The Professional Exhibition
Learning Outcomes
- Conduct extensive, varied and appropriate research, and evaluate potential for development.
- Communicate research and development solutions employing a high level of discernment, understanding and aesthetic judgement.
- Create concepts and develop a range of solutions.
- Evaluate, select and display their work employing a high level of discernment, practical skills, understanding and aesthetic judgement.
Brief
This assignment allows the student to work on a brief negotiated with the course co-ordinator, teaching staff and where possible external contacts. The assignment is the culmination of the students’ studies and allows enough time to develop work to the highest standard in terms of both creativity and production resulting in the degree show.
Students will develop initiatives based on their own specialist interests. This will create a wide range of projects that will dictate the subject matter they select to study. Work produced in this module will form the main element of assessment in the exhibition of work at the end of the programme.
The Final Integrated Assignment is the showcase of the students’ achievements and the first step towards employment. The module will also draw on skills gained in the Professional Studies module by including a self-promotion package that reflects the degree show identity.
Firstly you are to produce a 500 word written and illustrated proposal that acts as a rationale for your FIP. More detailed instructions on the proposal will be provided during the briefing on Thursday 30th January 2014. This document should be submitted as a PDF file, to your course leader, no later than the 14th February 2014. The course team will give approval of your project proposal via e-mail.
Research into the subject area will be extensive and include advice from appropriate industrial sectors and representatives. You will begin production of a project journal and this will document the process of project conception and development, right through to project completion. You may wish to consider the presentation of the journal (electronic, paper based?) and whether it is appropriate for the work you are carrying out. Lastly, the journal must reflect the development of the final portfolio and exhibition of work, including details of materials, techniques and processes.
Your final portfolio of photographs must be presented to professional standards and reflect the research studies carried out as part of the ‘Professional Studies’ and ‘Practice’ units earlier in the year. There are no criteria for the amount of images presented, but the portfolio of work should be conducive to degree level study and practice.
A final rationale (or statement), of no more than 500 words, should be presented with your exhibition. This rationale will detail; background, aims/objectives, design, presentation and suitability against project aims.
Finally, you are to develop an invitation list for the opening night of your exhibition – consider potential employers, WBL providers, professional, suppliers and fellow practitioners.
There are several stages to this assignment, each with their own outcomes and products. The FIA should represent the professionalism and specialism that the student has gained during year 3 and as such all work submitted should be of a high standard.
Assessment Criteria
- Thoroughness of varied and appropriate research and ability to evaluate its potential for development
- Ability to communicate research and development visually and orally employing a high level of discernment, understanding, and aesthetic judgement
- Ability to produce a range of highly finished solutions.
- Ability to evaluate, select and display work employing a high level of discernment, practical skills, understanding and aesthetic judgement
- All transferable skills apply.
My intention is to produce a series of images from Skye, large format film, black and white, scanned and printed digitally. I want to refer back to the myths and legends of the isle to give the images some historical context.
Research
Skye Myths and legends
Some locations
Beinn na Caillich - C Skye
Between the A87 and B8083 (Elgol Road), West of Broadford
Postcode / Grid / GPS: NG 601232
There is a large cairn on the summit (NG601233) of this Red Cuillin, it is said to mark the grave of a Norse Princess, she gazes forever across to Norway. Maybe this could be Saucy Mary (see Castle Moil).
Broadford - C Skye
On the A87, Between Kyle of Lochalsh and Portree
Postcode / Grid / GPS: NG 643 234
The Portree steamer called in to the port at Broadford ('Broad Firth') twice daily before World War II. Around 1811 a lime kiln was established here, it supplied lime for building and liming the fields in the area. It was hoped that coal from Portree would fuel the kiln. In 1843 Broadford only consisted of 3 houses and an Inn, it now enjoys second town status to Portree. Broadford is dominated by the slopes of Beinn na Callich and bordered by the views of Broadford Bay.
There is a tradition that magical music can be heard on a fairy knoll which is located where the garage now stands!
Dunan Diarmid - Lochalsh
Off the A87, Between Dornie and Kyle of Lochalsh
Postcode / Grid / GPS: NG 939 207
Hillfort overlooking the head of Loch Duich
The remains of Dunan Diarmid (Diarmid the Beautiful) lay on this small promontory, he was killed by a boar with a poisonous spine. Fingal, the mythical Celtic hero, is said to have arranged the death of Diarmid for having an affair with his wife. He is supposed to have been buried with all of his weapons, but when the site was excavated a few years ago only a single pot was revealed.
