Uncategorized

SUSTAINING YOUR PRACTICE: REFLECTIONS AGAINST LEARNING OUTCOMES

/ niki / Leave a comment

The brief:

To engage a public audience with my major project – Assignment Four asks me to submit a final draft of my publication, and my promotional material for it, to my tutor for feedback.

(Boothroyd, S. and Alexander, J;83, 2020)

Reference: Boothroyd, S. and Alexander, J. (2020) Sustaining Your Practice Course Manual. Barnsley, UK: Open College of the Arts.

REFLECTIONS AGAINST LEARNING OUTCOMES:

LO1 demonstrate comprehensive knowledge of the professional context(s) relevant to your practice and have an understanding of the professional dimensions that underpin a successful photographic practice

To prepare my photobook I first did much research on photo books both theoretical, see blog post: https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/a4-syp/a4-syp-photo-book-research-colberg/

And against other photobooks:

https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/a4-syp/a4-syp-actual-photobook-research/
https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/a4-syp/a4-syp-further-photobook-theory-research/

LO2 coherently present a body of work, making creative presentation decisions that complement your subject and/or your artistic strategies.

 I have prepared a book dummy for review by peers, postgarduates and my tutor: https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/a4-syp/a4-syp-dummy-book/

To do so there were many areas that I worked through to enable the decisions that led to the draft book:https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/a4-syp/a4-syp-summary-of-content/

My learning log for this assignment explains the process I went through to choose my artistic strategies and the process I went through to make my draft photo book, see blog post:  https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/a4-syp/a4-syp-learning-log/

LO3 operate in complex commercial contexts requiring the application of specific interpersonal, professional and business skills within an ethical framework.

I undertook primary research into the self publishing and printing industries: https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/a4-syp/a4-syp-book-pre-printing-notes/

LO5 confidently engage a public audience with your practice and analyse, review and evaluate information relevant to your practice, identifying opportunities for professional development

I have researched, considered and made decisions on how to reach my audience:  https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/a4-syp/a4-syp-publicity-material/

https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/a4-syp/a4-syp-press-releases/

As outlined in my learning log: https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/a4-syp/a4-syp-learning-log/

SUSTAINING YOUR PRACTICE ASSIGNMENT 4: LEARNING LOG PART 2 GOING TO PRINT

/ niki / Leave a comment

Book final revisions and production. All of this achieved with research, tips from others, and liaising with the printer

Following final revisions set out here: https://nkssite6.photo.blog/2025/01/20/assignment-four-publication-draft-learning-log-mark-2/ I prepared the files to go to my preferred printer EXwhyzed my choice of printer previously outlined here: https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/a4-syp/a4-syp-book-pre-printing-notes/      

Summary Exwhyzed: superior quality, wide choice of papers, cover finishes, printed end pages, bespoke sizes (I opted for 263 x 210 mm a 5:4 ratio), uses professional publishing software for files, and is recommended by other OCA graduates.

When using Blurb I have used their own software, however with ExwhyZed I had to use Adobe Indesign or affinity publisher- new territory. Exwhyzed gave online advice on using Indesign to meet their printing specifications, however to subscribe to this software would have altered my historically inexpensive Adobe monthly subscription going forwards, so I sought another option.

Affinity offered a 60 day free trial for their affinity publishing software, and after discussing with Exwhyzed I decided to use this publishing software. Though dreading using it, it was reasonably intuitive, I managed to problem solve using the internet, and by liaising with the printer when needed.

They required 4 files for my book, Cover, front end pages, back end pages and inner 32 pages. All images to be in CMYK not RGB. This necessitated revising my images to this format. I paid for a proof printing so I could check the colour quality of my settings and the images on their paper. I ordered to be with me in a few days when I had finalised the book and could alter images settings if necessary before it went to print.

In affinity I set the document settings for each file, these are the ones I used for the 32 inner pages:

Affinity Document setup record for printerDownload

I kept a track of all settings as I worked, as well as font sizes, image box sizes and guideline placements for additional margins. This was all painstaking work and maths was never my strong point, so I did lots of cross checking.

I added in revisions suggested by my tutor eg.

