MY PHOTOGRAPHY BLOG THING...

Hi my name's Jason Carden and I'm a 3rd year photographic student at the Hereford College of Arts and this is me...well not literally! come in but take your shoes off first. Oh and by the way it's a mixture of my own work and practice and some research into the practice of other photographers.
Me Likey!!!

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J. Carden. Simulacra - 2014

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P11 - Defined Personal Practice

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Formative Assessment Dated the 3rd of April 2014

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On the 3rd of April I had my formative assessment for the P11 - Defined Personal Practice module in which my tutor and myself discussed both my work so far and the possible direction it could take. 

As to the work presented above it was agreed that I was continuing to develop my practice in a manner which is independent, self assured and directed and demonstrates that I am aware of my intentions for my response, both conceptually and aesthetically.

The contact sheets above are copies of those that were presented and the crosses marking the specific images were made by my tutor to indicate those images that were working, aesthetically and compositionally and also within the framework of my intentions for the bodies meaning. They are however those that I’d neglected to place within my first edit and were thought to have been included within the final body of work*.

The areas where I could refine my practice were also discussed and these concentrated specifically upon my confidence and ambition when creating a sequence of images that work as a whole and drive the narrative forward.

* The images I initially selected are not marked and in total, with those above, there are 13 images that can be potentially used for my final body of work.

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JASON CARDEN PHOTOGRAPHY

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P9 - The Public Domain

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Source Photographic Review - Graduate Photography Online 2014


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“Memory. Such an insubstantial and prosaic notion. Fragmented ideations and chronologies make up my recollections of the people I have met, the places I have experienced and the knowledge that I have aquired. It is a source of perplexity that these memories - as some would say - are the sum total of my individuality, they are, in essence, who I am. If this is the case then why can I not grasp them from the fog and make them clear? Why do they allude and continue to confuse with their incoherence and disconnection? Is my singular identity as vague? Could I be observed to be as insubstantial?” - Jason Carden 2014

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The time is here to submit to the Source Photographic Review - Graduate Photography Online showcase. As I completed my final year FDA in commercial photography last year I had the satisfaction of already submitting a selection from my body of work, Construction Archives, Esthétique Avec Un Chat. The five* images above are my intended choice for this years submission along with the body of text that accompanies it.

*A maximum of five images that represent a developed, cohesive and mature body of work.


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The new website for Jason Carden Photography is now under construction. Keep checking back for new content.

P11 ‚Äď Defined Personal Practice

Primary Statement of Intent Two


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For the P11 ‚Äď Defined Personal Practice module

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Intention:

My intentions towards my response to this module and its expected outcome will be detail here.

After the perceived success of my previous module, P10 ‚Äď Negotiated Contemporary Practice, I have decided to further explore the subject of memory through the exploration of the familial home. My mother passed away after a long illness in the summer of 2012 and my intended approach will be to examine this difficult subject through my fathers relationship with the space they shared for the duration of their marriage. Having not lived in this space for many years I have become less aquainted with the subtle changes within the space but on my frequent visits I was always conscious that my mother’s tastes predominated.

Soon after the funeral my father (I had no input myself) had to decide what evidence of my mothers life he would keep but also far more painfully, which he would discard. This, I believe to be a slow process and one which is still ongoing. It is also one which, I feel gives a certain comfort to my father because he is now able to reconcile his feelings with that of the home they shared and he now has more control over how he choses to remember.

An example of this reconciliation is in the fact that my mother would never have dreamt of having a photograph of herself on show. My father now has many. Another would be that my mothers tastes went through different phases, especially for interior decor and colour schemes. Her favourite colour was always green but in the last months of her life she obsessed about the colour red. The house now has a curious mixture of red and green throughout the ground floor.

In conclusion, my exploration of the family home my father now inhabits after the death of my mother and how he has changed it in order to accomodate his memories will form the central motif of my visual and conceptual response to the P11 ‚Äď Defined Personal Practice module brief.

For my initial research I will consider the photographic work of Kaylynn Deveney, Seichi Furuya, Larry Sultan and the book, Camera Lucida by Roland Barthes.

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Output:

I intend to produce a photography book from the edited body of work I create. The book will have a hard cover and there will be a small introduction to provide context to the photographs. As well as this book, I also resolve to generate a minimum of 12 high-quality prints for display at the Hereford College of Arts 2014 Summer Show.

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Equipment:

I feel that to accomplish my envisioned outcome for this modules final body of work I will use Kodak Professional Portra 120 colour film at ASA 400 with a Mamiya 7 medium-format range finder camera. This is due to the fact that I will be photographing subjects exclusively indoors which will entail uncertain lighting conditions. My choice of camera is simply one of expedience. I am comfortable with its use and am confident I can obtain the resultant aesthetic that I have anticipated for the final work.

