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: 

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 - 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.