joelpotterardn716

[joelpotterardn716]

Project Reflection

Reflecting on Goals

I had 2 main goals when coming into this project to begin with. I wanted to look into shooting architecture and I wanted to work alongside others. I am glad that I was able to give myself a project that allowed for full architectural photography. It was also really good learning to experiment more with interior photography. (I actually think I could have done a little bit more? I definitely want to do more of this in the future). My other goal of working alongside others was great! I found that talking to the Devonport Heritage team gave me so much more context into the situation and also highlighted the best areas to photograph. I think maybe I could have checked in with them again one more time before the end of the project, however they were only available in week 13 and I didn't have time this week! It is such a valuable tool to have, being able to communicate and work alongside others and I will continue to do so.

Reflecting on Self

This semester I struggled a lot more than usual. An abnormally large comm des workload really pushed me into burnout more often than usual and made me struggle to create. I managed to push through it all, but I found it a lot harder. I think that I need to allow myself to understand how hard I am working because I often forget that I am ahead or doing 'well'. That's a work on for me in the future.

Reflecting on the Project Overall

I found this project really interesting. Looking at it straight away from a campaign lens changed my perspective of how I photograph. Because a campaign is to convince, not just show, it makes every image NEED to have an impact. It changed my 'lens' of how I shoot and think about photography. I found having a campaign that related to me made my content feel stronger as I knew what would fit better. It also made me much more motivated to shoot something that I really felt was needed!

Thanks to Emil and Natalie for the guidance throughout the project!

[joelpotterardn716]

Week 12 | SDL

Printing Final Book

(average photos, just taken before being handed in!) The book uses Munken Print as the main body paper stock. This 80gsm stock feels thicker than 80gsm as it has a slightly wider form, feeling more like 100gsm. The paper has a slight texture but also prints colour very well. As well as this, the paper has a show through, which allows the pages to flow well. I designed a lot of the spreads to work alongside this as well. (Below Example of show through).

The cover is printed on 160gsm card, which is wrapped fully around the optic stitched back. It is glued to the back of the book, allowing when unfolded, the optic stitched spine to show! As well as this, the cover fully unfolds to show a full image!

Unfortunately with the uni printers, you can never get perfect alignment. One of the spreads is quite off, however I managed to get most of the rest to align pretty well! (below)

I love having the physical print in front of me, it feels more like a book that I have made when I hold it. The physical print helps you to understand the meaning of the work, and it lets the way the content is displayed work alongside the actual content itself!

[joelpotterardn716]

Week 12 | SDL

Fragile Ground - Final Photobook

I couldn't add the colophon spread as I reached the 20-image limit! I think the book reads well and has a good length. It doesn't get too repetitive as a longer book but is still long enough to give some context and allows the reader to think. I really worked hard on layout for this book compared to others previous, it makes a large difference thinking about the form with the function.

[joelpotterardn716]

Week 12 | SDL

Final Positioning Statement

(Changes made to the length of the text as well as just spelling, grammar, etc.)

Introductions & Contexts

I have lived in or around Devonport for all of 19 years of my 20 years. It is what I grew up with, and the location is engraved in my own life. Because of this, I have found a true form of love for the location, people, and buildings in the town. Throughout the past 4 decades, Devonport has been fighting to keep 'itself', its voice, and its structure. The historical architecture is quite simply under threat. The modern governments are dead set on developing the country, and rightly so. It is no secret that the population will continue and continue to grow and we are running out of space. But the governments are now fighting to take down these historical and important cultural locations to grow the country. While many development plans in the recent past have failed, e.g., the 'fast-tracking' of the town was turned down, the government simply won't back down. They are now trying to abuse the fragility of the heritage status protections. When a building, site, or area is under the 'A-Scheduled' status, there is no development, change, or destruction is allowed. B-scheduled buildings have some protection but can be much more easily altered. This B-schedule is now being used to completely alter and destroy buildings. It is now a fight to keep the important buildings under the A-schedule, or they risk destruction. Interestingly, Devonport's residential area is designated as a special character, which protects the streetscapes rather than the buildings; however, the protection level is still lower than A-schedule. There is a flaw in the system. But honestly, that isn't what we should be looking at. A flawed system has to be abused by someone for the wrong reasons. Destroying heritage to develop towers of cheap housing is simply wrong. Especially when there are other locations where these can be created. While growth is good and also completely necessary, care is simply more important. Progress and preservation are not polar opposites, and Devonport’s future needs to understand the significance of its past.

