Week 10 [Project Development] - Brutalist Architecture*

I thought it would be a good idea to research the brutalist style of architecture as friends of mine who are studying architecture, graphic design also photography all encouraged me to do so by their comments on some of the images I shared from my practice shoots via social media. From my project's theme regarding the beauty of symmetry within architecture and carrying out the shoots in my hometowns of London and Brighton, there seemed to be a correlation between brutalist architectural subjects with their symmetrical structuring and being located in places that are in some way personal to me. Thus, by researching this style of architecture, I am hoping it will help me find a way to make a connection between my final collection of images for the project by focusing on this style of architecture for my project as my most successful images I have captured in my practice shoots have come from this style of architecture.

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What is Brutalism?

Alison and Peter Smithson’s school at Hunstanton in Norfolk

Brutalism is a post-war style of architecture in the raw, with an emphasis on materials, textures and construction, producing highly expressive forms defined by the use of simple block-like forms usually made from cast concrete or brick.

Le Corbusier's 'Unite d’Habitation' in Marseilles

Seen in the work of Le Corbusier from the late 1940s with the Unite d’Habitation in Marseilles, the term Brutalism was first used in England by the architectural historian Reyner Banham in 1954. It referred to the work of Alison and Peter Smithson’s school at Hunstanton in Norfolk because of its uncompromising approach to the display of structure and services, albeit in a steel building rather than reinforced concrete. 

Brutalist and New Brutalist architecture places an emphasis on materials, textures and construction as well as functionality and equality. The brutalist architects challenged traditional notions of what a building should look like, focussing on interior spaces as much as exterior. They also showed the building’s construction, unafraid to make a feature of service towers, plumbing and ventilation ducts in their creations.

Most Acclaimed Brutalist Architects

1. Le Corbusier
Le Corbusier was a Swiss modernist architect whose Unite d’Habitation in Marseilles used raw concrete and is seen as an early example of Brutalism. He was a major influence on many of the architects that helped define the brutalist movement.

2. Sir Basil Spence
Sir Basil Spence was a Scottish architect whose later work was categorised as Brutalist when he shifted to making social housing in the late 1950s. He is perhaps best known for Coventry Cathedral.

3. Ernö Goldfinger
Sir Basil Spence was a Scottish architect whose later work was categorised as Brutalist when he shifted to making social housing in the late 1950s. He is perhaps best known for Coventry Cathedral.

4. Sir Denys Lasdun
Sir Denys Lasdun was an English architect behind many of London’s most iconic brutalist buildings including the Royal National Theatre on Southbank and 20 Bedford Way in Bloomsbury. He used rough textures in his concrete forms, in particular wood ‘shuttering’ from when the concrete was cast in situ.

5. Peter and Alison Smithson
Alison and Peter Smithson were a highly influential husband and wife architectural partnership that pioneered New Brutalism. They were behind the controversial Hunstanton Secondary Modern School in Norfolk which was completed in 1954 when the couple were still in their twenties.


According to RIBA, this is what to look for in a brutalist building
1. Rough, unfinished surfaces
2. Unusual shapes
3. Heavy-looking materials
4. Massive forms
5. Small windows in relation to the other parts


Brutalism in London & Brighton

1. Trellick Tower, Kensal Town by Ernö Goldfinger, 1972

2. Balfron Tower, Bromley-by-Bow by Ernö Goldfinger, 1966

3. One Kemble Street, Holborn by Richard Seifert/George Marsh, 1966

4. 20 Bedford Way, Bloomsbury by Sir Denys Lasdun, 1977

5. National Theatre, South Bank by Sir Denys Lasdun, 1976

6. Hayward Gallery, South Bank by Hubert Bennett/Jack Whittle, 1968

7. Queen Elizabeth Hall, South Bank by Higgs and Hill, 1967

8. Robin Hood Gardens, Poplar by Peter and Alison Smithson, 1972

9. Weston Rise Estate by Howell, Killick, Partridge & Amis, 1963-69

10. The Barbican Estate by Chamberlin, Powell and Bon, 1969

11. Crescent House, Golden Lane Estate by Chamberlin, Powell and Bon, 1959

12. Ministry of Justice/102 Petty France by Sir Basil Spence, 1976

13. Pimlico School, Pimlico by John Bancroft, 1966-1970

14. Hyde Park Barracks by Sir Basil Spence, 1970 

Useful Resource for Photoshoots

Brutalist Map of London

This two-sided folding map features over fifty leading examples of Brutalist architecture in London, from the Alexandra Road Estate to World's End Housing. Celebrated Brutalist buildings such as the Trellick Tower, the Barbican and the National Theatre are included along with lesser known, yet equally influential buildings. The reverse side of the map features an introduction to Brutalism by Henrietta Billings, photos by Simon Phipps and details about each building.

