PANEL 1 AND 2 EVERYBODAAAAAAAY !

This is not QUITE official yet, but this is what I'm thinking??

Please comment and tell me what you think of it. That will be much appreciated. I would just like to thank Photoshop and Illustrator for the frustration is has caused me. But if it wasn't for you two, my photos will be plain old boraaaang D: 

Meaning of my photos ..

Koau 'eni, mou me'a mai

This photo shows the work of Idrsi Khan and Tina Modotti. The blurs of the hands represents Khan's and the close up of the blurred movements is Modotti's. My hand movements symbolizes my welcoming to the viewers and markers as they scan slowly through my concept. This is welcoming you as the viewer to go through a journey with me as I express and expand my culture heritage showing the significant of female and male roles in a Tongan society including customs.

' Splashing Tupenu '
In this photograph the waving of the tupenu represents the 'showing' of my concept. I'm flicking it out, so that everyone sees it. Everything that is contained in the tupenu are all the customs, traditional ways, gender roles etc. So therefore, this is me showing you this is me. Koau 'eni, mou me'a mai.

Artist Model Research Completed !

Idris Khan

London-based photographer/artist Idris Khan was born in the UK in 1978. After graduating from the University of Derby in 2000, he studied for an MA at the Royal College of Art in 2004. Khan's media of choice are photography and video. Khan's subject expresses his passion interest in cultural works and artifacts from the spheres of literature, art and music. Khan's work turns his photographs, music and writings into a more vibrant blurred and gives it a new dimension of existence . Khan's work explores the history of photography and literature, repetition and the anxieties of authorship.
Where have I used Khan's work?
The first photo that includes Khan's work is my third of my first three photos. This is linked together with Tina Modotti's technique of close-up hand shots. I've also used Khan's technique of vibrant blurring on my second panel on top of the photographs with Siaosi dancing. That's where the examples of Reubin's & Courtney's come in; where I've layered the photos to be transparent to show mixed roles of a female and male in one photo. Techniques of Bernd and Hilla Becher by Khan has been included with different angles of the roles as a subject. Why? As roles differ in the years, Tongan male and female roles transform as new generations erupt. So, using Khan's techniques, it allows me to show these important roles symbolizing the evolving and overlapping of Tongan customs.   

PANEL 1 COMPLETE ! & PANEL 2 IS ALMOST THERE ..

EVERYONE THESE ARE MY PANEL BOARDS !! 1 & A LITTLE BIT OF 2.

I've never really explained the main purpose of the first and third photo but in a few posts I will explain it further.For the second panel, it will be more concentrated on mixing the female and male roles as a young Tongan representative photographing from different angles; trying to blur me out or blur Siaosi out. For those photos, I will be acting as a male doing the Tulafale while Siaosi will tau'olunga while I dance around him. I'm hoping to edit the photos similar to some of Reubin Caldwell's and Courtney Willan's photos (e.g. below). Therefore, those photos can be juxtaposed together on one image rather than separately because of space. There is already photos of me (panel 1) playing the Lali (drum), as that is an important role for a male when it comes to music and entertaining. More of these will follow on into panel 2.My final images underneath the drums with the necklace, will be of me in a full Tongan traditional costume; while Siaosi is shirtless with a traditional necklace and all oiled up.  

      

<-- (3rd photo) Modotti/Khan

<-- Muybridge





<-- Modotti

One of Reubin Caldwell's (Yr13) photo of his concept, 'Identity' 

'Rebel Without A Cause'

One of Courtney Willian's (Yr13) photo of her concept, 'Rebel Without A Cause'

These are really good examples of the next editing I'll be doing. I really like how transparent Reubin's photograph is. The dark contrast balances well with the lighting. Courtney has taken this photo very carefully and has developed it well. She has used Idris Khan as one of her artist models (so will I). She has based it around the techniques of Bernd and Hilla Becher; where they take photos of every single angle of an object.

2 out of 3 - Artist Model Research

Eadweard James Muybridge

Eadweard Muybridge (9 April 1830 - 8 May 1904) was an English photographer. His photographic studies of motion and in motion-picture projection were very significant. Muybridge's work is known for pioneering on animals locomotion in 1877 and 1878. For this to happen, he used multiple cameras to capture the motion in stop-motion photographs, and his zoopraxiscope, a device he uses to project motion pictures that pre-dated the flexible perforated film strip used in cinematography.

Where have I used Muybridge's work in my concept?

On my first board on the second row, I have used 4 pictures to show how I've used Muybridge's work. These series of photos are steps of playing the Lali. It's like a film watching step by step of what I'm doing. I've used Muybridge's work because he has displayed some amazing motion images that flows and is something that is very special to him. Showing that through my concept will capture the audience. Cultural customs and background heritage is important to me because I would like to show everyone the way Tongans are and how important it is for us to break down our traditional ways for other people to understand.

