Chanté Gipson Ch. 4 Reflection & Update

Chapter 4 Reflection Summary 

In chapter four of Crusade for Your Art, the author discusses the importance of having a portfolio review and how it gives photographers the opportunity to show their work to others who are in the field. One of the opportunities given to photographers is the ability to attend a portfolio review event. At a portfolio review event, a photographer shows a portfolio of images to an industry leader to receive feedback for their work. Additionally, a photographer must determine what goals they have for their work and choose an event with reviewers who can best help them achieve their goals before attending an event. The author gives a list of guidelines a photographer must follow when preparing for a portfolio review. Some of the things to consider are the paper used for the images, the size of the images, the presentation of the images, and being able to speak about the work. Furthermore, the author mentions how a photographer can gain funding for their work. Kickstarter and Indiegogo are two online crowdfunding platforms that can help an artist to raise money for a project, a book, or an exhibition. Artists can also receive grants to help them raise money for their projects through local art agencies, the Foundation Center, and grants specifically for photography.

Project Update

This week I had a difficult time trying to come up with ideas on what to photograph, spent a lot of time photographing, and I continued my search online for inspiration. Below are some of the photos I chose and took during my shoot.

Kieran Rundle Ch 4 reflection

 Coming up with a pitch is one of my hardest parts about portfolio reviews or general critiques. A quick couple sentences to sum up yourself and your work is a difficult thing to do. While I generally consider myself a decent public speaker, when it comes to keeping on a script I find myself stumbling (which is quite bizarre it's not the opposite). 

Funding is the hardest part of doing work. That's why we need portfolio reviews, critiques, writing... all to try and find a solution. Crowdsourcing can be doable if the media works well. Without a decent enough initial audience base it's hard to keep the money coming in. That requires the word to get passed from person to person continuously. 

Going back to the part about presentation for portfolio critiques, that requires funding too. Even the basics that get you to a place of making money cost money. It's the same for anytime someone tries to start a self reliant business but especially in the fine art world. I haven't applied for any grants outside of ODU or looked into them, but that's a specifically good idea. I've seen them posted on Call for Entry but often having a price tag on just applying is a deterrent. 

Jedara Reyes Chapter 4 & Update

 Chapter 4

Chapter Four discusses portfolio reviews and funding your work. The book mentions portfolio reviewing events and I attended one before attending ODU. When I was picking a college I went to a portfolio reviewing event and I showed my work, received feedback and I even had schools offer me admission based off my work! I definitely felt the benefits of attending one of these events. The book talked about creating "leave behinds" which is not something I had at the event I had attended but I'm definitely at a point where I need them now. A "leave behind" is just something you leave with your reviewer that has your info on it like a business card. When it comes to funding work the book offered good tips like crowd funding and grants. I enjoyed the idea of offering limited edition prints. 

Update

I forgot to upload pictures in last weeks post so I will go back and add them though you will see them in our review coming up. This week I spent a lot of time looking at my old images to really think about what I'm passionate about taking pictures of and what pictures I've taken actually represent that. 

Chapter 5 Recap

    Now we're entering the final stages of developing our project. We're wrapping things up with our work, if not finishing up. In the real world, our next step would be to prepare for a portfolio review. Because the project is for a class, our next step is to prepare for critique. How we got this far is based on information recounted in chapter 5. 

    Chapter 5, or the conclusion, recounts the process of developing and presenting work. Everything starts out with an idea. The next step is to plan out the work's development. You then coordinate the construction of craft, and finally envision where the work goes. This is the same process all artists use to develop work. This is also a process we are using. 

    In January, we crafted a plan to develop photographs for a class project. Once the plan was developed, we came up with a method of coordination. We established a timeline. We came up with how our work would be made. And now, we're envisioning where our work may go. For me, I see my work displayed in the senior show gallery. Following that, I plan on displaying the works in local galleries. Doing so would promote the area to incoming visitors. Chapter 5 recounts everything we've learned thus far in the semester. The chapter reinforces the driving force that is behind our photo projects. 

Chapter 4 Recap

    Critiques and portfolio reviews come with the presentation of projects. We previously learned planning, coordination, and vision are the components for developing work. Now we're going to focus on the stages. We're about to explore one of the final stages of making an art project, portfolio review. This is where chapter 4 come in. 

    The completion of a project  marks the beginning of the project's journey. That is, where the work is displayed and who sees the work. Portfolio reviews are an excellent way of presenting work. They allow peers to identify any given project's underlying weaknesses and strengths. These reviews also provide exposure to the work. Thus, expanding the project's coverage. Things worth considering for a portfolio review include the following: paper, image size, presentation of the work, lasting affects of your presentation, and the follow up. 