Perfect for a walking tour or framing, this map measures slightly larger than A2 open, folds to slightly larger than A5 and is protected by a wide band. All of our printed publications are printed in East Sussex on quality recycled paper.

Available at: http://bluecrowmedia.com/product/brutalist-london-map

Brutalist Architecture Photographers
http://www.archdaily.com/784876/utopia-photo-series-captures-londons-brutalist-architecture
http://www.rochowski.net/brutalist-i
Sources: 
- https://www.architecture.com/Explore/ArchitecturalStyles/Brutalism.aspx
- http://20bedfordway.com/news/guide-to-brutalist-architecture-london/
- https://www.youtube.com/watch?v=oO8sQGHt6Ec
- http://londonist.com/2012/05/londons-top-brutalist-buildings

Week 10 - Workshop Notes

Be sure to add a project management section, which should include:
- Budgets and potentially fundraising of finances
- Critical path calendar
- Picture Selection process (developing, printing, editing, exhibiting)
- Shot lists and call sheet requirements
- Mood boards

- Photoshop feedback, transforming the image to play with perspective and reflections
Joshua Davis 2008

Lecture Notes - Lance Dann

Producing on the Bleeding Edgeby Dr. Lance Dann

A production journey involves:
- Idea development
- Bid writing
- Team building
- Scripting
- Production Planning
- Production
- Casting
- Directing
- Post-production, marketing and beyond

The Bleeding Edge
- Podcast Audio drama series
- A futuristic thriller in 10 parts concerning themes of modern work, bio-ethics, identity and blood
- Transmedia (or post Transmedia experience) experience
- Funded by the Welcome Trust
- Supported by the Universities Brighton, University of Sussex and Imperial
- Produced by Resonance 104.4FM
- Due for release online and by broadcast in Spring 2017
- Currently the highest funded independent drama podcast in the world
- Approach both as an academic and as a practitioner

Bid-Writing
- Respond to the brief
- Look at what else has been commissioned
- Sell what the client wants to buy
- Be pragmatic, you can't always do just what you want to do
- Write in a manner that is positive, engaging and feels realistic
- Write, re-draft, re-write and re-draft, until it is perfect (every single word counts)
- Don't get burdened down with the specifics
- Hollywood term: "Sell the sizzle, not the steak" Don't get lost in the specific details of your project, sell the feeling of the piece.

Team Building
- Be really careful who you work with from the off
- This is a long term relationship you are going into: check their credentials, check their CV, go with you doubts
- Mix up the team - people you know and trust, and then new people to keep you on your toes
"Latent network" Starkay (2004) these are combinations of people you bring back as you trust them and know they produce quality work
- Diversify as much as possible, different kinds of people offer different solutions and approaches
- When you find the right person to work with, someone you click with, work with them! Keep them! Shower them with love!!


Script Writing - 3 Stages

OPEN CREATIVITY
Anything is possible
Throw ideas around
Messy, chaotic, and surprising
Make each other laugh and have fun
Never say "No" - always "Yes and..."
Work in 50-minute sessions
Use rules and structures as guides but throw them away when you need them.

CLOSED PROCESS
Personal. Focus and controlled
Shut out doubt and the outside world
Commit the words to the page
Take yourself emotionally to the place of the scene
Work in 25-minute blocks
Take proper breaks after 90 minutes, do something different
Do not look at your bloody phones, that is not a break! Use an App Self Control to cut down your internet consumption in a controlled structure

EDITORIAL PROCESS
Take the draft that you have created and cut it
Shift, change and bring in new material
Read it from an objective point of view
This is where your critical training kicks in
If something feels wrong, it most likely is wrong
If you are collaborating be brutal, be honest and also be understanding
Don't be beholden to you seat collateral

First Impressions Count
Your pilot episode is everything
- The whole spirit of the work has to be summed up in that programme
- There has to be some resolution along with sufficient leads and storylines for the audience to have to engage with the next episode
- All the characters have to be in there and the audience has to understand their characters
Your first scene is everything
- This is when people will decide whether the are going to stick with you

