In todays tutorial Tom and I pretty much presented our definitive ideas and goals for this project, which is basically to create a fashion collective consisting of printed t shirts and a zine alongside. The key things we need to think about now are as follows:

  • Potentially creating more clothes such as jumpers (maybe even hats or scarfs) to reflect the time of year. However, this at the same time almost defeats the subversive element we were going for, as we wanted to create something that would not usually be related to christmas, yet still carries aspects of it to show the contrast.
  • We were also suggested to think about doing some postcards/christmas cards by Dave, as he thought our aesthetic fit the medium quite well. We hadn’t really thought about this before, but it still seems interesting to research into a bit.
  • Framing a few prints we’d done (not on fabric) also seemed to be  possible idea. Although we don’t think we will be handing in any particular prints, it’s still likely we will have a couple ready for the exhibition.
  • Making some posters was also an idea, and I think it ties in closely with how we want to style our zine.
  • We have come up with a brand name for this specific project, being: ‘St. Nik’. Now wee need to make the logo and print it onto the t shirts.
  • Risograph for printing?

Research – Kevin Corbett


I found Kevin Corbett’s work to resemble quite closely to my own idea for this project, in the light that it subverts, or shifts the sense of normaility. For example, his latest work appears to be studying fetishism, specifically the foot fetish and how such a seemingly normal/dismissive thing can be the object of such strong sensuality. I’d like to draw from this idea to my own work, and try to make pieces of visual communication which highlight what is usually dismissed.

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I wanted to try and mirror Kevin’s humorous take on any situation or subject matter he’s presented with. With his recent fetish work, an obvious sense of comedy is apparent throughout, either by creating irregularity where things should be solid and serious or completely parodying a strange or niche subject. With our project being based around Christmas, I decided to do just that and create something creepy to subvert this idea of warmth and happiness at the time of year.

Research -Alex Gamsu Jenkins

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I’ve recently come across Alex’s work whilst researching subversive Christmas illustrations and have been quite drawn to his seemingly simple yet intricate style. There was no work of his I could find relating to Christmas, which considering his style and subject matter was hardly surprising. However, because of this I thought that trying to mirror his obtrusive approach to illustration would in itself subvert the idea of Christmas.


I found the first part of this module very true to its intentions, in the light that I learnt a great deal. The photography workshops were extremely helpful in showing me how to format, choose a lens and choose/make a great environment of photographing. One highlight was playing around with depth of field in my shots, where I started by experimenting with the aperture to see how deep I could get and moving onto how different lenses affected depth of field, one example being my time using a telephoto lens. It was a really enlightening experience using a telephoto, as I was opened up to taking wildlife and distanced photography and all the other possibilities that come along with it. I’m also quite confident with studio photography now, using reflective boards, and hand held flash devices (to achieve some interesting long exposure results). However I did have some trouble co-ordinating shutter speed with aperture and lighting, more so with the street/outdoor shots. Although it was difficult I took my time, found out what settings I needed and took the shots I could. I also took a look at metalwork/jewellery in this module, as I’m interested in doing jewellery related projected in the future. I looked at what objects had been made into jewellery, and decided to have small go at it myself. I took a teaspoon and had a go at bending it into a circular shape, with a bracelet in mind. It was a lot tougher to bend than id thought, as using an anvil and metal bender can only do so much. However I learnt where to bend and how much I should bend on an object, which I will most likely be working with in the future. Overall I found this first part of the module very helpful to my practice and technique, teaching me more about photography in three weeks than I’d had in my life, and the metalwork experimentation was also a great taster as to what I can work on in the future.

Learning how to use a telephoto lens

Over the weekend, I loaned out a 400mm telephoto lens, to experiment with and hopefully widen my knowledge of the different lenses. After my lens and lighting workshop, I learnt that telephoto is predominantly used in wildlife, landscape, sport and any form of photography from a distance. Because of this, that’s exactly what I used it for. These first images are taken with my kit lens:

And these are the same sorts of photographs taken with the telephoto:

The first thing I noticed was the depth the telephoto gave the image. With the kit lens, the buildings through hyde park, despite seeming quite vibrant have quite a shallow depth of field, and seems to focus the objects that are closer or compositionally ‘central’ with the shot. The same can be said with the path photographs, where a much deeper and defined look is given off in the telephoto images, seemingly taking all aspects that make the image into account (i.e. nearly every tree down the path is in focus on the latter). Furthermore, and what seemed to really differentiate it for me was when I was attempting some wildlife shots. The telephoto made it seemThe telephoto seemed almost like it was made for it, making every shot I took look crisp and detailed, whereas I struggled to get a shot close enough to the bird, let alone a clear shot. I was stunned at how much a change of a lens affects photography. Trying to take wildlife photos also taught me the extent and how useful the use of the zoom the telephoto has to offer is. I also had a go at taking some extreme distance shots, as shown with the plane and learnt that I needed to increase the aperture to dim the glare of the daytime sky.



Night-time portraits.

I recently loaned a telephoto lens from photography, and decided to have a go with it with some portraits. Of course this isn’t the usual use of the lens, I just wanted to have some fun experimenting with different uses. I learnt in my lens introduction workshop, that generally telephoto is used to shoot wildlife, landscapes and sports mainly, due to how the lens seems to almost flatten the image. Taking this ‘flattening’ concept into account, I think some interesting results were achieved:

5:4 Large Format Camera

Today we were taught how to use Large format film cameras, and the preparation that comes along with it. We were introduced to a number of example images, what the camera is usually used for and the equations used to figure out how much lighting is needed in relativity to the subject’s distance from the source. It can be explained with a few mathematical equations such as the Inverse Square Theory:


This workshops was extremely helpful in the light that the skills learnt from it can be applied to any variety of photography, studio or otherwise . It’s taught me that the preparation for a photograph is absolutely key to take a successful image. I set up the camera with my classmate Zen, who took his picture first, accidentally left the lens clip on while taking his set up shot. Therefore, when it was my turn it was of utmost importance that I took every measure to make sure my photograph was set up and taken properly.

This is the image I took on the large format:


We were also taught the mathematics behind extending the bellows of the camera, as well as taking into account the exposure compensation or magnification factor. I wasn’t oo sure about the bellows extension part after the workshop, so decided to find a better understanding online. I was taken to this forum where it was summed well, ‘the exposure reading from the light meter will only be accurate when the camera is focused at infinity. To focus on objects closer to the camera the lens must be moved farther from the film plane, and less light falls on the film. So additional exposure needs to be provided to make up for this light loss. The farther the bellows is extended, the more compensation is required.’ – http://www.apug.org/forum/index.php?threads/bellows-extension.43275/