What a lovely sunny start to Medway Open Studios 2022 that runs from Saturday 2nd July to Sunday 10th July. A fantastic opportunity to explore the creativity that the Medway holds, whether in a gallery, studio, or behind the door of someones home.
As in previous years my offer Medway Open Studios this time round is different. I decided to kick start a project that I had ruminating in my mind for a number of years now…..to capture a moment in time in where I lived. This developed into inviting my neighbours to have their portraits taken outside of their home and sharing a short story of their time in the house, and the community.
I was pleased that many (21 in total) homes came forward and wanted to be involved, highlighting the creative and community spirit that ‘Bishops Square’ is made up of, all 120 houses of them. The area has always been supportive and welcoming and especially so during the lockdowns of 2020-21, much like others in the country we were checking in on one another.
The 12 portraits for the duration of Medway Open Studios are hung in the front windows homes, and by scanning a QR code you can link to their stories on my website. I was a pleasure to take the portraits and get to know my neighbours more as fellow ‘Square Dwellers’.
I was outside my home Saturday 2nd and Sunday 3rd to have a socially distanced chat with visitors and here are just some wonderful comments from them:
‘What a great idea’
‘We should do something like this in our neighbourhood’
‘What a great community arty initiative’
‘Such a lovely idea – there is something about living in a square. We just walked round our old home territory and saw all the portraits- and their stories are brilliant.‘
It has also been great to introduce Medway Open Studios to new visitors, lovely to know that they have seen the marketing across Medway.
Feel free to contact me to share your views on my project.
Thank you to everyone who scanned the QR code and had a socially distanced hello this weekend. Enjoy the final week of this great event on until Sunday 10th July.
Welcome to my 5th blog on Memories from the Home: this time I’m connecting with sounds in the home.
Clocks are often a present sound in our homes, the grandness of them depending on the house and person. From our mobile phones which are often our music listening devices, as well as alarm clocks, and voice recorders, to Grandfather clocks, wall mountable or little carriage clocks on the mantlepiece. All clocks modern or traditional have identifiable and unique contributions to the sound of the home.
These ticking trinkets, just as the presence of photographs, give us markers in time (as noted by one of my favourite authors John Berger)and a continual reminder of the passing of time.
This wall mounted Abbey Quartz clock belonged to my Grandparents, hanging in their front room, near to the edge of the colour change in the wall paper, just above another symbol of time – that years calendar. This one chimed on the hour, I can’t recall if it had the sound of the ‘tick tock’ pendulum. Looking back on the photograph of it now, I can see (please look closer) that the circle on the pendulum still has the protective film of green on it to stop it getting scratched. It could have been forgotten to have been taken off when hung, or purposely kept on to keep it nice, something I think my Grandparents would have done.
Wall clocks and their ticking and chiming was always that traditional sound I associated most with visiting my Grandparents, they had them for as long as I remember. It prompted me to look through old family photographs of my Grandparents front room with the clock in. I came across this one:
The photo shows a previous clock, in the same spot, sometime in the early 90’s, not too far from the mirror that now sits within my home, and has been symbolic of many reflections throughout my research and in navigating my grief and understanding my continuing connections to my Grandparents. The clock symbolised the rituals when we used to visit them, the time we would arrive, the 12 o’clock chime for their lunch, the chiming for the time for us to catch the bus home. As a child it was something in the background, counting the chimes when they happened.
As I got older and when taking photographs of the clock, I have stopped it in a moment, like the newer clock left after the death of my Grandparents, as if time did stop at that moment, but equally painfully obvious knowing that it continued, but without them. The sound of the chiming became a symbol of living in and being aware of the moment and moments past.
It therefore wasn’t surprising to me the reaction of warmth, I felt when an MA research participant’s clock, that was originally her Fathers, struck during our interview. I became fixed on the sound of the mechanics, sitting peacefully with her listening to the knock of the mechanism, and subsequent chime. I’m glad we paused for a second to listen, appreciating that moment listening to the passing of time together, being captured by my I-phone, please do listen to that recording here. The participant said that her Father would have been happy that the clock and its sound was bringing joy to others in this way.
