Week 6 It is all real! PROMISE

The reality that social media push forward, is one that has always sought to identify itself as pure and perfect in all ways. In this light people with some brains would know that this is a manipulative system that people fall for very easily. Taking into account Zilla Van Den Born fake journey to Asia, her ability to convince her family and friends about this fake journey truly encapsulates the social reality that social media forces on us.


Check out her process:

This week I have looked within the inner depths of this augmented reality that we live in. As the previous example I started to explore and delve deeper the notion of reality and virtual perception of social interaction.


Instagram Filters and the dichotomy that is found within the manipulation that it projects.

What drives us? Is it because we would like to have a statement that is mainstream and urban?

To this light I created a series of work that challenges the different filters and non filter effects within a photo. To this result I could acknowledge that in some chases no filter photos provided less drama but for some reason it resonated better than the manipulated image.

White Washing of lies within the photo:

To this I stand to question whether people are engaged within the real or the hyper real form of understanding. Through further investigation I will try to further acknowledge the interaction that these parallels portray.




Week 5 Frustration

Sometimes you need to vent out the suppression that engulfs within this reality that we are unknowingly living in. Distant and away you need time to think and embrace this reality that identifies me from you.

In the past week I felt a huge element of frustration that this whole social media life that I am living in is providing me with. It is as though I am just enslaved to its power and the only interaction that I have with it, are needs and obligations that other want me to respond to. From Likes to hearts, to comments, and feedback, the social interaction seemed more than ever as something linear and anything but interactive.

This frustrated me in many ways. Although I cannot exactly provide a clear outlook to this frustration, I can use symbols to help out with explaining this overwhelming notion of being in such a position.

Looking into it as the way you look into food. The appearance to a delightful platter of crispy glazed onion rings with a side dish or what anything but great food, most of the time deceives within that instant bite you take. Realising that it was nothing that you have actually imagined off, creating the initial part of this disappointment.

Together with this social media tends to give us that instant pleasure that is most of the time superficially needed ;/ and suppressed the minute you eat everything and the only available button left would be the refresh button. Waiting hesitantly for that like, heart, news feed anything but new, for you to eat or find.

To think about it. I can think about thing , that is how mentally and physiologically drained we have truly become.

where on earth has that 7 year kid with passion to create and invent go? how did we survive before? how did other people survive without this bubble of us and no we?

Week 4 Are we numbers?

This reminded me of Andreas Gursky Vernacular photograph, as he explains that we are numbers and our individuality is a digit!

Another approach that I have tackled through out this week was that to work beyond the restriction and border of a singular frame. This allowed for a better reach of people and resolved into other ideas to what the intent of this social message is all about. Through the repetition I was able to bring out the fade and over exposed element that is within repost and retweets.

Screen Shot 2016-04-19 at 11.58.49.png

Follow this Journey on Instagram @thesocialreality 

Week 3 followtofollow


Looking within the different possibilities to increase followers through the use of #ff #followtofollow #instafollow #instadaily where an increase of request to follow has followed the daily post feed. Similiar to the ‘motherlode and kaching’ from SIMS, the increase of followers is at reach of hand.

This reminded me of this :

Where we should follow not follow a mass as the Instagram Follow strategy cheat, that people make use off. Resisting the mass I worked with an alternative strategy that brought by more organic followers.


1 Like photos that share the same value you want to allude

2 Appreciate comments and acknowledge

3 SHARE Material via Pinterest, Twitter and Facebook

4 Use appropriate Hashtags to broaden the connection


Follow this Journey on Instagram @thesocialreality 


Week 2 thesocialreality

3 Teching Hsieh – We are bodies that repeat and repeat. This work is about an artist that punched clocked for every hour of every day for an entire year. Taking photographs he documents the mundane process that of revealing the vernacular state of being human.

“I’m just basically passing time”

This element contributed to the way I wanted to present the contrasting parallels that social media has on its user. We are individuals that from crack of dawn we wake up interacting within this space and until the end of the day we breath social media.

The conflicting dichotomy that this media retains is the beauty of exploring the limitations that reality restrains us to obtain.

4 http://www.fubiz.net/2014/04/14/crossroad-of-realities/

Trying to understand this, a play with shapes and lines started to recur within one photograph to the next.




Follow this Journey on Instagram @thesocialreality 

Interested in more referential pictures like Teching Hsieh find me on Pinterest @michelinmission


Week 1 thesocialreality

Week 1 has focused within the individual reality that we exist in. The main inspirations that helped me formulate this week set of photographs were the following narratives and facts that I was able to retrieved from surfing the web.



Russian Photographer who experiments with an interesting APP – Findface and through this app he is able to identify anonymous people he has photographed bringing to light not only the issue towards privacy and data protection, but it brings out an important element to the way we are living. The high media/ digital data is taking over our capabilities to acknowledge the individuals in front of us.#thesocialreality


Looking within the following data development,  I question wether the next generation of art making, will take such an approach, and in galleries we will only have mutations


Are we truly working towards living within a world that is just made of digital data? Where do we stop or start?#thesocialreality



Follow this Journey on Instagram @thesocialreality 


#2 thejourney

Throughout the past two weeks, I have worked upon discovering and analysing the element of social reality within the eye of a mobile phone. Through this development I started to formulate ideas that move along the elemental quality of living within such a contemporary setting of engaging and exploring the possibility to communicate with one another.

