Alan Sugar





isabellaoshea's photostream on Flickr.

Crawley Future's Treatment

(L3) Photography Project Treatment Form

1 Type of production and brief details on Subject/Concept that you wish to portray:

An apocalyptic concept, loosely based on the work of James Chadderton who produced the Manchester Apocalypse Exhibition in early 2012. I took inspiration from this and decided to work with it as it had a dark and terror-filled outlook – something Crawley is starting to represent within itself. I will produce shots of large and well-known buildings throughout Crawley town and edit them to give an apocalyptic feel.

2 Facilities: What facilities do you need for this project list all including software and hardware for the whole project

A zoom camera, possibly with tripod. The main facility I will need for this project is Photoshop, as shots will be only of the location and will need to be edited heavily. Contrast and brightness will be altered.

3 Finance: If you produced this project outside of the college you need to show how much it would cost to hire the equipment that you intend to use. List the item and the purchase/hire cost next to it

Item Purchase/hire cost Canon camera £586 Canon zoom lens – 55mm – 250 mm £137.90 Canon tripod with carry case (used) £12.12 Adobe Photoshop 10 £79.10

4 Codes of practice and regulation: What regulations to you need to be aware of. Think about college policy as well as regulatory bodies that you looked at in Term 1 Assignment 2, Worksheet 1.6 Regulation and Safety notes. Say why they are relevant to your project.

I must not harm the public or myself. I must not take pictures of people who have not agreed to be shot – especially children (however this will not be a problem for this particular project as I will only be photographing buildings.) I must give the college a respectable name by being professional at all times.

5 Contributors: Who do you need to help this for you project? This includes talent and crew.

Crew and Role No talent and crew needed as only buildings will be shot for this project. Possibly someone to help with tripod. Talent and Role

6 Presentation: How will you present the pictures for the factsheet/leaflet? Can you give some rough thumbnails of the final layout?

1

Manchester Apocalypse Exhibition

Mankind has always found appeal in the end game.



 There's something thereuptic in imagining the whole thing gone, all the vanity and pride of human ambition reduced to a backdrop of terror.

James Chadderton has opened up his invisagement to the public, showing an apocalptic Manchester. He has smashed Manchester up. The Town Hall is a blasted husk, Urbis is a shattered shell, the Palace Theatre is wrecked. There are no people, they are killed or gone, the streets are empty. The artists claims his inspiration came from various films and computer games with a story line of civilization coming to a destructive end - and inspiration is hardly scarce. I Am Legend and 28 Days Later are only two of many films produced involving some kind of apocolyptic plot.

One Manchester based website reviewed the exhibition by saying - "It's as though down there a survivor is attempting to make his lonely existence bearable by painting the empty, dead streets above. A warning to the future spelling out very clearly that Time will tear down whatever we build."

Fashion Photography

Over time, fashion photography has developed it's own artistic outlook, enhancing the image by adding the presence of glamarous locations or accesories. The aim is to display clothing and other various items, conducting advertisements for a number of magazines such as Vogue or Vanity Fair.

Observing numerous photo’s that have been taken over a considerable amount of time, I found the style in which a person is perceived to change dramatically. 1950’s fashion photography was quite shy in aspects as how to approach the subject, however I believe the persons photographed were left more natural due to this shyness and lack of technology from the era. As time passes on, this technology begins to advance along with the style and photographers vision, something that has become a worldwide talking point.

The focus no longer lies upon the location, clothes or promoting a fashion. A model has become a mere outline of this art, in which photo shop becomes the fill of colour. Countless celebrities have stepped foot in a studio to be photographed; only leaving to have their image distorted. This is now fashion photography. It is slightly saddening to see the change from past fashion photography, which promoted sophistication and natural beauty.

Take the Dove Evolution video for example, http://www.youtube.com/watch?v=iYhCn0jf46U, link provided. A campaign to once again endorse natural beauty for people who do not have photo shop on hand. The photo's which are used in today's magazines are tailored to fit a 'perfect' size 0 image, that has affected countless women across the globe. A simple photo shown in a magazine can subsequently effect self-esteem - such as the image above of Eva Longaria. Her waist and hip have been slimmed and a magical shadow has been put in place. This kind of editing was not possible years ago, so it could be said a woman's outlook towards fashion was taken on with more confidence. 


Providing all points above, you must also understand that not all fashion photography has been doctored (most in advertisement are, however.) What kind of impact in this having on us as the audience? We are being flooded with two sides of the argument, with some magazines subtly promoting the perfect body, whereas others accept the fact photography has changed and is not helping us to view a clear judgement of an image. 

Photojournalism

Henry Cartier-Bresson
(1908-2004)

A photographer must be ready to pounce. To catch a moment that if taken a second too early or late, can loosen the image and make it less powerful. Henri Cartier-Bresson was a serrealist - strongly believing there was a super reality behind the photo being taken and in the photographic world, and was seen as the Godfather of The Desisive Moment - when a subject shows an interesting expression, when an animal conveys a special look, or when the light becomes its most dramatic. The Godfather as he was known, often sat for hours looking for this exact moment, with one of his most famous pieces being shown below. I found the image to the left intriguing, as it shows a natural and casual pose - something that was found in Cartier-Bresson's work, work that is often not read as forced. There is also a strong feeling that he wanted his subjects to be relaxed as possible, connecting with them to create a stronger result. Some critics however accused him of being nothing more than a snap-shooter. It is true in saying that the approach he used; in less disciplined hands, can cause a weaker result - but the best of Cartier-Bresson’s work; with it's timing, strict organization, and connection with human and landscape, could not result with what it did on luck alone.

The image to the left is considered one of the most powerful shots of the 20th century. Critics have slammed this as a snap shot which used the factor of luck to produce, however an image like this wouldn't of been easily staged - the subjects such as the ripped tire and man jumping over the puddle create a random but strong piece, keeping Cartier-Bresson's relaxed trend that is too casual to be staged.

Without a camera, the artist would of been nothing. The Leica camera, first made in Germany in 1925, was a considerable push in technology as the photographer was now able to see more precisely at his subject/s. Before hand, the photographer would have to use both eyes to see through the lens - now, Cartier-Bresson could see his whole scene and be quicker in reaction, something that was needed in his work. Cartier-Bresson remained devoted to the 35mm camera throughout his photographic career.

                                

                                                                                          Eddie Adams

(1933 – 2004)

The award-winning photographer was most recognised for his piece, The Execution. It shows a Vietnam General executing a Viet Cong prisoner at the exact moment the bullet hit the man's head. Adams went on to to win the Pulitzer Price because of this image, which I find to be extremely powerful, something that is etched into your mind and never becomes less powerful - unlike the T.V clip. The execution was filmed and appeared on television the same evening, and although horrific when first watched, if viewed over again I feel the shock would be considerably less, however the photo is a freeze frame of that saddening moment and sticks in your mind.

When the general was asked about whether this was a routine procedure, he replied 'General Wong does it all the time." To add salt to the wound, the man was executed on the spot without a trial, with Americans trying to portray the man as evil and someone who deserved the injustice - when infact it was the inforcers who were going through with such sly acts.

Robert Cappa
(1913-1954)

As you look at a photograph, you can believe this to be the truth - it has not been painted, it is a snippet of a particular moment that will never be captured again. However, photojournalism does not always give the whole story - you need context. And you need history. With an image there must be 'evidence' to back up this 'truth'.

When interviewed fairly recently, a friend of Cappa commented on his fantastic approach to journalism, however did not mention his photographic skills. He believed there were two rules when photographing war - get closer and get closer. Evidentally these rules worked to an advantage as Cappa is known as one of the greatest war photographers of the 20th century. One of his most powerful images was the Spanish soldier at the exact moment he was shot down, shown above. A perfect example of a decisive moment, as a second before or after would of lost that spark the photograph shows.

Although Cappa was never an enrolled soldier in World War 2, he was often right at the centre of conflict. D-Day, Cappa and a million other men took wave on Ohama Beach. When returning, he had with him a collection of rolls, however nearly all were ruined whilst being developed - all except 11 photo's, now looked upon as the most famous war photo's. People began to realise war photo's show more than meets the eye, reverting back to needing history and context. Cappa was also noted for saying "war is romantic" - whereas Tony Vaccoro strongly disagree's with that statement.

Tony Vaccoro            
                                               

(1922 -)

Unlike Cappa, Vaccoro was not as massively recognised for his photography as he was a working soldier in WW2. Aswell as taking the photo's and witnessing the carnage, he had to fight the enemy. With a 35mm camera in hand (he could not afford a Leica), Tony Vaccoro's work is also recognised for it's desisive moment approach, which one piece showing a German soldier burning to death. In an interview the photographer and soldier stated "As he was laying there, he kept on screaming Mutter (mother) as I was taking the photo." I could sense sadness in his tone and suspect Vaccoro must of had an overflow of emotion when taking an image such as that.