  • Use a light font and as small a font size as possible for reading,
  • line up all bottom margins,
  • increase text margins in some places,
  • reconsider the font used throughout
  • Change the justifying in some places.

See my Tutor feedback blog post for further detail: https://nkssite6.photo.blog/2024/10/06/syp-assignment-4-reflections-on-formative-feedback/

The specifications for the book are:

  • Size 210mm x 263mm
  • Cover onto 170gsm Silk FSC Certified Wrapped over grey board case
  • Gloss Lamination to outer
  • 2x 4pp End Papers printed onto 170gsm Uncoated FSC Certified
  • 32 inside pages onto 170gsm Silk FSC Certified  (9mm spine)
  • Printed in full colour throughout
  • Trimmed, collated and case bound 
  • 32 pages  

The printer was very helpful, for instance I discussed my Tutor’s recommendation of only 85% black text to allow images to ‘pop’more. They advised to use 88% black.

When the proofs arrived, my brightening for print rather than screen was correct in most cases, though some image colours were not quite as seen on my screen. I revised those.

Exporting the files to PDF proved tricky but after some errors, establishing how to get the crop marks for the printers to show (the pdfs were needed as pages, not spreads) this was successful.

PDF print files sent to printer:

I did change the cover slightly the day before I approved the final proof copy, adding an image which I think does make the book cover more intriguing.

Cover:

Hard cover V2Download

Inner pages. Note: This File is large and takes a while to load

WLB inner 32 pages 2 page spreadDownload

I ordered 5 copies for which the quote was £256 (as 1 copy was quoted as £228, and negotiated a £10 discount, however the proof prints cost me and additional £32. An expensive publication, but I hope of good quality and a laminated hardback that will take plenty of handling and trips to the woods.

When the books arrived I was disappointed with the quality of the inner pages. I compared to the paper swatches that they sent me and could tell it wasn’t printed on the 170gsm silk I had ordered, I thought it was 130gsm. I contacted the printer and they checked, it was actually printed on only 115 gsm. I also queried the cover quality as I’d ordered laminated; they insisted it was, but when I received the rectified copies, the cover was laminated and I could see the first run was not. They agreed to reprint at 170gsm, but this caused another week’s delay until I’d received the books in correct quality.

Once received I was very pleased with both the quality and the overall book.

LO3 Operate in complex commercial contexts requiring the application of specific interpersonal, professional and business skills within an ethical framework

SYP Assignment 4: Reflections on formative feedback

/ niki / Leave a comment

Assignment submitted 23.8.24

Video feedback Tutor meeting 25.9.24

Background

I shared how I had a slower start to SYP I had gathered momentum over recent months, and all the elements are now coming together which is satisfying. My Tutor commented that this is often the way with SYP.

All the information shared is contained in this padlet already shared with my Tutor: https://oca.padlet.org/nicola514516/syp-assignment-four-publication-draft-9izzyahdg6i9qo1p

Assignment four

I explained that the book draft, press releases and publicity materials that I had submitted have all moved on now since submission to OCA learn 23.8.24. After much peer reviewing I have now prepared the third versions of these documents.

I shared the process that I have been through to produce my book dummy including exploring various printer’s offers in terms of quality and options. I screen shared my book dummy and previous versions, which peers have reviewed and explained some of the changes that I have made as a result.

My tutor reviewed my version 3 draft book and made further suggestions of revisions to it that I will now experiment with before publishing. Within this we covered my questions about font type and size.

Going forwards

My Assignment 5 submission date is 23.10.24, with a fall back of 30.10.24 should I have any unexpected delays (book deliver for instance). Course end date 2.1.25

MY QUESTIONS BEFORE THE SESSION WERE:

  1. Assignment 4 Draft book: Q: Should I put an image on front cover? Q: Are font sizes correct? Can the fonts be mixed between headings/subheadings and text ?
  • Upcoming assignment 5: format of and general questions.
  • Timescale for next feedback.
  1. ASSIGNMENT 4 DRAFT BOOK

Cover:

  • Make more space at bottom margin than top and move text in slightly- done
  • Leave cover as is except realign text and try futura font light. This is elegant and free from associations. I tried Futura font, however I decided against as I don’t like the ‘?’ and there are a lot in my text. I took the advice on using the same text throughout, fairly neutral and light and opted for Calibri light. -done

