#How To Create A Future photobook

[bijinnexus]

NGZ46 - IOKI Mao 五百城茉央 1st写真集 『未来の作り方』 2024年7月5日発売

[curio-queries]

I'm genuinely curious, what are y'all thinking about the I Am Still announcement?

Any of you that read my reaction post will know that I was less-than-impressed with the cinematic release and frankly, I'm so not enthralled with this idea of a 'documentary series'. I'm really not trying to be negative about all of the content surrounding JKs Golden project but this addition definitely isn't raising my hopes.

I remember once listening to a q&a of an actor/director talking about distribution tactics and he said something along the lines of "if you create a good product and get it out to the people in a way they can actually see it, you'll make money. If you make a bad product and try to hide it behind strategy, trickery, and gimmicks, people will find out eventually". (Definitely paraphrasing here but I think y'all get the point?)

To be clear: i am NOT saying that the music or behjnd the scenescontent surroundingthe Golen era is a bad product inherently. I just can't help but make some associations with all of the machinations surrounding the documentary. It just seems like so much pomp and not enough substance. I guess we can at least be thankful that it is not being released as another weverse product via digital code sold on a photobook. 🙄

I just really question the decision making that lead to it having a theatrical release at all followed by a repackaged streaming release. And how the partnership with Disney is being handled. At what point was the agreement made to release on Disney? Again, I've not really dug into specifics on the company in years but it's interesting to see them host content that been created by one company with self-distribution capacity, and cinematically released by a another company as the distributor.

HYBE also had to recognize this could potentially weaken their future releases if audiences will potentially choose to skip the cinematic events expecting the content will be available on a streaming service at some point. It's the whole reason the strategy of periodically showing old concerts still has any leverage regarding those VOD rentals or whatever it is they're doing.

Am I the only one thinking along these lines? Truly, i'm curious if any of you have had similar inklings.

[storkmuffin]

I keep forgetting to ask! What are your thoughts on KQ going public and what that means for KQ in the future?

I don't know enough about the entertainment industry to have an opinion, so I decided to do some very quick research, because I used to be that, before my recent spiral, a person who researched.

I found this video, by a culture critic and expert of the Kpop industry, who gave this interview and I want to summarize it for you, and take it from there. Below is my rough translation and summary of most of what the guy says, and what he says comports with the books I've read on the industry.

We live in a world of too much music. 120,000 separate songs are uploaded to spotify DAILY. At this point, getting traction in the marketplace feels like a lottery, purely a luck based game, than anything else.

It takes 10 years to organically create an iconic star. Even if you fast track it, with an especially gifted person and the investment of lots of resources, it should still take at least 5 years. Kpop shortens that timeline to 3 years, 5 years max.

Kpop in 10 years will look different, because Kpop contains within it three seprate things: Kpop means corporation. Kpop means fandom. Kpop means artist.

Kpop the music is created by importing songs from Europe, the USA and Japan, and then processing it in the Kpop machine by making it entertainment (reality content, movies, K drama) and exporting it back to the world. LIke so:

Insofar as really truly big players in the music IP market think, Kpop companies (the so-called Big 4) are not actually that big - they're just very interesting local indie brands.

There is unlimited growth possible in Kpop as of now. The consumers worldwide are quite young - they're assumed to be 14-18, and even the most senior kpop likers are, as of now, in their late twenties.

The introduction of streaming meant that the US music markets went fully into concerts as the way to generate revenue. It sent concert prices skyrocketing. Kpop went in the other direction, of figuring out how to sell CD still - by making the product of the CD itself more interesting by providing photobooks, lore-novelizations, photocards, and desirable goods that come as gifts with purchase. And in order to make buying all these extra things that come with the CDs worthwhile, Kpop figured out a way to maximize the appeal of the individual artists. One of those ways was by revealing the prep-and-creation, embryonic time of the artists themselves. They made audition programs, so that people had standing fandoms BEFORE they ever record a single song.

The ecosystem of Kpop means that there need to be middle class groups that have makers of songs, original thinkers and such, that an sustain this, because the corporate mergers and corporate profits of Kpop corporations don't do anything other than to benefit people like CEO Bang of Hybe.

I said in my Hybe v Min Heejin write up:

 What the company HYBE wants to do is make Kpop properly industrial, to make the technology of Kpop (how to put together an Idol group, create a narrative for their concept, and market them with the right songs, visual content, concert performances and goods) exportable, and the creation of idol groups themselves less dependent on the vision of individual, idiosyncratic Storytelling artists

As someone who liked Ateez because of their sound first, because their lyrics are distinctly less childish than the songs evidently written by children (sorry, Stray Kids), because the songs were so organically Korean (because of Edenary as the main composer and lyricist), I am pretty sure that if KQ goes public, they won't be able to produce another Ateez.

Moreover, I share the K-Atiny skepticism about KQ being able to be competent at an IPO and pulling that off without hurting itself (and by extension, my precious Ateez) because of its proven incompetence to date at very basic things that an entertainment company should be good at. Things like making sure that Yeosang's in ear piece WON'T DIE exactly at the start of his solo during their first very big major performance at KSpo Dome. Things like making Lightiny available for sale two weeks before the major concert so that people who want them can have them in hand before they arrive. Things like making the Lightiny available for all who stand in line at the venue. (I will never forgive them for this Lightiny fucking debacle). Things like smoothing the relationship with the Korean TV studios ahead of time so they don't get shit on by the camera and production people, instead of getting post-facto corrected videos uploaded to youtube after getting fucked in the live broadcast. (That video they made by grabbing the guys as they were getting ready to go home for the night and making them redo a performance with the correct camera angles in various states of costume and personal dress showed the stupidity of the company management.) Things like knowing when and how to announce the new world tour so that fans are elated to hear it rather than alarmed and exhausted. They aren't good at simply being a decent entertainment company, when that's their one job so far. Now KQ wants to go chasing after Hybe's and JYP's footsteps when Father Ateez has not, so far, proven himself to be in those men's league in terms of running his own goddamn business.