Methods in Context

An interesting influence on my project was Alealexander Jacques. His architectural photo series takes rather famous buildings in landmark locations and transforms them into patterns, texture, and form through interesting composition. He said, "We spend all day walking past these buildings without raising our heads to glance at them," (Frearson, 2014). The series is about making things seen so often by locals, beautiful to look at again. The images in this series are consistent. Often shot in soft lighting, it is obvious that Jacques uses a telephoto lens (makes the background appear larger than in actuality), at a higher, sharp angle which creates compressed and highly rhythmic frames. From looking at this, I found myself asking if it was possible to take images that weren't obvious but still had importance for someone who knew the location. This shifted my approach into more about capturing what is overlooked. Not in an overly abstract way, but framing a story in a way that isn't just the obvious. Instead of just shooting the front of the building, I focused on textures, form, and shape too. Pairing these closer shots with the wider allowed to give context and then bring reality to the fragility and beauty of the detail. It also allowed me to push against many clichés of architectural photography while keeping grounded in context.

One of my earliest goals for this project was to collaborate with others. This is something I have previously struggled with, but I knew it was a very important skill to develop. I reached out via email to the Devonport Heritage team and we managed to have a meeting! In this meeting, I was able to get some very vital information about everything they are fighting against, stories of buildings, ideas of where to go, and also feedback on what they think are the most important parts of the project to look at. Their thinking completely changed my perspective of the project, it gave me more context on a fight for preservation that has been ongoing for over 2 decades. I also found this to be a step toward building some community and even industry connections. Using my photography as a tool for conversation and not just the expression of an image. I was also able to do a shoot at the local cinema! Keeping in contact, I gave them some of the best images for socials and was invited to a premiere of a film on the preservation of the cinema, of which one of my images is now being included.

In terms of photographic methods, I worked with a digital photography process (shooting on my Sony a6700) with natural light to really show off the structures and forms of the buildings. I shot on a wide range of lenses, I would use my 10mm (15mm equivalent on APSC) on the interiors of the cinema and the church. The midrange was shot on my Tamron 17-70 (26-105mm) to get wide but also a bit more detail. The most important details were shot on my 70-350 (105-525mm) which allowed me to get extremely close. All of my interiors were shot on a tripod. This also allowed me to get star highlights on the lights in the cinema when shooting over F8. I created a preset for the series, warmer tones that removed shadow and kept a lot of detail. It was especially important to use as many of the exteriors were taken at 2 am. This was done to have no cars blocking the frame, but it meant those photos needed a bit of retouching in the sky and highlights. I shot the same framing during the day and comped the sky from those into the night shots.

Self Reflection & Summary

While this was quite a personal project to me, I also made sure to keep in mind how others may engage with it. I didn't at all want to force the narrative in the book. I explained the contexts at the start but then just let the images speak. This is not a publication, it is a photobook that shows the beauty of the heritage. The book format also allowed me to pace the story well, contrasting close-ups with wider contexts to slow down or change the reader's experience. I wanted the design to mirror the care, consistency, and respect of the buildings.

This project sits between both documentary and abstraction. It is my argument for the values of the heritage but shown with emotion through detail and the abstract. It doesn't rely on slogans or protest signs, it just asks the reader to rethink what makes a place matter. The abstract is not just aesthetic, it is a strategy to reframe these sights and show their significance. The project itself highlights the fact that the heritage will continue to be under this threat. I still believe that there is space between progress and preservation and to continue forward without destroying what got us to this point. The project is inherently not just about Devonport. It is about how memory, identity, and care are treated as a society in times of change.

