Proof sheet of Vangie: Corridor Shots

In these proof sheets are a majority of the Filipino students walking up and down the A Block hallway. My intentions for this was to also portray the way of Vnagie as an individual finding her place in society. She is placed within the students but facing the opposite. Again, indicating her feelings withing society and finding her place amongst her peers.    

| Contact Sheet in the corridors: Begi |

In these proof sheets are a handful of some of the Pasifika students walking up and down the A Block hallway. My intentions for this was to portray the way of Begi as an individual finding his place in society. He is not in these shots but I cut him out from another shot into these. The group is walking one way and then walks the opposite way. When I was editing these photos, I edited Begi walking the opposite way of them. Again showing his importance in society when he is not fitting in.  

| Contact Sheets of the paintings |

Begi Ah-Lam

Craig Westenberg

Vangie

Analysing my Series of Work - Panel 1

 This is my panel 1 finished and the original was just plain white background. I've changed it to black so that people who are viewing it can differentiate the series between the group of models that I've experimented with. These final four models that I've decided to use are Vangi (Yr 11 Phillipino) , Begi (Yr 11 Samoan), Craig (European) and Rawiri (Year 11 Maori)

I originally named my concept ''Knowing your roots'', but as time passed, I don't think that's what I'm intending right now. 

1. Before I introduce my models, I adopted the idea of Bettina Von Zwehl with the whole interpretation of loneliness when you are being introduced into something. In this case, being introduced into society and the people that you will come across. I've begun with a mugshot-like series of each of my models to indicate the beginning of my panel with a plain face showing the blank facials when you see something for the first time.

2. In these series of Vangie, the artist models I have used are Sarah Cheng-De Winne and again Bettina Von Zwehl.

Because Vangie came from overseas, her views in a different country were different and wasn't like what she imagined. I wanted to interpret that first and last three photos like she was confused and lost? It then leads to herself finding who she is and coming out of her shell. This again vaguely illustrates the work of Bettina Von Zwehl.

The middle three photos show De Winne's work by the idea of feminism and how these portraits illustrate her desire to fit in to society and discover herself as an individual. The first one is a mid shot of Vangie holding up half her hair indicating her way of opening up and ready to explore the world.  The last one is an example of De Winne's work positioning herself half slouching with her head tilt up smiling. I've placed her on the far right with a good amount of space on the other side illustrating how she will end up feeling by the time the folio is finished -- HAPPY.

3. This is Craig Westenberg. In his series of photos I have adopted the works of Zen Zorlu and my interpretation of frustration and pressure again being put into a situation or place that you don't feel comfortable and are new too.

In his case, he already fits into his type of society because he's European and feels comfortable. It's his home.

The first and last photo shows a mini side on view using the techniques of both De Winne's and Zorlu's. His gaze is to the left showing his view on the people that come into his country and begin to unfold their culture.

The third photo is a mid shot showing Craig's frustration of society and even though he was born and bred here in New Zealand, he also has his own insecurities and problems.
This can be juxtaposed to the second and fourth of him with part of his forehead cropped out. This was unintentional, but thinking of it now, it shows importance on his face and how serious it can be for him when he's introduced to others culture.

4. Begi Ah-Lam is a Samoan student. In his series of photographs I've intentionally put on a few with him either half looking down or fully looking down.

The first, third, fourth, sixth and last photograph are all mid-shots of him. These all illustrate his first understanding of being put into a place where he is slowly beginning to fit into.

The second and seventh photos shows who he is as a Pasifika student. Music and sports is something he enjoys. These photos however show his traditional culture dance moves. He is NZ raised but still his identity defines who he is.

The camera is placed just above his his head on the fifth and eighth photos illustrating a close up on his hand over his face. This is his way of showing the bad days and how he copes with the wrong things that he is involved with in society.

5. Rawiri's series of photos are similar to Begi's interpretation.

The first photo is a mid front on view of him gazing to the top right. I asked him show me a confused and lost pose. This is what he did. Rawiri is a Maori student and his background can be lost, confused and frustrating.

The right middle side of photos and the one after it shows his way of hiding his problems and keeping it inside.

| Valeriya Kutsan Practice |

These are three of four of my models for my panels. I printed these photographs in black and white; and adopted the idea of Valeriya Kutsan's, painting her models face with white paint then adding the layer of black on top to create an optical illusion on the individual. But in this case to creare the essence of where wach of these individuals come from. 

1. Begi has a coat of white paint first, instead of the black. This was intended to bring out the red streaks on his cheeks. The red streaks symbolise the cultural importance of performing as a Samoan year 11 student.