The fact that he makes them call him FATHER also is very fucking disturbing. I much prefer Bang of Hybe going, I don't have children, so I don't feel like anybody's daddy. I'm a producer and they are artists. [Note: An anon posited in response to this post that this is not a requirement but voluntary on the part of some of the members of Ateez. T I'm not any less freaked out though, that he doesn't stop them then, because it's even grosser]

For wider context, this article is an analysis of the performance of JYP recently.

엔터사들이 소속 아티스트의 지식재산권(IP)을 활용한 본업뿐만 아니라 다양한 자회사를 통해 사업을 확장하고 있지만, 매출 성장과 함께 손실 역시 확대되며 '양날의 검'이 되고 있다. 하이브와 SM은 팬 플랫폼, 게임, 드라마 제작 등 여러 자회사를 운영하고 있으나 대부분 적자를 내며 모회사의 순이익을 잠식하고 있다. 반면, YG와 JYP는 음반 및 MD 관련 자회사에서 안정적인 수익을 내고 있지만 일부 기타 자회사에서는 지속적인 손실이 발생해 재점검이 필요한 상황이다.

Publicly traded entertainment companies are utilizing their various artists' IPs in various subsidiaries to try to expand business, but revenue growth brings with it an expanding risk of loss, and it's become a double edged sword. Hybe and SM operate subsidiaries that run fan platforms, games, and drama production, but most are operating at a loss and eating into the mother (music IP) company's net profits, sometimes to the point of subsumation. On the other hand, YG and JYP are continuing to product steady profits in album sales and associated merchandizing, but there are certain subsidiaries that continue to perform poorly and are due for a corrective re-evaluation.

The critic in the video saying that Kpop Companies going public and making lots of money is good for literally no one other than the CEO at the top is worth paying attention to. He also says that there needs to be an awareness and better protection (in all senses of the word) for the actual people who become idols. He forebears from saying too much, but you know, the sexual abuse of women, the fact that they take extremely young children and grind them into the machine, making them use their real personalities to form Idol persona that then trap them for the next 10 to 15 years? These are issues that nobody is dealing with properly, according to him.

.... I don't think I've answered your question exactly, but I do appreciate your asking it!

[thoughtportal]

As a child, artist Hank Willis Thomas was told he stared too much and asked too many questions. Today, these very attributes shape his artistic practice, which pivots on the theme of perspective. “All of my work is about framing and contexts,” says the artist. “Depending on where you’re standing, it really shapes your perspective of the truth, of reality, and of what’s important.” Reading Roland Barthes’ Camera Lucida, Thomas was struck by the idea of the punctum, the part of an image that impacts and stays with the viewer. Drawing from his background in photography to augment his work with other media, the artist’s sculptural works like Liberty (2015) isolate this punctum and translate it into three-dimensional space.

In his research, Thomas encountered the 1967 photobook by Ernest Cole documenting South African Apartheid. In particular, the artist was struck by an image of 13 coal miners being stripped nude for a medical examination. Rather than reproduce their exploitation and objectification, Thomas denies the viewer their naked bodies in his sculpture Raise Up (2014), instead isolating the miners’ heads and raised arms, confronting viewers with their gaze. Shortly after Thomas created Raise Up, the phrase “Hands up, Don’t shoot” became a popular protest chant in the wake of the police murder of Michael Brown in Ferguson, MI. As he mines history through photography, Thomas draws connections between past and present to illustrate the continuing logics of oppression that shape Black life. 

At Walla Walla Foundry in Washington, molten bronze is poured into specially designed casts to create the 609 individual pieces that will be welded together to form The Embrace (2023), a public memorial to Rev. Dr. Martin Luther King Jr. and Coretta Scott King to be installed in the Boston Common. The sculpture depicts two sets of arms intertwined in a loving embrace, referencing a photograph of the Kings embracing after Martin won the Nobel Prize in 1964. Envisioning his work as being as much about each of us as it is about the Kings, Thomas creates space for the public to engage with the sculpture physically and ensures it is accessible to as many people as possible. “I’d like to believe this is just the beginning of a new way of thinking about how public space can be viewed, and how we reflect on the past with care and concern for the future,” says Thomas.

[2025thedirectedimageisobelc]

Week 2_Notes/Class Work:

Aspiring

Imagine

Dream world/scape

I want to be like...

Natural, interactive

Figurative: Where I see myself in 5 years:

I am an aspiring professional photographer, and I have chosen Edinburgh to create a cinematic photographic series. It will explore the historic buildings and cityscape and the complex history behind it. This work will be done for a reputable UK-wide art magazine to create an interactive photo series article in 2030 appealing to an adult demographic.

Pitch:

Leading with your destination

^ Not your past

^ Start with optimism

^ Sell a potential opportunity for them

^ The why they should hire/support you

What I bring to the table

^ But also what I could bring to the table and what I aspire to be

Craft a backstory

^ Leave out what isn't relevant

^ What relates to the job/brief

Why/how this makes sense

^ bring the past, present and future together

4 Photo Ideas:

Conceptual preproduction film sets with professional models and sfx. Focused on over-the-top body horror and b movie horror.

Travelling across Europe, capturing historical buildings and landmarks, and creating a final photobook. Exploring the ruins left behind from the past and the possible remnants left behind...

Compare and contrast multiple cities across the globe by showing similar imagery but completely different ones.