Within the work that I developed, a recurrent influential element transmitted from one work to the next. The element of constant detachment and connection, started to bring out the elemental dichotomy of the whole situation. The beauty that such a medium and interaction allows, ventures within the difficulty to resolve into the ability to connect from one matter to the next.

The sense of numbness and vernacularity that this work is providing, unveils a clear insight to the reality we are all engaging with.


Follow the process on Instagram @thesocialreality – daily uploads are shared following this dichotomy.


09 ENIGMA Film Production


The video Enigma is a work that documents and narrates an experience that is made up of multilevel degrees of contrasting parallels. Such a narration finds its roots and initiation in a static apparition of an ash tree that is placed, repeated several times within the same shoot. The viewer has no idea what is going to happen and thus the apparition of the opulent eye stands as a contrasting undertone that is quickly disturbed by the denser tree shoot that marks a significant contrast with the light tone trees exposed in the initial entry shoot. The eye stands as a blinking transition to the following development.
Although the viewer has no vacant notion of what the whole thing is about, the music directs the focus towards an internal part of a persona. The ambience upon which such a person is reliant and finding itself in does not seem to confine well, thus the round motion brings out an ideology of disorientation. The swinging and roundness found in shapes becomes denser and more constant as the film moves further. This elemental quality allows the viewer to become increasingly anxious and still unaware of what will happen further on to the next sequential shoots.
Time finds no sense of functionality as the sequence is pushed back and forth. Motion has no sense of space and is directed into revolving sequential narrative that makes the viewer think and sink deeper into the allegory that is found within such a persona. The only calming parallel that is seen within such a chaotic environment is the hands and the gestures that the persona is capable to establish.
This establishing shoot makes an initiation to more subtle shoots that eventually become increasingly effective through the development of such a narrative. The elemental quality of water and focus stands as a significant part of the development which tries to resolve the pre sequential environment that previously did not elude a sense of belonging. The environment is deeply evaluated and the following shoots bring out a new tonal element for this concept video. The inner qualities of different anatomical features that are distributed within different shoots bring out the inner formations that are of awakening for the persona within the narrative.
The saturated tonal values, allow the viewer to acknowledge the layered tones that such hues distribute to the elemental meaning of the shoots presented. The silhouette effect found within sheds an increasingly significant outline for such tonal shade. The persona within such a shoot finds a constructive freedom that is still undermined with the situation that it is facing. The oppressive yet playful act of bringing out geometric forms makes the whole thing interesting to value and keep in mind.
Although the narrative moves into a development that resolves into something of more aesthetical value to it one is able to still question the purposes of such a formation. The persona is the only motivator that can control the passage of time. A sudden glimpse of the subject takes motion and we are able to get into the inner physicality of this perspective. Movement follows a sequence that is recurrent from one stage to the next of the narrative.
Time starts to follow an increasing pace that allows the viewer to move into another stage of the narration. The sudden and drastic formation of such shoots make the viewer feel uneasy and unable to establish sense from the narrative that he is unconsciously trying to solve. Yet like before the faithful hand and the small beads stand as a relevance of such turmoil. The change in angle shoot brings out a significant understanding of such a narration.
Although everything stands as over passing and chaotic for the viewer the narrative finds tranquillity in this mayhem, that is phased in through taking the perspective of the camera shoot. The subtle light and opening up of doors and windows make the viewer anxious to know the purposes of such a development. Moving into light or into darkness?
The dragging waves that stand on the sea bed, let the viewer wonder the existentiality of such a scenario. Where has the persona vanished? The eye is foreshadowed again, and one can see that the inner sense of such a situation brought out an acknowledgement of something. Time and space are never as straight forward as one would appreciate to be.
But such a narrative allows the viewer to understand that life is a series of confusion and there is no sense of mundanely in its relevance. The depth of such images will always remain a mysterious allegory that only the voice within can shed an honest understanding of all the chaos presented.

08 ILFORD Documentary Promo


During this week Promo, I have been part of the Ilford group footage media team. Being on Camera Sony Camcorder HD, Canon 650D and briefly on sound, I have been able to understand all the principalities that lie within production and lightning effect.