Eyre Standing Stones / Eyre Alignment - NE Skye
Off the A87, Eyre, Trotternish
Postcode / Grid / GPS: NG 414 525
Two Bronze Age (2200 – 700BC) stones remain of an original three which, legend says, supported the cooking pot of mythical heroes during their hunting trips to these islands.
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Fairy Bridge - NW Skye
On the B886,, near to the junction with the A850
Postcode / Grid / GPS: NG 278 513
Beul-Ath nan Allt (the ford of the three burns), or Beul Altha nan Tri Allt (the mouth of the ford of the three burns) Fairy Bridge held a particular fear for travelers in the past. Horses were spooked, was it by the dancing fairies, or the fact that three murders had been committed there? Whatever it was, men feared to pass that way at night. A noted Free Church preacher (Rev Roderick MacLeod) held large prayer meetings at the bridge, and the area lost its former sense of evil – or is it that we drive past the bridge in our cars today faster than the fairies or spooks can get to us???
This is said to be where the fairy wife of the Chief of MacLeod’s left him to return to her own people. She left their son wrapped in a silken shawl which, as the Fairy Flag, could be used three times to save the Clan when it was in trouble.
Fairy Bridge was a very important place during 1842. Thousands of people came from all over Skye (apart from the south end) to hear open air sermons being preached during the Skye revival.
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Fladda Chuan - NE Skye
Island off the North West of Rubha Hunish, Trotternish
Postcode / Grid / GPS: NG 361 811
Fladda Chuan is thought to be one of the locations of Tir-nan-Og – the Isle of Perpetual Youth – the mythical island of the Gaelic Paradise. (See also Holm Island).
It is believed that St Columba had a chapel here with its altar made of an impressive single black stone.
Holm Island - NE Skye
Off the A855, Near Storr Lochs, Trotternish
Postcode / Grid / GPS: NG 524 514
Holm Island is thought to be one of the locations of Tir-nan-Og – the Isle of Perpetual Youth – the mythical island of the Gaelic Paradise. (See also Fladda Chuan)
Loch Cill Chriosd - C Skye
Off the B8083, Broadford to Elgol Road
Postcode / Grid / GPS: NG 611 204
Loch Cill Chriosd is venerated form early times, nearby are a stone circle and an early Christian Church. The loch is said to have been haunted by a monster which fed on women and children from the surrounding area. The monster finally vanished when St Maolrubha blessed the water, the water is now said to have healing powers.
Loch Fada - NE Skye
Along the East side of the A855, South of The Storr, Trotternish
Postcode / Grid / GPS: NG 492 495
The boat which rowed Bonnie Prince Charlie to Raasay came from Loch Fada – but the government troops dismissed the idea as it was thought that the boat would have been too heavy to be hauled overland to Portree!
Legend has it that Loch Fada was once inhabited by a murderous water horse – it needed a knife made of pure iron to dispatch it!
Loch na Sguabaidh - C Skye
North of Torrin, Off the B8083, Broad to Elgol road
Postcode / Grid / GPS: NG 559 232
Loch na Sguabaidh is said to have had a water horse living in it for many years, it carried off the pretty girls and left the plainer ones to work on the crofts. It is believed that it was killed by MacKinnon of Strath in Bealach na Beiste (The Pass of the Beast).
Manners Stone - NW Skye
North of Borreraig, Duirinish
Postcode / Grid / GPS: NG 182 547
A walk three times around this “great stone” or “small rock” is said to enable you to find your manners!
The Five Sisters of Kintail - Lochalsh
East of the A87, South of Shiel Bridge
Postcode / Grid / GPS: NG 970 168
Legend tells us that this range of mountains was brought into existence by the Grey Magician of Coire Dhunnid.
The King of Kintail had seven daughters, the youngest two were loved by two Irish princes who were cast upon the shore by a vicious storm. In return for the King’s permission for his younger daughters to marry these princes and to go to Ireland, the princes promised that their five older brothers would travel back to Kintail for the five older sisters.
The five sisters waited and waited, they asked the Grey Magician to extend their vigil into the after-life, he did this by casting a spell which turned them into the mountains that we see today.
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Current Practitioners
Russell Sherwood, a photographer with a gallery based near to Dunvegan.
In addition to the Skyescape portfolio the gallery also displays images by guest artists including the members of the Skye-based ‘f/4 Photography Collective’, Jeanie Lazenby, Alexander MacAskill and Karl Williams.
Cailean Maclean, currently based on Skye, photographs all the Scottish islands.
2009 landscape photographer of the year, Emmanuel Coupe, Paris.
Jeanie Lazenby, amateur photographer based in Blackpool.
Alexander MacAskill
Karl Williams
Marcus McAdam
The above images are a selection of popular images of Skye. They embrace the capabilities of the modern cameras and computer screens to produce bright, clear, stunning views of Skye.