Frearson, A. (2014, March 22). Alexander Jacques photographs abstract architectural patterns. Dezeen. https://www.dezeen.com/2014/03/22/alexander-jacques-photographs-abstract-architectural-patterns/

Positioning Statement PDF

[joelpotterardn716]

Week 12 | SDL

Campaign & Book Development

More context has been added. Real locations are now talked about in the intro to the book. Makes it more realistic and actually relatable especially for those living in devonport

This image is now a full spread and also larger. It was not a full spread before and wasn't as impactful as it wasn't as large. Now it fills and introduces the growing buildings with age early on into the book.

The introduction spreads now have much more text introducing the locations. It gives more context but doesn't spell absolutely everything out for the reader. Also good break spread.

The text on the front cover is even softer than it was before, simple, clean, easy, and a good intro.

[joelpotterardn716]

Week 12 | Studio

Feedback from Presentation (notes from Lauren!)

soften the intro - too harsh as a campaign

what is in process, supporting evidence, when is it happening? peoples FAQs

In bills x and y in 2014, summarize the government evidence and that persuades

academic context with supported evidence, the weight of the evidence persuades

nice orange colour - nice integration of colour in design - burnt orange is a motif (brick or walls)

relationship of description and impressionist - makes you think, symbolises community and evokes emotion - keeps it dynamic - scattered throughout and used early on

include more research into the book - elongated caption to explain their significance - implicit (this is old and important)

include all assets in submission - presentation, Facebook tiles

Next Steps & Fixes

My next steps are simply to make the changes from the feedback. I really agree about giving more context in the breather/intro pages, as well as the intro texts' context being real information. I also think that maybe enlarging one image near the intro will allow more context to be given near the start of the book about the interesting imagery.

[joelpotterardn716]

Week 11 | SDL

Final Presentation Design

I made a few changes to the presentation document to hopefully bring a little more context into the book! I also thought a few more spreads would be helpful to show. The presentation now has the intro, a look into the locations, spreads from the book, and the Facebook posts with mockups!

[joelpotterardn716]

Week 11 SDL

Developed Facebook Ads

The new ads work together more effectively for a single post now. They can all go together as a single post now, with the front having the title and the next one having a large description.

I have also turned 2 of these into mockups for the presentation as well! Hopefully a nice visual.

[joelpotterardn716]

Week 11 | SDL

Changes from Feedback

Cover's text is now a bit softer and less harsh than it was.

Text from final spread added into this spread. Simple, just another paragraph added below

3 Spread breaks for each location. The two locations with interiors that are one place in orange, while the overall street views is in the inverse.

The clock is now placed by itself, ending the photos in the book. Colophon on the last spread now, mentions camera, typefaces, and a thanks to Phillip for allowing me to photograph the cinema.

[joelpotterardn716]

Week 11 | Studio

Printing & Book Feedback

It is bound in 3 Signatures in a coptic stitch for this test. If I have time to print the final, it would be bound as a coptic stitch however the cover would hide the spine.

Note: It is also really nice to see how the front and back covers now line up when printed! Really happy with this, as they work separately and together!

Feedback from Emil!

Because I had a printed draft, I was able to get some really helpful feedback.

My suspicions were correct and since there were no captions it would be really great to introduce the locations as they show up throughout the book. This would be: The Vic Cinema, Victoria Road Street-views, & St. Pauls Church as the 3 locations. It will bring a little more context as well as some nice breathing room where type can play its role.

The last spread with the text can go to the front. The text itself is something that seems to be hidden away at the end of the book while the call to action is important enough to go to the front instead. Move the text to the front and then leave the clock image by itself at the end with more of an innuendo of it resembling time running out!

The text on the cover is a bit too sharp and abrasive; imminent danger is too harsh and those words should be the ones read inside of the book, less should be said on the cover.

The facebook posts are okay, but the small text can't be read. It would be way better to have an intro/cover with just the name and an image and then the next would be a full tile of the text at a larger scale. Especially because the context and audience will be older, larger text is necessary!

