To create a panel of mounted prints, 20"x16" in size, that display a distinctive style and sit together as a cohesive body of work. To show a knowledge of panelling and display an understanding of how prints should be positioned and flow throughout.
My aim with this panel has always been to take ownership of its creation and not photograph another's work. With this in mind, I undertook a 500-mile journey to attend a two-day course in basic foam design. Overthe ensuing months I hand-crafted all the armour, helmets, collars, cloaks and accessories portrayed in these pictures. Armed with numerous tins of hairspray and a touch of luck, I attempted to design hair too. Trading photography sessions with a make-up artist who generously taught me the skills of applying make-up, false lashes and body gems, enabled me to maintain the integrity of my initial concept In some of my pictures. My intent was also to use camera-craft and technique to create each image in-camera.
The months devoted to the design, crafting of props, styling of sets and shooting of pictures proved cathartic too. I threw myself into writing a story and bringing to life my cast of characters.This brought much joy, frustration, sleepless nights and self-doubt. With each completed photograph ideas changed and grew... it seemed, at times as if the panel was creating itself and taking a direction I hadn't initially intended.
A fan of the Chiarascuro device, I attempted to include its strong contrasts between dark and light wherever possible, again aiming to reinforce the thread of hope hand-stitched into the fabric of my story.
Featuring key members of a monarchical society, this panel drew its form from a combination of historical narrative and science fiction, both loves shared between me and my father. The people portrayed in these pictures are members of my family and friends who wished to share my photographic journey, so gave freely of their time.
My choice to display the images in 4:3 format, was one born of nostalgia, influenced by my parents love of silent movies and early television - I know this would have made them smile. I chose to portray many of my characters large within the frame, aiming to add a feeling of claustrophobia and restriction and to portray a sense of self-obsession too. The absence of bright colour was a device employed to depict the darkness associated with a war-torn society. The paper chosen to print this panel was not left to chance, I trialled nine and selected the one I felt worked best with the tonal range, along with mounts to add to the overall darkness of the piece. Please take a look at the accompanying album for further insights into each characters role within the story.
But now... let me transport you to Tudoria. From the ashes of the ruin, the Communities were built. Protected by The Primary, all memories of the Age of Reason have been erased. Superstition and religion reign, tightly wrapped within a mantle of fear. Skin-walkers and Otherkin hide within plainsight, prophecy and cartomancy fuel the Peace-war. Humanity's sole hope for peace and enlightenment lies with the daughters of Adaan Malon.
Fellowship of The Societies is the highest distinction and recognises a photographer as a master of their craft, able to create work of the highest standard both technically and artistically. It is essential that applicants take serious advice from a recognised Mentor at the level of Fellow to ensure that the application is at the highest level of content and presentation before judging.