"There is blood on the walls of my office"

Production Planning
- keep a rolling version of your budget open and running
- Predicate for the worst, assume thing will go wrong at all stages
- Taxis, trains, teas and AirBnBs will always add up to far more than you imagine
- Get everyone's schedules as early as you can
- Draw up contracts and have you cast sign them and respect them
- Plan for working 8-hour days with break
- You can push it longer and later on certain shoots but use that time rarely and carefully
- Withdraw a huge wad of cash to bankroll the project, if you pay expenses in cash, everyone will love you!
- Build as much information as you can for your requirements

3 Rules of Audio Production
1. Do not use pro tools
2. No really, DO NOT use it
3. See rule one

More Production Tips
Plan out your scenes
- Where are they going to happen?
- What movement is there going to be?
- How will you post produce the project?
Project Forward
- Imagine what you will be doing with the material in post
- Label your equipment carefully and logically
- Set up extra mics and gather extra shots if the capacity is there

Casting
Spend money and take your time - it is worth it!
There is a lot of talent out there.
Look at showreels.
Contact agents.
Sell your project for them.
Create a professional appearing casting call sheet including project details, output summaries, a synopsis and then a range of character profiles.
Audition - prep scripts and think of exercises.
You'll know when they are in the room and they are right.
Go for personality and attitude as much as ability.
Be friendly, engaged and professional with everyone.

Directing
- Your role is to create the context for the actors to perform
- They are not your puppets
- Tell them who they are, what they are about to do, why they are doing it and where
- Don't tell them what to do, let them surprise you
- If you have cast correctly, they will bring more to the piece you alone could give them
- Every character has an internal life - we are all stars of our own life stories. Even passing a character has motivation. Never forget that

Create a safe space/working environment
- Be positive and upbeat at all times
- You are at the centre of a crazy, messed up family that will exist only for a few days/weeks.
- Never let the actors see the stress you are feeling
- Always respond with "that was great...now why don't we try it like this..."
- Everyone is there because of you, but you are not the boss
- Respect and value everyone equally
- Channel communications through you but allow people space to contribute
- Crack the whip only when you need to, allow people time to grow.
- Be the first to arrive and the last to leave
- Muck in, empty the bins, buy the coffees
- If you snap at someone, clear up the matter then and there
- If people see that this is the way a production is running... then they will give you so much more

What to do if you are working on a production team as an intern:bkm
- Listen in and be ready to step in and help out before you are asked
- Judge a situation. Know when to step and help out, and know when to step and let something run its course.
- Ensure you are treated with respect at all times. You are GIVING them your time as a runner or intern - they owe YOU!
- Never put up with any harassment. Call people out on their behaviour and shit. No one is too powerful. No one should be allowed to get away with anything.

Week 10 [Project Development Notes] - Why do we like symmetry?

Reading 1: http://motivatedmastery.com/science-of-symmetry/

In an essay called The Symmetrical Universe, Alan Lightman, American physicist, writer, and author of The Accidental Universe: The World You Thought You Knew, explores why we as humans are drawn to symmetry, and more importantly, how we can understand this pattern in our lives by first studying nature.
Lightman begins with a theory of why there is so much symmetry in the natural world: 
"Symmetry leads to economy, and nature, like human beings, seem to prefer economy. If we think of nature as a vast ongoing experiment, constantly trying out different possibilities of design, then those designs that cost the least energy or that require the fewest different parts to come together at the right time will take precedence, just as the principle of natural selection says that organisms with the best ability to survive will dominate over time."

Connecting the complexities and similarities of the natural world and human nature can be difficult to grasp, but a useful starting point is in understanding the impact it has on our minds as humans.
Lightman expounds:
"Why do we, human beings, delight in seeing perfectly round planets through the lens of a telescope and six-sided snowflakes on a cold winter day? The answer must be partly psychological. I would claim that symmetry represents order, and we crave order in this strange universe we find ourselves in. The search for symmetry, and the emotional pleasure we derive when we find it, must help us make sense of the world around us, just as we find satisfaction in the repetition of the seasons and the reliability of friendships. Symmetry is also economy. Symmetry is simplicity. Symmetry is elegance."