[phoebelauardn516]

Research

Wong Chung Wai ( Hong Kong Photographer)

Wong Chung-Wai, a Hong Kong photographer, began his artistic journey in 2020. His project “Hong Kong After Hong Kong” explores themes of displacement, migration, and changing identity. His work is characterized by emotional depth, cinematic quality, and a compelling atmosphere, evident in both landscapes and portraits that convey profound emotions.

I am particularly drawn to three of his photobooks, which inspire me to experiment with different techniques while maintaining my own style. Wong Chung-Wai excels at using light to create contrast; for example, one of his images features striking green and orange lighting within the same scene.

There are several techniques I can learn from him, such as using slow shutter speed to create atmospheric, blurred images, and employing varied lighting to enhance contrast. I appreciate how he finds unique angles to create depth of field, enhancing the overall atmosphere and layering within his images. Additionally, his exploration of color filters—like red, which adds a unique quality to otherwise ordinary subjects—further enriches his work.

Previously, I avoided using slow shutter speed in my photography, believing it resulted in "imperfect" images. However, Wong Chung-Wai’s work has inspired me to embrace new skills and experiment more boldly. I plan to incorporate these techniques into my future projects, pushing the boundaries of my artistic practice.

Paddy Summerfield

Paddy Summerfield is a photographer renowned for his monochromatic candid shots. His work focuses on capturing intimate family moments and long-term relationships, emphasizing small, everyday actions that reflect deep emotional bonds and lifelong commitment. Summerfield’s photography explores themes of aging, companionship, and the beauty found in routine domestic life.

His work particularly highlights the relationships between family members and partners, as seen in his photobook "Mother and Father." My prompt aligns closely with his, as I aim to find beauty in routine life. I believe I can learn from his ability to capture deep emotions and intricate details, which convey the depths of relationships. In the future, I may adopt his approach to document my homestay family or any portraits I create.

[interpretedimage]

Statement

In this photography project, " Te Hākari ō Kōtare," I dive into the lives of sacred kingfishers (kōtare) within the unique ecosystem of Weona Reserve in Auckland, New Zealand. This project focuses on capturing the feeding behaviors of these birds, providing an intimate look into their daily life and interaction with the environment. Weona Reserve is a small, but biodiverse estuary area located at proximity of urban life where nature and human activity intersect.

The primary subject of this project is the kōtare, known for its vibrant feathers and exceptional hunting skills. By documenting the kōtare, particularly focusing on its feeding habits, I aim to showcase the bird's daily life. The project will communicate the beauty of nature through a series of images that highlight the interactions of kōtare with its environment. These images will also touch on themes of adaptation and survival, illustrating how these birds thrive in a space shared with human activity, and how humans might shape their lifestyle and future.

Inspired by the works of wildlife photographers Charlie Hamilton James, who captures dynamic movements of kingfishers and their life cycle in stunning details, my approach is documentary-style, aiming to capture the raw and unfiltered moments of the kingfisher’s life. This project, however, differentiates itself from Charlie’s project by detailed examinates of one specific behavioral context, which is feasting. Joffrey Moon is the other inspiration for this project. Although he had incredible skills and took stunning action photos of birds despite technological challenges - he always regarded himself as a naturalist, rather than a bird photographer[1]. He is a great example of wildlife photographer can be more than just a photographer. The photos I took and the behaviors of kōtare I recorded can be used for educating people and even scientific research.

In this project, I want readers to feel a sense of wonder and respect for the kōtare and its environment. By showcasing the birds’ intricate feeding habits and the environment they lived, I hope to inspire greater appreciation for wildlife and highlight the importance of conservation efforts. Moreover, I want to raise awareness of how high global emission can impact this species’ future. Taking pictures for wildlife is like being a journalist; as photographer Charlie Hamilton James said, “True journalism requires us to remove ourselves as much as possible from our subject”[2]. In Weona Reserve, however, I was able to get really close to kōtare since they are so used to human’s present. With rising sea level, kōtare might choose or be forced to leave the area to seek an alternative location for food, which means the future generation will lose this opportunity to observe them.

The photobook includes 11 images of the kingfisher and two images of Weona Reserve. Of the 11 images of the kingfisher, six are sequenced to show the bird’s actions while feeding on a crab caught on the exposed riverbed. Using a fast shutter speed, the camera freezes three distinct moments of the feeding process. The most interesting series among the three is the one kōtare throwing up a pallet while trying to feed on a crab; pallet is a wrap of things they cannot digest. This action series is edited into black and white to reduce distractions, allowing viewers to focus on the kingfisher's actions. The background of the book is primarily white, with three pages of action series in black, which are aimed to create a sense of film.

To fully cover the feeding behavior of kōtare, it required me to have 2 to 4 shoots over a span of two weeks, capturing varied behaviors and interactions at different times of the day and under different weather conditions. I used a high-quality mirrorless camera with a 400mm telephoto lens with a 1.4x teleconverter. Although the time and weather were different between encounters, they have one thing in common, which is the tide. During low tide, I found that kotare are most active. In that timeframe, riverbed will be exposed from the water, which allows crabs to emerge from mud, and that gives kōtare a good opportunity to feast. They usually perch on the ledge of handrail before diving into the exposed riverbed where crabs are living, and then return to handrail to feast. I learned that they are very successful hunters after spending some time documenting them; they always got their prey.

By documenting the sacred kingfisher’s feeding behavior within the unique context of Weona Reserve, " Te Hākari ō Kōtare " seeks to create a compelling visual narrative that blends profound story with scientific observation. Ultimately, this project aspires to inform and inspire viewers, creating a bridge between kōtare and humans to forester an appreciation for wildlife and nature among us.