In Back to the Future III Doc Emmett Brown came back to the future to meet Marty and Jennifer after the DeLorean was destroyed, he said ‘Your future is whatever you make it‘ and how we mark time, moving into the future, and in remembering the past, is individual to each and everyone of us.
If you want to join me on my journey through my PhD research; my focus is expanding towards creativity and how we use creative expression as a way of navigating and exploring grief. You can always contact me, if you wish to be involved as a participant in my research.
Flow in creativity is a process of exploration between what is known i.e. a rock and an exciting place, where you find yourself creating, being totally absorbed in what you are doing.
Csikszentmihalyi suggests that there are key factors that are needed to support this way of thinking and being:
- Completely involved in what we are doing – focused, concentrated.
- A sense of ecstasy – of being outside everyday reality.
- Great inner clarity – knowing what needs to be done, and how well we are doing.
- Knowing that the activity is doable – that skills are adequate to the task.
- A sense of serenity – no worries about oneself, and a feeling of growing beyond the boundaries of the ego.
- Timelessness – thoroughly focused on the present.
- Intrinsic motivation – whatever produces flow becomes its own reward.
I came across similar ways of thinking through such writers as Piotr Stzompka and Sarah Pink. They both write about the use of visuals in social research, Stzompka referring to it as a ‘Third Sociology’ what happens in society between structures and actions. I liken these to Flow, being ‘in-the-zone’ having focus, time in finding new ways to approach creativity and explore feelings in a safe space, to find or process new meanings.
I can attribute to what I experienced through my photography after the deaths of three family members within a period of four years, as being in a state of flow as a way of navigating my grief. I gave myself time to fall into a process of being, photographing and reflecting on the objects and memories I had from my family members. I had my skills as a photographer, someone who was bereaved, focus and time to connect through flow.
The one object that I felt most at Flow with was my Dad’s watch. I would spend hours photographing, filming, touching, wearing alongside my own smart watch, listening to the ticking, imagining, smelling the leather and old aftershave. I contemplated the passage of time us both living alongside one another in digital and analogue, the symbolism of death and ending when the ticking stopped like a heart beat, I knew it would happen one day, instigating another loss of something of him.
I chose not to replace the battery as it would not be ‘of him’, and think of it like Triggers Broom, if you’ve seen the Only Fools and Horses sketch of the well maintained Broom, he’s explaining he’s had the same broom for 20 years, but essentially is made up of a number of ‘new’ parts!
Have you been in flow when creating something?
If you want to join me on my journey through my PhD research; my focus is expanding towards creativity and how artists and others use creative expression as a way of navigating and exploring grief. You can always contact me, if you wish to be involved as a participant in my research.
I look forward to seeing your shares and stories with me through my Facebook page.
My Masters (and now expanding to PhD) focussed on everyday home objects and photographs that are kept after a bereavement in a family. I’m interested in what memories and stories, objects and photographs evoke, and why people choose to keep certain items around them in their homes.
I’d encourage others to share home photographs and objects in a similar vein that we have in our home now, that may relate to a loved one, or kept as a memento of a holiday for example. I’ll be sharing items from my home and archive and will include a little story about the associated meanings, memories and anecdotes I have, occasionally linking to readings that I’ve found useful, and you may too.
In the current global climate, many of us are working from and spending more time in our homes, and thinking this would be a good time for us to come together online as a community, sharing our memories, stories, objects and photographs from our homes. Connections to everyday objects and photographs that are important, valuable (not necessarily in a monetary way) as well as enriching our lives.
Those of you who have been following my blog and Masters journey, will be familiar with this mirror:
It belonged to my Grandparents, gifted to them as a Wedding present back in 1958. It has 12 sides, held by a short chain and circle, with clips attaching the mirror to the backing, something vintage now, definitely of the time, I’ve done some research into the manufacturer, most likely to be G-plan:
It was always a feature in my Grandparent’s home as long as I can remember, in the house they lived in from when I was young until I was 36. As kids we would dance and sing in front of it, put on Nan’s scarves and put makeup on in front of it.
I’ve been reading Brian Dillons ‘In the Dark Room’, and in his ‘Things’ chapter he talks about the wider associations to a kept object, going beyond what it is at face value, similar to the writings of John Berger who wrote about memories being non-linear. Objects and photographs allow us to focus on recall of memory, however not always working in a linear way, i.e different associations to an object or photograph at different times.