Intro page:

  • Justify only to the left – not ‘blocking – done
  • Do I need the Introduction heading? Check other’s books – done. Having done this I changed the heading from ‘introduction’ to ‘Preface’
  • Use thirds to place on page, imagine a 3×3 grid on a page and position elements in the centre box then move a bit upwards  Imagine a 3×3 grid on a page and position elements in the centre box then move a bit upwards eg. p 11 -done
  • Make page margins smaller- and text wider -done
  • Page 11 couplets and poetry move text lower to thirds or the bottom of centre – more at bottom -done

Section break: Consider changing the use of ’Constituents’ is the subheading (too political/formal?) for a subheading – This I changed to residents

Footnotes: consider realigning so slight overlap and move text to align with the bottom of images and justify to next to the images – done

      Generally:

  • Think about how the book will look when pages turn, ensure that all text has the same bottom margin -done
  • justify only to right or left – not ’blocking’ – done
  • leave more space at bottom of page than top, like a polaroid photo -done
  • Make text 85% black only. This doesn’t conflict with the black in the images and makes the images ‘pop’. I adjusted to 88% black as advised by the printer – done
  • Take text as small as possible and then increase until readable, the smaller you can go the more professional it will look. This was a really good tip and enabled me to reduce the font size of some of the text.- done

In the following 5 days I revised my book draft with these revisions see my A4 Learning log part 2: https://nkssite6.photo.blog/2024/10/06/sustaining-your-practice-assignment-4learning-log-part-2/

ASSIGNMENT 3: Primary research – Interview with published Photobook photographer

/ niki / Leave a comment

Al Brydon – Photographer and published photobook photographer interview 10.9.24

Al responded to my email survey questions saying he was happy to take a call instead of answering by email. I prepared for the call by doing more background research on Al.

His website is here: https://www.al-brydon.com/

He has published many ‘books’ mainly zines, of those:

No mans land: zine/40 pages/x 125/signed/£10

The code for flowers. The last star to shine: Soft cover/88pages/x220/Anotherplace press/£15 30 copies & print@£56

Even the Birds were afraid to fly – Book/80 pages/£35/2020/Kozu books

None Places Zine – Zine/soft cover /32pages/Another place press?

Solargraphs Book – JW editions/x350/£30 reduced to £15- ltd edition sold out

Graveyard Bins Book – x200/another place press/£10 sold out

As we wander – another place press/£10/x150 sold out

Usually, zines small in size to reduce costs. Favours sewn thread, case bound, litho print.

I reviewed my questions before we spoke and was surprised that most were still appropriate, I asked:

  1. Why do you make photo books/zines, what outcomes are you looking for?

Photobooks suit his work; they have a long life, are portable, and allow the work to breathe. You can show more images than at an exhibition. He doesn’t start photographing intending to make a book but as the work develops it becomes the obvious path to share his work – he doesn’t allow it to strait jacket him and continues to experiment and take risks.

He doesn’t make books out of all his work, knowing that only some work is suitable for photobooks.

  • Who is your audience?

He doesn’t have one in mind as he photographs to suit himself, he’s fortunate having followers and an existing audience, which grew organically. Again, he likes to keep the freedom to experiment and not to think about conforming for a particular audience – freedom from expectations. He believes that publishers don’t want work aimed at followers/publishers.

His books sell easier than his higher priced prints.

  • Why do you use a publisher rather than self-publish using a printer? He has self-published for the 1st time recently and would do it again for a simple zine however; publishers have skills he hasn’t, particularly, editing/sequencing and design. He thinks objective “eyes” are important.
  • Would anything attract you to self-publish? Only if he was making a simple zine.
  • What’s important when choosing your publisher? Knowing that you can work together well. Another Place press and Kozu have approached him in the past. Kuzo does their printing in house.  Al likes to work collaboratively, is happy to take suggestions, and hand the project over to an expert.

