November 23, 2020
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W4: Reflection Post

This week was filled to the brim with interesting topics as we looked into the work of Vivian Maier, the sharing of her photographs, and the topic of street photography. Vivan was so clearly one of the World’s greatest photographers to date, and it is such a shame that her photographs only came to light after her death, however, they came very near to being lost forever.

Fortunately (or unfortunately, depending on your ethical standpoint), John Maloof, who found Maeir’s images in a storage auction, recognised their value and was able to share them around the world alongside a documentary about the mysterious Vivan Maier. Whilst I thought the documentary was amazing and I am so thankful to have witnessed her work, I can’t help but wonder and feel guilty about enjoying her photographs knowing that Vivan would not approve of the way the documentary intrudes on her privacy.

Whilst the documentary does endeavor to publish her work, it also persists in finding out every detail possible about Vivian Maier and the goings-on in her life, the good, the bad, and most definitely the ugly. This posed a neverending list of ethical dilemmas, in fact, no matter what angle you look at it, there is something unsettling about the documentary and its indiscreet ethics. While I do believe the portrayal of Vivian to be unfair in many ways as she and her family are unable to defend themselves, but we must also think about the wishes and feelings of the subjects in her photos, as none of them, to our knowledge, consented to be photographed let alone published.

I had a wonderful discussion with another student about how we thought gender may have played a big part in her depiction in the documentary, as she was considered to be “different” than other women in her years. But we also wondered if she were a man, whether or not this documentary would be so fascinated by her personal life and less about her work, which alone is outstanding enough for a documentary. One could argue that similar documentaries about male photographers, such as Robert Frank, don’t delve into personal matters, only further suggesting an inequality and perhaps even oppression of women within the photography industry.

This week for our weekly exercise, we were to attempt street photography ourselves by asking 12 strangers to consent to be photographed. I won’t lie, the very thought of this task made me nervous. I don’t know if it’s the virus, not having socialised with anyone, let alone strangers, in quite some time, or if it was just my own everyday anxiety. I did set out to complete this task, however, after being knocked back by a couple of people I decided street photography probably just wasn’t for me. I can’t help but feel disappointed in myself as I’m sure if I persisted long enough I could have captured some really wonderful people.

Reference

Movieclips Trailers (2013). Finding Vivian Maier Official US Theatrical Trailer #1 (2013) – Photography Documentary HD. YouTube. Available at: https://www.youtube.com/watch?v=er8-Vq__cRE.

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November 10, 2020
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W3: Reflection Post

This week I really enjoyed learning and taking inspiration from everyone’s Pecha Kucha presentations. Whilst I believe it is very important to stay true to yourself and develop your own sense of style within photography, it can be extremely helpful to look into other styles of photography to take inspiration from too.

Today I spoke about Mary Ellen Mark and her work. I chose her because of the way her subjects seem to completely trust her, to the point it doesn’t even seem like she is there behind the camera. I personally really believe ethics and general consideration for the subject in a photograph to be extremely vital within this industry. Without it, photographs would have no meaning.

“I desperately need to do something that matters, and that I care about, it can touch a lot of people, affect them, change them. That’s why I’m a photographer, to document their lives, and to do things that are meaningful. It’s so important to me.” (Mark, 1976)

                             

I really enjoyed the presentation from Byron where he talked about the photographer Bill Henson. I really loved exploring his work and the way he is able to capture such rich and deep photographs with very little light. As Byron described it, the background of his photographs are just so velvety and I love the way the subjects are autonomously the focus of these images. I also really liked these two landscape photos of his as I feel the composition and edit of these two are very similar to the style that I try and produce when out photographing or later in the editing process.

                 

                   

When editing my photos I tend to go for rich warm colours, vibrant greens and accents of blue (similar to Bill Henson’s photos above) I really enjoy this particular style of photography as it is a nostalgic nod to the 90s. Whilst I was only very young in the 90s, I particularly enjoy this era of photo and video. I am very fond of ‘coming of age’ stories as it was a time in my own life that brought plenty of joy and happiness, which is how I feel when looking at and producing photos that convey those elements previously stated.

I really enjoyed looking into editing as I feel that this is where a lot of life and style can be brought into photos and is an area I only have very basic knowledge in. In today’s exercise, I used a photograph I took while hot air ballooning in Turkey. I like this photo in particular as, ordinarily, I prefer to stay true to the colours and tones initially captured in my photographs, however, I really loved how the pink tint created such a beautiful gradient in the sky. I look forward to experimenting with the ideas we learned about in class today with future photographs.

