, I had grand plans of directing a music video for Datarock (who kindly gave me permission to play with their music, thanks guys!), for their crazy cool tune, Computer Camp Love. I envisaged a Summer Camp fantasy with Kip from Napolean Dynamite as the hero, intercut with big band/80s staged dance shots and animations from a Commodore 64 (and since I have no access to one the closest my imagination could get was an Atari). Obviously my glad plans were way too big for me... but it gave me a chance to try and learn a bit of Flash and After Effects. This is the first 8 seconds of my video... which is coming soon... promise.
epiphany!
For some reason I only really tend to get clarity and the occasional epiphany around this time of day (night/morning... whatever). I should move to the opposite side of the planet and see what happens.
Anyway... I realised why I'm having trouble really visualising the images I want to make (or being comfortable enough with them in my mind to really get started).
They have to be self-portraits! Go the self-indulgence. But not really, I think that's the only way to make them true, to resonate! I don't literally want to be the person in them (although so far the only successful image thus far is exactly that).
I was reading something earlier (that I can't find therefore can't reference)... I think it was an article from Photofile... anyway it may have been a review of the Happiness exhibition with Lyndal and Darren at pica in Perth (should I say their full names when speaking about them as artists rather than educators?). There was a mention of 'slackers'. It stuck with me. A title came to mind: slackers: subjective on the community. Well, it's a working title.
I tend to become attracted to justification, especially when it comes to the underdog. It might sound noble but it's really just me trying to stick up for myself. I won't stick up for them (well I won't spend a university year and lots and lots of money trying to work out the most visually poetic way to justify their actions!) if I don't sympathise or identify with them.
I wanted to do this because I am interested in the screen. I love it. It's my saviour! I know we all tend to idolize it... screen idols are the new Greek Gods (whatever)... but really, the media is so fucking hugely influential most of us can't even see the tip of the iceberg! We're conditioned not to! And it really does work. Media Watch people!! At the same time, it's not necessarily the worst form of escapism. After some particularly extreme difficulties in my life, I made a conscious decision to escape into the false realities of Sunnydale and other rich and engaging fictional realities. Really, it was that or drugs. Drugs are bad, mmm-kay!
So what I have to do now, is reflect. If all I can do is justify, then I'll justify. Using prettier people and good lighting.
Anyway... I realised why I'm having trouble really visualising the images I want to make (or being comfortable enough with them in my mind to really get started).
They have to be self-portraits! Go the self-indulgence. But not really, I think that's the only way to make them true, to resonate! I don't literally want to be the person in them (although so far the only successful image thus far is exactly that).
I was reading something earlier (that I can't find therefore can't reference)... I think it was an article from Photofile... anyway it may have been a review of the Happiness exhibition with Lyndal and Darren at pica in Perth (should I say their full names when speaking about them as artists rather than educators?). There was a mention of 'slackers'. It stuck with me. A title came to mind: slackers: subjective on the community. Well, it's a working title.
I tend to become attracted to justification, especially when it comes to the underdog. It might sound noble but it's really just me trying to stick up for myself. I won't stick up for them (well I won't spend a university year and lots and lots of money trying to work out the most visually poetic way to justify their actions!) if I don't sympathise or identify with them.
I wanted to do this because I am interested in the screen. I love it. It's my saviour! I know we all tend to idolize it... screen idols are the new Greek Gods (whatever)... but really, the media is so fucking hugely influential most of us can't even see the tip of the iceberg! We're conditioned not to! And it really does work. Media Watch people!! At the same time, it's not necessarily the worst form of escapism. After some particularly extreme difficulties in my life, I made a conscious decision to escape into the false realities of Sunnydale and other rich and engaging fictional realities. Really, it was that or drugs. Drugs are bad, mmm-kay!
So what I have to do now, is reflect. If all I can do is justify, then I'll justify. Using prettier people and good lighting.
social psychology
"I have been primarily interested in how and why ordinary people do unusual things, things that seem alien to their natures. Why do good people sometimes act evil? Why do smart people sometimes do dumb or irrational things?" --Philip Zimbardo
What dictates human behavior? Everything we do is motivated by something... some past experience, association, influence. Why do we do the things we do? Our social environments play such an extreme influential role... just check out the Milgram Experiment or Zimbardo's Stanford Prison Experiment, its fucking scary.
