Exercise: Exploring Function

New Art Gallery Walsall

 

"Gallery spaces are successful when the space is not the primary focus. The role of the gallery is not to compete with the artwork, rather to create a blank space, which allows the artist's work to dominate the space." Virgil Dudley, http://www.ehow.com/how_5456086_design-art-gallery.html

The Requirement

Light, above all, to see the artwork.  Natural where possible, supplemented by diffuse artificial light, eliminating dark shadows, and avoiding reflections.
Plain, vertical walls to hang pictures on.
Open spaces for sculpture and installations.
Available but unobtrusive services: additional lighting and power.
Flexibility; the capability to open out or close in spaces for particular works or exhibitions.

A gallery has different functions.  Birmingham's Museum and Art Gallery is painting-oriented, mostly designed around a permanent exhibition of large oil paintings.  Walsall seems more flexible.  When we visited, there was a travelling exhibition of works by Damien Hirst, including a trademark sheep in formaldehyde.  A door had been closed off and a temporary wall built in the Garman Ryan Galleries, on which to hang his Trinity - Pharmacology, Physiology, Pathology, 2000.
 

The interior of the New Art Gallery Walsall is all white walls and varnished planks.

It's an intricate and beautiful, clever building, and this risks overshadowing the art for which it exists.

The top floor was designed as a restaurant and has large windows, giving views over the town.  It's now used as a display space, and the lovely large windows do some of the artwork no favours...

Though they enabled me to take this self-portrait.

 

But the designed spaces work well.

This is the image I've selected to illustrate the success of the gallery design.  It's half of the large Garman Ryan gallery and is subdivided into two bays by a large cabinet with glass both sides.  The windows, supplemented by artificial light, adjustable on tracks, provide illumination without causing reflection.  Small sculptures and artifacts are displayed in the cabinet, whose glass allows light to pass between the two bays.  It looks a little cluttered now; this is because the scupltures that are normally scattered through the whole space have been moved to make room for the Damien Hirst exhibition. 

The photograph was taken from beside Damien Hirst's preserved sheep.  No photographs are permitted of the Hirst works; the chair is for the gallery employee who supervises them, and is normally out of the way against the wall, right.
The sculptures, and the paintings on the right wall, are by Jacob Epstein. 

Reading: Source

I now subscribe to Source (Photoworks North, Belfast, seasonal).  The Autumn 2012 issue contained two articles that sold it to me.

Advertising, by Judith Williamson, which was the analysis of a Panasonic Camcorder advertisement showing a girl flying a kite on a beach, comparing the image with a 1970 Kodak ad showing a similar scene, and delving into the targeting of the advertisements, the subtext.  It concludes with this telling paragraph:
"There is something sad about the scenario of this Panasonic ad: the smiling girl turns to a parent who, instead of joining in, is recording her look of joy for future viewing."
This is an oppositional reading: the sense of the advertisement is subverted, conveying a message the advertiser did not intend.  Stuart Hall in his essay Encoding/Decoding, (Hall, 1993) defined three positions or codes, for the reading of a communication: the dominant-hegemonic position, where the intended meaning is read; the negotiated code or position, where the meaning is adapted to suit current or local circumstances; and the oppositional code, where a contrary meaning is inferred.

The Empty Lens: Teaching Photography as a Dead Language, by Greg Lucas and Jane Fletcher.  This raises questions about the fitness for purpose of the teaching of photography (and indeed, any 'art' medium).  The following delightful paragraph exposes one of the perceived conflicts:Professional photographers who ran - angst-ridden - from secure careers towards self-expression (finding their natural home in educational institutions) are now expected to facilitate students whose only aim is to walk blithely into a well-paid job."
The article's conclusion is:
"By removing self-expression from photography education, students will learn to understand how the medium works."
While this doesn't seem to apply to my current OCA course, I do see this tendency in other media teaching, and it was refreshing to see these opinions expressed so forthrightly.