      6.         Do you self-fund or have you obtained other financing for any of your publishing? The publishers he uses finance the publishing initially, so he views it as low risk. Should they not sell out then he doesn’t get paid and may be liable for some of the costs – it the way they work, and it works for him. I asked him outright if it was financially viable for both parties and he said that yes they both make money from the book sales. He gets a % of the profit. He mentions Marc Wilso who crowd funds as an opposite who spends a lot of time on creating funding and probably makes more money, but this isn’t what Al wants. Nor does he want to go to larger publishers who expect larger bodies of work. His balance is to make enough money to continue to do the photography that he wants to.

7.        What makes your work attractive to a publisher? They seem to like photographers that they’ve worked with before and view him as a ‘safe bet’ with a reasonable sales record.

8.        What do you do to maximise book sales? The market is oversaturated with photo books and photographers. He does work hard at Instagram and to his website and always sends about 10 copies to people in the industry and galleries.

9.        What does your publisher do to maximise your book sales? He mentioned Instagram, magazine features and interviews.

10.      Do you find you have the control you would like with end product?

End note: I was interested to hear that he still entered competitions but doesn’t get chosen. He says this shouldn’t be used to value your work.

Brydon, A. (2024) Responses to questions on publishing routes used. Interview by Niki South. 09/10/2024

ASSIGNMENT 3: The Photographic Industry- Primary research the responses

/ niki / Leave a comment

To support SYP assignment 3 and for primary research and sources I devised and sent a survey to some in the publishing industry. See the questions in my previous post: https://nkssite6.photo.blog/2024/09/18/assignment-3-the-photography-industry-primary-research/

This was sent to a mixture of large publishers, medium to small publishers, photographers who have been published and those who have self-published. I deliberately sent to some publishers who had published photographers I surveyed and vice versa.

The survey was sent to 32 in total. There were 14 responses, a response rate of 43%, which I understand was quite good.

Here is my contact record sheet:

Copy of contact record sheet for blogDownload

This is a compilation of the responses that I received:

Survey results for essay blogDownload

These have been incorporated into my draft essay: What are the benefits and challenges of self-publishing or having your photobook published?

ASSIGNMENT 3: The Photographic Industry- Survey questions

/ niki / Leave a comment

Survey to those in the publishing industry

To support SYP assignment 3 and for primary research and sources I devised and sent a survey to some in the publishing industry.

This was sent to a mixture of large publishers, medium to small publishers, photographers who have been published and those who have self-published. I deliberately sent to some publishers who had published photographers I surveyed and vice versa.

The survey was sent to 32 in total. There were 14 responses, a response rate of 43%, which I understand was quite good.

I did refine my survey questions below following my first couple of responses.

THE EMAILS SENT AND QUESTIONS ASKED WERE:

TO PUBLISHERS

Enquiry for research on photobook publishing

Dear…. vary/personalise

I am contacting you because I am writing an academic paper for the final part of my photography degree. My paper is based around photobook publishing, and I would really appreciate it if you could take the time (valuable I know), to answer the 10 questions below, to contribute to my essential primary research.

Please add your responses next to the questions below. Feel free to answer only some of the questions if all do not suit you, though of course, if there is anything else you would like to add I would be delighted.

I thank you in advance for giving your time and experience to support my understanding of the photobook publishing industry.

THE QUESTIONS

With regard to photobook publishing:

1.           How do you find photographers that you work with, or do they find you?

2.           What elements are the most important when you are choosing who/what to publish?

3.           What do you look for when deciding to publish a relatively unknown artist?

4.           How important is a presence at photo book fairs to maximise sales/audience?

5.           How important are photographers’ awards/exhibitions to photo book sales?

6.           Does a photographer sharing on social media prior to publication have an adverse or beneficial effect on sales?

7.           Which should come first, an exhibition or a book?

8.           Is self-publishing impacting on the choice of material you have to publish, or anything else?

9.           How would you encourage a photographer to use your services rather than self-publish?

10.         What is your major challenge when publishing photo books?

Best regards

Niki South

TO PHOTOGRAPHERS:

Enquiry for research on photobook publishing

Dear…. May need to vary/personalise    

I am writing an academic paper based on photobook publishing for the final part of my photography degree. …., your opinion/experience would be a valuable contribution to my essential primary research.

