VERBATIM-ish :: Evelyn Havinga

17.02.22 [raw single sided transcription]


"jobName":"Evelyn","accountId":"337748807932","results":{"transcripts":[{"transcript":"huh, continue, continue. Yes, I'm good. How are you? Hi, is it good where they were? I'm based in the Cotswolds. Do you know where stronghold is? It's like the southwest. Yeah. Near bristol um kind of an hour and a half from London. But I often go to London to do, to do shoots and things. So yeah. Yeah. Yeah, absolutely. Because my sister now lives in London so I'm often at hers um, you know, staying over. Yes, I do. Yes. So yeah, but I am, I hope to be more in London in the coming months to do projects shoots and so I'm looking forward to. Yeah. Yes. I'm so glad things are coming back to life after it being kind of all in lockdown and then just very isolated as well. So yes. But I yes. Karen. Oh, mm hmm. Yes. Yeah. Yeah. It will, it will slightly be different will always be a bit more, I don't know, cautious and and um, I don't think we'll approach from approach things as with this same spontaneity as we did before kind because everything is a bit more restricted in terms of, you know, um um, vaccines traveling at the moment. And luckily luckily things are slowly changing in terms of not and taking a lateral flow test. Pcr tests that often. So, so slowly. Mm hmm. Yes. Yeah. Yeah, I think, yes. Yeah, I I call it my apple peel shirt because it's got the colors of a kind of um, you know these cherry apple apples, like the red apples. Okay. And then I yeah, so I called it my apple pitch wow. Okay. Yes, Yes. I thought, I thought I would bring in some like sunshine today and it's very sunny today where I'm, where I'm living today and it's also my birthday today. So my, the, I don't like, I don't thank you so much. Yeah, Thank you. Yes. I can't believe I'm 25. It just doesn't feel real. I went out to set a break last night with my sister. She's just gone actually 20 minutes ago. Um, you know, off to London again. But we had a great night last night. Yes. Yeah. This morning, this morning we had a slice of coffee and walnut cake. So I want to hear more about you as a writer and um, um, kind of a passionate. Yeah. Yeah. I'm so sorry that your email just didn't appear in my emails and I felt like shoot. Yeah. Like, like years ago I was like, I was like, well she responds. Hey, several, wow. I've got, I've got lots of them ready now. No. Yeah, I'm, yeah, I've got in the double digits. Okay. At least it sounds like you're popular. Yes. Okay. Really? Yeah, that happens. Yes. Because I, I'm so glad you found my project interesting and because I, I, because I really want to try and keep promoting that project because it was one of my very like successful image projects and um, and it came, it was just received so well. So I thought I must, you know, continue to promote that and, you know, get my stuff out there and, you know, feature the work. Yeah, sure. Yeah. Yeah. Yeah. Yeah. Yes. Yeah. Mhm. Really? Well, what really stuck and what really stuck with you? Yeah, that is that is exactly what I described in my description, that it evokes questions of who, what why, like, because because I really wanted to take away any kind of remnants of that person, because I wanted the viewer to, like, see it as a more a psychological aspect, because I as my progression through Uni University, my my lecturers had, well, you're more you're very emotive in your work, you really do create images that you're very you connect with your um subjects on a deeper level. And so I I kind of bring in my interests of um fashion, but also the kind of, the deeper meaning of things, because I I really enjoy like, breaking down an image and describing why I like the expression why I, you know, created that, constructing, constructing images and trying to kind of face it head on, like, what is the meaning here? Like, So, yeah, that's what I try and do um especially with the hidden identities, I I really wanted to to come across striking. So I did several ways of portraying that kind of, I got my images out um of um of portraying the the kind of psychological aspects, so with this image in particular I was and those two and the other one I um I really wanted to, it was kind of a very, I was inspired by Sunset Bay a a swiss photographer and he did a project called Silk Exhibition and I really was really interested in like the figures, the way he, he created figures where they were hidden under material, but how the, it was like a joined twins almost. And I really liked that aspect because you kind of kind of like, it's like a cocoon, you're restricted. You're like, like boundaries or was constructed by your own limits and you want to kind of break free. And that was kind of the idea that I wanted to trey and I did continuing the idea of how I could hide the model. I did jumpers instead of material and I thought that was interesting because I thought it kind of is quirky but also very in depth on and um because you can portray any way you want, it's kind of playful with fall. Um and the way I really wanted to create depth here. So I, I used a technique because I used the same same image three times. So I kind of blended them all together because I only had one model that day. So I kind of really refined, did my post production skills of compositing And like, so it would be one single image and like I really wanted to inject vibrant colors. Um So yes, it was really let's just Yeah. Yeah, because this one this one i it was um I did