[1] “About 1.” Charlie Hamilton James, http://www.charliehamiltonjames.com/about. Accessed 5 June 2024.

[2] Stuff. https://www.stuff.co.nz/dominion-post/news/obituaries/2292188/Geoffrey-Moon-Photographer-who-captured-a-flash. Accessed 5 June 2024.

[interpretedimagejessicarayment]

Questions

week 9

What and who will you portray? My family and the odd appearance of my grandparents and family friends

What might you communicate visually through the concept of portrayal? Looking into my family home and how each person can interact differently with the spaces they are in

What is your position on your subject matter? A person who wants to explore people perspectives in a spaces that I used regularly.

What is your voice? What is unique about your subject or your approach to it? My voice for this project is to explore spaces and people perspectives in my home as a person who uses these spaces regularly. I want to capture a glimpse into people's emotions and their feelings. Having more extensive understanding on how tehy relate themselves to their surroundings.

What do you have unique access to? A group of people, a place, a situation…? During this project I have the added advantage of being able to continuously shoot in my chose space as I live there and people are always coming in and out.

Consider the important role the "title" takes in communicating your intention and how audiences might ‘read’ the book. What is your working title?  My current working title is "52". This coming from the number my house is situate at. When the audience reads I want them to look at a family and how this one family interacts with their home.

What would you like readers to think and feel? I would like readers to feel warmth and sense of comfort. But also a helpful sense knowing that its okay to grow up and grow old.

What is the role of the text within the book? How does the text relate to the story the images tell? How do they work together? Working alongside each of the images will be a caption that works in relation to the image itself. Helping assist the reader to capture a glimpse of emotion.

How many shoots do you require to gain adequate coverage and successfully tell the story?  I believe that 7 shoots, including the 14 day challenge will help gain adequate coverage to tell my story.

Do you need gear and support with your shoots? What is your plan? I don't have much support but I do occasionally have an assistant to hold the reflector.

What software and workflow will you use to edit, process, collate and design your photobook PDF? I use Camera Raw as well as Photoshop/Lightroom for cropping and further adjustments. For creating my photobook, I will use InDesign, as I feel most proficient with it. InDesign will also enable me to use my preferred founts and establish a clear grid system for both text and images.

What is your research plan? To explore photographers who have similar interest as myself and research their type of techniques. Looking into their past work and taking inspiration for future work.

What other photo books have you looked at? Barbara Probst, Jeremy cost, Adrian Morris as well as Carrie Mea Weems. I will continue my research so I can build a better understanding in what type of shoots I will continue to take.

Are there decisions that have yet to be made? How will you resolve these? My most important decision right now to continue to create opportunities to take more photos.

[abigailvonah05]

Artist Research #5: Danny Lyon

Introduction/Background: 

Danny Lyon is an American born photographer and filmmaker born on March 16, 1942 and raised in New York. Lyon’s work is primarily influenced and inspired by his Jewish identity, especially since he grew up around the time of World War II. He first got into photography when he hitchhiked to Cairo, Illinois during the summer of 1962. He then went to college at the University of Chicago in 1963 where he received a BA in history. During his time at the University he was hired as a photographer at the Student Nonviolent Coordinating Committee (SNCC). Under this committee, Lyon spent two years photographing activists of SNCC fighting against racial violence and discrimination. These photos and many others were very influential in that they promoted change and improvement in society. Thanks to him, “SNCC began to develop its public image” (Sncc digital, people).  Lyon even helped young teenage girls, deprived of food and water, escape from jail through his bravery of secretly taking photos of them. It sounds a little creepy, but his intentions were pure and for the right cause. Danny Lyon takes a very personal approach to his photographic work by participating in the lives of his subjects. In his older work, Lyon used to purposely withhold showcasing his personality in his photos because he wanted his subjects to shine through. But now he acquires first hand knowledge of the experiences that the subject encounters, which gives his work a personal touch to them. The subjects of his photographic work typically, “deviate from societal norms, yet he is dedicated to communicating their character and sensibility honestly, sympathetically, and nonjudgmentally” (icp, biography). 

Notable works: 

His photobook The Bikeriders (1968) is a good example of what his main focus in photography is; civil rights issues. This project was seen as one of the most defining works of the 1960s and also gave younger photographers a voice to look up to that was their age. This book depicts the Chicago Outlaws Motorcycle Club’s first hand stories and personalities. Lyon was personally involved in the Outlaws at one point in his life, so he wanted to share about himself while also speaking on issues about how America views and treats those on the outskirts of society. He does this by offering a “gritty yet humane perspective” of these individuals. 

Awards/Nominations: 

Danny Lyon has won a total of 6 awards in his lifetime. These include the following: 

1969: Guggenheim Fellowship from the Solomon R. Guggenheim Foundation

1978: Guggenheim Fellowship from the Solomon R. Guggenheim Foundation

1980s: Fellowship in Film making from the Rockefeller Foundation[citation needed]

2011: Missouri Honor Medal for Distinguished Service in Journalism, Missouri School of Journalism, University of Missouri, Columbia, MO

2015: Lucie Awards, "Achievement in Documentary" category

2022: Induction into the International Photography Hall of Fame and Museum.

Personal thoughts: 

From researching Lyon, I have really come to respect him and his work and what it means. He has done a lot of good for society through his photographs, which I think makes him one of the best photographers. If I have learned one thing from this class, it’s that photography tells a story and communicates a message meant to move and challenge viewers' ways of thinking. It’s more than just showing a pretty flower or a cute dog, but taking photos in a way that is moving and meaningful. It is evident that Lyon takes photos in that way. Even through making projects that focus on himself, he is able to point out and challenge ideas of overarching problems in society. I can see myself using his influence to create captivating interior spaces in the future. Not only that but he has influenced me to think critically about the sort of spaces I will be creating. I want to start thinking about the purpose I will have for designing interiors, and what I will do to make them personal to me in a way that’s also personal to the client. 