    As artists, we can't just think about the development of a work. We must also consider what will come after the work is done. Where will the work go? Who will see the work? What strengths and weaknesses were drawn from the work? Thinking back to our projects, that is something we have to consider. We want to have our work put out there. In order to do that, we eventually have to go through a portfolio review. How? From the information that was presented in chapter 4. 

Chapter 3 Recap

    Coordinating a project requires planning and achievement. Pre-set goals are the root of making achievements. We as artists face this very concept with our projects. The goal of my project is to project appreciation for architecture. How? With a series of fifteen photos featuring Hampton roads architecture. Each photo will incorporate variable composition and conditions. At the beginning of the semester, we were asked to come up with a schedule to execute the project. This ties into the idea of planning. We were asked to plan a timeline for developing and executing the project. This is something all artists have to do. A concept chapter 3 talks about. 

    There are three ideas outlined form the chapter: planning, coordination, and vision. The first one we will discuss is planning. Each plan is different from artist to artist. We choose our own path of execution for developing projects. Now let's move on to the second idea, coordination. The coordination of a project relates to resources. That is, the things we need to develop or create. There are several questions that can better determine resources for a project. What resources are needed for the project? Think for a moment. You're going to need money to purchase materials, if not resources. From which, you'll need to figure out how much. And then there's the vision. The final result of your project. The making or breaking of all goals that you made for the project. Where do you envision the work being displayed? Who are the viewers?

    Reading chapter 3 reinforces the drive behind our projects. We all have a plan. We have a sense of how the project will be executed. We have a vision. Here's mine. I plan to develop a series of 15 photos. The series, Artitecture 2, calls on viewers to appreciate architecture. Over the course of two months, I will capture and digitally edit said photos. Once complete, the photos will be ready for printing and display in a gallery setting. Which then, will cause viewers to bask in the beauty architecture has to offer. 

Artitecture 2: Update 5

 Good evening! This is the fifth update on my project "Artitecture 2". I haven't captured new photos during this week. I decided change up the pace a bit and focus on editing the images. I've also replaced some photos within series as well. Depending on the weather, I will be shooting sometime this coming week. I'm aiming for two more photos for submission. Currently, I have thirteen lined up. Once complete, I will have fifteen. All of the latest photos are published on google drive if you would like to see them. Below you will find a photo from my shoot last week. This is not the photo I am using for the project, as I want it to be a surprise. To be safe, I made sure to choose a photo that was identical to the one I'm submitting. Hope you like it!

Kieran Rundle Late Chapter 3 Reflection

This chapter made me think about the future, something I’ve been doing a lot since senior year started. What are my goals? Why do I want that? I was listening to a book review podcast the other day and someone said “goals are too binding, I prefer to have intentions.” Do I even have goals in my artwork?

Reading about other places for artwork that museums like nonprofits or schools was brilliant. Someone submitted and is making work for hospital walls and dentist waiting rooms and I bet it makes them happy. When reading this I also wondered about a theme for my art. I’m all over the place in my photography. I was writing a statement for senior show and came up with the idea that I am a storyteller. In whatever way I perform my pictures, there is a narrative within them. It was nice of Schwartz to also outline questions to consider, like commission, before signing on with a gallery contract and providing an idea of what a reasonable price will be. When spending money to submit work to places looking up whether the success would be worth the literal cost of failure is difficult. Online pros and cons are specifically applicable today in the era of COVID19. More galleries are having online exhibitions. Personally I don’t find that nearly as satisfying but it is great for recognition. Publishing online yourself typically only works if you’ve managed to build a fanbase- something I’m not sure how to do since hashtags on instagram are often lost among the many.

Something I’ve always liked were publications. With both my creative writing and art I’ve always had this fantasy of walking through a Barnes and Noble (it used to be a Borders but the internet killed that dream) bookstore and amongst all the books, seeing my name. It would have that new book smell and the pages would be all white and crisp in the way that only untouched books in store shelves are. 

In the chapter Schwartz outlined what you need for both a typical book and an artist book publication which I really appreciated as well.

Jedara Reyes Ch 3 & Update

 Chapter 3

Chapter 3 discussed goals for work which lead me to consider my own goals. I've entered and been accepted in multiple shows. I've received awards for a small amount of my work. Although, it made ME feel accomplished I'm not sure it's something I will need for my career choice. If I choose to be an artist full time especially in the fine art realm then I feel I will put more importance into gallery settings and award winning. I feel I would be more likely to choose freelance as I would like my own studio potentially one day. Then, I would focus on what makes an image sell and what makes people want to spend their money on me as an artist. Book making was discussed and my Emporia, Virgina project is one I would love to see finished in print. 