Tina Modotti
Tina Modotti (August 16 (or 17) 1896 - January 5, 1942) was an Italian Photographer, model, actress, and a revolutionary political activist. Modotti was introduced to photography as a young girl in Italy by her uncle Pietro Modotti. It was her relationship with photographer Edward Weston that she became an important fine art photographer and documentarian. Mexican photographer Manuel Alvarez Bravo divided Modotti's photography into two categories; ''Romantic'' and ''Revolutionary.'' Tina Modotti was more captivated by the people of Mexico and blended this human interest with a modern aesthetic. As her photography grew within the years, her visual vocabulary matured. Flowers, formal experiments with architectural interiors, urban landscapes, and especially close-up images of workers hands.
Where have I  used Modotti's work in my concept?
On my first board half way through, I will putting up close up images of Siaosi(brother). It will be similar to Modottis photograph, ''Worker's Hand.'' (pic. below). These close up images will be of traditional male dance moves. (e.g. below). Close up on more hands will be further down the second board showing important hand movements of a traditional Tongan dance (female). I have used Modotti's work in my concept because these images tell a story. I'm trying to express the importance of dancing and how it relates to my concept; showing it off. Modotti not only took photos for the sake of it. She loved the Mexican people and was heavily involved in community services.

Ko au 'eni, mou me'a mai ft. Siaosi Halisi Kei Jr.

These are new photos that I took today with my little brother in it. They have not been edited yet but will be as soon as possible. He will be a big part in my concept as I will not also be portraying my culture heritage and what's contained in it, but I will also be portraying the significant roles in a Tongan female and male background. In these photos he is doing dance movements of a traditional Tongan male dance. This is called a Tulaafale. This dance is varied between war dance moves (e.g. several of the haka moves), spreading the legs evenly, bending them, and bending his arms and slapping them together in time with the music. The smiling and eye contact ties in well with hand movements to make the dance more appealing.  

Generations --> Generation - Who we are now

This is just another set of other photos that I've took. The first two photos have a meaning. But I like the second photo the best. The lali is symbolized as a boat or 'our' original ancestors keeping our generation together . Which leads to the necklace and the drum sticks inside for them to pass down the significance of our female and male roles. I've interpreted this by tipping the lali and pulling out the objects. I really like the last photo as it shows it clearly and understandable. Please comment and let me know what you think. + and - accepted. LOL !  

I'ts coming along .. slowly !

These were my first attempts of using the kahoa. Photo 8359 was the first one ever and absolutely loved it. I like how the lighting is balanced and the border is not too dark but gradually making its way to the main object. I especially like the composition and the way it has affected the lighting. I am fully satisfied that these images will play a huge role in my concept.  

' Think like a lady, act like a BOSS! '

In these photos, I'm just experimenting different ways of decorating the Lali to be more effective. The lighting in the few photographs that I have taken are very well balanced. At least that's what I think? HAHA! I'm not sure what it is that I like, but I am digging these ideas that I have come up with. The reason the necklace is wrapped around the drum is because the females itself keeps the males together. Without a woman around there is no one to keep them in their place HAHA! 'Think like a lady, act like a boss'. The last six photos have a significant meaning to the Tongan heritage. It represents the Stone Hedges in Tonga where it protected them from invaders coming into the country. As un-important as it maybe to you but it means a lot to me. This is when the next series of photos come in.

' Drums of the Island are Beating in my Heart '

OMG OMG OMG! EVERYONE ! THIS IS A MUST SEE PHOTOGRAPHS ! LOL !

haha nah just kidding ;-) .. anyways ..

These are my new photographs that I have taken very recently. FINALLY! After long thoughts, hard thinking, lilttle bits of slacking of; my ideas have come rushing back. With the help of Mrs Clemence, she has suggested that I should include another source to my concept, an island jewellery; the Kahoa*. I love how the Kahoa make the drums stand and has more meaning to my concept. The reason I have used the necklace was to show the importance of the male and female roles in a Tongan society and environment. The necklace symbolizes the role of a female as a traditional dancer or how they are being dressed up formally. The drums symbolizes the role of the male as he plays for the female as they dance; as it's not that common for females to play this part. So the way that I'm going to do this is, is to mix these roles and see how it will affect the Tongan culture itself and also the effects of how the roles are meant to be.

So therefore, there will be more accurate photos of me playing the drums as it will differ from original roles.

I've decided that I will also use my 12yr old brother Siaosi (George) as part of my concept to play the female role. I will explain further on, on what I will be doing to portray this.       

*Kahoa: Shell Necklace

Contact Sheets for my next steps ..

Next Step of Trying to Finish my Panel 1

At the moment, I am struggling and finding it frustrated that i'm haven't completed my panel 1. Somehow, i'm getting distracted and it's hard for me to concentrate. But tomorrow I am going to start taking more photos coz the only thing that I've done so far is edit previous photos that have been taken in the art rooms and researching. So therefore, my next step is to get on track and complete my panel 1 !!