Sometimes the evoked memories through the object or photograph go far beyond the initial memory;
The mirror for me is symbolic as reflecting our family life, sharing the laughs and the sorrows, birthdays, the room in which it was hung, the other objects and photographs that surrounded it like a shrine of my family history. The smells that filled the room, the pie and mash dinners, fish and chips, tomato ketchup that sat opposite it on the table, the sweet smell of cake, hairspray and atrixo hand cream. Beyond the room in which the mirror was hung, was an ordinary terraced house that sat in an estate, in the early days had a conifer in the front garden, a short walk to the river. The mirror, now over 60 years old now sits in my home, reflecting my life, in my terraced home. It shares and reflects the people in my life, those who visit, the couple who visited me during my Open House, who had lived in my house some 40 years earlier. What memories the mirror could tell if it could speak.
I’ll be writing a blog soon on my Masters Research, and those wanting to join me on my journey through PhD; the focus is expanding towards creativity and how artists and in the everyday use grief as a way of creative expression. You can always contact me, if you wish to be involved as a participant in my research.
I look forward to seeing your shares and stories with me through my Facebook page.
Until next time.
Wow! It’s been such a while dearest readers since my last blog, plenty of things keeping me busy. Medway Open Studios and Arts Festival (MOSAF) 2018 was a great platform for me at the start of my Masters, working through my initial ideas for the photo part of it and getting some fantastic feedback and critique from my visitors.
MOSAF 2019 was a ‘taster platform’ of my final batch of photographs to exhibit before choosing the final 4 for submission in September (formats have been chosen, more of this to come!). I had some great conversations with visitors around my research subject of exploring Personal Loss, Memory and Family, with photographs and objects after a bereavement (more info about it here). I am interested to see if there are any common themes shared that reflected my own experiences of loss in the family, and if there were any similarities in which objects and photographs we keep and the memories we share. My research has helped me navigate my own grief and the whole process has been, (as my research participants have told me), a good thing to ‘Hold space’ for others to also have that time for dedicated conversations.
The exhibition included 10 photos of both my family photos and others from my research participants, accompanied by their written memory about each object or photograph. Here is a taster of one of my exhibited photos:
Vase with wilting Flowers
A Vase sitting on the sideboard that was bought as a Wedding Gift for my Grandparents. The flowers wilting, losing their glorious bloom, the room lays silent, soon to be empty, a whisper in the echo of a memory.
[Grandparents home 2016]
I am also pleased that visitors to my MOSAF19 exhibition felt able to share their memories if they wished they could leave their thoughts on my memories corkboard. I loved chatting with all my visitors about this subject as I had done interviewing the participants for my research. A big thank you to all my MOSAF19 visitors and participants. If you would like to get involved in my future research, or just want to get in touch to share your views then contact me here.
In the week of MOSAF19 I was interviewed on BBC Radio Kent as part of their ‘Phone Tracker’, (2.28 in) this gave me a great platform not only to promote my exhibition but to also talk about my research. It’s amazing what points you can get across in 4-5 minutes!
So, what’s next?
I have the summer to write up my research and prepare for my MA exhibition, and very happy to have the ‘time off’ I’m quite enjoying this final stage. I don’t think I’ve had this much time off in summer since I was 14 years old, so I’m going to make sure this happens with much self-care as well as study. I’m also going to be enjoying taking more photographs, joining up with a few like-minded ‘togs for some photo walks, and may treat myself to a new lens or two!
I am, as ever, passionate about living well and ensuring that we have great photographs to keep along-side our memories, this is what our loved ones will cherish, I know I do.
On reflecting my research which I have really enjoyed doing and so passionate about someone said to me recently ‘Nikki you won’t get time like this again, so make the most of it’, and I plan to do just that.
Thanks to one of my visitors for this photograph:
What a summer it has been!
A wonderful mixture of teaching, training, exhibitions and getting full steam ahead once again with my Masters.