Last year I did a social psychology elective. It was absolutely the most mind-blowing subject I think I've ever taken. It wasn't difficult... it's the things we all already kinda know, but just to be able to become aware of and make sense of these things was an incredible experience. It had such an impact on me I was seriously considering switching Fine Art Photography for a career in Social Psychology. I obviously didn't. I don't need to. The course I am in is perfect for me. I can ultimately study anything I want, and create something out of it! I love it. It's satisfying, but not easy. Either way, its something I will always study. I might even crash a few of the lectures again as a refresher. And there's a couple of other interesting online psych classes available at RMIT, so I might have a look at them too.
Psychology of Social Life (BESC1072) with the wonderfully entertaining Dr. Mervin Jackson
Psychology of Cyberspace (CTXT1379) with Dr. Andrea Chester
Happiness and positive Psychology (BESC1479) with Dr. Marc Cohen
I've been thinking a lot about community. It's going to play a big role in my work, now, and probably forever. Social environments. We are social beings. So it's kind of inevitable. I study what I want to know. Essentially, people are what I want to know.
10 Brilliant Psychological studies
What dictates human behavior? Everything we do is motivated by something... some past experience, association, influence. Why do we do the things we do? Our social environments play such an extreme influential role... just check out the Milgram Experiment or Zimbardo's Stanford Prison Experiment, its fucking scary.
Last year I did a social psychology elective. It was absolutely the most mind-blowing subject I think I've ever taken. It wasn't difficult... it's the things we all already kinda know, but just to be able to become aware of and make sense of these things was an incredible experience. It had such an impact on me I was seriously considering switching Fine Art Photography for a career in Social Psychology. I obviously didn't. I don't need to. The course I am in is perfect for me. I can ultimately study anything I want, and create something out of it! I love it. It's satisfying, but not easy. Either way, its something I will always study. I might even crash a few of the lectures again as a refresher. And there's a couple of other interesting online psych classes available at RMIT, so I might have a look at them too.
Psychology of Social Life (BESC1072) with the wonderfully entertaining Dr. Mervin Jackson
Psychology of Cyberspace (CTXT1379) with Dr. Andrea Chester
Happiness and positive Psychology (BESC1479) with Dr. Marc Cohen
I've been thinking a lot about community. It's going to play a big role in my work, now, and probably forever. Social environments. We are social beings. So it's kind of inevitable. I study what I want to know. Essentially, people are what I want to know.
10 Brilliant Psychological studies
Wednesday 30 April 2008
hiroshi sugimoto
Hiroshi Sugimoto has been working on this project since the 1970's. He takes his large format camera into the theatre and exposes the film for the duration of the screening. It's beautiful.
printing for review 2
So I made three prints tonight based on recent location scouting. They really aren't great... but I wanted to make them to keep develop my printing skills.
This is what the events of tonight's printing have taught me:
- I still have a lot to learn in Photoshop but I'm a lot better since last time.
- It may be peaceful and a good work environment at uni in the pm-am... but there's no-one here to help. Print during the day!
- Make test prints! If nothing else it saves the inevitable waste of paper!
I tried the cinema shot first. This is what it's meant to look like (roughly):
This is what came out:
I really haven't been able to work that out. The other two came out ok so I really don't understand the problem... I'll come back tomorrow and see if someone can help me. All of those unsuccessful attempts did help me memorize the process... It goes a little something like this:
1. Working Profile.
Edit > Assign Profile > Profile > from the drop-down menu select Ekta Space PS 5, J. Holmes > OK
2. Soft Proof
View > Proof Setup > Custom
Device to Simulate > E2400pbISP_PSGbpNCA_D50P
Don't check 'Preserve RGB Numbers'
Rendering Intent > Relative Colormetric
Check 'Black Point Compensation'
Display Options (On-Screen), Check Simulate Paper Color *(I'm nopt sure about Black Inc, it's probably a good idea to check it though).
Then...
View > Gamut Warning
(and this is where you should make any edits, then a test sheet for your test print, so that you can then come back here and edit again!)
3. Print Setup in Photoshop
File > Print... (the '...' indicates that there will be further options in that selection)
Printer > Epson 2400
Page Setup > Format for: Epson 2400, Paper size > A3 (for me... not everyone)
Select the orientation of the page.
I personally didn't have it centre or scale my images because I had worked that out earlier with my canvas size... but it would probably be the smarter/easier thing to do!
Ok, the important stuff...
From the drop down box on the right, select 'Color Management'
Print > Document
Options > Color Handling > Photoshop Manages Colors
Printer Profile is > E2400pbISP_PSGbpNCA_D50P
Rendering Intent > Relative Colormetric
Tick 'Black Point Compensation'
Hit 'Print...'