It's the element of subversion in both articles that I find appealing.  One receives such a lot of over-serious, earnest, self-believing stuff, that it's good, occasionally, to see it twisted and torn down.

Hall, Stuart (1993) 'Encoding/Decoding' in S. During (ed) The Cutural Studies Reader, London, Routledge:
http://wxy.seu.edu.cn/humanities/sociology/htmledit/uploadfile/system/20110120/20110120230110412.pdf

Assignment Two: National Dance Company Wales

National Dance Company Wales taking Company Class
at Theatre Severn, Shrewsbury, Autumn Tour 2012

The beautiful photographs on the side of the truck made me feel humble.

 

Via Shrewsbury Life Drawing group we had the opportunity

to draw and photograph these wonderful dancers.

 

In the front row was a mass of expensive technology, clattering away.

  Photographers were asked not to use flash.

 

Most of the painters sat further back.

Some painters (centre) found the continual movement of the dancers difficult to capture.

 

 The class was taken by Kathleen Rylands, Rehearsal Director,

 

and began with bar exercises.

[Print 1] 

They're experienced dancers, in tune with their bodies,

   and took from the exercises what they needed.

 

I rather took to Natalie Corne and Christopher Scott

 

Even when they weren't exercising,

 they were always doing something interesting

from my point of view.

 

I liked the graphic shapes in this image.

 

The dancers had such control over their bodies that parts were completely still

While others moved rapidly.

[Print 2]

The bars were removed and the class became more mobile

 

[Print 3]

Still led by the Rehearsal Director.

 

Balance and control

are of great importance.

[Print 4]

The final phase was more individual

[Print 5]
[Neus Gil Cortes]

 

The dancers ran and leapt

[Print 6] 

[Camille Giraudeau]

[Print 7]

Moving rapidly

Swirling,

[Print 8]
Moving forward

Making interesting shapes

[Print 9]

They leapt [Matthieu Geffre]

High in the air [Matteo Marfoglia]

 

At last it was over

they came back to earth

[Print 10]

 And performed their stretching routines.

Leaving the painters and photographers

To relax, process their images, and reflect.

Note: Both painters and photographers were requested not to publish their images.

I requested and obtained permission to use my photographs as part of my college assignment.
So there are two reasons not to copy these images.

 

We saw the show in the evening.  Seeing the class in the morning made the evening performance more enjoyable; we felt we knew the dancers already.

Notes on Assignment 2: National Dance Company Wales

 

The Plan

I was prepared to be flexible, prepared, too, for disappointment: maybe the light would be insufficient to get anything; maybe we’d be kept too far away to get anything useful, even with a long lens; maybe the background would be cluttered.  I decided I’d try to get some long exposures, showing movement.  I expected to shoot 100 or so images, but finished with 250.

In the event, my fears were unjustified, though I was rather discomfited by the huge, clear action pictures in the side of the company’s truck.

Technical

We were asked not to use flash; I’d no intention of doing: the guide number required would have been enormous, and direct flash is so flattening.  The stage was fairly well lit: ISO 800, F5, 1/25, didn’t stop movement, but I found the dancers were capable of stillness as well as rapid action.  They use more of the body’s movement envelope than most people.  However, many of the 250 exposures I took were blurry.  I used two lenses: 18-55 and 55-250, and changed a couple of times during the shoot.  White balance: tungsten.

The stage was draped in black, which helped de-clutter backgrounds.  With strong stage lighting there was a big difference between darks and lights. I tried to prevent highlights being blown out and let the darks go to black. 

The Shoot

Perhaps because I’d been shifting position, we were asked not to disturb people if we moved about the auditorium.  I took this as permission to move about, but quietly.  To tell the whole story, I needed pictures of the ‘audience’ as well as the dancers.  In the front row was quite a display of L-series lenses and tripods, very static in their seats, presumably getting long exposures without camera shake.  I chose to brace myself in a seat to take longer exposures, achieving up to 2.5 seconds with plenty of camera shake but, because of the black background, I don’t think this was enough to spoil the images.