actually use water this time. You can see slightly transparent, kind of a bit, it's a bit wet where the but I wanted to kind of change that because it wasn't that successful in camera. So I then, because it was again, I only had one model here, so I Put together three figures and I changed because I really wanted to convey emotion with color, because we have different reactions with color and connotations. Yeah. And so I really wanted the the view, it's kind of um make their own up their own minds about, you know, what might what might stand for? Um Yeah, what? I didn't I didn't catch that, it didn't catch. Yeah. Yeah. Yeah. Yeah, cheerful. Yeah, mm hmm. I it was okay. It was a long process because we this was part of a my final major project. We have to um come up with a visual narrative for a book. So, I first, during the summer, because I was like, how interest, well, how could I, you know, what story could I tell? And I came I first like the what? Obscurity. Obscurity. So I was looking at like, hidden being hidden and and what would that how would that what does that mean? Am I portraying a sense of emotion for myself, through these models and then my lecturers, like it's a it's too bored of the word, You could use identities because we all have various I didn't identities that we show to people, we might not show a particular part of ourselves. So, I wanted to kind of tell that story that we are, we might be kind of trying to hide a part of ourselves and that we want to try and escape. Because almost the demons that we face emotionally. So, I thought every interesting too tell that as a narrative. So fruit. Um it was because I wanted to I was like, shall I shoot aspects of the first? I was just like, how am I going to show that I am I going? Because it was really difficult because I was like, do I do I have the model face? Because this was also an idea where I wanted the model to face away. Um and just and kind of show a bit of like the aspect of the model, how one element of the subject can tell kind of, a bit uh big aspect of the person in some way, in the terms of can can can we tell more about a person without without seeing their face? Is there more to them? And because I am with this project, it was very kind of personal because of course, I don't think I've told you that I'm in a wheelchair. So, I try and express I tried to express the kind of ideas wanting to hide kind of expressed at different parts of myself. But the kind of internal I didn't struggle maybe that I may face but you know, just to be more kind of conceptual poetic and in a way if I'm expressing myself um Okay. Hello? Yeah. Yeah. It's a physical condition that I've got a cerebral cerebral palsy. Um it kind of I don't know if you know it's a physical physical condition where the kind of your it affects the it's like a it affects balance um speech. So it it's because I had a brain bleed. So it's kind of the messages two. It's like I have very tight muscles and so that's why I can't and that creates no balance and yeah. Yeah. I love working collaborative with people because I I kind of express my vision to other people and I can hold the camera with two hands but not for very long because my left side's weaker but I really worked collaboratively stay with people so they have it with lights. Um anything that I might need help with but yeah, so I really enjoy coming up with ideas and and trying to express my vision um accurately to people when working. Yes. Yeah. Yeah. Yes. And uh yeah. So and also the picture you also liked, I think picture sit picture is it six. and that is another kind of idea where it was the final outcome of that picture represents the phrase sliding doors. Um kind of right, hang on, let me get back. Ah mm hmm. That one. Okay. Uh huh uh forward. So it's oh there we go. There we go. Get back, get back. Okay, I'll say stop. Um okay, go through. Okay, That one, that 1. Yeah. So let me, I just wrote down to me very quickly, let me just go small. Um who so it was like the idea of sliding doors. So a sliding door moment is the opportunity in life where the directions we take might alter our own faith moments in which we turn left or right towards change or stay on the same path, but we find ourselves. So it was an interest because I of course, again, it was really interested in doing transparency overlay compositing. And and it was like, I wanted to create the idea of long exposure as well in the idea of like putting them on top of each other with um in post production, not not in camera. So it kind of, I, the way I work um I can describe my work as like the true narrative kind of comes out after post production because I always, I'm figuring out what this image kind of is trying to convey in post production almost. But recently I, because again, as you see a lot of the images in the series uses uses a lot of color and I had the most joy with experimenting with color gels where you put the gels on to put the light and it really was interesting because you really are uh um, you really need to figure out the intensity and how many stops of like uh huh being taken away because of the color to really need to figure out the kind of techniques at the technical side. And it was really interesting to figure that out whilst whilst creating these images. Okay. Yes. Okay, mm hmm. After after because because I of course I wanted to create multiple figures. I was like, how could I create both sides of a person if I only have one model? Um, and like with this particular