Works Cited: 

https://www.icp.org/browse/archive/constituents/danny-lyon?all/all/all/all/0

https://snccdigital.org/people/danny-lyon/

https://en.wikipedia.org/wiki/Danny_Lyon

https://books.google.com/books/about/The_Bikeriders.html?id=VWqCngEACAAJ&source=kp_book_description

[baileebm03]

Growing Into Nature

My idea for my photobook focuses on the concept of change. I am a young adult transitioning between childhood and adulthood. Through this photobook, I would like to express the bittersweet grief of childhood and faun nostalgia while being excited and scared about the future. I will use nature to represent childlike innocence and the busy city life to depict adulthood, with subjects such as people’s silhouettes blurred, to show the fleeting feeling of losing time. Since its spring, it is the perfect time to capture the transitioning stage between winter and summer. The ice is melted, and the rain will bring nature back in full bloom. I will use water as a symbol of change and ebbs and flows.

My photo will be focused on minuscule details and environments. I will use a low aperture to create a shallow depth of field. This will allow the particles to blur into the mystical little lights, moreover, for my subject-focused shots and a higher shutter speed for crisp quality. The idea of emerging from childhood innocence will be shown through transitioning from the suburbs to the city, from nature and peaceful suburbia to crowded, dirty and busy streets. In addition, I plan on fragmenting my characters and places with windows and any framing device to make the subjects seem trapped in a forced reality.

My 3 inspirations

Ellie Davies: Chalk Streams and Into the Woods

Her work was about losing yourself in nature, surrounded by moving water which glistens. I would want to take inspiration from this photo series by implementing her idea of childhood magic and how she would see the light in the water like dancing fairies. Her images are dark and mystical almost otherworldly. She achieves this wonderous look by superimposing cosmic images on her photographs. I like how she approaches the symbolic meaning of water, in how it nourishes the land around it, causing an ever-flowing change. I would want to find the subtle ways our ordinary world can look fantastical by playing with and observing light. For example, when the sun hits a stream of water at the right angle, it glistens like fairy dust.

2. Itamar Freed & Kristina Chan: Far North (2022)

With his style, he makes nature look like a Japanese sumi painting. He focuses on form and keeps select details to skew the viewers’ perception. In this specific photo, the blank and white, yellowish faded colouring makes his images seem like a memory from a lost place that seems almost magical. However, I don’t plan on making my series black and white. To achieve a “retro” look, I plan to change the colouring of my photos with either Photoshop, lightroom or Snapseed.

3. My last inspiration is Cig Harvey.

Harvey’s photos are a vivid sensory experience because of their deep and rich colourings and contrasts. Her photos often feature flowers, alive or dead, with a special symbolic meaning. She studies when the flowers bloom and how they survive to implement small poetic details in the short paragraphs accompanying her work. Although, I think photos should speak for themselves, when Harvey adds her poetic little touch it makes the beautiful work more than just a pretty flower therefore, it’s meaningful too. I would want to write a little bit beside some of my photos to make the photo book feel more personal.

[whanaukaretao]

SHOOT: K ROAD #2

5 March 2024

Shot every shop on K Road today, from both sides of the road. It was my supervisor's suggestion. It was inspired by a chat we had about several images in Takashi Homma's photobook.

I haven't had time to properly review the images I shot or think about how I might utilise them - perhaps like Homma has.

A few things did occur to me during this collecting process:

1) Several shops with Māori names jumped out at me - which I could utilise in my work - and I saw a few highrise signs with English names that could be swapped out for Māori names to create an ocean of Māori signage in this futuristic world.

2) I noticed mirror balls hanging from the awning of one shop. It made me think I could use material like this to reflect I'm locating my work on K Road.

3) There was the Rainbow community painted pedestrian crossing and also flags flying from buildings. Again, this is reflective of the K Road community.

Here's a couple of interesting images I captured on K Road.

His stature is interesting to me - solitary, motionless, emotiveless. He could be a robot. It feels like an image I could pull through into the future and it wouldn't be out of place.

It was also was raining and I felt this definitely added a mood and grain to the image. I used blue as the colour leant itself to a moodiness and also helped to create colour blocks.

There's a woman looking out the window on the right hand side of this image. The fact of someone watching felt quite appealing to me. It's not dissimilar to the guy standing in the rain in the earlier image.

I also found the blue colour blocks quite interesting. This could be something I carry forward into the futuristic world I create.

[thissidekhushi]

Want to preserve your memories in Photobook Printing?

In an age dominated by digital screens and fleeting social media posts, the art of capturing memories through physical photographs has become a cherished practice. Photobook printing, a modern innovation that combines the convenience of digital photography with the tactile experience of traditional photo albums, has gained significant popularity. Beyond its aesthetic appeal, photobook printing offers a plethora of benefits that transcend the realm of technology. In this essay, we will delve into the various advantages of photobook printing, highlighting how it rekindles the joy of tangible memories in a digital world.

Tangible Keepsake of Memories: Photobook printing transforms digital photographs into tangible keepsakes. Holding a photobook in your hands provides a sense of connection and permanence that scrolling through a digital gallery cannot replicate. It's a physical representation of moments, emotions, and experiences captured over time. Check out Business Cards Printing in Saudi Arabia.

Creative Expression: Designing a photobook allows for creative expression. From arranging photos to choosing layouts, backgrounds, and captions, the process of curating a photobook offers a canvas for personal creativity. It becomes an artistic endeavor that reflects your unique style and perspective. Visit us at Notecard Printing Saudi Arabia for best quality notecards.