The class lasted a little over an hour and went through phases as described in the picture notes above.  Perhaps I could have researched this, and been better prepared, but an hour’s a long time; though seeing the class proceed as expected might perhaps have reduced my anxiety.

Despite the black drapes, the dancers themselves sometimes cluttered the background.  I was unable to isolate some of them, obliging me to concentrate on those I could isolate. 

Because I was shooting at an angle to the stage but keeping the camera more or less horizontal, the stage line is sometimes diagonal.  I think this improves some shots, in particular those titled “Balance and control are of great importance.”  The stage line and the line joining the tops of dancers’ heads balance each other, and the slope emphasises what I’m saying in these images.

Choice of images

I could have focussed entirely on Natalie Corne & Christopher Scott.  I have several images of them, and as I say, they did interesting things.  Or Neus Gil Cortes, I’ve a lot of pictures of her, and she has a wide range of movement—and stillness.  I took a lot, too, of Matteo Marfoglia and Matthieu Geffre.  In the end I decided to use a range of photographs showing most of the dancers, because in this way I could tell a kind of story, leading with the rehearsal director.  Stories are important to me, and can perhaps add a punctum to the studium of the photographs.  (Barthes)

The Photographs

 

Print 1.  The bar.  The class began at the bar.  This hamstring stretch can be performed with or without the bar.  The dancer left is stretching without the bar.  Depth of field and movement issues here.

 

Print 2.  Following.  The dance director leads and the two dancers—under her wing—prepare to follow.  Not as crisp as it should be, but I like the composition, where the dancers are almost her shadows.

Print 3.  Balance.  The stage wasn’t really sloping; my viewpoint makes it seem so.  I chose not to straighten it because the slope adds to the feeling of being off balance.  I like the way the dancers all concentrate on following the rehearsal director.  Motion blur.

Print 4.  Focus.  Dancing is about thinking as well as moving.  The shadows are too dark, but a significant increase in exposure burned out highlights on the shoulder.  I’ve dodged the face a little.

Print 5.  Portrait.  I was glad to be able to capture a portrait while this dancer was still, showing the intense focus they have.  Her fingers are moving, though.

Print 6.  Jumping.  I chose this image because the dancer clearly enjoying herself; even her ponytail is jumping.  I hope the feeling of joy makes up for the motion blur here.  1/60^th.

Print 7.  Moving forward.  0.8 second exposure.  I like the dancer’s motion lines and don’t think the camera shake detracts too much from the image.  A tripod would have reduced the effect of camera shake, but would have made it much more difficult to capture the image.

Print 8.  Standing up.  1.3 second exposure.  What a lovely, odd shape.  Camera shake visible in the tracks in the background.  I decided not to remove them because they provide the viewer with clues to locate the dancer in space and understand what’s happening here.

Print 9.  Leaping.  I took a number of pictures of dancers leaping, and this is the best.  The pose is obviously a standard one; I saw it repeated several times.  The dancer’s gaze and right arm and leg point left, yet the other limbs are cocked; they seem to pin him, motionless, in the air.  There’s a lot of motion blur here, and I’m not sure it’s a bad thing.  The active limbs are blurred, the leg clearly shows motion, while blur is less on the other limbs, suggesting stillness.  Perhaps if blur overall were less, the difference would be even more apparent.

Print 10.  Stretching.  This concludes my story.  Stretching is an important part of every athlete’s workout.  The composition is all triangles, conveying a feeling of stability and stillness.  The triangle of the nearer dancer’s trousers copies that formed by the second dancer, and they’re both included in the big triangle.  The hand and foot on the right and the foot on the left, stop the gaze and direct it back up the triangle to the front dancer’s face.  There are nice reflections off the polished stage. 

