El Espíritu de la plaza from Dr. Filmgood Audiovisual Studio

It’s all about the narrative, the characters within this story. While gear help you tell your narrative, the viewer doesn’t care how and what you captured the story on.

Great use of black and white, then colour within this narrative.

Beautiful story, beautiful morals, I nearly cried.

But what will happen to the guy, once the camera goes away and the grey grows back?

Source YouTube : Dr. Filmgood Audiovisual Studio

American Justice Series 1 1 Punishment

Being on a Media Production Degree, I’m always looking at different narratives and technical ways of telling this story.

“In the year Donald Trump was elected as president and against a backdrop of social unrest across America, our cameras follow prosecutors and cops in Jacksonville, the ‘murder capital’ of Florida, renowned for its tough approach to justice.

Across town, detectives are called to the scene of a double homicide in a trailer park. An uncle and niece have been found strangled in their home. As detectives hunt down their main suspect, the lead prosecutor Janeen Kirch has to decide if the crime is severe enough to deserve the ultimate punishment of death.

In the courts, Trey Wright is being prosecuted for the murder of his cousin – even though he was killed by someone else. The prosecution’s case is that Trey was committing a robbery when his cousin was killed, so he must pay the price for his death. But Trey has his own version of events – when he takes to the stand, who will the jury believe?

Controversial state attorney Angela Corey has gained a reputation as one of the harshest prosecutors in America. As she is campaigning for re-election, protests against the death penalty hit the streets. Will the people of Jacksonville decide they want something different from their justice system?”

http://www.bbc.co.uk/iplayer/episode/b08kbrd6/american-justice-series-1-1-punishment

Britain in Focus: A Photographic History Series 1 Episode 3 #photography

 

In the final episode, Eamonn McCabe traces the story of British photography from the explosion of colour images in the late 1950s to the ongoing impact of the digital revolution.

Eamonn enters the colourful Britain of postcard producer John Hinde, whose post-war experiments with colour photography captured a new mood of optimism and leisure in the country. He sees how colour snaps began to replace black and white prints in the family album as cheaper cameras and new processing techniques allowed ordinary people to record the world around them in colour. Eamonn meets John Bulmer, who broke new ground by using colour for documentary photography in his striking images of the north of England for the Sunday Times colour magazine. And he finds out why Jane Bown refused to follow the trend by sticking to black and white for her striking portraits of the era’s most memorable faces.

Eamonn explores how a new, independent movement in photography emerged in the 1970s, fostering talents like Peter Mitchell, who used colour photography to comment on a changing urban Britain. Eamonn sees how this new movement encouraged Fay Godwin to infuse her poetic landscapes with political and environmental concerns, and meets Birmingham-based photographer Vanley Burke, whose work chronicled the growing African-Caribbean community in Handsworth. And Eamonn joins one of today’s best-known British photographers, Martin Parr, to find out how he has trained a satirical eye on modern society.

Assessing the impact of the ‘big bang’ of digital photography, Eamonn goes back to his roots as a sports photographer – covering boxing in the East End of London. He reflects on how technology has developed from when he started in the 1970s, with manual cameras and rolls of film, to the digital cameras of today. Eamonn then sees how the digital revolution has shaped a new generation of practitioners – in whose hands a thoroughly 21st-century British photography is being created.

http://www.bbc.co.uk/iplayer/episode/b08k0srb/britain-in-focus-a-photographic-history-series-1-episode-3

Stunning #photographer Richard Avendon

 

Richard Avedon (1923–2004), woo what a photographer, born and lived in New York, the staff photographer at the New Yorker.

 

 

“Throughout, Avedon ran a successful commercial studio, and is widely credited with erasing the line between “art” and “commercial” photography. His brand-defining work and long associations with Calvin Klein, Revlon, Versace, and dozens of other companies resulted in some of the best-known advertising campaigns in American history.”

 

reference: Screenshots from The Ricard Avedon Foundation website and Youtube Video Art of Photography accessed 23rd March 2017.