Over June and July I went along to a short course at The Photographers Gallery London (TPG – a great space if you haven’t already visited). Part of my Masters year 1 review was that I needed to include more critical analysis in my literature review and to develop how photographic theory relates to my practice (yep I was a bit stumped too!). What I have found studying Photography and Sociology at Masters level particularly through research is, I’ve had to develop a quick but intense way of learning. Undertaking a Masters by Research is largely self directed learning (no lectures which is a bonus!) with some elements of knowledge sign-posted to you by your supervisors, both subjects not being my Undergrad focus has also been a nice little challenge. The short course on ‘Photography as artistic research’ came at exactly the right time. Led by Wiebke Leister provided weekly readings specifically on photography and the analysis and criticality to practice. Readings focussed on such visual artists/writers as Dion, Flusser, Barthes, Rose, Richters. These sessions gave me a greater understanding of the artists reasonings behind the projects, not just what they may have appeared to be on face value, using such theories from Berger and Barthes in the ways of seeing, that part of the overall understanding/appreciation of the project was mainly in the eyes of the viewer not the author, sometimes the initial intentions can be misinterpreted, not in a negative way but that ‘art’ can be a very subjective thing and varying interpretations will naturally be made by different people. Hey but isn’t that the fun about it?
The final session provided an opportunity with the group of like minded photographers and photography enthusiasts to critique any projects we were all working on. This is where I took along my Medway Open Studios exhibition work, which was a visual pit stop of where I was with my Masters research.
The work I presented was a mixture of archival family photographs and photographs I had taken either in response to the archive or interpretations of my need to remember my family. These were presented in either large 16×20 black frames, or the majority in 6×4 prints in cardboard frames, assembled on a rope washing line with pegs. I later thought of the washing line as being a private and public domestic item, where the private (items of underwear for example) become public (in the garden), this could be said for the photographs that I presented in that they are private family photographs being display in public, hanging out the laundry for all to see!
I am in the process of finalising my research title which will be on the lines of ‘Personal Loss, Memory and the family’ this will give some context into the following feedback I received from the group:
- they (the photos) aren’t all taken by the same person
- it represents two sides of a family (this was the case of the Main (my maternal side) and Price (my father))
- there are flowers at the start and end of the line (poppies)
- the artist is remembering something
- there are self portraits, and photos of the artist
- there is a strong maritime link
- there is a sequence of growing up along the photographs
- there is a sense of growing up alone in the photographs
- a sense of the artist being alone
- the Facebook screen shot of the ‘missing father’ on fathers day
- a suggestion of removing the frames, to see more of the photographs, and move from domestic to exhibition
- a suggestion of including other members of the family to put this work together, using a red piece of string to represent the umbilical chord connecting the family
- a suggestion of having 3 family photos within one frame to change the aesthetic (move from domestic to exhibition)
This was a great experience to have such critique from peers, especially as I was mid way through my Medway Open Studios 2018 (MOSAF18) exhibition. For the final weekend of MOSAF18 I decided to take the suggestion of the group, and remove the photographs from the frame. I felt a bit strange doing this as I didn’t want the photographs to become misshaped and dented by swinging freely with the peg at the top of the photo. I know I was probably playing it too safe, protecting the photographs from damage, but I later thought this is part of the photographs journey, the photograph as a changing physical object.
MOSAF18 was very similar to that final session at TPG, in that it is always a great experience for visitors to share their thoughts and ideas on your work. Throughout my exhibition I was pleased to see how open visitors were about sharing their experiences of family photography and artefacts following a bereavement. I also appreciated having a small dialogue to accompany the photographs (even if it was just my oral story), the photographs became a platform that opened up that conversation. I was conscious however to not offer up too much information about the photographs when they first arrived as I wanted to get their immediate raw responses. To include some theory here, many of my visitors showed responses to my photograph to that of the ‘Punctum’ (as coined by Barthes), something within the photo that pierced or connected to them and evoked a memory, for example on seeing the photograph of my Grandad, one visitor commented on how the photo ‘reminded her of her father, in that he always wore shirts with high collars and a tie’. I was quite taken in that visitors weren’t afraid to have an emotional response to my work, was this something to do with my home environment, and I wondered would the photographs have evoked a different reaction if I had displayed them in a gallery?