I am looking for something different. I wish to capture the more subtle, timeless, mysterious nature of the place.
Below are a couple of albumen prints found for sale on ebay. They were believed to be from 1880s. This is more the type of image I'm looking for. By using a combination of modern digital technology and old analogue processes I hope to produce similar images.
30th Jan tutorial with Richard, given the go ahead for the project with the advice of carrying out at least one parallel project running alongside in case the main one does not work out to my standards.
Proposal emailed to Richard 31st Jan
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The above plan shows the locations of interest found during research and the relevant OS map that covers the area. The locations are listed below.
1. Boulder thrown by giant from Saig Mhin onto an old woman and cow.
2. Blackened stones on the beach near Ardnish following a fight with the devil.
3. Scarrybrek, shore beneath Ben Chracraig, fairy cattle used to come ashore to graze.
4. Loch Fada, used to be inhabited by a great water bull.
5. Duntulm Bay, beyond Tulm Island is the location of Tir-nan-Oy The Isle of Perpetual Youth.
6. Fairy Bridge, evil reputation, two men at different times have been found dead there, horses could not pass quietly.
7. Waternish, young boy killed by witches who had taken the form of cats, cairn above west coast.
8. Lock Dunveghan, Rocabarra (stone of the sea tangle top)
9. Kilchoan church ruins contain twisted elder tree - sacred, St Congans church at Glasphein. Waterfall at Porteil flows upwards in strong winds.
10. Macleods table.
11. The Maidens, standing stones in the water frequented by mermaids.
12. Castle Knock, she devil, green maiden.
13. Port na Faganairsh, bay of the forsaken ones. mermaids who came ashore and their fish skins were stolen forcing their stay on land. (between Ardvasar and Tolmore)
14. Wood of Tokavaig - sacred grove inhabited by beast of loch Doireuarch. St Congan.
15. various locations on Strath ruin churches near stone circles- religious places before st Columba came to Skye.
16. Loch Chriosd - terrible monster, water blessed by St Moelrhuba
17. Annat Stone near parish church of Torran.
18. Clack Oscar - great stone thrown by giant called Oscar.
19. Ben na Caillich near Broadford, large cairn on the summit - grave of Norse princess.
20. Eyre Standing Stones, two bronze age stones - supported the cooking pots of mythical heroes during hunting trips.
22. Manners Stone, walk round it three times to find your manners.
2. Blackened stones on the beach near Ardnish following a fight with the devil.
3. Scarrybrek, shore beneath Ben Chracraig, fairy cattle used to come ashore to graze.
4. Loch Fada, used to be inhabited by a great water bull.
5. Duntulm Bay, beyond Tulm Island is the location of Tir-nan-Oy The Isle of Perpetual Youth.
6. Fairy Bridge, evil reputation, two men at different times have been found dead there, horses could not pass quietly.
7. Waternish, young boy killed by witches who had taken the form of cats, cairn above west coast.
8. Lock Dunveghan, Rocabarra (stone of the sea tangle top)
9. Kilchoan church ruins contain twisted elder tree - sacred, St Congans church at Glasphein. Waterfall at Porteil flows upwards in strong winds.
10. Macleods table.
11. The Maidens, standing stones in the water frequented by mermaids.
12. Castle Knock, she devil, green maiden.
13. Port na Faganairsh, bay of the forsaken ones. mermaids who came ashore and their fish skins were stolen forcing their stay on land. (between Ardvasar and Tolmore)
14. Wood of Tokavaig - sacred grove inhabited by beast of loch Doireuarch. St Congan.
15. various locations on Strath ruin churches near stone circles- religious places before st Columba came to Skye.
16. Loch Chriosd - terrible monster, water blessed by St Moelrhuba
17. Annat Stone near parish church of Torran.
18. Clack Oscar - great stone thrown by giant called Oscar.
19. Ben na Caillich near Broadford, large cairn on the summit - grave of Norse princess.
20. Eyre Standing Stones, two bronze age stones - supported the cooking pots of mythical heroes during hunting trips.
22. Manners Stone, walk round it three times to find your manners.
Useful website with images similar to those I intend to take - http://www.ken-bryan.co.uk/
Kens images also in a gallery.
Kens images also in a gallery.
The period of time prior to the shoot will be taken up with refining my large format workflow.
I have taken delivery of a LPL 7451 enlarger which will enable me to print from 5x4 negs.
Other jobs to be done -
workspace to be built in my little bedroom to be used for print drying.
Mesh drying screens to be built.
Martyn has suggested that I look at platinum printing for my final exhibition prints.