References

Dazed (2020). Mary Ellen Mark was the photographer who saw it all. [online] Dazed. Available at: https://www.dazeddigital.com/art-photography/article/50490/1/mary-ellen-mark-martin-bell-the-book-of-everything-interview [Accessed 10 Nov. 2020].

Presentation By Byron (10/11/2020) https://drive.google.com/drive/folders/1hdwMfAqEj-zbBhoPdEZ_8v2bZ1m8_3VD

Gilbert, S. (2015). Mary Ellen Mark’s legendary photographs – in pictures. The Guardian. [online] 26 May. Available at: https://www.theguardian.com/culture/gallery/2015/may/26/mary-ellen-mark-legendary-photographs-in-pictures.

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November 5, 2020
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W2: Reflection Post

This week we spoke further about photography as art versus photography as a social practice and also explored what potentially can separate ammeters from professional photographers. We touched on the most revolutionary event in relation to photography and ultimately identified it as the creation of the internet. Whilst earlier I would have argued that camera phones providing easy access for almost anybody around the world to capture moments was probably the most revolutionary moment, this class made me realise just how insignificant those photographs would be without the invention of the internet.

In Photomediations: A Reader, Kamila Kuc, and Joanna Zylinska suggest that what separates ammeters and professional photographers is the transaction when being commissioned for their work, however, I would have to disagree with this. With the rising popularity of careers on social media platforms like Instagram, this “transaction” isn’t so black and white and it is becoming increasingly more difficult to define the line between the two.

‘To live is to be photographed, to have a record of one’s life, and therefore to go on with one’s life oblivious, or claiming to be oblivious, to the camera’s nonstop attentions” (Sontag, 2004).

I really enjoyed this quote from the reading this week as it really identifies our need to take photos and be photographed in order to feel relevant and significant. At this point in time, as dreary as it sounds, the prospect that photographs on the internet are all that will be left of us in a century from now is actually quite realistic and further recognises photography as a means to remember each other and our social transactions and less for art’s sake.

I really enjoyed Sean Tucker’s “How To Nail Exposure Using Manual Mode”. Even though I have studied photography before, the correlation between aperture, ISO, and Shutter speed was always a little cloudy for me. The way Sean Tucker explained it made everything click for me today and I really enjoyed going out to take photographs using this new understanding of how my camera functions. I experimented mainly with aperture and shutter speed today in order to get the photograph I was looking for and, overall, I was really impressed with the photos I took today.

 

I also really enjoyed looking at Ricky’s photographs today. I love the way he experimented with shutter speed to create this motion blur effect, I think it’s just absolutely stunning. I also really love the colour story he creates throughout all of his photos with the reds and the light blues, they compliment each other so well and really capture the eye. Now that I understand how to correctly expose my shots, I would really love to experiment with more colour and find a colour story that I identify with to create my own personal style of photography that other students have already demonstrated.

          

Reference

Kamila Kuc and Zylinska, J. (2016). Photomediations : a reader. Open Humanities Press

Photos By Ricky (5/11/2020), https://drive.google.com/drive/folders/1x7BRzHLRQqH1EsL2XwEWjyCDeHRBAKFm

November 2, 2020
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W1: Reflection Post

This week, we spoke about the uses of photography in reference to Susan Sontag’s writing. In the excerpt my group and I discussed, she theorised that photography was becoming more of a”social rite, a defense against anxiety and a tool of power” (Sontag 1978), as opposed to an art form, which could be argued was its original purpose. She also stated that households with children were more likely to have a camera, further suggesting that the use of photography has evolved from art into a way to capture memories. With the development of social media, I would absolutely have to agree with her. For me personally, photography is a way to express myself creatively, but also a way to keep in touch with friends and family online.

Through this course, I would really love to develop my photography and storytelling skills. I really enjoy taking photos, however, many of my photos are taken on accident you could say. I see something I like, and I snap it. I would really like to try and be more thoughtful with my photography. This exercise really tackled this for me.

      

My style of photography is definitely more candid than thoughtful, however, taking self-portraits forces you to preempt that photograph and set up the shot before taking it. As self-portraiture is a much more hands-on form of photography you have to really think about what it is you’re trying to say with this photo before you take it. It’s safe to say, this exercise was outside my comfort zone as I did find I am much more comfortable being behind the camera, but it did force me to think more about what makes a great photo and a great story.