There should be an end page at the end. Just like there is on the front, a blank last page will be helpful! Emil recommended maybe a colophon on the final spread, which will also allow me to say thanks for allowing me to locations, and mention camera gear etc.

I'm really happy with where this is going and I think that all of this feedback is absolutely correct! It is almost there it's just the fine changes and we are looking good for the presentation!

[joelpotterardn716]

Week 10 | SDL

Presentation Design

For the presentation design I decided it would look best if I used mockups to show the book layout. This would give the presentation more physical context to see what it would really look like! I reworded and also shortened some of the text from my old presentation and my book to make an 'intro' of sorts for the presentation.

This mockup being full page gives the option to read what is in the book when its on the screen but it is not necessary. Just giving the option to!

I think I might also add a couple more spread images after this one, more of full bleed single images just to show off the photos a bit more as well. Will ask for feedback on this

[joelpotterardn716]

Week 10 | SDL

Facebook Ads Design

I thought for secondary collateral, I could make a post slide for the Devonports Local Facebook Group. This is a facebook group that you can join when you are a resident of Devonport! (You have to request to join and it is private). It is well used by Devonport locals and is pretty much where all of the information about events or anything Devonport is talked about!

These designs are pretty basic, using just the same text with a different image on different pages. I think it might be worth relooking at them later but for the time being these are not bad! The idea for this is to be a promotional piece for the book theoretically if it were to be sold in the local bookstores or online!

[joelpotterardn716]

Week 10 | SDL

Photobook Curation & Design

This design follows a lot of the research that I had done beforehand. I realised that there needed to be a flow in this book. As if something was guiding the reader along.

I also knew that I didn't just want double page spread after double page spread. I knew that the images needed to fit into the grid alongside how they are composed. Images are placed to not overlap the centerline as it would lose important information into the gutter. But also breaking up a flow makes the reader more interested in what is coming next. It is creating uncertainty which is necessary for a book, otherwise what is the point.

The book subconsciously flows from location to location, where we are brought into the cinema through an exterior and move up the stairs into the cinema etc. Same with the church, it enters the door after the exterior and leaves through the other side of the door. Subconsciously telling the reader where they are going and obeying a flow. One thing I am not sure about is if more context is needed. Yes I do have the text, but would it be better to introduce the locations as there are no captions? Will ask in next class!

[joelpotterardn716]

Week 10 | SDL

Photobook Research & Thinking

As I have been struggling with layout and storytelling for my book, I decided to step back and have a look at some photobooks and read more into what makes a photobook work.

Recommended by George (InPrint lecturer) photobookstore does reversed videos of flicking through photobooks, which lets you see every spread.

Notes from looking at photobooks

There is an obvious flow in these photobooks.

Rhythm is broken, altered, slowed, and accelerated throughout different areas.

A book following the same structure becomes boring and predictable. One that doesn't open it up to more interpretation

I want there to be an obvious flow between everything.

When images are on the same spread, they must work together.

Creating tension or cohesivity to again read as one story.

It's not just about the prettiest picture; it is the story, layout, grid and flow that is doing just as much of the storytelling.

Minimal text is working. Captions aren't necessary to tell the story. in a photobook captions may prohibit real understanding and allowing the reader the get their own meaning.

[joelpotterardn716]

Week 10 | SDL

Positioning Document Draft – Continued

An interesting influence on my project was Alealexander Jacques. His architectural photo series takes rather famous buildings in landmark locations and transforms them into pattern, texture and form through interesting composition. He said, "We spend all day walking past these buildings without raising our heads to glance at them," (Frearson, 2014). The series is about making things seen so often by locals, beautiful to look at again. The images in this series are consistent. Often shot in soft lighting,it is obvious that Jacques uses a telephoto lens (makes the background appear larger than in actuality), at a higher, sharp angle which creates compressed and highly rhymthmic frames. From looking at this, I found myself asking is it possible to take images that weren't obvious but still had importance for someone that actually knew the location?. This shifted my approach into more about capturing what is overlooked. Not in an overly abstract way, but framing a story in a way that isn't just the obvious. Instead of just shooting the front of the building, I focused in on textures, form and shape on them too. Pairing these closer shots with the wider allowed to give context and then bring reality on the fragility and beauty of the detail. It also allowed me to push against many clichés of architectural photography while keeping grounded in context.