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Reading 2:
Beyond beauty: Design symmetry and brand personality by A. Bajaj and S.D. Bond, pp. 108-120
https://books.google.co.uk/books?id=wTE-CgAAQBAJ&pg=PA107&lpg=PA107&dq=beyond+beauty+design+symmetry+and+brand+personality&source=bl&ots=Y2Of9HJmUP&sig=sm0GOOzgu17FKwppfE04jvPCDvE&hl=en&sa=X&ved=0ahUKEwjjjfi4orzQAhWHCcAKHQR6CW0Q6AEIHTAB#v=onepage&q=beyond%20beauty%20design%20symmetry%20and%20brand%20personality&f=false

The perception of symmetry is a fundamental and ever-present component of visual processing. Prior research has established that perceivers are able to detect symmetry with little or no effort, across a vast range of stimuli and viewing conditions. (Barlow & Reeves, 1979; Julesz, 1971) 
p. 108

As a topic of inquiry, the notion of symmetry has fascinated artists and philosophers since the ancient Greeks. Within academic research, symmetry has been studied not only by scholars in aesthetics and psychology but in such diverse areas as mathematics, biology, history, religion, and culture.
p. 108

Definition: 
Symmetry is defined as self-similarity under a class of transformations such as reflections, rotations, and translations (Wagemans, 1997). 
p. 108

In the present research, we restrict our focus to mirror symmetry, or bilateral symmetry, which has been studied extensively in art and is considered the most rapidly detected form of symmetry (Mach, 1893/1896; Palmer & Hemenway, 1978; Rock & Leaman, 1963; Royer, 1981).
p. 108

It is important to note that symmetry is distinct from the more abstract concept of balance, which captures the extent to which offsetting figural elements have equal subjective visual weight. For example, a prominent face may be balanced by a distant horizon on the other side of the composition (Arnheim, 1974).
p. 108

Related Research:
Evolutionary psychologists claim that symmetry is a reliable indicator of the genetic quality of potential mates, and thus preference for symmetry can be explained as a consequence of selective adaptation (Thornhill & Gangestad, 1993). However, symmetric patterns are preferred even in situations serving no biologically relevant function, and this is true for both human and animal perceivers (e.g. Humphrey, 1997; Rensch, 1957).
p. 109

Symmetric stimuli have less informational content then asymmetric stimuli due to the redundancy in their features. i.e. one half looks exactly like the other half, so it is redundant in terms of its information content. This redundancy allows greater ease in processing of symmetric stimuli, giving rise to a subjective sense of fluency and a positive aesthetic experience on the part of perceivers (Reber et al., 2004). 
p. 109

Symmetry and Arousal
Consistent with the notion that asymmetric stimuli evoke elevated arousal in perceiver, symmetric stimuli should be expected to evoke low arousal or calmness. Writing dating to classical times have recognised that symmetry represents harmony, calmness and stability. Infact, Roman architect, Vitruvius defined symmetry as "the appropriate harmony arising out of the details of the work itself: the correspondence of each given detail to the form of the design as a whole" (Vitruvius, 1970).
p. 111

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Reading 3:  P. Locher C. Nodine "The perceptual value of symmetry" in Computers & Mathematics with Applications, Volume 17, Issues 4–6, 1989, Pages 475-484

http://www.sciencedirect.com/science/article/pii/0898122189902460

Week 9 [Workshop Notes] - Photography Tutorials

In this week's workshop we looked at different photographers work in magazines/journals such as:
- The British Journal of Photography
- Aperture
- Photoworks

We did this to acquire more knowledge about contemporary photographer's with projects that resonated with our own project ideas/inspired by
- La Vie en Rose Richard Mosse
- Self-Portrait Jun Ahn
- Transition Lauren Marsolier

We also did some research into our project's theme which we would share with the class. Here are some of the results I got from hunting online in class:

- http://www.waterman.co.uk/artists/102-patrick-heron/works/399/

- Google: French Formal Gardens
https://en.wikipedia.org/wiki/French_formal_garden

- Symmetry in London - Tobi Shonibare
http://henryaquino.com/photographer-documents-the-stunning-symmetry-of-londons-architecture/
https://www.instagram.com/tobishinobi/

- Creative Director Captures Stunning Reflection Photos Of Buildings And Landmarks - Daniel Evans

Week 8 - Right Time, Right Place [BBC The Genius of Photography: Notes]

BBC's The Genius of Photography - Episode 3:Right Time, Right Place

Here are the notes I made whilst watching the third episode:

Decisive Moment
In 1933, Henri Cartier-Bresson took a photograph in Paris, which created the 'decisive moment' in photography.