4. Epson Printer Driver Settings
Printer: 2400
Presets > Standard (the saved ones aren't very reliable), then the following:
Tuesday 29 April 2008
obsessional organisation
One of the reasons I started this was blog was to increase my productivity. I suffer from a very unreliable memory, so this is a great way for me to store information that I would like access from later and from somewhere else. I also really want to establish an effective workflow, now, while I'm still at uni, for projects, life, work... everything. For me that involves writing and recording... and of course documenting.
A big part of this process can be very simple - lists. But scribbling indecipherable jibberish on random scraps of paper tends to end up lost (and then found again in found) and useless. So listography is now where I transfer my scribbles, so that I can cross things off (good for the soul), and continue to update all those things I don't want to forget. It would make a good home page for anyone who's likely to get lost in internet infomania, instead of doing all those constructive things you dialled up for. It's pretty basic, and offers a much prettier version in old-school paper style... but this works for me.
Update: I found a better alternative for the list and to-do addicts... Remember the Milk. Its cool check it out. If you wanna be nosy and stalk me there too you can probably search for me... jeanc!
Update: I found a better alternative for the list and to-do addicts... Remember the Milk. Its cool check it out. If you wanna be nosy and stalk me there too you can probably search for me... jeanc!
printing basics references
If I'm to print a full size A3 print on of of these printers, I can print right to the edge if I choose the right settings in the printer driver? Otherwise the margins are 3mm left/right, 20mm top/bottom.
A3 paper: 297mm x 420mm/11.7" x 16.5"
I'm not planning on doing this anyway but I think it's important to know the printable area when you start prepping for printing in Photoshop.
Ok, now I'm confused. Why is an A3 printer suggesting it can print a larger area than the surface of the paper? I'm going to make a new canvas in Photoshop, the size of an A3 minus the margins (assuming you have to do it for each 4 sides). That will be:
291mm x 380mm
I'm moving my images onto this canvas, resized for printing at:
35cm x 18.92, pixels, 2480 x 1341. Resolution of 180.
Cross your fingers xx
aspect ratios
This series should be presented in a cinematic style.
I'll obviously have to crop the images fairly heavily if I'm going to shoot with the Hassleblad, less so if large format. Either way, I've gotta decide pretty soon which one to go for, so I can get a better idea in my head about what I want to do. I'm leaning towards cinema - 1.85:1
Saturday 26 April 2008
content
I've decided to open up the interestingess channels and invite posts from special guests.
I'll be inviting academics, established and emerging artists, writers, peers and more.
The content is up to the author. It would be nice if it related to my project (think 'why do we (especially generation y) feel so compelled to constantly engage in screen-based media?'), but I find everything interesting so whether it be technical, something you think everyone should know, or even something as pop culture as why you like watching Buffy so much... I'm interested. Writing itself is not even required. If you'd just like to share an image/video/link... I'm interested.
Forward this on to anyone you think would be interested, or send your ideas to s3162611 at student.rmit.edu.au
Thanks!
I'll be inviting academics, established and emerging artists, writers, peers and more.
The content is up to the author. It would be nice if it related to my project (think 'why do we (especially generation y) feel so compelled to constantly engage in screen-based media?'), but I find everything interesting so whether it be technical, something you think everyone should know, or even something as pop culture as why you like watching Buffy so much... I'm interested. Writing itself is not even required. If you'd just like to share an image/video/link... I'm interested.
Forward this on to anyone you think would be interested, or send your ideas to s3162611 at student.rmit.edu.au
Thanks!
flash kit, hassleblad + home studio
Since the studio was ready, I borrowed one of the new Broncolor kits with a Hassleblad with a 50mm lens. Very exciting.
I packed it all nice and safely into my car (with seatbelts!), and when I got home carefully examined the contents. 3 heads, a softbox, two barn doors, an umbrella and a sync cord.
I extended the stands, with the centre column remaining close to the ground, feet out at about 45 degrees. I wasn't sure but that felt most logical to me, and I remembered at Deakin in Film we had sandbags on the poles between the legs and centre column, so I assumed I was doing the right thing. I arranged them in my preferred positions around the room.Then I got the heads out, loosened the head attachment and adjoing screw which holds it in place, and gave all the heads a new home. Then I begun investigating the attachments.
It took me a while to work out how to attach the barn doors. Finally I realised it squeezed into the inner circumference of the bulb shade. Easy.
The umbrella was pretty straightforward, just slide the pole into the side of the head, and attach the smaller bulb head.
The softbox was the trickiest. The bulb head was a heavy metallic disk, with holes for poles in the side. Extra holes were for different shaped softbox's. I worked out how to insert the poles and the cover... but the white softbox front cover seemed too small, impossible to velcro on. I finally realised that you had to pull the side covers back, poke the poles into the corners of the front cover (much stronger material than it seems), and once you've got that all in place, pull the side cover back up and velcro together.