Platinum Printing
Platinum printing is an old process technique whereby the image is created by using platinum - as opposed to conventionally using silver.
This gives an end image with unique and desirable properties - including an image with wide ranging, rich tones.
Platinum printing was developed approx 125 years ago (1880’s). A finished Platinum print is famous for its exceptionally good image permanence, good sharpness, and end image with delicate and rich tones. Prints display a wide range of silvery / soft grey tones.
An image is recorded and captured - by using platinum, as opposed to conventionally using silver in the emulsion. A coating consisting of a sensitising solution of iron salts and a platinum compound is used, and the exposed contact print achieved - is then developed in a solution of potassium oxylate. This end image is achieved due to platinum deposits creating an imbedded image.
For in depth details on making the emulsion, preparing the paper and general exposing tips - it would be advisable to visit appropriate web sites on the subject (there are several - which detail the time-consuming process involved).
In brief the process involves:-
A dried sheet of paper is coated with a solution of platinum (potassium chloro-platinate and ferric oxalate) and iron salts. This is then contact printed with a negative in daylight (or another source of strong ultraviolet light).
The paper is then developed in a solution of potassium oxalate. This dissolves out the iron salts and reduces the chloroplatinate salt to pure platinum in the areas where the exposed iron salts were, i.e. an image in platinum metal, replaces one in iron.
Paper is then washed in a number of weak hydrochloric or citric acid baths - to remove remaining excess iron salt residues.
Finally, prints are washed in water.
Useful article here
The Trip
My research and maps were all logged in a book during the weeks leading up to the trip and I kept daily notes during the trip of places visited and shots taken. This was vital as I reviewed my progress every couple of days so as not to miss anything.
On the second day of my time on Skye I arranged to meet local photographer Cailean Maclean for coffee and a chat about locations of interest. His knowledge of the Scottish Isles is extensive and he was able to point out places on the map which may be of interest to me. I wrote notes in my log book and spent the evening working through what he had told me and marking out the map.
Equipment
Chamonix 5x4 camera, Ilford FP4+ sheet film, 90mm and 150mm lens. This was used on a tripod and metering was with my sekonic spotmeter.
Backup camera was my Canon 5D DSLR. There were certain locations that were too windy, too wet for the Chamonix ,or, the only chance was a quick shot out of the window of the van stopped in the middle of a single track road.
I was also rescued by my backup camera when the zip on my changing bag failed spoiling several negatives.
On the second day of my time on Skye I arranged to meet local photographer Cailean Maclean for coffee and a chat about locations of interest. His knowledge of the Scottish Isles is extensive and he was able to point out places on the map which may be of interest to me. I wrote notes in my log book and spent the evening working through what he had told me and marking out the map.
Equipment
Chamonix 5x4 camera, Ilford FP4+ sheet film, 90mm and 150mm lens. This was used on a tripod and metering was with my sekonic spotmeter.
Backup camera was my Canon 5D DSLR. There were certain locations that were too windy, too wet for the Chamonix ,or, the only chance was a quick shot out of the window of the van stopped in the middle of a single track road.
I was also rescued by my backup camera when the zip on my changing bag failed spoiling several negatives.
Contact Sheets
Platinum & Palladium Prints
Work starts on the Portfolio
The portfolio to be submitted on the 9th May will consist of unmounted prints.
The prints have a heavy dark border which is a bit overpowering in theses images. The next batch of images - exhibition work will be carefully coated to cover the print area only apart from soft brush strokes avoiding the dark window.
I am currently sourcing an embossing stamp to individually mark ownership and limited edition.
Future use for the images
These prints are exhibition, art or craft market work.
I will be producing batches of images, unmounted in cellophane wrappers for sale alongside exhibition prints. These will be sized 5x4, 10x8 and 14x11.
Preparation for exhibition
Negs printed on A3 film to give image size of around 14x11
Artists Statement
These images are of the beautiful, surreal, timeless landscape of the Isle of Skye. My choice of location is based on research into the myths and legends of the Isle.
I am interested in people’s sense of place and how photography can be used to capture that feeling.
Whilst at the location of each of the images I spent time contemplating the ancient tales and the reactions of the people to their surroundings. After a while I understood how the tales came about when the people made up stories to explain the unusual landscape around them. I could also see how some of the tales were told to warn the children about dangerous places. For example the dark, dense woodland at Tokavaig frequented the beast of Loch Doirenach. After a blessing by St Comgan the beast was not seen again.
These photographs were taken using a 5x4 large format Chamonix film camera. The negatives were scanned onto the computer to produce large digital negatives. The final images were produced on watercolour paper hand coated with platinum and palladium.
This combination of analogue and digital production methods gives a timeless feeling to the final prints.
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