Some visitors searched for something of a ‘Familial Gaze’ (Hirsch), that familiarity in how families are represented within photographs (in contrast to the idealised portrayal of family) for example many could identify with the ‘father and new born’s home coming’ photograph (below) as typical of a familiar scene within a family album. The same visitor appeared to combine both Hirsch and Barthes theories in connecting to the photograph and remarking how her family ‘used to have that fireplace’. Are we automatically making connections (through links to memory) and generate understandings of our life within the act of looking at photographs?
MOSAF18 was a great experience for me, although daunting at the start, and probably was the most nervous I have been for any of my exhibitions, it has been a reaffirming experience. I am proud that private (family) photographs help stimulate conversation about others individual experiences following a bereavement. It is about the stories and the memories of and about those who have died, which can be an emotive subject, but my hope is that it is more about us thinking about our legacy, the symbols, icons, objects and good memories we make now, to be left for others and cherished when we are no longer here. I am also so thankful for those visitors who are interested in being interviewed as part of my research studies next year.
Over a few months before the summer I had the opportunity to do some informal photography teaching within a school. It was such a privilege to share my knowledge, experience, and enthusiasm for photography with young people. It was also a good opportunity to try out ideas for workshops with adults that I am developing this year. The young people loved Sun printing, comic book writing and then acting out their ‘scenes’ with each other then photographing them, chalk drawing scenes and photographing themselves, making a face mosaic’s similar to the Queen project, macro photography, ways of seeing nature (bit of a nod to Berger’s Ways of seeing there!), and working with them to develop their own styles and thoughts about photography. I had many thank you’s from the young people as well as some incredibly sweet conversations with some who ‘really appreciated learning about photography and will carry on taking photo’s’, this really hit home to me as my interest in photography started when I was around 7 or 8 years old.
It was so heart warming to know that my interests have gone full circle this summer in where I am now with my family photography research and leaving legacies, it starts with young people (and adults) having an interest in and being enthused by the possibilities that photography gives us for recording, making memories, remembering stories, rethinking our approach to the world.
The Rochester West by-election is coming soon, and I’ve had a number of promotional leaflets through my door for our local parties. Before I put them in the recycling bin, I thought it would be fun to see how the different parties are using photography to promote their candidates. I have tried not to look at their policies or political views or read the content in the leaflets. Instead I have attempted to give a rounded interpretation and analysis of their use of photos.
The Conservative leaflet shows a tilted, informal headshot taken on St Margarets Street. Alan’s stance is slightly turned to the left looking direct at the camera. Although not confrontational, as it might be if he were facing straight on to the camera, he has a relaxed smile. It seems to have been taken on a smart phone, giving a wide frame and low picture quality, he is also slightly out of focus. It does however give a leading line drawing the viewers eye down St Margarets Street, metaphorically enforcing that Rochester is the focus of this campaign.
The off-set fold of the front page invites you to explore the inner content. Inside are a number of posed and informal shots. A mixture of ‘in situ’ or ‘in action’ photos demonstrate the candidate supporting various campaigns in the area. The photos in green spaces suggest Alan is ‘out-and-about’ and active in his local area, however some, for example the photograph of the candidate in the green space with his foot on the white barrier, feel somewhat staged.
The last page shows three further ‘in situ’ photographs of the candidate with a local shop keeper and former candidate for the area. This contrasts with the informal layout of the first page. The catalpa tree photo is perhaps the most relaxed photo with Alan in a traditional male pose standing off centre with his hand in his pockets. This could either be interpreted as being relaxed or disinterested.
Overall the photographs within this leaflet are relaxed and informal and although they connect to build a story of the areas the candidate supports, it feels visually overloaded.
Martin’s front page portrait echoes the informality of the Conservative candidate, this time taken in a green space. Although I would not advise standing straight on to the camera, he has something in his hand, which somehow breaks the barrier, making it seem less confrontational. He is positioned at the centre of the photograph, the leading line is a path in the middle, which similar to the Conservative candidate, leads the viewer’s eye back to central Rochester. He is centred between two trees, nicely avoiding the foliage sprouting out of the top of the head look. Martin has a relaxed and friendly smile. I would surmise this was taken on a smart phone or basic digital camera, on an overcast day, as it slightly out of focus and quite dark. It would have been great to see the photo a bit brighter. Martin appears to be ‘out-and-about’ as he has his Liberal Democrats badge on and the photograph is taken by someone else. It is also good to see a younger candidate. There is one other photo on the page linking to a support campaign, and a stock photo from the Liberal Democrats, suggesting more of the overall aims of the party as opposed to the achievements of the individual for the community, as illustrated on the Conservative leaflet.