Update

I have taken studio photos for portraiture and up next I will be trying to do product. I'm still brainstorming how I would like to create my composite image. I'm thinking of our old classmates Chris' work. Not the 3D aspect or his topic but the way his art always felt seamless and clean to me.

Kieran Rundle Sunday Update

I had COVID19 in October and the internet is right, the second time around is worse. 

On Tuesday I went to get tested before seeing my mom and that morning my roommate had a fever. She tested positive and I negative for COVID19. The ODU COVID Cares team started calling us and was so sad when my 90 day period ended in January.

Despite suddenly starting self isolation, Wednesday night my symptoms started and by Thursday they were in full swing. On Friday my fever was so high I could hardly move. I tested positive at student health and passed out twice while in the office. They let me go home and not to the hospital since my originally positive roommate could monitor me physically. 

On Wednesday when I knew I was going to have to quarantine for 14 days I was brainstorming how to do any photography work. My project, like most of ours, requires leaving the house to be in public places. I wanted to keep working on my photography and came up with the idea of taking pictures about the quarantine life. I quickly realized that this would really just be me laying in different places in my room- the floor, the bed, the bathroom.

Since Thursday photography has no longer been possible because of how sick I have been. Even sitting up or moving from laying in one place to another has been difficult. Here are the images from those first two days and then the thermometer from Thursday. 

It's been hard to read or focus so the chapter reflection will come later this week.

Last time symptoms day 5 was a turning point so I'm hoping it will be this time as well. 

Chanté Gipson Project Update & Chapter 3 Reflection

Project Update

These are some of the photos I took this week for my series that I chose. I struggled a bit trying to come up with ideas, so I went on the internet searching for inspiration from other photographers who use abstraction in their work. However, I am still having some trouble. If anyone has any ideas or thoughts, please let me know. 

Chapter 3 Reflection Summary

Chapter three of Crusade for Your Art, the author discusses some of the ways a photographer should set goals for their work and figure out where they plan to be or go with it. When trying to get a work to sale or exhibited in a gallery, it is important to look at the work to determine if it would fit in a commercial or non-commercial venue. The author mentions some of the steps to take when submitting and making an exhibition proposal to a gallery. Additionally, the information that a photographer must give to a gallery is their bio, artist statement, intro page, exhibition details, thumbnails, a contact page and their CV, which is optional. A common goal for most contemporary photographers is to get the opportunity to make a book of the work and have it published. The first step to getting a publisher to publish one's book is to make a book proposal. Furthermore, some of the information that should be included in a book proposal is the title page, book description, audience, project overview, and sample content.

Noah Duhe-Harris Chapter Recap and Update

 Noah Duhe-Harris 

Chapter review 

Part 2 talks in large part about the importance of an artist statement and gives guideline to make a strong artist statement. It also explains common pitfalls artist run in to when crafting their artist statements. In addition the chapter includes information about editing and sequencing your work. The author emphasizes post production process to make sure he images are succinct and flow well with each other. 

These are some more shots i've taken. I am just following your advice greta and keep shooting. I have some ideas about some photos that I want to try because I think from a viewership standpoint it would convey my theme and ideas. 

https://drive.google.com/drive/folders/1wSI_DX7gfBv4T08xZ52R9LyQyaRSST_V?usp=sharing

Barry Green: Chapter 2 Recap

     Chapter 2 elaborates our need to advance the art work. Just because we as artists finish making something, does not mean the work is done. If anything, the work has just begun. This is due to the limitless opportunities we have with artwork. Some of which include: marketing, advertising, social media, politics, and logo designing. Whichever route we choose to go, we still must consider all plausible opportunities. We also need to work as if we are trying to utilize all opportunities. 

    To better navigate, chapter 2 breaks down two optional paths. One is commercial and the other is fine art. Both paths of work require the same technique. You plan, execute, and then review. You first need to figure out what you are shooting and why. Ask yourself, "why does the viewer need to see this?" Better yet, "why does the viewer need to care about this?" Once you have those answers, you go and photograph the subject of interest. Be sure to capture as much images as possible. As you would want limitless options on selecting a final image to work on. Finally, you recap the photos and figure out which one you wish to work with. Other processes follow to make your work much stronger. Such as the artist statement. Chapter 2 outlines that the artist statement as a "general statement about the type of work" the artist made [pg. 16]. You want the statement to short and sweet to the point. You also want the statement answer any underlying questions the viewers may have regarding your work. To better develop the statement, you want to avoid GRASP. Generalization, reticence, art-speak, self-importance, and past tense. 