Post-production

I adjusted exposure and tidied a few of my images, removing distractions.  In some cases I’ve straightened the horizon, but I haven’t increased the slope in others.

What I learned, what I’ll do differently next time:

If I get the opportunity I will repeat this shoot, taking a monopod (a tripod’s rather like an anchor) to get more swirly images.  It’s an exciting, beautiful experience I want to repeat, even if there’s no other reason for going.

Photographs don’t have to be perfectly crisp; if they look right, then they are.

Be bold: folk are helpful and accommodating; ask for what you want.  I emailed the National Dance Company Wales for permission to use these photographs and received permission.  The marketing director said, “I’d be interested in seeing your photos if you could pass any on to me; the dancers are also keen to see any photos taken of them.”  I sent her a CD of 50 images, together with a link to my learning blog.  Quid pro quo.

Adapt; be aware of and look out for opportunities to diversify, to follow an individual while being aware of the group.

Summary

In my photographs I’ve tried to tell a story, and I think what I’ve produced at least shows a progression.

 Mike White

13^th December 2012

Dr Sketchy's, Birmingham

Dr Sketchy's Anti-art School (http://www.drsketchysbirmingham.co.uk/) provides an opportunity for artists (and photographers) to work with live models outside the formal environment of a traditonal Life Class.  Burlesque artists perform their act, then pose for the artists.  There are prizes for the best and it's very light-hearted and fun.  These images were captured on 24th November 2012, when Dr Sketchy's celebrated its fourth birthday with a tribute to the films of Tim Burton.

It takes place at the The Victoria, John Bright St, Birmingham.

An old pub with lots of personality and atmosphere.

 

Even the Gents' is idiosyncratic; not a place to stagger down into:

The event takes place in an upper room, and naturally, there's lots of preparation to be done.

We set out the chairs while the organiser, Candee, prepares gifts for the performers.

And Pip 'Astro' Bayley arranges the furniture.

 

Jacob (Sound) accepts Suzie Sequin's music.

I'd arranged to record the preparations.  Here is Tiffany Beau making-up as The Mad Hatter.

Of course, the inner woman needs nourishment too.

Eating is not usually a good look, but she gets away with it here.

It's a delicate operation; burlesque performers don't have the sumptuous dressing rooms of the big stars.  I'm reminded of Lord Snowdon's image of Helen Mirren in her dressing room: http://newsimg.bbc.co.uk/media/images/44743000/jpg/_44743965_helenmirren.jpg

The Mad Hatter needs a gap between his upper incisors.  It's painted on with waterproof mascara.

There: it's done.  But will it come off?

The essence of Dr Sketchy's is fun.

And the final result.
It's hot, and hat and coat are discarded:

Tiffany compares notes with Liberty.

Not all the preparation is physical:

In a busy scene, where even Edward Scissorhands twiddles his 'fingers',

Kitten Von Mew remains a pillar of calm, absorbed in her role as the Corpse Bride.

 Kitten stays serenely in character during the whole of her pose. 

And opens her own eyes only when it's over.

The artists use different media to draw their sketches. 

When the fifteen minute pose is over, Kitten judges the results.

And, with the help of the compere, singer and performer Liberty Pink, awards the prize.

Suzie Sequin plays Sally, from The Nightmare Before Christmas.

Steve Pledger plays Jack Skellington...

Also from The Nightmare Before Christmas.

And together, they pose:

For the artists:

And there's another winner:

Missy Malone as Sweeny Todd...

The shapely barber of Fleet Street:

Sandy Sure gives us Beetlejuice

And poses with his girlfriend Lydia Deetz (Frankie Lynn)

Pip wins a prize:

And looks pretty pleased about it.

The lovely Liberty Pink sings farewell...

And you couldn't have a birthday party without a cake...

by Annabel de Vetten-Peterson at Conjurer's Kitchen.