Overall, the portrait on this leaflet is the most friendly, relaxed and welcoming, with a smaller number of other photos indicating the wider party views.
The first thing that struck me about the Labour Candidates leaflet is it is well thought out. The front page is dominated by the River Medway with a ‘hero’ shot of Alex looking into the distance. I would suggest this has been taken by a professional photographer, due to the framing and use of depth of field.
This photo reminded me of a promotional leaflet for a theatre production (not dissimilar to the poster for David Tennant in Don Juan in Soho last year). The candidate is the focus of the promotion. Alex appears well groomed, wearing professional dress. I would, however, liked him to make a little more eye contact with the camera. This appears to be from an organised shoot, rather than an ‘out-and-about’ campaign shot.
Overall the photographs in this leaflet are of higher quality that the other candidates, and a case of quality over quantity. However, from the visuals I am unsure from this what campaigns the candidate has supported.
Rob’s portrait is also informal, it appears to have been taken as a ‘selfie’. It has been taken from below which doesn’t result in a very favourable angle, this main photo on the leaflet appears to have been stretched giving a ‘fish eye’ appearance, with a better smaller version on the reverse. The candidate is ‘in situ’ at a polling station, with additional photographs on the reverse indicating some issues the party are supporting locally. As with the Liberal Democrats leaflet there doesn’t appear to be any direct visual link to the achievements of the candidate.
Sonya’s leaflet was the last to arrive. I wasn’t sure whether I would receive one, given the Green’s environmental concerns, however was pleased to see it has been printed on recycled paper. Similar to the Conservative, Liberal and UKIP candidates, her portrait is informal and slightly off centre. She is looking directly down the lens with a slight head tilt and relaxed smile. It appears this has been cropped from a larger photo used on the Green’s website. In the source photo her pose looks stilted, but the crop on the leaflet is much more favourable. The exposure of the photograph is spot on the website, however it hasn’t translated well on the leaflet, which could be due to the paper. As this headshot is the only photograph, like the Labour leaflet, there is little visual information about the campaigns the candidate has supported.
All the leaflets use photography differently their candidates displaying their party colours. Each puts their own twist on their photos, using hero shots, snapshots, informal, ‘selfies’ and ‘out and about’ photos. A leaflet is an easy way for candidates to get across their messages, the photos used create the immediate visual connection with the person behind the campaign. The parties have put forward four white male candidates and one white woman, I would have liked to have seen a bit more diversity.
Given the timescale for this campaign it is understandable why some of the photos may appear rushed, this highlights a need for a quality stock of photos, taken at events and regular organised photoshoots.
Top tips for election candidate photos:
- When possible use a good quality digital camera. A smart phone is great for those ‘out and about’ shots, but not selfies, always ask someone to take it for you.
- Consider using one of the many basic editing software apps to get your smart phone photos just right.
- Take photos in the location you are representing. Even better in a green space, they create and healthy feel and usually have better light.
- Remember to take photographs when your campaigning or supporting events. This will help you to build up a ‘bank’ of stock photos, to use in your promotions and help you tell your story when needed.
- Natural light is a must, most candidates have used outdoor photographs, however ensure you are making the most of your chosen light conditions
- A relaxed genuine smile always brings life to your photos and helps you connect.
- If you are unsure about what pose styles work for you, try them in a mirror. Ask a portrait photographer or search for some tips on the internet.
- Add interest and creativity to your photos by using leading lines and being creative with depth of field.
- Don’t be afraid to play with the layout of your photographs, cropping when necessary. Sometime a badly framed photo can be saved by a good crop.
- Where possible work with a professional photographer whose work you know and like for those quality shoots.
I began taking photos of nudes as part of celebrating our bodies without photoshop in 2013, models consisted of friends and I took part also if I wasn’t prepared to be photographed in this way, how could I expect anyone else to be?