    Another thing to think about is the work's coverage. How will you get the work out there? The best method outlined in the chapter is the internet. Such modes include: websites, blogs, social media, and digital branding. Whatever we do, we are encouraged to include a bio about ourselves. We are pushed to give  details about ourselves and why we make art. 

Artitecture 2: Update 4

Here is a brief update on my series. Long story short, I had the spontaneous idea of photographing my workplace. I work at the Virginia Aquarium (VAQ) as a souvenir photographer. Having been there for so long, I've had the pleasure of seeing the venue lit up at night. Having seen various colors, I thought it'd be wise to photograph the place. That being said, I went to VAQ last night and captured this image of the lights. Hope you like the photo!

Artitecture 2: Update 3

 The following photos were taken this afternoon. I captured these buildings during my walk through the downtown Norfolk area. The lighting today was perfect for photographing mirror buildings. The interaction of sunlight and shadows from clouds create a naturally sharp contrast. The color of the glass enhances the building from the background. Admire the art that is architecture. 

Artitecture 2: Update 2

Here's the latest photos that I have added into "Artitecture 2". These photos were taken yesterday in Hampton, Virginia. I was passing through the area while taking my fiancé to a dental appointment. These shots were specifically photographed in the downtown vicinity. The public garage allotted the perfect opportunity to capture picturesque architecture. 

Chanté Gipson Project Update 3

Below I have posted some of the photos I took this weekend for my series. If anyone has any thoughts about the images please take a look and let me know.

Kieran Rundle Sunday Update

Notes 

Link to finalized senior show power point for bullet point description of project:

https://docs.google.com/presentation/d/1rjpBuLFIvHRlMZgU3VWLVepht3wtlch3RGRH81nYlVI/edit?usp=sharing

Link to book discussed last time: 

https://www.kieranrundleproductions.com/pandemic

I'd love for you all to check it out if you haven't! It's from my fully funded expedition the Honors College and Research department sent me on. I'm also giving a lecture Wednesday night about honors college qualitative research in relation to journalism and the arts if you're interested.

Chapter Two Reflection

On page 16 the quote from Conor Risch about "living" with the photos really hit me. When I was writing my book this summer and selecting images, my faculty mentor had me print out about 300 pictures and hang them on my walls in taped off town sections. Up with them I tacked in notes and stories and quotes. They were entirely covered and I was living and breathing those pictures until they turned into drafts. Artist statements are difficult. Reading this advice was very helpful, especially the examples. The lines between project and artist statements were also always blurry to me but now they make sense. Speaking in past tense or passive voice are two of my greatest writing downfalls. Having these positive ones to read will be great to look back at when composing my own. When my pictures have been accepted into a few  galleries over the past couple years, I've actually asked the curator thoughts on pricing art. I'm glad we are working on websites later on. I loved how Schwartz brought up Hootsuite for social media. I love the platform and often find it's lesser known. My photography social media is very behind in comparison. Reading this had me shaking my head at the fact I don't have a photography twitter or even really a Facebook page. My instagram is updated scattered here and there and not consistently. This inspired me to go back and look at that all.

Photography Project Update

Waiting for curing before final resin photoshoots and started painting photoshoot. I sorted through my previous resin photographs to pick out initial highlights for comparison with the other mediums. 

I had my first painting photoshoot to figure out materials, lighting, the set up, and how to use the space. I am including a couple of those from this initial shoot. I also was using oil paints for this but have decided after this trial and error session that acrylics would work significantly better. 

Change of Course, "Artitecture 2"

 Hey all, here is an update/reveal as to what my project is on! I have decided instead of pursuing the time-lapse idea, I wish to continue the artitecture series. The new project, Artitecture 2, will reveal the advances I am making with architecture photography. Below you will find my latest images. Feel free to take a gander and let me know what you think. 

Chanté Gipson Chapter 2 Reflection

Chapter two Crusade for Your Art, the author discusses how an artist must critically look at their work to determine which images are visually strong and weak. Asking someone who one trusts and is experienced in the field for feedback about their work is beneficial and will help improve it. Writing an artist statement and project statement for a work is important because it helps one to organize their ideas and communicate them to others to better understand the work. The author states "We express ourselves in images, not words." This is a feeling I have had at times when I wanted my own work to speak for itself ,however, I have learned how essential an artist statement is for explaining and expressing my ideas to those who will view it. In addition, an artist statement must be strong, direct, and concise for the viewer to read. The author also mentions the process of creating a good website, building a social media following for one's work, and developing a brand for the work that will benefit one's career as an artist.