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P11 - Defined Personal Practice

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Technical Considerations from the shoot dated the 12th to the 17th of March 2014

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For the P11 - Defined Personal Practice module I have chosen to use a Mamiya 7 and 400 ISO Kodak Portra 120 professional colour film. The first day of shooting the project, Wednesday the 12th of March was sunny and this situation carried on through the six days of shooting. My body of work is to be entirely made within the confines of a small house which presents some particular problems in and of itself.

Due to the conditions my shutter speed varied from 4 seconds down to as much as 8 seconds in particularly dark places where the available light did not adequately penetrate. I wanted to keep my aperture at a constant f/22 to limit depth of field. This was not always practicable due to the available light and the subsequent shutter speed*.

*The maximum set shutter speed on the Mamiya 7 is 4 seconds. However there is a   bulb setting which will require me to use a cable release and a stopwatch on any successive shoots to attain f/22 and the minimum depth of field I require.

The choice of using the 80 mm f/4.0 lens was a question of necessity, it being the only one available for the camera. However I found that this and the 6x7 format fitted the style of work I was intending and made me examine my composition to a greater extent than the 6x6 format of the Hasselblad 503c.

Lastly I chose to use an external light meter as I consider that you can obtain a more reliable and accurate result than by using the one found on the camera, it also has the benefit of being easier to read.

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P11 - Defined Personal Practice

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Preliminary 120 Film Scans from the 12th to the 17th of March 2014

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The above 7 images are an edited selection of the 50 6 x 7 colour negatives I captured on my visit to the family home from Wednesday the 12th of March to Monday the 17th of March 2014. They were all taken within the confines of a small, two bedroom house in the Southern Hertfordshire town of¬†Hemel Hempstead¬†where I grew up and in which I have a lot of memories invested. The scans are edited, TIFF files that have been converted into raw JPEG files for display. They were scanned at¬†1200dpi.

Please see here for technical details.

The images above represent a small selection of the negatives I shot and are from my first intended shoot for the P11 - Defined Personal Practice module.

I remain moderately satisfied with both the technical and aesthetic quality of this preliminary work at the present time but I feel that they lack a clear connection to the conception behind the work and also my intentions of what it should signify to my chosen audience. On Thursday the 27th of March I have a Interim Critique in which I hope to discuss the work I have created so far and obtain feedback from both the student body and staff members from my Level 6 year group*. This, I believe will be of great advantage in order to help me to not only define a way forward, but also help me reconcile my work so far with my ideas.

On a technical note the camera I used for this work, a¬†Mamiya 7¬†with an¬†f/4 80mm¬†lens I found presented some difficulties within the environment I was photographing. This manifested itself in the camera’s inability to capture images at its maximum aperture of f/22 without the shutter speed exceeding the 4 second limit. (the camera does have a Bulb function but I felt this to be too unreliable). The result of this is that I was unable to choose the maximum depth of field that I required for my envisaged aesthetic. I also felt that the lens presented its own difficulties as its closest focusing distance was often to far away to capture the composition I wanted within the bijou confines of the family home.¬†

To this end I may consider using a Hasselblad 503cw with a 50mm f/4 to provide a wider angle of view. Another option is to continue using the Mamiya 7 although with a cable shutter release and a stopwatch with the shutter speed set to the Bulb setting.

*After the interim critique, dated the 27th of March 2014 and a discussion with both module tutors it was decided by consensus to continue using the 6 x 7 format and the Mamiya 7.

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P11 - Defined Personal Practice

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Preliminary 120 Film Scans from the 12th to the 17th of March 2014

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The above 7 images are an edited selection of the 50 6 x 7 colour negatives I captured on my visit to the family home from Wednesday the 12th of March to Monday the 17th of March 2014. They were all taken within the confines of a small, two bedroom house in the Southern Hertfordshire town of Hemel Hempstead where I grew up and in which I have a lot of memories invested. The scans are edited, TIFF files that have been converted into raw JPEG files for display. They were scanned at 1200dpi.

Please see here for technical details.

The images above represent a small selection of the negatives I shot and are from my first intended shoot for the P11 - Defined Personal Practice module.

I remain moderately satisfied with both the technical and aesthetic quality of this preliminary work at the present time but I feel that they lack a clear connection to the conception behind the work and also my intentions of what it should signify to my chosen audience. On Thursday the 27th of March I have a Interim Critique in which I hope to discuss the work I have created so far and obtain feedback from both the student body and staff members from my Level 6 year group*. This, I believe will be of great advantage in order to help me to not only define a way forward, but also help me reconcile my work so far with my ideas.