model, I we did different poses and so on a different picture. So yeah, this one, it was really interesting because I wanted to inject my love for fashion. So I was like, oh, let's get a big coat and and like be very enveloped and kind of like that kind of wildness that we can portray. Yeah, yeah, yeah. And then, um, so I had, I of course enhanced the colors in post production. But as you see that I had a blue gel on one side and a red gel on the other. But it kind of because reds can turn into orange kind of orange. And it was interesting because we also did long exposures. These are composited again. But if you scroll to another one of those, that one, this was if you see right behind her head, on the right um you can see her face slightly behind that. It's not yeah, long exposure. So that's long exposure. So where you leave the shutter open for a few seconds and let the model move and then it kind of goes like a trance almost. And that was really interesting talking about a trance. Um if you scroll feather on. Oh yeah, this was another image in the same sheet Where I we did different poses. So I wanted one figure looking towards me so straighten the camera and others looking away. So showing kind of uh different sides like um more opening. Yeah. Ah Yeah. Mhm. Yeah. Thanks. Yeah. With this project I was particularly interested in kind of the psychology of the person. But I'm always very concept. Sure. I always want to. And then something but not not strongly cycle. Yeah, it is a kind of self reflective kind of a psychological tool that is use photography as Yes, I believe I do actually. Um sub subconsciously maybe as well as consciously. Yeah. But yeah. Yeah. Ah Oh, if you should go on just mm hmm. That one, that one. So I this one. This was an interesting one because it was quite a spontaneous because I wanted, I had that dress from a previous um project that I did, it was inspired by an alexander McQueen video died inspired. So, I don't know if you know the fashion show he did called Voss kind of, he had like a big like red dress, like it was like a bird, it was like, it was no feathers. So I tried, I actually um someone helped me create this um replica of the dress, so I used the dress again because I thought it would like be a great way in terms of kind of being right, kind of like, let me fly like a being a wild kind of figure, but then being restricted. So if you see, I used a long exposure again, um if you see a blur, so I really like the trance kind of thing and entrance, that was the idea and all, I used torch lights um illuminate. Yeah, yes, that was challenging one, but that was really fun because yeah, yes, so yeah, that project was really enjoyable and I don't know, recently talking about more conceptual kind of approach and also using my um love for fashion. I did a personal project recently where I was had the privilege of being lent from a a friend who works as a studio manager for molly Goddard. And so I had, she lent me some dresses and then I was, because I wanted to the initial concept for the idea to create the idea of um I missed being behind the screen, but because of how during the sheet, the kind of smoke machines slash hazel wasn't producing um the effect I wanted, so they kind of changed in the more kind of with fel for um she um ah and it kind of again I colored to project that kind of vibrancy and because the dresses were so they were made of teals so they had great movement and so it is so these images again um we're very um heretic if I have got a few in the portfolio, I should but I could bring them up again. Uh No uh in my ah in my email I think I may have sent you a digital copy of my if you go I'll show you on my website, so I'm being difficult. Uh huh. But the pdf, yeah, do you have any further questions? Oh yeah, I say with that it was really interesting because of course in the face of social distancing, we had we had to figure out new kind of new ways of working. So I was like well how do you um because I during that time I saw people photographers that I followed um doing virtual sheets on their phone and I was like, oh, interesting. We tried to, I I found out that you can on facetime, take a photo whilst on facetime. But um so it was kind of and so the way it kind of worked was that I would send the model ideas but then we would adapt it to to the surroundings of what we could do. Um So uh with one in one of the pictures in my portfolio of the pdf related issues. So um the models, I we did a couple of photos in the bathroom, so she had her hair wet. Um oh yes, um in my front my this photo I was one of the photos of molly Goddard dresses. But I again I I wanted to create shadows the with fall um feeling approach of how to promote kind of the aesthetics of stress and and again I liked the idea of multiple figures and light and yeah, there yeah, that's exactly that's what I wanted to try and portray, kind of the texture kind of yeah, the reflection. Mhm. Ah Yeah, so she so I it was really interesting because you're like oh could you, can you face your face your oh there is face your phone up and like you were like down a bit up a bit and but it was really successful again. Yes and it depends, I learned, it really depends what type of phone they have because of course it's great with Facetime if you've gotten iphone, but also the quality. And lucky for me, this model that I reached out to have a really good phone, so kind and the details came out really well and I really liked kind of the kind of just the