Noah Duhe-Harris Update

 Noah Duhe-Harris 

For the reading the first chapter revolved around the idea of creating bodies of work and what that means. The author talks about the stage that a photographer is in while making the work. Whether you're in an experimentation stage where you are in the midst of figuring out what your style is or you are beginning the process of creating a story through your pieces. With the goal of understanding what it means to truly create images that they know have a good chance to connect to the viewers. In addition the author make the point that its important to understand the context of your work so you know audience you plan to reach, stemming from what and who inspires you as an artist and its connection to history. 

For an update I have been out to shoot once and I got some images that I think are strong. For this iteration of the series I think I am going to add black and white images more rather than just include one. Looking at some of my inspiration like Tatsuo Suzuki and Robert Frank I think adding more black and white images will improve the series by just reminding me to focus on subject on the streets. 

Kieran Rundle Weekly Update

 I apologize that this is a day late, but here is the work. 

Chapter Summary:

In chapter one, Schwartz talks about making art. The three steps of fine art photographers can be loosely compared to the last three years of college where photo students learn the basics, level up into concepts, and then find their own way in the seminar classes. In my personal work I have always strived to have an overarching story or theme. I want my pictures together to be a narrative. Schwartz states that each picture alone should be able to stand by itself but together they all form the story or idea. It has to inspire the audience to feel. While each of us think of ourselves as full individuals with new creative ideas we have to figure out where they come from. Who are we actually emulating? 

In classes here at ODU, we don’t really talk about where to go next with our photography. I did not know what residencies were until the start of my senior year and even still I’m unsure about how to put together a nice portfolio and application. When thinking about the postgraduate job market they didn’t cross my mind. 

Project Update:

This week I continued with resin work and will finish making the actual pieces this week. Playing with focus during these pictures has been interesting. There are many pictures from the same angle as I figure out what to do or what stance shows movement best.

https://drive.google.com/drive/folders/1PO5nm5svl7scNcQhMWguLfIvFFF55K3z?usp=sharing

Chanté Gipson_Project Update 2

Yesterday, I continued experimenting with my camera to create different scenes that portrayed my concept of loneliness and depression. As mentioned in my previous update, I wanted to make my images appear more abstract. Below I have posted a few of the photos I took last week and yesterday. In the first photograph I tried to create a blurred motion effect. The second photograph I shot my camera through a window while it was raining and captured a blurred image of the snow melting away on the ground. For the last two photographs, I shot my camera through a glass of water and positioned myself behind it. I am still interested in trying out the double exposure technique and this coming week I want to focus my attention towards it and see what ideas I can come up with.

Jedara Reyes Ch1 Reflection

 Chapter Reflection

The author mentions having "idea, plan and elasticity". I've always considered yes of course you need a plan for a project and an idea to start it all but it was a reminder that I have to give myself room to grow within my project. If I do not exhibit elasticity then I leave myself open to a one note project and I will not be on the road to becoming a better artist.

The author uses "need" and "have" a lot. I definitely think an artist should be passionate and sure of themselves but I do not think everything needs to be expressed or at least not publicly. The author says a Fine Art photographer has something to say. They have a voice and use it to emotionally connect with viewers the way the artist has emotionally connected with a subject. I agree with that. But, when it gets to saying the artist needs to and has to I think encourages a toxic positive where we see artists today making work that we question should they have done this? Was it appropriate for this artist to talk about this topic? ie; White photographers creating work overseas about an overseas issue from an American or Eurocentric lens. I think it's an opinionated topic of two sides where one says art is art and anyone can make it if they decide to put the time versus those who feel certain people should have certain say due to cultural, ethnic, socioeconomic, etc standards. 

Project Update

I wanted to focus on Portrait first since I find the most comfort in it and I feel it is the most accessible while still being the most open to creativity. It snowed recently as everyone knows so I woke up early before other people could start playing and disrupting the snow and I took some images. Next, I'm going to the studio to create images that use studio lighting which will allow me to show off my abilities in both studio and natural lighting. Last semester I had a real issue with my post production. I know what the issue is now. All my previous time at ODU I exclusively did all my work on the school macs. I now own a PC. When I edit on my PC, it looks exactly how I want. Once I send it to my phone (an iphone) or go to the school to print my images on the macs the color is oversaturated compared to my screen. For now on I'm going to try to make my images exactly how I want then just save a copy that I slightly de saturate so it will have better viewability. For these images on the pet image I removed the building in the background and for the portrait I enhanced the blurred background and the bokeh from the snow. These images look how I want as I am posting from my PC. Next post I will include two versions of the same photo so you guys can see the difference.