On a technical note the camera I used for this work, a Mamiya 7 with an f/4 80mm lens I found presented some difficulties within the environment I was photographing. This manifested itself in the camera’s inability to capture images at its maximum aperture of f/22 without the shutter speed exceeding the 4 second limit. (the camera does have a Bulb function but I felt this to be too unreliable). The result of this is that I was unable to choose the maximum depth of field that I required for my envisaged aesthetic. I also felt that the lens presented its own difficulties as its closest focusing distance was often to far away to capture the composition I wanted within the bijou confines of the family home.¬†

To this end I may consider using a Hasselblad 503cw with a 50mm f/4 to provide a wider angle of view. Another option is to continue using the Mamiya 7 although with a cable shutter release and a stopwatch with the shutter speed set to the Bulb setting.

*After the interim critique, dated the 27th of March 2014 and a discussion with both module tutors it was decided by consensus to continue using the 6 x 7 format and the Mamiya 7.

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P11 - Defined Personal Practice

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Film Contact Sheets from the 12th to the 17th of March 2014

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The contact sheets above represent the 47 6 x 7 colour negatives that were adequately exposed from the 50 in total that were shot from the 12th to the 17th of March 2014. The contact sheets are digital recreations from the original, unedited scans. All of the photographs above were scanned at 1200dpi and outputted as a TIFF file for the purpose of correcting later in Adobe Lightroom 4.

The marks upon the individual images identify which photograph I feel is either successful or unsuccessful due to technical, conceptual, compositional or aesthetic reasons or whether I judge them relevant within the context of my intended response to the P11 - Defined Personal Practice module brief.

Of the 47 images captured I have identified 14 which could possibly be included within my final body of work.

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HCA Media Arts Amsterdam trip 2014

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Is Amsterdam the most relaxed, attractive, cool and arty city in Europe? A strong contender in our opinion after our fab visit 18th - 21st March.

Superb exhibitions at major museums & loads of independed Galleries. The new Rijks Museum, The Stedelijk and Van Gogh Museum are all excellent.

Photography students and staff managed to catch Jeff Wall at the Stedelijk Museum as well as an outstanding exhibiton on ‘Apartheid & After’ at Huis Marseille which included David Goldblatt, Pieter Hugo, Guy Tillim and many more.
And at Foam was among others Richard Mosse’s work from Africa which is also coming to Photographers Gallery in London having been shortlisted for the Borse Prize.

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HCA Media Arts Amsterdam trip 2014

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Is Amsterdam the most relaxed, attractive, cool and arty city in Europe? A strong contender in our opinion after our fab visit 18th - 21st March.

Superb exhibitions at major museums & loads of independed Galleries. The new Rijks Museum, The Stedelijk and Van Gogh Museum are all excellent.

Photography students and staff managed to catch Jeff Wall at the Stedelijk Museum as well as an outstanding exhibiton on ‘Apartheid & After’ at Huis Marseille which included David Goldblatt, Pieter Hugo, Guy Tillim and many more.
And at Foam was among others Richard Mosse’s work from Africa which is also coming to Photographers Gallery in London having been shortlisted for the Borse Prize.

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HCA Media Arts Amsterdam trip 2014

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Is Amsterdam the most relaxed, attractive, cool and arty city in Europe? A strong contender in our opinion after our fab visit 18th - 21st March.

Superb exhibitions at major museums & loads of independed Galleries. The new Rijks Museum, The Stedelijk and Van Gogh Museum are all excellent.

Photography students and staff managed to catch Jeff Wall at the Stedelijk Museum as well as an outstanding exhibiton on ‘Apartheid & After’ at Huis Marseille which included David Goldblatt, Pieter Hugo, Guy Tillim and many more.
And at Foam was among others Richard Mosse’s work from Africa which is also coming to Photographers Gallery in London having been shortlisted for the Borse Prize.

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HCA Media Arts Amsterdam trip 2014

____________________________________________________________

Is Amsterdam the most relaxed, attractive, cool and arty city in Europe? A strong contender in our opinion after our fab visit 18th - 21st March.

Superb exhibitions at major museums & loads of independed Galleries. The new Rijks Museum, The Stedelijk and Van Gogh Museum are all excellent.

Photography students and staff managed to catch Jeff Wall at the Stedelijk Museum as well as an outstanding exhibiton on ‘Apartheid & After’ at Huis Marseille which included David Goldblatt, Pieter Hugo, Guy Tillim and many more.
And at Foam was among others Richard Mosse’s work from Africa which is also coming to Photographers Gallery in London having been shortlisted for the Borse Prize.

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