What happens when Miss is not at school :(

Miss I am finding it difficult to take photos in the drama room. I haven't taken any because the last time I went there it was locked D: but i will start doing the homework for now. WE MISS YOU ALL ! HOPE YOUR FEELING BETTER :)

Practice Body Movements Within The Image

In these following images, they show a series of different *Tau'olunga movements. Taking these photographs  was a way of putting them into a series/sequence of photos that tied in from one image to the image. I have used the style of Eadweard Muybridge which was an English photographer who was famous for his pioneering work in photographic studies of motion and motion-picture projection.   

 

This is one of Muybridge's motion-picture photographs, 'Plate 187 Dancing' . This is kind of  how I plan to show my Tau'olunga movements with the Tupenu and the motion in my hands.  

 

*Tau'olunga : A traditional Tongan dance. The Tau'olunga is similar to the Hawaiian hula or the Tahitian hand mimicks.

Centre of Interest and Focal Point

I've finally had the chance to put more photos up on my blog that I will most likely put onto folio. These images contain a further analysis and comment on how I've structures the photograph, but mainly describing the Centre of Interest & the Focal Point.

In this first image, my eyes have been drawn to the shuttering hand movements of the Pati. That then leads my viewing onto the material of the Lavalava where it shows me the surrounding of my frame. I really like how the camera has caught this moment whereas when I made may attempts before that, it made the whole photo very blurry & it was hard to look at.  

  

 This is my first photograph that I put up on my blog. In this photograph, I think that the dominant view is straight onto the different contrast of colours from bottom right leading up to the strings that's attached to the Lavalava. It then shoots your eyes to the black background of the main image. I really like this photo because you wouldn't have known it was taken in the Dark Room as my Photography teacher had mentioned to me a few lessons after I took this.

In this image, I think the whole of the Lavalava captures the audiences eyes. We see that the colour red is always appealing, because it's bright and most of the frame is contained with the material. That also captivates our eyes to the dominant black Polynesian patterns that are on the tupenu. I don't think the audience would look at it properly like I photographer would, but down in the bottom a flat 1cm surface is blurred but I don't know how its don't that ?  

Ko au 'eni, mou me'a mai - Analysing & Explaining 2/4 first photos for my folio

I finally re-took my photographs for my new concept, Ko au 'eni, mou me'a mai.These 2 images are the 2 out of 4 of my first 4 images on my folio. I still haven't had the chance to take photos of me and my cultural portrait and a photograph of all my objects together. I feel like I have been on a roll with my new concept and ideas are rolling in and making me think deeper on how to portray my images in an astonishing and fascinating way. Originally I wasn't planning to use myself in my concept, but realizing that I had no idea on how to stance my portrait and take photos, my Photography Teacher, Mrs Clemence suggested that I use myself to create more effect and meaning to my photographs.

 <-- Photo1  Photo2 -->

After many attempt of taking photos of me flicking out the Lavalava, I was pleased that this image (photo1) I was pretty happy with. There was one photo that i really loved, but it looked like I was 'trying' to look at the camera & it shows too much of my double chin hahahaha (photo2). Photo1 shows it aswell D: D:

But I've become to like photo1. I really like how the lighting has contrasted between the colours of hot firey yellow and gradually climbed up the Lavalava to the original colour of the material. I especially like how I've edited the photo so that the patterns of the Lavalava have been brought out  I also like how I've positioned myself with the Lavalava, we are both evenly fitted into the frame and has worked well with a side viewpoint. 

In this photograph of my Polynesian drum called the Lali (Tongan) or Pate (Samoan), I really like how its composed. The way that I've placed the drum was unintentional. I didn't realize how I took this, but when I finished looking through my attempts I really like how I've angled the Lali.But I do remember that I literally laid on the floor to take this image. Knowing, that this photograph has been taken also from a point of view. The dark contrast on the end of the Lali stick, has attracted 1/4 peoples eye, where as the lighter on the side of the Lali has attracted 3/4 viewers eyes. I believe that in this photograph we can debate about a vanishing point happening here. The shadow of the Lali sticks shows the ending of it and it leads but connects to the Lali itself.

Tefito'i 'ilo Fo'ou* - Ko au eni, mou me'a mai

Wednesday 17th April

After deciding to change my concept from the 'Family' one, I decided to change my original concept 'Birthday' to an Islander/FOB concept. The reason the concepts has been changed from my original one was because I got side-tracked with one of Michel Tuffery's artworks 'Lakapi' and it led me to change my direction significantly. I have named my new concept 'Ko au eni, mou me'a mai' which means 'This is me, come to it'. The objects that i have introduced to this concept is Lavalava, a polynesian drum and a cultural painting. To link back with Michel's artwork I have used these objects to define my own cultural identity, specifically the Tongan aspect of my heritage. 

*New Concept 

Michel Tuffery - Lakapi

\

Discussing - 'Family' Concept

The family portrait is significant to me because my family make me who I am. Having my family around me gives me effect of normality. I can be myself around them and have them not judging me on what I do. The idea of the guitar together in this concept ties in well with the family portrait because I come from a very musical family which 

ties in well with my bible. My bible wraps my concept overall, as it gives my concept an effect of Christianity. With the bible it brings my family closer together and that's where I was trying to go with this concept that somehow failed.