In this film production I have been able to work close with a persona that has a great deal of knowledge with photography and the process development of darkroom printing. Although I have been in contact with such a skill, I have increasingly immersed myself in the concept during such a filming experience. One of the increasingly impressive phrases that Steve Macleod has commented about was that of being consistent in the work that you set up to do whatever the field that you work on. Together with this he commented on the essentially of being able to communicate with the audience that you are set out to work with. Communication and constant work summary is one beneficial area that even through our documentary set up and filming was one crucial aspect that we followed in high standard.
The initial start of such footage was in fact good thinking and analytically understanding of the environment that we were set to work upon. From weeks ahead of this footage we have been increasing our focus in attaining and understanding the different media outlines that has enabled us to come up with such an outcome.
One of the significant points that we outlined clearly was that of establishing the environment that we are working in and the sound effect within such an environment. Having had demolishing for couple of days prior our footage has been of an increasingly stressful outlines that we have been working on in order to find a way how to deal with such an affective aspect. Together with this we had to establish a clean and a balanced out environment upon which we could have resolved the aspect of red lights and low darkroom light.
Light Set Up
The setup of the dark room was in fact one that had to be well set up in order to bring out a clear and a tangible crisp effect of the cameras operated. To do so we have worked with 3 set LED panels together with red gel filters in order to compensate for the noise produced in low light by cameras. Different scenes had to be set up in low safe light in order to get the actual developed paper processed together with this, we had to come up with the same footage but with lighter thus LED lit set up that allowed to compensate some light within the scene to make the footage in better light environment, thus reducing all the noise.
Sound Set Up
One other problem that we had to work on was that of sound and focusing on getting a good media recording output that has of an increasing significance in the final documentary produced. To do so we have come up with a three point system being that from Camera HD Sony Camcorder an output boom and a portable boom, together with the mark 3 Canon 5D inbuilt sound recorder. Having such a system we could understand and analysis the different levels that the persona’s pitch had and worked on establishing a balanced out formation.

Technical Problems
One of the technical problems that we initially faced was that of white light. The vibrant and harsh contrast that the shadow casted on to the protagonist was one that we tackled through the employment of inverse square law; by distancing further the light we had the ability to balance out a scene that eventually helped for further clarity in the scene as whole. Due to the fact that filter gels were placed on top on the LED panels, after long takes and footage the Gafa tape started to loose contact and thus we had to change all the materials in order to have no leaking white light during a safe red-light footage, which might affect the consistency that we sought to achieve during these days of filming.
Due to noise and out of focus technicalities that we had with the HD Sony Camcorder, we have been able to find a solution with the mark3 Canon 5D that has enabled us to film within such lightning conditions. Different positive technicalities that different cameras and lenses attain were all used in positive ways in order to have a great understanding and an outstanding result of the whole filming experience with Steve Macleod  Photography sessions.

04 05

Images by Keith Media WWI FILM School
Footage and Backing up
One of the technical consistencies that we worked on was that of taking footage and replacing SD cards after a small amount of takes. In doing so we have been able to understand the technical problems and if there were any we could have resolved the whole thing instantly. This process has been an increasingly helpful thing, as we were able to see our development together with the building up of work that we evaluated as a whole group after footage sessions.
Communication for Steven Mcleod with a client has been one of the most significant aspects that enabled us to understand and comprehend well the need and the purposes of such a film.

One of the most significant outcomes that such a work shop has enabled me to understand is the technical principalities that lie within different parts that make up the whole idea of film production. The hands on experience has made me understand how deeply and clearly things are placed and integrated in connection to each other in order to establish and bring out such a positive and insightful film production. The different lightning techniques together with different experiments that we worked on in the past workshops has been an increasingly significant input that enabled such a positive video production. Although, Steve Macleod has talked within the area of photography, the qualities of production that he was talking about mark an increasingly insight in the field of video production.
The idea of time, patience, communication, understanding and working hard, are key points that I have been able to extract and keep a reminder in whatever I work on in life.

Further Reading:

1 http://www.filmsnotdead.com/2014/01/27/in-converstation-with-steven-brierley/
2 http://www.indiewire.com/article/michael-moores-13-rules-for-making-documentary-films-20140910
3 http://www.unesco.org/new/fileadmin/MULTIMEDIA/HQ/CI/CI/pdf/programme_doc_documentary_script.pdf
4 http://www.ilfordphoto.com/Webfiles/2011427111757603.pdf
5 http://www.cinematography.com/index.php?showtopic=17508

07 Film ILFORD documentary PRE TESTING


 Planning Outcome

In today’s session we have focused on the main technical problems that we have currently within the place that we are going to film next week.

Construction demolition is taking place next to the College institute thus we have to find a way how to reduce such a noise. The noise of jack hammers and big demolishing machines create a huge resonance that can be of great distraction when working in the Film studio and the Black and White dark room. Trying to figure out a schedule and a way to work with resolving such a problem is an important asset that we have discussed in great depth in today’s class.

After focusing on sound problems we shifted on the technical light equipment that we need to assemble during the filming days in the darkroom. Having a clear outline of the light aspects that we are required to light up has enabled us to understand in depth the footage and how to tackle such a production. Sound systems and technical aspects such as levels of pitches that might affect sound have been discussed and we should look out for such technical difficulty if construction continues within the same days that we will be working on.

After outlining the main significant issues concerning the whole production next week, we were given roles and time slots upon which we could work in team and get the footage in a high standard manner. Crew distribution has been shared equally in order that everyone has a take on different task thus enabling us to have a broad understanding of the whole thing.