Storytelling Medium: A photobook has the power to tell a story. Whether it's documenting a vacation, a wedding, a baby's first year, or any other significant life event, a well-designed photobook can narrate a sequence of moments, capturing the essence of an experience in a coherent and engaging manner.

Customization and Personalization: Photobook printing  services offer a wide range of customization options. You can select the size, paper type, cover material, layout, and even add captions or text. This level of personalization allows you to create a photobook that truly reflects your individual preferences.

Gifts with Sentimental Value: Photobooks make thoughtful gifts that are both heartfelt and meaningful. Gifting someone a photobook filled with shared memories demonstrates the effort and care you've put into preserving your relationship and experiences together. Looking for Wedding Invitation Card Printing Saudi Arabia

Preserving Family History: Photobooks are an excellent way to preserve family history for future generations. Passing down a photobook from one generation to the next ensures that cherished memories and stories remain intact and accessible, connecting family members across time.

Reduced Digital Clutter: In a world inundated with digital photos, it's easy for precious memories to get lost in the shuffle. Photobooks offer a solution by curating and organizing photos in a physical format, reducing digital clutter and making it easier to relive important moments. Are you looking for the best Tshirt Printing Company in Saudi Arabia near you?

Conclusion

In a world driven by technology and digital experiences, photobook printing serves as a bridge between the virtual and the tangible. Its benefits extend beyond aesthetics, enriching our lives with the power of memory preservation, creative expression, and meaningful connections. By embracing photobook printing, we reclaim the joy of savoring memories in a way that resonates deeply with our human nature, reminding us that amidst the digital whirlwind, there is immense value in holding a tangible piece of our lives in our hands.

[nopefun]

Interview #496: Hiroyuki Takenouchi

q: How did you first start with photography? a: I liked drawing when I was a child, so I started taking pictures to collect materials for drawing, but soon I became more fond of photography.

q: For your photobook "Things will get better over time", why was the book printed in blue on blue paper? And was there a reason for the blank pages in between spreads? a: It was originally an idea from the book designer, I thought it was a challenging endeavor. In Japanese, there is a word called "blueprint" that means a plan or a vision for the future. Together with a large number of blank pages, I think it is a mechanism to inflate dreams and delusions.

q: I have both photobooks for "Things will get better over time" and "The Fourth Wall", and I love both. I noticed that there are some photos that are repeated across both, but are presented differently. "The Fourth Wall" is full of life and colour while "Things will get better over time" is just one colour and almost faded into the paper. Was there a reason for this? a: “Things will get better over time" comes first in the order of publication, but “The Fourth Wall” started production first, so I decided to make an orthodox photobook and show my work straight. We were focusing on it. I decided to make different books at about the same time, and I thought that I could create a different world by changing the way the same photos are shown.

q: I like how your photos seem direct and honest in your observations. Would you say it reflects you as a person in some way? a: The photograph is from the photographer's point of view, and the subject is confronting the photographer, so I think it is greatly reflected.

q: You also often include animals and insects in your personal projects, and relate to them in a personal way in your writing. Why? a: I've always thought it would be nice to be able to communicate with things that I can't communicate with, so I feel like I'm doing that in a pseudo manner.

q: In another interview you mention you prefer smaller digital cameras, why? Or what camera(s) do you like right now? a: Because I carry the camera with me when shooting, I prefer something that fits my body better. Actually, I think it's good if my eyes are shutters or if everything can be completed with the iPhone. The camera I'm using most now is the Sony α.

q: You shoot both personal projects and commercially. Do you feel there are similarities or differences when shooting for either? a: When I'm on a commercial project, I'm sometimes asked to shoot in my own style, and at that time I try to relax my shoulders and shoot in a relaxed manner. But shooting a commercial project can't afford to fail, which may be the difference from a personal project. However, the tension can produce better results than the work. Nobody is in trouble if I can't shoot anything for a personal project that day.

q: Upcoming projects or ideas? I can't really talk about the next idea, but now I'm interested in video works and writing

q: Any music to recommend? a: I often listen to the early music of SHINJI HARADA.

his website and Instagram.

Get more updates on our Facebook page and Instagram.

[bukojuiice]

ʚ  Midoriya, Bakugo, and Todoroki cramming school works with their S/O  ɞ *‧.₊˚*੭*ˊᵕˋ੭.*

izuku, katsuki, and shoto x gn! reader  ♡ 

｡⋆ʚ♡⃛ɞ These are some extremely self-indulgent hcs LMAO i’m currently consumed by a lot of school works and extracurricular activities, so i decided to take the time and write some of these up! this the first batch of hcs i’ve ever made so i hope you bear with some errors! i hope you enjoy!

hopefully i get to write more about the other bnha bois/girls soon so please also stay tuned for that!

if you like to see more from me, i have an ongoing bakugo x fem reader! smau called cuddle buddy! read it here!  ( ु•⌄• )  

✧ Izuku is very smart and hardworking so you’ve barely seen him cram any school work or tasks since the two of you started going out.

✧ Soft bby boi knows how to balance his workload from school whilst still being able to spend time with you.

✧ Now here were the two of you, partners for a huge science project that would serve as your midterms for the subject.

✧  Both of you were tasked to take care of two chicken eggs and treat them as your children. Draw faces on them, make them wear clothes, give them names and describe their personalities... literally treating them like actual babies.

✧ You were whining about it at first because it felt like an elementary project instead of something first year high school students (and those in the hero program for that matter) would do.

✧ Izuku remained positive however and reassured you that it was going to be a lot of fun.

✧ You were still salty and unimpressed by the project, but you couldn’t help but melt because of how cute Izuku was and how excited he was for this task. He really wanted to spend a lot of time with you and he was so so happy that you two were partnered for this project.

