FMP Weeks 19-21: From cardboard models to the first exhibition Part 2: Selecting images

Part 2: Selecting images

With the advent of the new year I realised I had become rather enthusiastic (some may say verging on obsessed) with containers for recycling, different times of day and lighting conditions and various pieces of equipment to photograph them with. A ‘hunter-gatherer’ approach hoping that significant edible results would jump out at me once uploaded. Despite experimentation with a 14mm lens which did curve the outcomes, a speed light and assistant to dispose of rubbish while I photographed, I preferred the results with the 24-120 lens for its versatility and the use of strong natural light. Capturing the disposal proved somewhat ad hoc requiring manual focussing as auto missed many of the ‘moments’.

Sarah Newton 2019, Almost capturing a moment

In contrast I felt I had not done enough scanning of beach finds, neglecting those from late 2018 and early 2019 when several beach walks were achieved with relatively mild weather. With the arrival of the Epson flatbed came the opportunity to adjust the size of the area scanned and importantly to specify the desired  resolution in dpi dots per inch (as distinct from the ppi pixels per inch) as well as other settings. Playtime beckoned. I feel I have only just begun to explore what can be achieved and am still keen to gain experienced advice (see earlier post on Paul Kenny who runs workshops with Doug Chinnery).

Sarah Newton 2019, Scanning beach finds; note essential coffee, torch and hoover to suck up escaping sand and other matter

Accompanied by the advice from the marking of a previous course submission ringing in my ears I set out to ‘ditch my darlings’! Initially taken aback and feeling as if my favourite sweets were being taken away I now see and accept that I have favourites and these are not necessarily those appreciated by others or ones that can sit alongside others with ease and add value to a whole project in a collection to be exhibited or published.

Determined not to miss any images out of the initial selection I reviewed all those taken since the start of the course. It could have been a lengthy process but the initial trawl was made easy because I was looking for images that had potential to be part of my overall theme of other worldliness (with working titles of Event Horizons for DSLR images and Dark Matter for scanned images). All chosen to shortlist from were taken/made in the previous 6 months. Then came a quality filter which narrowed the field significantly and yes, a few darlings were thrown out. Floors and a large noticeboard were platforms for thumbnails and printed copies to be reduced still further. Living with and rearranging complimentary groupings multiple times can be tortuous but as I found out can also stimulate thoughts and ideas about other aspects of the project.

Sarah Newton 2019, Initial trawl of images for FMP activities
Sarah Newton 2019, Sifting and filtering the ‘best of’ similar images

Seeing the arrangements raised many questions not least of which was what was I selecting for; the course submission, exhibitions, a publication…as all could require different choices? As soon as I had confirmation of two exhibitions I was envisioning how the image groupings might look in situ. Visiting and revisiting and measuring the locations and thinking about the potential audiences began to solidify what could work and narrowed the selection further. A tutorial and discussions with peers about numbers of images and whether the same ones had to be exhibited as in the final FMP portfolio submission helped. Additionally the selection process also inspired further thinking about the overall title for the project, a journey that has had its favourites with my ideas and great suggestions from peers Libby and Andrew over the past few months.

Sarah Newton 2019, ‘Anchoring’ image and 4 complimentary groups for Exhibition 1
Sarah Newton 2019, Out-Sight-In at MVV Environment Devonport Ltd. 18th February to 30th April

Out-Sight-In

Now I have a pool of 25-30 from which I am happy to draw for different purposes. With advice from my tutor and Victoria Forrest last week to stop taking and making (she reviewed the layout for the first exhibition of 16 images and discussed potential publication) now is the time to bring the project to its closing stages for the FMP of the MA. However I feel as if I am only just starting and have much more to discover about what I can achieve with rubbish.

References

CHINNERY, Doug. 2019. Available at: http://www.dougchinnery.com/ [accessed 21/02/19].

FORREST, Victoria. 2019. Available at: https://designbyvictoria.com/ [accessed 21/02/19].

HUXLEY-PARLOUR ARTISTS. Available at: https://huxleyparlour.com/artists/paul-kenny/ [accessed 23-08-2018].

KENNY, Paul. Available at: http://www.paul-kenny.co.uk/ [accessed 23-08-2018].

SEYMOUR, Tom. 2016. Paul Kenny’s Land and Sea. British Journal of Photography. 21 June 2016. Available at: http://www.bjp-online.com/2016/06/paul-kennys-land-and-sea/ [accessed 23-08-2018].

TRIPLEKITE PUBLISHING. Available at: http://www.triplekite.co.uk [accessed 23-08-2018].

WATERSHED. Victoria Forrest. Pervasive Media Studio. Available at: https://www.watershed.co.uk/studio/residents/victoria-forrest [accessed 21/02/19].

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