The decisive moment and the historical moment would form a bond, creating iconic images for the new type of photographer - the photojournalist. But how much can we actually trust a photograph in terms of its content and what it portrays?


Henri Cartier-Bresson 
Henri Cartier-Bresson is the godfather of photojournalism. From the early 1930s, he would wander the streets, snapping moments. His decisive moments transformed the face of photography.

His pictures were about being in the right place and the right time. He could step into a space and see the theatrical probabilities. He understood there was life in all space if you waited for that perfect moment. He was almost a stalker.

Behind the Gare St. Lazare Henri Cartier-Bresson 1933

Photographers pounce for the perfect moment because there is a capacity to interpret the flux of daily life, which contained elements of truth.


The interesting thing about photography is once you press that shutter, you will sense or have a visual orgasm if you know you've captured a perfect moment or not. The feeling you get when you look at a perfect moment, it almost looks surreal.

Bresson was a surrealist. The surrealist believes that there is a super-reality behind appearances, and occasionally it would reveal itself. All you had to do was wait for it to happen. With Bresson, when the action enters the space, he knows how to time it so it reaches its climax. That's the decisive moment.

Bresson was only able to capture such moments because of a revolutionary development in camera technology. The 'Leica' camera, launched in Germany in 1925 was compact, quiet and due to the advancements in lens technology it possessed, it gave to an all new style of instant photography.

According to Meyerowitz, the 'Leica' camera it allowed to you to be present in the moment and glide through the moment. This was due to the to the viewfinder being placed so far to the left side of the camera (unlike to traditional central position of SLR camera viewfinders) which allowed the other eye to be open, so you could observe the scene fully without you visioned being narrowed to just the viewfinder.

Dying Loyalist Soldier Robert Capa 1936

Robert Capa
Hungarian-born photojournalist, Robert Capa, also used the 'Leica' camera for decisive moment photography, just like Bresson.

The photo shows the death of a Spanish civil war soldier being shot down by a bullet. 
When the world war started 3 years later, Capa's photography brought fame, heroism and charisma to war photography. Working for Life magazine, he maintained that the first rule of photojournalism was the get close, and the second rule, to get closer. It earned him the reputation of being the world's greatest war photographer and it's first real celebrity.

People believe pictures, and photography has always been best at capturing reality. For instance, you passport ID is a photograph, not a painting. George Bernard-Shaun said "I would trade every painting of Jesus for one snapshot".

Tony Vacarro
Tony Vacarro photographed moments of the war on a daily basis, but working as an ordinary G.I./photographer. The army issued speed-graphic cameras to certain soldiers during WWII to document moments, but these camera were very large and time-consuming when switching film which forced Vacarro to find a more practical camera for his photographs. Unlike Capa, he couldn't afford a 'Leica' and settle for the Ardus C3. 

Gott mit uns...Hemmerden Tony Vacarro 1945

As a photojournalist, he couldn't help but be close to the actions of war. When a German tank was bombed right in front of his eyes, it was photography and not survival that he was thinking about.


On D-Day, the greatest military operation in history took place, involving over 1,000,000 men on the allied side alone. Robert Capa was the only photojournalist who went with the first wave of troops to Omaha beach to capture nothing less than the very face of history in the making. This is yet again how decisive moments in photography bond with historical moments of reality.

Tony Vacarro developed his photographs in the helmets of soldiers on the battlefield!

Henryk Ross
Immediately after WWII, photography's task became horribly simple; to provide undeniable historical proof of Nazi atrocities; documenting crime scenes of unimaginable proportions. However, the relationship between photography and historical truth would become apparent in the travesty of Holocaust with the photographs.

Poland was home to many Jewish ghettos created by the Nazis. It was at one of these ghettos where Henryk Ross along with 164,000 other Polish-Jews were incarcerated for four years, until the ghetto was liquidated. Ross was a photographer who kept a unique record about what happened in his ghetto.

Amongst his many duties as one of the ghettos official photographers, Ross had to document the production of goods too, making him a propaganda photographer. Although he was forced to collaborate with the Germans, he was a photojournalist before the war. He knew the life of the Jews was becoming much worse, and so decided to document it with his camera. He photographed marriages, anniversaries, birthdays and religious ceremonies that happened in his ghetto.