I would really appreciate it if you could take the time, to answer the 9/10 questions below, or those appropriate for you. Please add your responses next to the questions below, or in any format which suits you, and if you have anything else to add that would be great.

Thank you in advance for giving your time and experience to support my understanding of the photobook publishing industry.

THE QUESTIONS:

All Photographers

1.           Why do you make photo books/zines, what outcomes are you looking for?

2.           Who is your audience?

3.           Do you self-fund or have you obtained other financing for any of your publishing?

–             If funded/part-funded has this affected your end product and if so how?

AND IF you prefer to self-publish:

4.           Why do you self-publish rather than use a publisher?

5.           What would attract you to go to a publisher instead of self-publish using a printer? 

6.           What’s important when you choose your printer?

7.           Do you collaborate with other specialists to support your skills to self-publish?

8.           How do you deal with book sales and distribution?

9.           What do you do to maximise book sales/audience?

10.         If you have exhibited and published a book for a project, which comes first?

OR  IF you prefer using a publisher:

4.           Why do you use a publisher rather than self-publish using a printer?

5.           Would anything attract you to self-publish?

6.           What’s important when choosing your publisher?

7.           What makes your work attractive to a publisher?

8.           What do you do to maximise book sales?

9.           What does your publisher do to maximise your book sales?

10.         Do you find you have the control you would like with end product?

Best regards

Niki South

TO POSTGRADUATE PUBLISHED AND SELF-PUBLISHED:

Enquiry for research on photobook publishing

Hi… vary/personalise    

I am writing an academic paper based on photobook publishing for the final part of my OCA photography degree. As an OCA post graduate who I believe has published at least one book your opinion/experience would be a valuable contribution to my essential primary research.

I would really appreciate it if you could take the time, to answer the 9/10 questions below, or those appropriate for you. Please add your responses next to the questions below, or in any format which suits you, and if you have anything else to add that would be great.

Thank you in advance for giving your time and experience to support my understanding of the photobook publishing industry.

THE QUESTIONS:

All Photographers

1.           Why do you make photo books/zines, what outcomes are you looking for?

2.           Who is your audience?

3.           Do you self-fund or have you obtained other financing for any of your publishing?

–             If funded/part-funded has this affected your end product and if so how?

AND IF you prefer to self-publish:

4.           Why do you self-publish rather than use a publisher?

5.           What would attract you to go to a publisher instead of self-publish using a printer? 

6.           What’s important when you choose your printer?

7.           Do you collaborate with other specialists to support your skills to self-publish?

8.           How do you deal with book sales and distribution?

9.           What do you do to maximise book sales/audience?

10.         If you have exhibited and published a book for a project, which comes first?

OR  IF you prefer using a publisher:

4.           Why do you use a publisher rather than self-publish using a printer?

5.           Would anything attract you to self-publish?

6.           What’s important when choosing your publisher?

7.           What makes your work attractive to a publisher?

8.           What do you do to maximise book sales?

9.           What does your publisher do to maximise your book sales?

10.         Do you find you have the control you would like with end product?

Best regards

Niki South

Those that I contacted and their responses are in the next post: https://nkssite6.photo.blog/2024/09/18/assignment-3-the-photographic-industry-primary-research-the-responses/

The responses fed into my draft essay sent to my Tutor.

ASSIGNMENT 3: The Photography Industry- Learning log

/ niki / Leave a comment

Learning log assignment 3

Deciding on my focus:

As I am publishing a book and researching widely about publishing, for this assignment it made sense to write an analytical text around the publishing sector of the photographic industry. At the outset of my publishing journey I had no idea whether I would self-publish or be published-in fact frankly I had no understanding of the processes at all.

Things began to fall into place when I attended at photobook fair at Ffoto Gallery in Cardiff and spoke with  publishers, self-publishers, book sellers and photographers. I visited to gain more in-depth knowledge of a publishing and how the role fits into the broader economy and/or arts community. My focus was already on exploring the differences between self-publishing and publishing.