I really enjoyed reviewing other students’ work in the class too. My favourite of the classes work was Finnic’s. She really thought about her photos and about what she wanted them to say before she took them and it really showed in her work. I love how she thought outside the box too. Being confined to only a few things around you is really difficult, but I particularly loved the way she used her glasses to create a more interesting picture. I also really liked her colour story that she created and maintained throughout the three photographs.

      

This week’s class, really made me think about photography and its many forms and forced me to consider what role it might play in my life right now, versus the role that I would like it to play. I’m really looking forward to engaging with these concepts further and developing my creative skills so that I too can tell a story.

Reference

Sontag, S. (1978). Susan Sontag on photography. London, Great Britain: Allen Lane.

Photos By Finnic (3/11/2020), https://drive.google.com/drive/folders/1KfBSqayfVNWm62OKwmAW0nBlspT9eTrg‌

October 14, 2020
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A4: Final Artefact ‘Outside The Box’

OUR DOCUMENTARY

 

 SYNOPSIS

For a portion of Melburnians, a free shopping experience is nothing out of the ordinary. Many rely on food banks not only as a necessity for survival but as a source of community. What used to function as a communal food centre, now operates a delivery service where volunteers respond to economic uncertainty during the time of the COVID-19 pandemic. As Victoria declares a state of disaster, OUTSIDE THE BOX is a 5-minute documentary that explores how Donvale food bank volunteers are challenged to overcome ever-changing restrictions and find new ways to show love at a distance. 

 

PRODUCTION CREDITS

Produced By: Sonja Veljanovski, Brooke Duncan and Jes Evans

Cinematography: Sonja Veljanovski

Editing: Sonja Veljanovski, Brooke Duncan and Jes Evans

Sound: Brooke Duncan

Supervising Producer:  Rohan Spong

Featuring: Maria, Connie, Faye, Antonietta, Lidija, Hannah, Keren, Bill, Charles

Special Thanks To  Maria Moscatelli, Vantage Point Church and Rohan Spong

October 7, 2020
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A4: Blog Post 3

Representing The ‘Real World’

The topic of ‘real world’ in film making is a very interesting one, particularly when it comes to documentary filmmaking. I personally believe documentaries should always be as honest and transparent as possible, although this can be rather challenging to achieve at times. When I approach a documentary, I like to think of it as a medium for us to share and tell stories from all around the world. Whilst viewership is evidently incredibly important, I would argue that, ethically, it is more important, to tell the truth.

However, this is easier said than done. Exaggeration of the plot for audience enjoyment at the expense of the truth, versus, adjustment of the plot structure in order for the story to read clearer, is a fine line to walk. Drawing back on our discussion surrounding The Wolfpack, I didn’t ultimately realise the power we, as filmmakers, have. In short summary of our discussion, we considered how Moselle essentially tampered with the timeline of events and whether or not this affected the film’s ability to depict and place its characters within the ‘real world’. I personally believe it was done in a manner that was not malicious, rather, a tasteful way to present the story in a way that was more apprehensible for the audience.

 

 

This argument of timeline was an issue that was actually quite relevant to our own documentary Outside The Box. In reflection, whilst ideally, we would have loved to have the privilege to document the food bank’s journey through COVID from the beginning it was something that, unfortunately, was just not possible for us. In order for our film to make sense to the audience, we had to play around with this idea of timeline. Ultimately, we decided it would be in the best interest for us to backtrack to before COVID hit the food bank to provide context to the situation, however, I don’t believe this aspect hindered the film’s sense of real world. If anything, I would argue, the changes we made to the timeline conveyed a more honest depiction of the food bank’s struggle through COVID.

 

 

Another element to our film that I believe adds to this sense of ‘real world’ is its observational film style and the exclusion of a complex soundtrack. This fly-on-the-wall style of film making that we chose really allows the viewer to explore the situation for themselves while the silence provides them with the time to think and form their own opinions, rather than persuading them to think or feel a certain way. Overall, I feel as though I can say with confidence that, my group and I worked hard towards achieving a documentary that represents the real world well and places the characters adequately within it.