Britain in Focus: A Photographic History Series 1 Episode 2 #photography

 

Eamonn McCabe explores how British photographers responded to the most important events of the first half of the the 20th century and traces the emergence of a new genre of photography – photojournalism. His journey begins at the Daily Mirror’s press plant in Watford, which broke new ground with its dynamic coverage of the siege of Sidney Street in 1911, before tracing the footsteps of pioneering female photojournalist Christina Broom and discovering how cheaper cameras enabled British soldiers to become citizen journalists during the First World War.

Eamonn is joined by Mahtab Hussain to discuss the work of Bill Brandt, who in 1937 travelled to the North of England to record landscapes and portraits of working class communities during the Great Depression. Brandt would go on to work for Picture Post, Britain’s most popular news magazine, which was launched in 1938. Armed with a period roll film Leica, Eamonn goes on assignment to the fairground to recreate a famous shoot by the magazine that documented almost every aspect of mid-century life in Britain. He also sees how photographers captured the Second World War – from the Blitz to shocking images of concentration camps – celebrates photographers who pursued the medium as an art form in its own right, learns about the printing techniques of celebrity portrait photographer Alvin Langdon Coburn and reflects on Cecil Beaton’s glamorous work for Vogue magazine.

http://www.bbc.co.uk/iplayer/episode/b08hznbb/britain-in-focus-a-photographic-history-series-1-episode-2

Britain in Focus: A Photographic History Series 1 Episode 1

Series in which Eamonn McCabe celebrates Britain’s greatest photographers, sees how science allowed their art to develop, and explores how they have captured our changing lives and country.

In the first of three programmes, he goes back to the 19th century to trace the astonishingly rapid rise of the photograph in British life. Eamonn explores the science behind early photography, and shows how innovative photographic techniques made possible the careers of pioneers like Roger Fenton and Julia Margaret Cameron. He sees how great figures of the age such as Queen Victoria and Isambard Kingdom Brunel were captured on camera, and revisits the Victorians’ sense of wonder about the ‘natural magic’ of photography and the role it played in their lives.

http://www.bbc.co.uk/iplayer/episode/b08h95jk/britain-in-focus-a-photographic-history-series-1-episode-1

Public Art Opportunities

 

Plymouth City Council is seeking to commission a site-specific contemporary artwork for the exciting new Oceansgate development.

Situated on the southern edge of Devonport Dockyard, one of the largest naval dockyards in Europe, Oceansgate will bring businesses together to create a world-class hub for marine industries. The existing industrial buildings and docks will be transformed to create the first exclusively marine Enterprise Zone in the UK.

Artist Opportunity

We are looking for an imaginative artist intervention in the public space at the gateway to the Oceansgate campus. The piece will have an important role in signalling the evolving contribution the former South Yard has made to Plymouth, and the continuum of working skills, on land, in support of maritime endeavour at sea.
A capstan, dating from 1939, has been removed and will be carefully restored and relocated on the site. The new artwork must either incorporate the capstan itself or provide a contemporary response which enhances its interpretation.

The fee for the commission is £18,000 inclusive of artist time materials, installation costs and expenses.

At this stage we are inviting expressions of interest and require the following information:

1. CV including artist statement
2. Outline of proposed concept and approach to project (Max 2 sides of A4)
3. Maximum 3 examples of previous work relevant to this commission

Short listed applicants will be offered a fee to develop a more detailed proposal for stage 2 interviews.

Please send expressions of interest to publicart@plymouth.gov.uk by midnight on Monday 17 April.

For the full artist brief visit : https://plymhearts.org/arts-and-culture/public-art/public-art-opportunities/

The Man Who Shot Tutankhamun.

 

Margaret Mountford travels to Egypt’s Valley of the Kings to discover the story of an unsung hero of British photography – Harry Burton, the man whose images of the Tutankhamun excavation created a global sensation in the 1920s.

As she explores the spectacular locations where Burton worked, including Tutankhamun’s tomb, she investigates how Burton’s photographs inspired a craze for Egyptian designs and made the archaeologist Howard Carter an international celebrity. She discovers why Burton’s images are still studied today by Egyptologists around the world. And she works with a present-day photographer Harry Cory Wright to find out how Burton pushed the boundaries of photographic art to create his extraordinary and influential pictures of the world’s most famous archaeological discovery.

http://www.bbc.co.uk/iplayer/episode/b08h99sb/the-man-who-shot-tutankhamun