The End 

Notes on Dr Sketchy’s
The Plan

It’s good to plan; there’s less chance of missing vital things out, but one needs to be flexible, too.  It’s a matter of making good compromises.  I was trying to record an event without interrupting it.  I was asked not to move around while taking photographs, which inhibited what I wanted to do, yet I did manage to get about a bit without disrupting the show.  One of my objectives was to produce a set of pictures for the participants, to record the event for their benefit.  I’ve published the blog to the Dr Sketchy’s people on Facebook.

Technical

It was a dull, rainy day, and I had to use available light indoors.  ISO 800, F5.6, one stop underexposure, still made it impossible to stop movement.  Many of the 200 exposures I took were blurry.

The stage was intermittently lit by coloured lights and LEDs, so white balance wasn’t simple.  I’ve seen that reducing the colour temperature in Adobe Camera RAW gives an effective exposure reduction too.  I was already at a high ISO, so I didn’t want to have to adjust exposure upwards, multiplying the noise already present.  I set white balance to tungsten, but still had to tinker with it on some shots.  With strong stage lighting, there was a big difference between darks and lights.  I tried to prevent highlights being blown out and let the darks go to black, which helped de-clutter backgrounds.

The Photographs

The format of the evening is that each artiste performs her act, which usually includes removing her clothes.  While this would have provided some interesting images, the ethos is that such photographs are not taken—or at least, not published.  The character of the event is good-natured fun, not an erotic display.  When the act is over, she resumes some of her clothes and then poses for up to fifteen minutes for the artists and photographers.

I’d arranged with the organiser beforehand that I’d be able to photograph her make-up work, but on the day she was unwell and would be unable to perform.  She asked folk to come early to help set up and we obliged.  It was raining; we hurried inside; I didn’t even take a shot of the outside of the venue.  I like my barmaid picture, which does show the character of this busy pub, though removing the menu from the corner of the bar would have improved it

I didn’t plan to take a picture of the Gents’, but have always found it odd, so I included it as part of my scene-setting.  A project like this is not about individual photographs; if they all zing then there’s no quiet place to recover.  I don’t think I’ve made the setting-up shots interesting, though.

I took several pictures of the present-wrapping, but the close-up of the hands says more than those showing the face of the wrapper.  A couple of days earlier I was in a portraiture workshop; if I’d followed the advice given there I’d have had Candee holding the presents up to her face.  I can’t think how that wouldn’t have looked contrived.

I like my photographs of Tiffany Beau more each time I see them.  Given the opportunity again, I’d make a project all about her preparation, and take multiple shots of her completing it; putting on coat and hat, and taking them off again when it got too hot.  My pictures of the removal of her rollers are unusable.  I could have tried to vary the shots more, but wanted to document the process.

Post-production

I’ve tidied a few of my images, ironed out the odd wrinkle and tightened a couple of jaw lines.  This is a compromise I feel was necessary: I want my subjects to want me to photograph them again.
I didn't try to remove the projected text from the single portrait of Jack Skellington. 

What I learned, what I’ll do differently next time:

Motion blur was a problem, yet I could have used it to produce interesting swirly images.

I took a general shot of the empty chairs at the start, but could have taken one of the audience, later on, which would have been more interesting.  Don’t be shy about changing lenses.

Be bolder: folk are helpful and accommodating; I could have at least asked to take a picture in the Ladies’, which was being used as a changing room.  After all, I took a photo in the Gents’.

Adapt; be aware of and look out for opportunities to diversify, to follow an individual while being aware of the group.  The opportunity to do a set exclusively on Tiffany’s evening, from make-up to relaxing afterwards, was there, but I didn’t see it.

Summary

In my photographs I’ve tried to tell the story of the evening, well, a story, and I think this has been fairly successful.  It has a beginning, middle, and end.  I’ve included all the performers, and brought the story back to its beginning: the fourth birthday celebration.

 

Mike White

30th November 2013