✧ Because it was midterms week, you were swarmed with tons and tons of stuff to do, so the two of you decided to finish everything else first then deal with the science project at the end of the week because it was the “easiest”. Boy.. were the both of you so so wrong.

✧ Izuku goes up to your room in the dorm so that the both of you can work on the project quietly, yet as he enters, he sees you panicking and running around the room, your camera hanging around your neck, holding two half-cracked eggs with weirdly sewn clothes and faces that looked like they were scribbled from sharpies.

✧ “Izu-kun... can you help me take pictures of our kids for the baby photobook? 

✧ He was about to faint on the spot from fantasizing about his future with you. 

✧ “Of course! hand me All Might Jr. first so you can take a picture of his cute little sister!” 

✧  Yes, your first born eggo is named after All Might. It was Izuku’s decision and you wanted to support him.

✧ You spent all day taking pictures, printing them, designing them and pasting them on the photo album. It was finally nighttime and the both of you are terribly exhausted and mentally drained.

✧ You and Izuku had creative minds so you were able to create the perfect photo album.

✧ Several hours have passed and Izuku still can’t stop thinking of the future he was going to have with you. What a cutie.

✧  After submitting and passing the photobook to the drop box Ilda left in the living room, Izuku goes up again to your room and is surprised by the sight of you sleeping soundly on your bed.

✧ He comes up to you, kisses your forehead and whispers these soft words to you:

✧ “I can’t wait to tell our future kids how I met you.” 

✧ Bakugo Katsuki has never crammed a school work or project in his entire life.

✧ You on the other hand, procrastinated a lot, yet could still pass tasks on time. Although, Katsuki still reprimands you for it. Calling you “dumb butt” instead of the usual name callings he uses whenever talking to your classmates which is “dumb ass” 

✧ He is your boyfriend so it’s not that much of a surprise, it’s just that you’re a bit shocked that he would be really really soft on you. It’s such a sweet gesture though.

✧ After binging a entire series on Netflix the other day, and because he couldn’t resist your pleas of begging him to watch this show with you, it completely slipped from the both of your minds that you had a dance project to work on for your Physical Education class.

✧  You immediately panicked, and Bakugo began to show his usual hot-headed side of him and scolded you for it. Despite him forgetting about it too.

✧ The two of you were going to film yourselves dancing to the Cha Cha dance style and you had a day to create the raw video without edits.

✧  You suggested that the two of you practice by uploading your videos to Tiktok and ask for advice from the professionals who posted their videos there too

✧ “Katsuki-kun do you think we should upload our videos to Tiktok?”

✧  “Absolutely fucking not.”  

✧ After watching a few beginner dance practice videos on Youtube, Katsuki immediately got the hang of it.

✧ Your man had the moves. He really was good at everything.

✧ You couldn’t help but stare at him as he continues to sway and follow the steps without missing a beat.

✧ Bakugo smirks at you, “Like what you see?”

✧ “Get your mind out of the gutter.” You threw a pillow at him as his tease came out of nowhere. 

✧  Since you were quite a slow-learner, it took a few hours before you got the hang of the first routine.

✧ In those few hours, you probably have stepped on Bakugo’s toes a few hundred times and a few hundred fucks were cursed out of his mouth every time it happened.

✧  He was still patient with you though in his own little way. Constantly scolding you every time you made a mistake, but never made you feel guilty for it. 

✧ You were able to finish recording the raw video by evening. A few hours to spare before the deadline. Either way,  the both of you were exhausted when the adrenaline finally died down. 

✧ “I can’t wait to dance with you again like this. Maybe Waltz or Ballroom next time?”

✧ “You’re a shitty dancer so don’t expect it to happen anytime soon.”

✧ “Then again, I’m dancing with you. So it doesn’t matter if you’re bad. The important thing is, it’s going to be special since I’m with you.”

✧ And at that moment, you could feel your heart explode from all these soft emotions.

✧ Shoto was naturally smart. He could finish a lot of tasks in a few hours without getting distracted. That was his strategy ever since he was in Elementary. Getting things done right away and getting flawless remarks and grades on them.

✧ But ever since the two of you got together, he insisted that the two of you would do your school works together. So, every night, whenever there was homework, you would immediately yeet over to Shoto’s room to answer the tasks with him.

✧ It’s really cute. Not only do the two of you get to bond together but, you were helping each other too. It was the ideal relationship.

✧ Shoto is very particular with a lot of fancy things, so he even has this humidifier in his room with your favorite scent so that the both of you can calmly continue your work.  He even has a comforter sprawled upon the floor so that you could sit comfortably. How sweet of him ;w; 

✧ This time around though, the two of you were partnered up for  to answer a elaborate math problem that you were going to present the next day. 

✧ You exceled in your subjects with Math being your weakest point, sometimes even getting unfavorable grades on the subject. Shoto was the exact opposite though. Which wasn’t surprising because he needed to be good for his quirk. How far his fire can go, the trajectory of his ice and all that jazz. 

✧  He wasn’t disappointed that he was partnered with you for this though, despite it being your weakness. In fact he couldn’t be happier. As long as he was spending time with you. 

✧ After reading through the problem and finding the formula, you were already stressed out. Todoroki took notice of this immediately and decided that the two of you should take a break first. He brings you to the convenience store near the dorm. Your hand holding his as he tells you that you could buy any snack you want.

✧ Using his father’s credit card of course.

✧ After coming back from the store, the two of you decided to head straight back to the math problem. It was very very complicated,  especially since the two of you had to divide the work because it was required for the project for the two of you to evenly contribute to it. It was a math problem your braincells couldn’t take anymore.

