Tag Archives: Press and Editorial Photography

Dad – “People and Passion”.

I’ve been photographing Dad doing his everyday “thing” as part of a university multimedia project called “People and Passion”. He talks about his career and his thoughts as an actor and guru of poetry.

Here’s one that I think is likely to make the edit.

© Amy Romer 2015

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Harry Hardie of Here Press – amazing book workshop today

This morning I was lucky enough to attend a lecture by Harry Hardie of Here Press where he spoke about his journey that lead him from a degree in sculpture to picture editing at The Times, directing a London gallery and finally to the creation of Here Press publishers.

Harry compares Here Press to an independent record label – he’s not interested in The Greatest Hits album and stresses that the books that Here Press publish are the finished work of art.

Not only are the projects he takes on incredibly interesting but his books are beautifully made and lovely to handle. Each book is unique but they are always simple in design, every element somehow complimenting the idea behind the work inside.

I personally recommend looking into these projects that have been published by Here Press:

2041 – anonymous

Control Order House – Edmund Clark

Occupied Spaces – Ben Roberts 

ONO – Natasha Caruana 

I can’t stress how interesting these projects are. Here Press publishes work that challenges politics and raises important questions through the diverse medium of photography. Pretty perfect if you ask me.

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New photo story on its way…

I’m in the middle of captioning my new story and have asked my kind subjects Kate, John and Alfred to check over what I’ve written in order to make sure I’m not about to misinform anyone about their lives!

The story is about the relationship between Alfred and his Mother Kate. Alfred has Asperger’s syndrome.

Here’s a sneak peak of the story.

All images ©  Amy Romer 2015

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Sculpting Falmouth Acting students

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Lighting a group is far more intimidating than lighting a single person. I find the process of organising people into places incredibly difficult. So I thought it would be easier for me to get my Acting models to engage with each other in movement so that from there, I could pick out dynamic moments that worked compositionally. At points that I saw something really strong I shouted at them to stop and rearranged them as I felt necessary and took a shot. We then all looked at the shot together and collectively made suggestions about how we could improve the composition. We all decided that something more organic worked better and looked less static so after finding a really strong shape between the five of them, I asked them to move in and out of that shape to try and create something that looked less staged, but that I had more control over. It was incredibly good fun and I’m grateful to the five of them for turning up, fully in black (!) and really involving themselves in what I was trying to achieve. I think they all look stunning. Thank you super movement people for your super movement skills. X

All images © Amy Romer 2015

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Fashion

Model: Jeff Monkman. Assistant: Rosie McLeod. Dog sitter: Jonny Borders.

To my surprise…I rather enjoyed myself.

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All images © Amy Romer 2014

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Choosing a story

A key part to this assignment will be choosing a story that works well in an editorial format. I don’t just want the pictures to be strong,  I need them to be flexible enough to allow me to play around with the design of 2 DPSs.

Having looked back at my work, I think I have three possibilities but there is one story that I know I really want to work with, which is Mortlake Road.

Please note: Any scanned work at this stage will be rescanned if used in the editorial to obtain maximum resolution. 

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All images © Amy Romer 2014

 

This set of images has been taken from ‘The Establishing Image’ where we were to find the opening image of a picture story, based around the theme ‘Isolation’.

I chose to photograph my Great Aunt and Uncle – Hugh and Jean Romer. Both are in their 90s and live in a large house in Kew Gardens. For the past year or so, they have been living mostly in the bedroom, as their physical ailments worsen and their dementia continue to grow.

It was a subject I found difficult to photograph, not only because of the nature of the story but because of my relation to them. Although I only took 36 frames (my average for a shoot is 3-4 roles) I think I managed to achieve my strongest set of pictures to date. I think that when there is a tension between subject and photographer, better pictures will often come from it.

I chose to use the bottom picture as my ‘Establishing Image’. I think the picture makes you want to read the story. Her ghostly face and awkward positioning on the stairs creates an eerie quality as she moves from darkness to the light.

I am also very aware that this shot would make an ideal opening shot to an editorial as it contains plenty of negative space to place text. I shot the picture like this because the only way to get a decent exposure was to include the light source in the frame, which I hoped would add to the banality and sadness of the picture.

I then have a choice of 4 pictures for the second DPS. I could use all or just one. I think they all have a place within the story. They were all taken for a reason and I can talk about those reasons within the text. However, I may find that aesthetically something isn’t quite working or the design isn’t allowing for all the images and I will have to make a decision based on what I feel is most important.

My next step is going to be checking the other two stories I considered using.

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A note on typography

“A good typographer always has sensitivity about the distance between letters. We think typography is black and white. Typography is white. It is the space between the blacks that makes it. It’s a bit like music. It is the space between the notes that make the music.”

Massimo Vignelli

Taken from Helvetica, part of the BBC Imagine series, 2007

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The importance of pictures: a shift in content.

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(Left) Front page of The Times, 14th December 1788, (Right) September 11th 2001

Although it’s obvious that in 1788, there would have been no pictures on the fronts of newspapers, what I think is significant here is how on 9/11, The Guardian chose to completely abandon text, as it was the picture alone that would give the viewers the biggest impact. Firstly, because seeing  a single picture on the front of a newspaper with no text is actually quite an odd experience as we become so used to the tradition of front pages. And secondly, because viewing such a graphic image on such a large scale, was the only way the media could induce the shock factor once again on an audience that had already seen countless images of the event on the day it had happened – all on TV.

Images have become a greater means of communication than words. As John Berger states in Ways of Seeing, ‘No other kind of relic or text from the past can offer such a direct testimony about the world which surround other people at other times. In this respect images are more precise and richer than literature.’

Therefore, when we think of the story of 9/11, it is very much a visual experience and why deep consideration should be taken in the creation of any editorial.

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