So, I was ready to go. But no-one to shoot. I really wanted to try portraits, although I should have been working on my project. But I really just wanted to familiarise myself with the lights, not get too adventurous this time. But not only had I just spent my last $40 on 120 film (Kodak Velvia VC 160 - 6 rolls from the eager salesman at Ted's), I realised the kit didn't contain a hotshoe adapter for the sync cord. I knew I could trigger the flashes with the on camera flash on my 400D, but I hated having to use my flash (I hadn't yet realised I could turn it down), and I really wanted to have a go at the Hassleblad.
The next day I took some outdoor shots with the Hassleblad, it was such a different experience than using an SLR. It had a prism veiwfinder, and it was big! The wide angle tripped me out, I couldn't stop looking through it! I found it a bit difficult to focus though. I've always suspected my right eye isn't as good as the other so I think I should check that out.
A very helpful person informed me that there was a connection point in the Hassleblad lens. Of course! It was so obvious. I had even just re-read the medium format chapter in Ansel Adams' The Camera, and it specifically discusses Hassleblad's and how they're organised in components. The prism hotshoe doesn't even have connection points, its only purpose is to hold an on-camera flash. Everything else is dependant upon the lens.
Well I still had no subjects until a reluctant friend dropped in to lend me her MacBook, and I convinced her to be my guinea pig. From what I shot on the 400D, I needed to adjust the brigtness and/or distance of the lights from the subject and back wall.
When she left another friend told me he was setting up a myspace music page for a friend he's written with. He wanted to know if I could shoot some stuff for the profile. Perfect, come over now! I only had about half an hour with them, but it was great fun. I was a bit more accustomed to the set-up, my subject was playing some really nice acoustic stuff, and an amazing and soft Smashing Pumpkins cover, and I mostly just had to wait for those magic moments (and change lenses, batteries, film...). It was really fun. I think we all felt pretty special doing our things.
Friday 25 April 2008
making a studio
Darren's week 2 class really inspired me to give lighting a shot. I was scared! Pro lighting gear is expensive, and for people who know what they're doing! But then I realised, I've studied this all before, I understand it, I just have to begin experimenting and putting it into practice... otherwise what's the point. But then the issue of location dampened my excitement. I'd heard on the grapevine there's a couple of studio's on campus, one somewhere near architecture, and another somewhere else for the video art kids. Oh, and a bluescreen 'downstairs'. Before I could be bothered to put the peices together, Sharna told me how she was setting up a miniature studio in her shed. Brilliant. I have a double garage at home, no cars occupying it, because its a disaster storage zone.
Well it was time for me to do some ritualistic renovations. I needed a new workspace anyway.The garage was littered with piles of boxes and miscellaneous junk, with a bit of space for sitting and cigarette smoking. I basically just moved it all to the left of the room, stacked everything to the roof, and threw some rubbish out. I did a lot of sweeping, eventually mopping and vaccuuming too.
I begun painting the plasterboard that covers most of two adjacent walls, and the ceiling... but then my paint ran out as had my funds. Luckily, the paint fairy visited me at RMIT and I was stocked up again. It's funny though how much pastels can appear ceiling white in a dark alleyway at four in the morning. The closest I had was something I would describe as 'institution/school white', aka grey. Maybe blue grey. But close enough to white for now. After all that hard work I realised I would need to seal the floor.
Concrete dust was up my nose and I wanted an end to it. You should really apply it with spray, but while I still had my motivation on the best I could do was use the roller I'd just finished the walls with. Section by section, the opacity waned, the sealer ran low. It looks pretty bad but hopefully everyone that doesn't get me will just assume I was going for some kind of artistic aesthetic.
It was a big job. It took me several weeks, and it sometimes felt like it wasn't meant to be. The lowest point was the day I discovered the monster spiders. I'd encountered a few before this point, even a redback, but I have never seen anything like this scary mother. (Yeah, they alwasy had millions of babies along for the ride). I made my mum kill it. She had to use a shovel. It was quite possibly the scariest moment of my life since my teen ouija board days. I really have to remember to 'bomb' this place at some stage, I've now encountered three of these beasts and its not fun.Anyway, all I really need to do now is get a ladder and finish cutting in the cornices and get some more white sheets to hide the ugly wall of junk.
Oh I'll also need some tools such as a desktop computer for my big computer desk, and some lighting and backdrop stuff would help... you know, the basics.
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