One of my earliest goals for this project was to collaborate with others. This is something I have previously struggled with, but I knew it was a very important skill to develop. I reached out via email to the Devonport Heritage team and we managed to have a meeting! In this meeting I was able to get some very vital information about everything they are fighting against, stories of buildings, ideas of where to go and also feedback on what they think is the most important parts of the project to look at. Their thinking completely changed my perspective of the project, it gave me more context on a fight for preservation that has been ongoing for over 2 decades. I also found this to be a step toward building some community and even industry connections. Using my photography as a tool for conversation and not just the expression of an image. I was also able to do a shoot the local cinema! Keeping in contact, I gave them some of the best images for socials and was invited to a premiere of a film on the preservation of the cinema, of which one of my images is now being included.

In terms of photographic method, I worked with a digital photography process (shooting on my Sony a6700) with natural light to really show off the structures and forms of the buildings. I shot on a wide range of lenses, I would use my 10mm (15mm equivalent on APSC) on the interiors of the cinema and the church. The midrange was shot on my Tamron 17-70 (26-105mm) to get wide but also a bit more detail. And the most important details were shot on my 70-350 (105-525mm) which allowed me to get extremely close. All of my interiors were shot on tripod. This also allowed me to get star highlights on the lights in the cinema when shooting over F8. I created a preset for the series, warmer tones that removed shadow and kept a lot of detail. It was especially important to use as many of the exteriors were actually taken at 2am. This was done to have no cars blocking the frame, but it meant those photos needed a bit of retouching in the sky and highlights. I shot the same framing at day and comped the sky from those into the night shots.

While this was quite a personal project to me, I also made sure to keep in mind how others may engage with it. I didn't at all want to force the narrative in the book. I explained the contexts at the start but then just let the images speak. This is not a publication, it is a photobook that is showing the beauty of the heritage. The book format also allowed me to pace the story well, contrasting close-up with the wider contexts to slow down or change the readers experience. I wanted the design to mirror the care, consistency and respect of the buildings.

This project sits between both documentary and abstraction. It is my own argument for the values of the heritage, but shown with emotion through detail and the abstract. It doesn't rely on slogans or protest signs, it just asks the reader to rethink what makes a place matter. The abstract is not just aesthetic, it is a strategy to reframe these sights and show their significance. The project itself is highlighting the fact that the heritage will continue to be under this threat. I still believe that there is space between progress and preservation and to continue forward without destroying what got us to this point. The project is inherintly not just about Devonport. It is about how memory, identity and care is treated as a society in times of change.

Frearson, A. (2014, March 22). Alexander Jacques photographs abstract architectural patterns. Dezeen. https://www.dezeen.com/2014/03/22/alexander-jacques-photographs-abstract-architectural-patterns/

This (when the first paragraph is added) is now well over the word limit. I need to cut it down.

[joelpotterardn716]

Week 10 | Studio

Feedback (from Tumblr presentation)

This project is designed (from the beginning) for a book. It needs to stay a book; however, an exhibition is a piece of work you can add later.

It is up to me to decide what goes inside and the context. It is either looking closely at a few areas or the wider landscape with interiors included, and close-ups as well. Its about what I am trying to tell. From this feedback, I will spend time really deciding where to go. I have the images, its just about placing them now. I think that it will work well if I don't spell everything out. I may also have the end of the photobook have information about the 2 main locations.

Matthew (critical friend)'s feedback for me

it's working and almost there, just about bringing it all together to create a final product.

[joelpotterardn716]

Week 09 | SDL

Edited & picked photos from the shoot

I find that these work extremely well... but not for a book. I am really thinking that this is simply a project for an exhibition, and I will be talking to Emil in class about it next. The strongest images are the ones that show texture in abstract ways. I find that these do the most talking without spelling things out! (I don't like how tumblr places images together, makes them scale wrong!)