I was also looking for inspiration/angles for an essay on publishing. Are there any publishers working with students at an affordable level? What are the current developments in publishing?, and ideas on how to publish myself. See my visit notes: https://nkssite6.photo.blog/category/sustaining-your-practice/syp-research/ffoton-gallery-cardiff-book-art-fair-13-7-24/

I had particularly useful conversations with Brian Carroll, publisher or Offline Journal (documenting Welsh photography), David Mayne self-publisher and Walter Waygood, a prolific photobook self-publisher and photography lecturer, see my blog entries above.

This visit completed the gaps in terms of how I would publish my own project. It gave me some good ideas and leads for this assignment:

  • Publishing in Wales, or Welsh based photographers? too niche
  • Reasons why photographers chose to publish or self-publish
  • Why photographers publish zines rather than books?
  • Funding for photobook publishing? not an area that I need to explore myself
  • Affordable publishing? hard if impossible to find anyone doing
  • Sustainable publishing?  too niche
  • How the future is looking for photobook publishing? too broad

My conversation with OCA postgraduate photographer Anna Sellen (17.6.24) also fed into these ideas: Where is publishing going? What new is happening? Doing it differently or sustainably? Why do we have to pay so much to get books published? Small publishing houses? Any publishers working more cheaply with students?

Making my dummy book for assignment 4 gave me more insight into publishing, especially self publishing, and helped me to frame my questions to put to those in the industry for my primary research.

I sent a survey out to 32 in the photobook publishing industry, see blog post: https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/assignment-3-syp/a3-syp-primary-research-survey-questions/

FAs a result of this I was invited to interview one photobook photographer who had been published, and had some useful responses to my questions, see blog post: https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/assignment-3-syp/a3-syp-interview-for-primary-research/

See pdf of Survey responses on my blog post: https://nkssite6.photo.blog/category/sustaining-your-practice/assignments/assignment-3-syp/syp-primary-research-responses/

After this I began writing my essay for which I found I had plenty of primary research and could back this up with secondary sources.

COMPETITION ENTRY: LIGHTREADINGS

/ niki / Leave a comment

Open Call for online exhibition and print issue

 https://lightreadingsmag.com/open-call-enigma-of-life/ lightreadingsmag@gmail.com

The enigma of life has intrigued human minds for generations. Life weaves an exquisite tapestry of complexity, leaving us astounded by its beauty and perplexed by its elusiveness. Philosophers and scientists have spent centuries grappling with the universe’s mysteries. Artists perceive the mystery of existence as an invitation to delve deeper and marvel at the complexity that surrounds us.

Τhis is an open call to photographers who have cultivated a sense of wonder and curiosity, combining it with a critical position towards art history, environment, and politics. We welcome photographers who depict in their visual investigations many unknown aspects of life, such as subculture, life on the fringe or in luxury, human or natural unseen wonders or worked on the theme of miracles and riddles.

We are looking for images that makes us conscious of our own human existence, our ways of living and that of nature’s as well, through compelling visual stories. Visual narratives that explore the enigmatic mystery of life’s hidden meanings and also the concept of life as a joyful playground.

Photography is the most direct art form through which we can explore and express our relationship with life and the miraculous world around us.

Submission deadline: 31 July 2024

You will need to submit to lightreadingsmag@gmail.com the following:

  1. 5 – 10 images of your work (no signatures, watermarks or writing), attached to your email.
    Please do not insert the images on the email body.
    All images must be submitted as JPEGs (size 1500px on the longest side, 72dpi). The file name of your image must begin with the sequence number for the image followed by your full name. For example:  01_John Smith.jpeg.
  2. Two to five lines of text to explain your approach. (Please, no artist statements.)
  3. Inform us if you wish to participate in the printed edition of the magazine. We will contact you with further details if selected.
  4. Your Instagram name so we can tag you.

The deadline to submit your entry is 31 July 2024 at 11.00 pm CEST. Participants names will be announced on 12 August 2024.

“Enigma of Life”

We welcome photographers who depict in their visual investigations many unknown aspects of life, such as subculture – images that makes us conscious of our own human existence, our ways of living and that of nature’s as well, through compelling visual stories. Two to five lines of text to explain your approach

My Submission

Dear Light Readings

Please find my images above for the open call’ The Enigma of Life’, and my text below:

This work, ‘What Lies Beneath’, reflects on community using the landscape of an ancient woodland as a visual model where things coexist and support each other – a contrast to the local community which is often disharmonious and driven by difference, sadly a global issue. Here I point to the inclusive, characteristics of these diverse woodland societies, which would benefit many human communities:

What here lies beneath the emerald wrapping, embracing their collective realm?