I wanted to make my models as comfortable as a possible, so in doors (whether that was at my home or theirs) under studio lights (interfit) with a plain background was my preferred shooting style. At the beginning I think I was more obsessed with getting the lighting right, and using a ‘stock’ of gathered poses for all my models. I was quite apprehensive to start, I’d never photographed anyone this way before, and I wanted to ensure that my models were in a safe and relaxed atmosphere. As a photographer I think it isn’t just about the technical aspects shutter, its about rapport with the people you have in front of your camera, and a vision to be thinking of the next great shot.
I am unsure how I feel about those 2013 photos now, it was undoubtedly a great stepping stone to get me into thinking about this project more, but that is the good thing about the start of a new project you can develop it, and it will often lead you to places you hadn’t thought of. Models volunteered for various reasons; not only as they believed in the cause; but to also visually share their journey with their body at that moment in time. It was truly humbling to hear about their stories from eating disorders, mental health and post baby body to name a few.
Not just women: Perhaps the most prominent thing about the start of this journey was men volunteered to be included, having strong feelings about the way mens bodies can often be misrepresented in the media. One of my favourite actors Wentworth Miller was sadly subject to a body shaming meme in 2016, this upset me with social media hounding the guy when he wasn’t feeling his strongest mentally, I needed a response to this.
My volunteers said they were very nervous before, but after the shoot they appreciated that it was a very empowering experience.
In September 2017 my ‘Altogether’ exhibition at Sun Pier House Tea Room was in full swing. This was a collection of pieces of positive body image, using everyday (non model) nude subjects, photographed in non-traditional places. This exhibition seemed a natural progression for work that I have been producing since 2013, the pieces for ‘Altogether’ have been taken over the previous 18 months, and include locations such as derelict buildings, marsh land, nature reserves, and in the studio. I want to portray an image that individuals could relate to, ‘real’ bodies without the furnishings of Photoshop or designer clothing, taking it right back to the basics of who we are fundamentally underneath, Human. I have found this series of photographs a real balance, of ensuring the importance of the message, affirmation of my own skills, sympathetic to my subjects and the audience eye.
“Didn’t have time to write a comment in the book but here’s some thoughts. What struck me most about your photos (apart from the lovely pictorial qualities – lighting, composition etc) was the way that the people in them seemed relaxed and confident – happy in their bodies. This gives the pictures a calm, self-contained feeling at odds with the fact that here are naked people in places where otherwise they wouldn’t normally be naked. I’m guessing that this probably comes from your relationship to them, their trust in you and your approach as a photographer. This makes the photos very different than just nude figures placed in unusual places and takes it away from what you might call “art” photography into something more personal and much more interesting.
So, just as well I didn’t have time for the comment as I seem to have written a short essay. Looking forward to where this takes you.”
-Dick Perrin Film maker and Photographer
“I don’t usually like photography Nikki, but love what you have done”
-Peter Reed Painter
“Nikki Price is, in my opinion, is one the major talents to emerge from the Medway scene. Her visual images show a genuine love of humanity.”
“I’m not a model in this series but have modelled for Nikki before and can 100% confirm she is a wonderful photographer to work with, she really makes you feel at ease!”
‘Viewing the photographs still provokes old feelings that conflict’
‘Incredible honesty…amazing composition too’
‘Very rich we are so programmed’
‘Really beautiful work’
Thank you to everyone who participated, supported, and followed my work on this topic so far.
Watch this space as there will be more on the topic of identity in the future, and next week I’ll be doing my usual yearly round up of photographs so stay tuned!
Fellow artist Tracie Peisley who heads up Pandora’s other Box womens artist group in Whitstable, dropped me a line recently to ask if I would like to give an update on my work since Exhibiting for the Skin project at the Horsebridge Centre in August 2016 to the group.
I had a think and decided to write a blog as I haven’t for a while, regular blog followers will know I usually do an end of year wrap up blog. The Skin project/exhibition was a pivotal moment in my confidence in displaying work in a larger gallery, of course I have always been involved in Medway Open Studios, and submitted work for galleries before with other artists, but this point really gave me a thought of well, yep I think I can do this by myself.
