Carolyn Lefley Lecture – Career and Editing Down

On Friday 2nd November 2012, we had two lectures that were taken by photographer Carolyn Lefley. The first lecture was approximately an hour long where Lefley talked about her personal career as a photographer. We then had a 30 minute break before returning to her second lecture about how to edit down our work to our final images. Below are the notes that I took from both of these lectures.

Career:

  • www.carolylefley.co.uk
  • BA Fine Art – Coventry University – 1997-2000
  • Robert Rauschenberg“Painting relates to both art and life. Neither can be made. (I try to act in that gap between the two”)
  • Empty Homes, 2000
    • Indentations
    • Abstract
    • Between ownership
    • First problem was finding the access
    • Polaroid’s – only one of each, it is an original
    • Personify the houses
  • Viewpoint, 2001
    • Obsolete seaside telescope
    • Personify the telescope
  • The Watchers, 2004
    • Medium format (6×7) – prefer this type of format; it is imperial, see more detail, more square shaped
    • Higher technical level
    • Each image only lit by the light from the television screen – long exposures e.g. 10 minutes
    • Clues in the room as to who the room belongs to
    • See different generations within the series

 

  • Home, 2005 (MA in Photography at UWL)
    • See home as a lens – can see loads of emotions and peoples identity
    • How do you show something familiar feeling strangely unfamiliar?
    • Used a technique or aesthetic that connected to an emotion or concern
    • 30 minute exposures
    • HDR – High Dynamic Range Photography; wide tonal range
    • Two negatives – one over exposed for the sky, other underexposed; scan them in and overlay masks
    • Shortlist for Magenta Emerging Photographers Award – got made into a book

 

  • Semi Detached, 2006 (Artist Book)
    • Neighbours – didn’t have access
    • Tried to pick the same angle by using polaroid shots to find the same location
    • Sequenced so that it is like the viewer is walking around the house

 

  • Belonging, 2006
    • Quite critical of her own practice
    • Concentrate on identity within the home
    • Look at the idea of a dolls house
    • Ambiguous play on whether or not the photos are reality or a dolls house
    • References “Goldilocks and the three bears” – psychoanalysis represents identity
    • Shown at the House Gallery in London
    • Published in Stimulus Respond magazine, Home issue, Winter 2007

 

  • Within, 2007
    • Two scales within the photo – dolls house within a house
    • Small and large contrast – see real house through windows in dolls house
    • Scale with photography
    • Some weren’t as successful as she had hoped
    • Wardrobe – referenced Narnia and travelling to another world
  • Troika Editions
  • Quotidian Snapshot, 2007-2008
  • Realm 2009-2012 (Long-Term Project)
    • Two finished photographs
    • Digital double exposure* (done on computer) – derelict interior and woodland scene
    • *Played with dragging one image in and using the opacity slider – looked unprofessional*
    • **Blending overlay – makes it high in saturation so had to play with masking**
    • Wanted image to speak for itself and not rely on captions
    • Supernatural landscape and real landscape in one image
    • References include: “The Lion The Witch and The Wardrobe”, “Neverland”, and “Alice in Wonderland”
    • Sight always has an authenticity
    • Find time and funding – she lives in London
    • Written about in Brighton Photo Fringe, 2011

 

  • Timespan Artist in Residence
    • “Wilderness”
    • Stay in a room that is supposed to be surrounded by influential tendencies
    • 50+ versions of the creation stories
    • Wanted it to look quite fake – symbolism
  • Stephen Pippin
    • Modern take on Eadweard Muybridge
    • Used washing machine as a pine hole camera

 

Editing Down to Final Images:

  • Prepare material for publication by correcting, condensing, and modifying
  • Choose material for a media production and arrange it to form a coherent whole
  • (Edit something out) remove unnecessary or inappropriate material from a text, film, or radio/television programme
  • Change text/image on computer
  • Select material
  • Condense/remove unnecessary material
  • Organise into a coherent whole
  • To ‘edit’ is dependent on the dissemination method:
    • Exhibition
    • Photo book
    • Portfolio – book or box of prints
    • Magazines – editorial
    • Photojournalism/Photo essays – print layout or digital slide show
    • Online website, blog or slideshow
  • The ‘edit’ is also dependent on the type of photography project:
    • Sequential or series/collection – A sequence of photographs only makes sense in a certain order
    • Series or collection – A non-sequential series of photographs can normally be arranged in two ways
      • To create a narrative
      • To compliment formal (colour, tone, shape) aspects of the pictures
  • How to begin:
    • Contact prints of all work shot to date on your project
    • Small work prints to spread out on a table
  • Learn from Contact Sheets
    • Tell the truth behind a photograph
    • Unveil its process and provide its back story
    • Was it the outcome of what a photographer had in mind from the outset?
    • Did it emerge from a diligently worked sequence, or was the right shot down to pure serendipity – a matter of being
  • Editing technique – The Sequence
    • Existing transferable skill:
      • A family album is an EDITED chronological sequence
  • Non-linear serial book
    • Same composition

“For every minute you are angry, you lose sixty seconds of happiness”Julian Germain, 2005

Advertisements