Blue Planet 2 #BAFTA update

This time last week we were in London to see if we had won the BAFTA for Best Titles and Graphic Identity for our work on Blue Planet 2.

Although we didn’t come away with the main prize we did get to see the great and the good, hang out in a pub with hare heads on the wall, see our friends and colleagues win their awards, drink complementary champagne and generally have an excellent time.

Fingers crossed we get to do it again at some point in the future.

🎉 👌 🥇

“Style is the difference between a circle and how to draw it”

Opening page of Notebook: Ethel

I’m going to be uploading notebooks in a more systematic fashion (with sensitive info deleted obvs). Notebook Ethel is a few years old.

This is before I started using the first page spread as an index for the rest of the book. So the lists here are largely inspirational items and ideas of content capture. There’s not much order and I tend to fill empty spaces with bits of ephemera stuck in and doodles.

Val Telberg

VT01

Born in Moscow, Val Telberg lived in China, Japan, and Korea during his youth. He studied painting at the Art Student’s League, New York, in 1942, where he was exposed to the surrealism movement and experimental filmmaking. To support his painting, Telberg traveled from Florida to Massachusettes, printing photographs of nightclub patrons and working at photographic concession stands where people posed with cutouts of celebrities. In 1945, he returned to New York and produced narrative, surrealist photographs using sandwiched, bleached or burned negatives and double exposure within the camera. His later work evolved to large scale, scroll-like multiple images.

Anita Ogard

VT02

Around that time, Mr. Telberg began experimenting with the multiple-image photographic technique for which he became known. His photomontages, which sometimes were mural-size, consisted of layered images of figures in motion and had a dreamlike weightlessness associated with Surrealism. He had his first major show at the Brooklyn Museum in 1948. In the mid-1950’s he collaborated with Nin, creating images for the 1958 edition of her book “The House of Incest.”

NYT

VT02

In 1942 he began to study painting at the Art Students League in New York City; there he met Kathleen Lambing, who taught him photography and whom he married in 1944. His first professional photographic experience came that year, when he was employed as a nightclub photographer in Florida and later at a portrait concession in Fall River, Massachusetts. In 1948 he returned to New York and did freelance photography. In addition to his commercial endeavors, Telberg did his own work, much of which involved experimental printing from multiple negatives.

ICP

VT02

via of-saudade

Guest Directed Self Portrait #21

This is my contribution to Guest Directed Self Portrait #21 as directed by SexArtAndPolitics.

“Take a picture of your face. The camera should be straight on but slight deviation is acceptable. You can’t put your hand in the frame or use a prop. Be as done up or plain as you like. Use whatever expression you like. But the only things in the shot can be your head and some neck.”

(That’s really the best I could manage.)

Guest-Directed Self-Portrait #8

Guest Directed Self Portrait 8 directed by TheIvoryTowerCrumbles.

“Pick a word, any word. It can be your favorite word or the name of an old lover or a country you’ve left behind. It can be a four-letter word. It’s your word. Write it on your body with marker or lipstick, breathe on the mirror and draw it in the steam, or make it with block letters you happen to have laying around the house. It doesn’t matter how you create your word, it just has to be in the picture.”

My word is “creature”.

Guest-Directed Self-Portrait #01

This is my attempt at following Molly Peck’s directions for a self portrait:

“(written for a right-handed person; if you are left-handed, please mirror the directions; if you have limited dexterity or mobility, a tripod or camera placed on windowsill will work as well) Use a camera (or lens) that will allow you to focus fairly close (arm’s-length) If you choose to wear a garment, choose something that says as little as possible about time and place and identity. Locate a window that provides enough sunlight to act as your only light source (if you have several to choose from, try them all to see which light you like best. Extra points if your window is near a corner so that a second wall will be at your back if the window is on your right) Raise the blinds, open the curtains…let in the sunlight. Stand with your right side almost touching the window sill. Step back the length of your foot, then sit on the floor. (If there are objects behind you that can be easily moved, move them out of the frame) Place your right elbow on the window sill, holding your camera aimed at your face from slightly above and to the right (it may be easier to let the back of your hand touch the window glass). Think posture thoughts (a balloon attached to the top of your head?) to elongate your neck even if you are in a slouching or crouched position. If you (like me) easily get a double-chin in pictures (only if you don’t like it!), think about invisibly smoothing your double-chin-prone area forward into space. Try not to say anything specific with your mouth. Place the pad of your left middle or index finger, if they are available to you, into the hollow above your collarbone. Convey longing in all of your fingers. Look down with your eyes (or close your eyes), and think about crushing disappointment (either feeling it, or causing it). Inhale. Exhale. Relax your shoulders. Just as you are about to press the shutter, look directly up into the center of the lens (as if you are actually looking into eyes that matter very much to you) while remembering our capacity for forgiveness. Press the Shutter. That’s it. The tumblr tag feature doesn’t work very well, so please let me know via ask if you post one so that I can share it. Feel free to tag it GuestDirectedSelf also (it couldn’t hurt, right?). Everyone who participates in this self-portrait will have a turn to direct a self-portrait for everyone else (I’ll figure out the logistics of that shortly– maybe guest-director order will be dictated by order in which first-participation-shots are received?)”

You can read more about the project here and see the other submissions for this prompt here.