I’ve had a number of commissions over the past year, and at the beginning of the year I started my research for my Masters application, which I am delighted to say I have had my interview, and been offered a place to study an MA by Research in October this year! Exciting and scary in equal measures, I haven’t undertaken any Higher Ed studies since my BA in 2001. Naturally I wanted to ensure a large element of the MA would include visual research, so photography, my passion, will form a large part of that. My last MA Blog, was great to get my thoughts rolling and will be concentrating on elements of Identity through photography, including affirmations through (or not) sharing of photos on social media platforms, decisions of parents to (or not) share photographs of their children also on social media, and what (if any) effect this has on their identity. I will be looking for individuals, and families to be involved, so if you would like to be then please drop me a line on my contact me page. Needless to say the MA will take a large proportion of my time over the next 2 years, but Nikki Price Photography will be running as usual.
I am currently in middle of Medway Open Studios #MOSAF2017 and my studio (the front room of my Victorian terrace) will be open for the final weekend 22-23rd July 11-3. This year as with every year I try something completely new, and I have made 10 pieces exploring double or triple exposures both in camera and in Photoshop. Many of the photographs include water, and reflections, and are quite peaceful contemplative pieces. A couple of wonderful visitors have compared one piece in particular to being like the work of “Paul Nash or Peter Lanyon” what a great compliment! I saw Paul Nash’s work last year at the Tate, so this may have had some kind of subconscious influence.
I have also been concentrating on my ‘Altogether’ exhibition at Sun Pier House Tea Room 3-28th September 2017. This is a collection of pieces of positive body image, using everyday (non model) nude subjects, photographed in non-traditional places. Like my MA, this exhibition seems a natural progression for work that I have been producing since 2013, the pieces for ‘Altogether’ have been taken over the past year, and include locations such as derelict buildings, marsh land, nature reserves, and in the studio. I want to portray an image that individuals could relate to, ‘real’ bodies without the furnishings of Photoshop or designer clothing, taking it right back to the basics of who we are fundamentally underneath, Human. I have found this series of photographs a real balance, of ensuring the importance of the message, affirmation of my own skills, sympathetic to my subjects and the audience eye.
A great round off to this week has been shooting for Last British Dragon UK Film Company headed up by fantastic film maker James Crow. James invited me to take photographs of the band formerly known as Bucks Fizz, The Fizz during filming their video for their come back single. What a great day and a nice bunch.
Think that’s plenty to keep me busy for the moment.
I was delighted to be contacted by Julie Davies to collaborate on a blog. Julie lives up to her name of being The Florist that teaches, providing online tips for you to do exactly the same in the comfort of your own home, or face to face in workshops.
It felt very natural for me to write this blog as a way of my skills sharing series, with top tips to enable you to take photos of your floral creations at home. There are a variety of other scenarios in which to take photographs, for example out in landscape with wild flowers, in workshops, sheds, markets etc, perhaps this is room for another blog!
Although the photos you see here have been taken using a Canon 6D, the following will give you some pointers for ‘point and shoot‘ cameras, or using a smart phone, both of which can work just as well, particularly if you are uploading small versions of your photos onto websites or social media.
- Position your flowers next to a large window; this will help maximum natural light which is better than using the orange tinge of household lights, (there is always the option to shoot outside).
- If you have a macro / flower symbol setting on your camera, use it! It will let you bring out the finer details of those gorgeous blooms.
- Don’t forget to ‘set the scene‘ if you are wanting to show how you work on your flowers through your photos, pop some scissors, oasis, ribbon etc on a wooden block (a kitchen chopping board will do just fine if you have one), everyone loves a story.
- Keep the background to your photos simple, after all you want to highlight how beautiful your floral creations are, white (or black) card can work and help with bouncing the light into those harsh shadows.
- Take the photos using interesting angles, the rule of thirds can be helpful, however, be creative and use a variety of angles in your shots to show off those blooms.
- Using your macro setting on your camera, shoot ‘through‘ a bouquet to focus on one particular flower that takes your interest.
- Similarly as above; take one flower out of the bunch and make it the star of your show!
- A little post production may help bring out the best in your photos, so if you have photoshop, or other editing software, don’t be afraid to use it. Photoshop express on the i-phone is fab.
I hope these tips have been useful and if so I would love to hear from you, so why not drop me a line through my contact me page.