Playing as Ghetto Policeman Henryk Ross 1943

Before the liquidation of the ghetto, Ross buried all his negatives in a garden in hope that they would survive, even if he didn't. Amazingly, both he and the negatives did and in 1961, his most incriminating pictures helped hang war criminal, Adolph Akman. 



In two of the most decisive moments in history, August 6th & 9th 1945, the American's dropped the atomic bombs over Hiroshima and Nagasaki. Two flashes killed over 200,000 Japanse people in an instant. The American's took photographs of the aftermath the bombs had on these places, but wanted to depict physical damage rather than the human suffering of the Holocaust photographs. It was 7 years after the event when the US were no longer occupying Japan that images of human suffering from the atomic bombs were published there.

W. Eugene SmithThe Family of Man was an exhibition that opened in New York 1955. It was comprised of over 500 images that 273 amateur and professional photographer took from a collection of millions of photographs. It became the most popular photographic show of all time making it a very poignant moment in photo history. It is still open now, 50 odd years later with the same prints still there. 

In 1947, top photojournalist such as Bresson, Capa, George Roger and David Seymour had created the photo agency Magnum. Formed as a cooperative, it declared that its photographers would retain their negatives and copyrights of their pictures.
Photo: U.S. Steel, Rankin W. Eugene Smith 1955

Smith is a photographer who had nocturnal characteristics, working through the early hours of the morning due to his addiction to amphetamines. He worked for Magnum as a photographer and capture over 7,000 images of which 2,000 were used for his photo-essay about the city of Pittsburgh. It was a project that was almost unpublishable and would've been extremely hard to exhibit.

Week 8 - Photography, at the end of photography [Presentation Notes]

Photography, at the end of photographyPresentation by Micheál O’Connell

How do artists and critically engaged practitioners respond to ubiquity of tools, techniques, and media now available and a situation which is always in flux? Today's craft skills are out-dated tomorrow; interesting materials can be found rather than made, the range of specialisms is vast and variable. Does tradition have any relevance when you can invent your own craft? 

Micheál O'Connell (aka Mocksim) responds to these questions with reference to his work with reappropriated photographs (namely a series which was eventually nominated for the Deutsche Börse Photography Prize 2012) and past usage of 3D modelling and simulation techniques.
Link: www.mocksim.org

Introductory Comments
-What is education for?
-Especially at a Masters level 
-You are not me
"I'm unique, you're unique, we're all unique" - Life of Brian quote
Art may be the arena to concern yourself with

Skills
- Why laud them anyway
- 'Fun' yes perhaps, or for critique, but not to be take too seriously, except for maybe:
Skill-skill, meta-skill and acquiring skills.

Examples of Replacement
Painting and art have been taken over, eradicated and replaced by photography by appropriation in the contemporary digital era.

Diane Arbus - Identical Twins
Conceptual photography, almost philosophical in some sense.

Image of Illegally Parked Cars --> Contra-Intervention
CCTV and artificial intelligences show such an interest in our human activities. We are observed by machines that can be seen as amusing and obtrusive.

Parking issues and fine was a hot issue in Brighton which Micheál O’Connell produced.
He did this by using found/used photographs taken by traffic wardens of illegally parked cars in Brighton. The images have been blown up to their actual size but given a minimalist style when presented in a gallery.

I could've rented a car, parked it illegally, got a fine and then take a photo of the car with the fine but this would of been very time-consuming and not cost effective. If he had the numbers of the parking ticket fine, he could find the link online and download the images of the illegally parked cars. He found out that you could download such photos off the database by finding ripped up tickets on the floor around Brighton and researching the fine registration number.
- Caravaggio style photos with their dark, night time settings with extremes in contrasts.
- He took photos of traffic warden taking photos of cars, documenting and copying their actions.
- Wardens also take a form of 'selfies' when they take photos of illegally parked cars. These wardens take photos of their reflections in the window of the cars.

To advertise the show, he created flyers in the form of a parking ticket.
Search: Contra-Intervention

Photography
- Understanding relationships between aperture and shutter speed to acheive the best exposure, controlling the depth of field.

Craft Skills and Bodies of Knowledge for Contra-Intervention
- Realising that images might be accessible as machines and systems are impossible to design perfectly.
- Finding cars with tickets on them
- Using mobile devices 
- Catalogue production
- Locating suitable printer
- Managing press
- Numbering the series for exhibition





Watch Louis Theroux's documentary on Scientology
Here the camera is a media that takes on the form of a weapon.