✧ “Shoto-kun, I can’t take this anymoreee.” You whined, resting your head on his shoulder.

✧ “Come on (Y/N), just a little bit more. We’re almost finished.”

✧  Shoto was finished with his part of the solution, while you were still struggling. It took the whole night to do so but you were able to answer it eventually.

✧  The next day, it was finally time for the presentation. Shoto was able to present his solution perfectly, while you had some slip-ups and mistakes here and there. The both of you didn’t get a good grade because of that... but to him, it didn’t matter.

✧ “I’m sorry for dragging you into this. It’s my fault we got a bad grade.”

✧ “It’s alright (Y/N). It doesn’t matter. As long as I get to experience something different with you and spend time with you every single day, I’m happy and contented. 

✧ You were so blessed to have someone like Todoroki Shoto in your life. What did you to deserve such a precious and kind boyfriend?

-End.  ♡‧₊˚

[kestrel-of-herran]

Hello, just wondering who do you think is the father of Kim Min Chae? I am really in awe of their special bond and I believe they are soulmates and I'm so worn out with dramas that is too hard on first love. I mean, though the percentage of first love marrying one another is not that high but it also do happen in real life!

I also tried to make some reasonings that maybe the drama is really just toying with everyone! xD

1. In the photobook scene in present, it is possible that maybe Yi Jin really changed his surname since his father is still considered a financial criminal and that's part of his new career or anything. Min Chae did not "immediately" recognized his father (this is very possible!) and then the scene was cut before further dialogues can be said! Also, Min Chae learned his father's then-surname.

2. In episode 7, the misunderstanding was solved because Hee Do is even in the old house! And we learned Min Chae's father is traveling abroad, there is a chance that this can still be Yi Jin.

3. In episode 8, Min Chae didn't need to address Yijin as her "father" because she doesn't use much honorifics to her parents when speaking her mind and that would also take away the suspense in the present timeline! T__T

hello and thank you for the ask!!! this answer might be a little long and not exactly an answer, but i hope you don't mind!

firstly, thank you so much for summing up the clues above! half of the fun of a drama told in retrospect with such a mystery at its centre is to play around with solutions, so i hope you won't worry too much about the outcome while you wait!

before i address the exploration of potential answers to the riddle, i want to emphasize that in order to enjoy such a story to the fullest, i think we need to let go of some of our preconditioned expectations of what a "happy" ending is, or whether an ending needs to be "happy" to be "good". i think a good story is a story that is told in such a way that it allows us fully understand and agree with its outcome.

personally, i will be happy with the show's ending if (1) the characters i love are happy with the lives they lead by the end, and (2) i am able to completely understand and agree with the narrative choices made, based on the way the story is written and presented to me.

let me begin this examination by sharing that to me, this story already carries the scent of sadness, because of the way it is told through an over-the-shoulder look full of tender affection for a bygone golden time. this is a consciously created effect emphasized by the juxtaposition of happy writing with heart-rending editorial choices, such as the montage of hee do and yi jin's fun at the water fountain over the profoundly sad song of "twenty five, twenty one", which serves as inspiration for the entire series. even while the characters are sharing their brightest smiles, the shadow of moon chae's perusal of a diary hangs over their happiness, making us acutely aware of how precious every happy moment is, because it has already passed us by. even while we're "at the centre of our youths", as yi jin narrates, we have the double vision of the future when our fondest moments will exist only in our memory, in the writings, recordings, and photographs we tried to bottle them in.

now that we got my inconsolable sadness out of the way, we can move on to the matter of speculation. i think there are three questions to ask about hee do and yi jin's future:

1. who is moon chae's father?

2. who is hee do's husband?

3. what is the current relationship between hee do and yi jin, and why? will their relationship experience any change inspired by moon chae's perusal of her mom's diary?

i think the first thing we need to keep in mind is that the answer to the first two questions does not have to be the same. the second is that i, fortunately or unfortunately, do not want to know the answer to any of these questions before the show is ready to tell me.

so far, this has been an incredibly smart and inspiring show. such a show knows that there are two elements that make or break a long-awaited revelation: build-up and timing. such a show would be careful to provide us with enough clues to pique our curiosity, but withhold enough information that we always have more than one equally likely option to choose from, up until the moment it's ready to spill the tea. such a show would strive to lead us into the revelation out of the corner of our eyes, then all at once; would weave the past and the present into a melody that takes our breath away.

is attempting to guess, then, a disservice to the storytelling aim of the show? is the single-minded expectation of a certain narrative a denial of the show's efforts to lead us into a multiverse of possibilities, to let us sit in the darkness of wonder that opens up our minds to inhabit more than one fictional ending at a time?

the only things we can know about hee do and yi jin's future are the things that we are shown, and the only things we are shown are the things that will manipulate our thinking in the direction that the show wants us to think in. and here is the best thing about manipulation: it is always based on a false perception. at the heart of a magic trick, there is always a lie.

this begs the question, what does the show wants us to think?

[onlydreamgos]

Who Do We Open GOs for?

requests are currently: closed

notion updates can take up to 48-72 hours!

feedback: #onlydreamgos

Main Focuses:

mdzs / cql: limited edition goods

bjyx: fansite photobooks & fanmerch

bts / vixx: occasionally merch we're interested in!

stationary: egg butter toast & califlair

Guide on How to Use Wise for Intl Joiners:

1. Create a Wise Account.

2. Click the Send Money

3. Enter amount to send. Fees vary per payment method.

4. Select someone else and enter our email address: onlydreamgos@gmail.com. -- **for future transactions: you can save us under your recipient address book for easy access!**

5. Select Confirm.

6. Please make sure use the correct # in the order reference!