2. In the middle photograph, I've coated Rawiri's face as well with white paint. This was to separate the Maori flag from the face itself. If I was to coat it black, the black part of the flag would blend in with the rest of his face. 

3. I coated Vangie's face with black first. I then painted across the Philippino flag. Vangie is from the Philippians.

| Another idea and artist model |

| Vangie w/ her object that means something to her |

A FEW IDEAS ... ILL EXPLAIN SOON, IM RUNNING OUT TIMEEEDBAMNAF,A JAVFKAF nf,kasbvj sjm HEEEEEELP !

| 3/4 Series of 6 Models Done! - ish |

Craig Westenberg 

Rawiri Taiapa

Begi Ah-Lam - 2/4

Vangie de Guzman 2/4

| Photography Worksheet |

~ My work is about the way different cultures in our society have different views and perspectives on each other. At the end of my folio I am aiming to show everyone that, it does'nt matter who you are where you come from, what you are, be proud of you are; be be proud of where you come from. That is how I came up with my concept name; Knowing Your Roots.

~ Senol Zorlu, Sarah Cheng-De Winne, Bettina von Zwehl, Anne Collier, Hans Eijkelboom

~ Senol Zorlu for the emotions being brought out in my photographs. Sarah Cheng-De Winne for the composition she uses and she portrays it through a feminism outlook; some examples are the way Tess Harding, Estelle Kei and Craig Westenberg are positioned. Bettina von Zwehl for the group of series that I will the start my board with and my work book research. Anne Collier for the photographs on the boxes that I have not yet taken or brainstormed. Hans Eijkelboom for the way he uses people in society to enhance the idea of individuality and having them to wear the same thing.

~ I do have enough work for panel 1 but I'm stuck on doing my series of photo for my book work.
~ Yes I do, I'm planning on using some of them on my board. 

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This photograph is one De Winne's portraits from her  gallery album 'Queen Mab'.

In this image by Sarah Cheng-De Winne and he sketch that I've drawn, we see that the centre of interest draws us to the positioning of the girl. 

She's been placed on the left. So the composition of this photo image has balanced well with the depth of space that's shown. It explains the deep depth of black and grey on the rest of the photograph. This creates an effect of separation between her world, or in other words, a split between how she sees her culture/identity than what others see. 

The image has very lightly reflected if you look closely, kinda like vanishing points where space disappears into nothing but is 'just' there to see. Her face is looking from the bottom of the page to the top. This is when symmetry comes in. It's not equally symmetrical, but it's reflected/rotated as a 'different view'. The image is balanced as explained before, it kind of creates a mirror like effect, which brings in my theme of identity and two different views that differs a persons identity.

Though the dominating color is black, my eyes are always drawn back to the red on her neck and the red love heart on the lips. She has used color to outline or define the importance of feminism and how they define themselves as ladies. This use of color gives the photo a feeling of dull and cold (background) juxtaposed to the red expressions of feminism and the whole idea of putting yourself out there for people to appreciate and embrace. 

| Vangie de Guzman : Proof sheet ~ Filipino |

 

| Begi Ah Lam : Proof sheet ~ Samoan |

This is Begi Ah Lam a year 11 Samoan boy. Begi is one of my models that I'm going to use to show the idea of identity of where you come from and his perspective as a young Samoan boy in society. Begi is 15 years old and is one three kids. He is involved in many things in school and in the community. He attends church on Sundays and is heavily involved in his church band. 

| Proof sheet of Rawiri ~ Maori |

| Estelle Kei - Tongan |

This is a contact sheet of the photos I took of my sister yesterday. Some of these photos I have realised that I have incorporated some of Sarah De-Winne's and Bettina Von Zwehl's idea of fashion photography and psychological states in everyday life, through identity.  

| Panel 1 Ideas |

| Hans Eijkelboom |

Hans Eijkelboom (1949) is a Dutch photographer who uses himself to investigate the influence of appearance and clothing on the relationship between the individual and identity. Eijkelboom gradually changed into the relationships between identity and worldview as he looked for a method to visualize how repeated daily observations and experiences slowly form our view on the world. Over the years, Hans Eijkelboom has dealt mainly with the relationship between the individual and masses ina globalizing society. Eijkelboom's work majorly forms a photo book. Eijkelboom has published over mor than 50 books and publications; his latest being, Portraits & Cameras 1949-2009, 10 Euro Outfits, Amsterdam by Numbers and New York by Numbers. In 2007 he exhibited at Foam with Paris-New York-Shanghai.

These are some of his work: