Task 2 – Human Presence – Final post

I’ve decided to use my recording studio shots as my final project to fit the brief. I’ve experimented with both resin and fibre based printing paper to see what the best results were. I’ve also experimented by leaving the images in the fix for less time so the quality of the print fades with time, as a metaphor for the use of traditional music studios. I felt that the resin coated images were best fitted to the brief as well as the images that were fixed for the proper time because the fade took away from the quality of the photography.

Considering presentation for the images; I want people to look into the images and consider them as detailed artefacts representing the music industry. For this to happen I want them to be small in a large place so people are drawn to appreciate them and have to move in close to see detail and pick out the essence of the music studio. Furthermore, the images need more context so people understand the process that I’ve used. By solely looking at the images it would be nion impossible to tell that they were exposed with the light on my phone, playing a music video of song recorded in the studio the image it was taken. People seeing the image said the same, they liked the images but there was no context to why some were a different exposure to others. I then considered ways the photographs can be presented better. After much thought, an innovative way was to mount the images on mount-board and write the song they were exposed with. Furthermore, I’d take a photocopy of the sheet music of each song and make an acetate of it to expose onto the mountboard+print by coating emulsion around the image to develop the notes around the image. This way I give more context to the audience to make the our visual horizons meet.

This technique with the liquid emulsion was difficult. I taught myself how to do the process because it wasn’t an alternative process that we hadn’t experimented with in the workshops. I understood how to get the results that I wanted but the coating of the emulsion was initially difficult; I had to experiment with over 10 test sheets before getting the desired effect. I wanted to make the mountboard a subtle contextual hint about the way it was exposed with music videos. Subtly saying what song it was, while expressing that recording studios were traditional ways of recording music, but are now seen by some as old, once valued infrastructures but now expendable spaces that aren’t the best opportunity cost for the band. The section of mountboard that is visible doesn’t really display much of the music notes, because it was too small. I did intend for the music notes to be much clearer on the board, but I feel they still offer this traditional essence that music studios still give off. With the name of the song that exposed the photo underneath it still offers enough context for the audience to understand. Furthermore, even though the notes aren’t entirely visible, their intent still offers subtle context to the images. The process dates the studios and sets more context for the images, so even though it wasn’t intended, the results still came out to benefit my project.

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I hope people see the elegance of the music studio through my photography, the mystery of whose played there and the essence of music itself, and I hope people understand the work as I’ve intended them too.

Here are my final images:

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Here is how I’d like them to be presented in a gallery…

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I want people to appreciate the essence of the studio and experience it. I’d have the prints on a sizeable but separated so they look into them for the detail and the message. I also want it to be in a darker room with these similar spot lights, and with a wooden floor bringing it back to the traditional. Furthermore, there will be calming music played in the background so you get the connection to the music industry.

Here is the description of my study taken from a previous blog post with amendments…

‘The space in which I photographed was stunning; the window light spread softly to each corner of the room, creating a photogenic compass. It was the ideal location for a project centred around human presence because it was softly lit with a generous collection of items once used by noted musicians. The soft light fell on these objects beautifully; causing soft shadows and elegant textures; something that would be difficult to find in other music studios. I found myself compelled to capture these structures, making use of the seemingly endless path made by the wires on the floor and the mystery of where they led. I captured the instruments furnished with the sheets of music they once played, along with mouth piece cover of a saxophone that in times past resonated these walls. Additionally, I saw the jacket of the musician lying majestically on a leather chair covered in alluring sunlight. A moment like this gives life to the object and the context of the project cements it in time with-in the walls of the studio. On first look, they are images of items in a studio, but when considered in context, they evolve into a large picture. They ignore the noise of the modern music industry; the mediated high fashion album covers and videos, the eventual stardom and arrogance and the expensive lifestyle. This larger picture calms down this soft-sell and returns music to its inner elegance; making structures of what people rarely see.

Giving people the opportunity to share in the splendour is what these images provide. They make people make their own connections of what once was and helps them experience what these musicians experienced in their finest creative moments. The black and white edit of these photographs take away all the distractions of the image and leave substance. Substance that is not there to appeal to the target audience of the artist (musician), but to share in the moments of creativity in a cordial space. It shows the importance of music studios and cements them in the modern era to show that these spaces are needed for our pleasure and the artists creativity.’


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