Reference:

The WolfPack, 2015 [online], Crystal Moselle, USA, Kotva Films and Verisimilitude, Kanopy

October 7, 2020
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A4: Blog Post 2

Reflection Of Collaboration

Working collaboratively on this film with Sonja and Brooke was honestly such a joy. It was easily the best and most fair group project I’ve been lucky enough to be a part of so far. At the very beginning of the production of Outside The Box I was a little concerned about how everything would play out and how collaborative we were going to be able to be during COVID. As we decided to focus on the food bank, it was quite clear from the beginning that much, if not all, of the production work, would fall on Sonja’s shoulders, due to the restrictions we were facing at the time. Whilst this wasn’t ideal we came up with a rough plan of how we could share the load, and we all agreed that Brooke and I would try to do as much of the post-production work as we could manage. We were all very good at meeting regularly and ensuring our involvement in the project which made everything run smoothly and effortlessly.

In future projects,  I would like to improve my time management concerning my other subjects. This semester, as everything was online and at home, I felt it was quite easy to let things slip which meant at certain times in the semester my workload was perhaps more stressful than it should have been. This meant that by the time editing came around, I was a little pushed for time and Sonja was kind enough to step in and help finish the rough cut edit. In the future, I will ensure that I am on top of all of my work and ensure I can do the same for other group members should the opportunity arise. I feel I did well at always making myself available and easy to reach. I know from past group projects, the most frustrating thing is when you can’t get a hold of a teammate. As a result of this, I endeavored to ensure I was always communicating and doing my best to make this assignment as enjoyable and stressless as possible for everyone involved. Overall, I am really happy and proud of how Brooke, Sonja, and I worked together on our documentary Outside The Box. Our constant flow of communication made this documentary such a pleasure to be a part of.

 

October 7, 2020
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A4: Blog Post 1

Documentary Ethics

For me personally, ethical consideration is something that I hold in high regard, not only in filmmaking but in everyday life. Back in week 4 of Real To Reel, when Rohan asked the class to consider what our own ethics charter might consist of, I took it quite seriously. I believe that ethics are undeniably essential to the production of all great films and is a concept that every filmmaker should not only acknowledge but cultivate throughout the entirety of their careers.

During our class, we considered the work produced by an incredible photojournalist, Eve Arnold. When comprising my own ethics charter, I took inspiration from her famous quote “If a photographer cares about the people before the lens and is compassionate, much is given… It is the photographer, not the camera, that is the instrument.”  Eve Arnold emphasises the need to carry with us, compassion and respect, throughout our careers as storytellers. It is her ability to do so, amongst her many other talents, that I believe sets her apart from other creatives. Throughout my work on our own project, Outside The Box, I aspired to consider her words at all times.

 

 

When reflecting on our documentary, we certainly did have a few ethical dilemmas to consider. Whilst a majority of the time, we were dealing with volunteers of the program, we must also, and arguably most importantly, respect the wishes of participants in the food bank program. We were very aware that many participants may feel uncomfortable being on camera. Whilst a few did give us their permission to be filmed we also considered the possibility that they may be feeling obligated. As a result of this, we ultimately decided it was in everybody’s best interest to remove them from the film where possible and instead use shots that are less intrusive of their privacy.

We also ran into a few issues with our interview with Maria. She was clearly very passionate about the topic and often got quite carried away with her answers. Whilst considering the time restraint of 5 to 7 minutes, we decided that it would be best if we cut her answers together. It was very important to all of us to abide by our ethics charters that stated “never misrepresent the participant or what they say.” and as a result of this, we ensured that we maintained the essence of her answers when editing them together.

 

 

The final ethical issue I would like to reflect on is the religious aspect of our documentary. We were all very aware that this program is run by a church, however, my group and I decided to produce a film that is as non-bias as possible. Maria (our interviewee) was very clearly proud and passionate about her religion and spoke quite a bit about her faith in her interview. After lots of discussion, we decided it would be best to respectfully leave this aspect out where we felt necessary, whilst also providing enough context to the viewers.

 

 

In reflection, I am very proud of how, as a team, we conducted ourselves and made efforts to uphold our ethics charters and constantly considered the words of Eve Arnold throughout the entirety of our project.

References:

Spong, R 2020, Week 1: Getting started/Eve Arnold and the photo essay, Real to Reel, RMIT University

Evans, J 2020, W4 : ETHICS CHARTER, Media Factory, Real to Reel, RMIT University