Spreads taken from the finalised design, entitled ‘Static State’. Referring back to the discussed brief, now a timeline of events whilst archiving the 8mm footage. A minimal design without text avoids any means of distraction or bias context to the work, leaving openness for the onlooker to engage with whilst interpreting the outcomes for themselves. A document in support of the final photographs, exposing the essence of a place with previous mean whilst forming a diary to the occasion. Noting obvious comparisons between my father and self, joining the connections between the past and present. 

Screen Shot 2017-03-27 at 23.22.17

Screen Shot 2017-03-27 at 23.22.27


Taken ten years prior to my own arrival, these arrangements are insights into the events beforehand, forming narrative upon the revisitation of imagery and subtracting the images from their original context through diptychs, questioning the relationships between the subjects and myself whilst projecting my own perspectives as the outsider in. Regarding the success, the outcomes prove only as a means of exploration linking to previous documentation of family archives and Fiona Tann’s inclusion of returning to found imagery. A possible layout to consider in finalising image choice. 

MN copy.jpg

PA copy.jpg


8mm film stills taken from family archives, documented by my father in 2005. Re-recorded using a Canon 5D Mark ii, holding off on aperture to play again upon motion blur with means to challenge our perspectives whilst reflecting nostalgia and cinematic notions. Previous test shoots involved depicted myself in an environment of past significance being the local reserve, where the 8mm film had also been recorded. This crossover interlinks the concept discussed in regards to documenting the role adolescence plays in relation to adulthood. In hindsight, I can vividly recall my father filming myself and sister’s childhood seamlessly. Perhaps my lapse in revisiting archives currently and resulting in producing outcomes in regards to mental health. As shown, my father opts to use his own hands to set the cameras focus, an uncanny relevance to the shoots taken previously by myself. Yet,  it cannot be helped to question my fathers approach and frame of mind, most of the archives are never shown today. As if he had missed the moment over his obsession with documenting. In terms of progress, the stills piece together the conceptual element of wellbeing whilst hindering an abstracted state of mind, as if from my perspective.   


















The location of the shoot yields relevance to the discussed brief, revisiting an area in which I find solace in yet lost at during peak times of depersonalisation. Taken in a local reserve nearby and having visited on numerous occasions from childhood to present, its inevitable to avoid the role which adolescence has now projected upon the perspectives of said location. With vivid memories of my father documenting myself as a child on numerous mediums, the outcomes our a pure reflection of myself without participating fully. Encouraged by Uta Barth’s frame of mind in regards to challenging the perceptions of the human eye, the photographs taken were purposely out of focused. Composed to hinder an emotive notion. Hands represent myself rekindling with the past, acknowledging the connections between environment and subject.





Collages made at moments of creative melancholy, an intimate insight into my own stagnated mind during restless “episodes”. Clusters of objects, imagery and poetry combined form relations, a small extract of my own anxieties. Producing an archive of facts follows with speculation of the events shown, encouraging others to investigate the narrative behind the montage. Regarding to the zine itself, perhaps montages/collages will be included across double spreads in support to straight imagery. Hindering elements of the sporadic mind of an anxiety disorder whilst reflecting upon adolescence through past materials and locations.


Lighting Workshop

Lighting workshop, trailing numerous light sources from ring to fixed. Developing our knowledge and confidence of studio set ups whilst controlling flash within portraiture. To break away from the regular profile shot, exploration of materials were introduced to bounce and morph the images themselves, producing character to the outcomes whilst contrasting against the subjects. Helpful as such, studio work will not be a method of progression for the current briefing. Sourcing available light instead, achieving a convincing documentary portrayal.