What lies elsewhere beneath man’s disguised demeanour, civil but sometimes deliberately divisive?

I would love to participate in the printed edition of the magazine if selected.

My Instagram is: https://www.instagram.com/nikiks_photography/

Many Thanks

Niki South

COMPETITION ENTRY: WHAT YOU SEE IS WHAT YOU GET?

/ niki / Leave a comment

Ffotogallery is excited to present Ffoto Cymru – Wales International Festival of Photography.

Debuting in venues across the country in October 2024. Building on the successes of five editions of Diffusion Festival, audiences are invited to engage with photography in new and meaningful ways through a programme of exhibitions, commissions, conversations, public installations and events.

Our Open Call invites photographers to submit an existing body of work for consideration to feature as part of this year’s festival responding to the theme What You See is What You Get?

Theme: What You See is What You Get? is intended as a provocation, an invitation to question the literal translation of visual information. Do we really get what we see? Or is it more complicated than that? What You See Is What You Get? explores how we see, understand and use images, how

This opportunity is open to all artists inside and outside of Wales, but must respond to the theme of this year’s festival, “What You See Is What You Get?”. Up to four selected artists will receive a £400 artist fee, with all print and production costs covered by Ffotogallery as part of Ffoto Cymru 2024.

Selection:

  • The initial selection of digital submissions will be made by Ffotogallery. This decision is final.
  • Key dates: Submission deadline closes at 23:59 BST Tuesday 30th July 2024
  • Successful Artists will be informed w/c 5th August 2024
  • Digital print files of selected works to be delivered to Ffotogallery by Friday 16th August 2024

Exhibition Dates run 1st October 2024 – 31st October 2024

How to Enter: Complete the online submission form at the bottom of this page and submit. There is no limit to how many times you submit bodies of work for consideration but we will not display more than one series by any one artist as part of this year’s festival.

My submission

Title of work(s)/ project Please give a brief overview of the work or project (max 150 words)

This work transforms subconscious thoughts, into the visually concrete. Though humans provoked the work, they are not evident in the images.

‘What Lies Beneath’ expresses my reflections on community using the landscape of an ancient woodland as a visual model where things coexist and support each other.

Conversely my local community is often disharmonious and driven by difference. The inclusive, characteristics of these diverse woodland societies, would benefit human communities where sadly ‘incomers’ like me, are never accepted as local, no matter how long passes, or what they contribute to the neighbourhood – a story common to settings globally.

In this work, combining the world in my head, with the one in front of me, has helped to heal some of the wounds that inspired the story’s beginning.

What here lies beneath the emerald wrapping, embracing their collective realm?

What lies elsewhere beneath man’s disguised demeanour, civil but deliberately divisive? 150

Please share a brief biography or artist statement (max 150 words)
Niki South is a visual artist born in England, now living in Pembrokeshire Wales. Visiting Pembrokeshire she found a hiraeth (deep longing for the place), and after spending years living a ‘dual centre’ life between the two places, is now located there permanently. She is currently finishing her BA (Hons) Photography degree with the Open College of the Arts.

She uses photography as a medium for expressing her reflections, photographing in a metaphorical manner. Her work is shaped by research on ‘affect,’ expressing what is in a photographer’s mind, versus ‘effect,’ realism. Previous works have focused on ‘Layers of Truth,’ whilst others are visual metaphors on issues of the moment.

Niki’s photography is a personal response to dynamic landscapes both internally and externally. She finds combining the world within her head with the one in front of her cathartic – a way to filter and express her subconscious thoughts. (149)

Please submit up to three images that you are submitting for this application, or that best represent your project. (2MB file size each-verbal Bob 10 mb altogether) check submission detail on return to email

Ts & Cs iv: All works must be clearly labelled with the name of the artist, title of work and its orientation (landscape or portrait).

Community

Harmony

Cooperation

I wasn’t selected for this open call, which was a shame as I felt that my work fitted the brief well. It will be interesting to see what was selected.