simplicity in the I really wanted to bring out her bringing black hair. So it was yeah. Yes, yeah, I'm I I will go back to it but I talking to talking to a lecture of mine because I was like struggling because I was at one point and figuring am I losing my kind of my style of photography through through my facetime shoot? Am I losing kind of the contemporary conceptual approach? And so I wanted to kind of reevaluate because proved the facetime, I was like can figure out how I could um communicate my idea knows that well. But um from kind of talking to him, I think I will certainly maybe do it again but approach it differently um with now knowing how it kind of how it kind of goes. This one was also an interesting she project could fracture beauty. I did this one just before hidden identities. So I I wanted to focus on parts of the body again. But then a four h for a um for this came about because I shot a model behind a shower screen and I really enjoyed, I was like oh how can I um how can I incorporate it at more kind of the idea. So i during post production I I slipped aspects pieces of the image and flip them over so it's kind of distorted. Um and it's she yeah my work is very abstract in that way and I yeah I really enjoyed this because it kind of um because it's very kind of graphic as well and and dimensional. Okay, okay. Yeah. Yeah. Yeah. Yeah. Thanks. Yeah. I um I I think, Oh yeah, that was awesome. She caught um love it. Or hate it with the orange jump. Um and um because I'm also I don't like the feel of sand. So I was little because I don't like it like clinging to my clothes. So I really wanted to like, so it was really interesting to see where we i it was like I pulled the jumper over my model's face, but then pour the sand over and then it kind of it kind of felt beautifully. Oh no, no, not on that one. Sorry what? Sorry? Now if you scroll scroll forward, um Sir. So mm hmm mm hmm. It definitely does actually. That's supposed there we go. Yeah, I was Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Because so yeah, that was my, my way of saying, yeah, I don't like, you know, son clinging to my Yeah. So I'm at the moment I really just want to start working with brat um brands and trying to pitch myself to um organizations like Yeah, that was another image from my previous person. Sorry to run and try and see if I can be um commissioned in some way just to collaborate really. And then also, and because I want to help because just recently I put on don't know if you know the platform, the dots? It's a creative platform. And then 11 they a small sustainable brand, his best, they're based in London, but I think the founder is spanish and was in recent weeks um innovative sustainable clothing clothing. Like saying, uh huh we can, we use materials and make something completely different, wearable art. So it can't, it doesn't need to be disposed of, it can be um that this image was a photo from a film shoot. I did inspired by alexander McQueen. Yes. Yeah. So I did this, I did these I did these images alongside the time I was doing my hidden identities. So we, because I want, I wanted to experiment with film because I hadn't done it before. So these were the film sales, you have films juice because if later on you could see some of the a few films I did could alert Transient and oh yeah, this one, I were from my recent project. I then wanted still wanted to create the idea of a smoke screen. So I did it in post production and I felt this was very, very um peaceful in the terms of her eyes closed and it really just Yeah. Yes, yeah, good description. I love it. I love it. Thank you. Yeah. Mhm. Often, yeah, this one was also this one was also a project called silhouette because then we had, we we knew um it was an open brief where we could could internalize or approach how we see the words um till a wet, so in fashion, it's more of how it falls on the bodice. It's the shape of the dress, how it flows. So I thought it'd be interesting if I envelope my subject in a layer of clothes and how it just all comes together and how it falls. And so it was in I think that's where also my hidden identities kind of expanded kind of was inspired by and like I expanded the ideas of like a and yeah, so things things inspired each other a lot of the time as a canvas. It's all right. It's all right. Yeah. Yeah. Yeah. Film still. Yeah, I work I work better with digital. Um Yes, but I do love I do love a film cameras but and the kind of the aesthetic that they have, but I work better with digital and Mhm. Yeah, this was a film still sections. No, I know I think I do. It kind of subconsciously I've always been interested in focusing on an aspect like I do yeah, I don't know how to describe it. Yeah, these were more images from my french beauty. Well I hope I'm because I really would like to work um for for a possible magazine. How of editorials, But also just to um do you um just um do more personal projects and so I'm then I kind of want a base but also time and kind of inspiration from what I'm working on within um a house, like maybe porter magazine or one of them and then get inspired to do my own work as well. So yeah, we'll see how it goes. Yeah. Yes, I I am more um so how did you come about with the idea of doing a hybrid art magazine project something if you don't mind me asking. Mm hmm. No. Yeah. Yeah. Yeah. Mhm. Yeah. Yeah, Yeah, I do the same. Yeah. Yes, indeed. Yeah. I yeah, I feel it's a great way to um kind of bring in so many aspects median media's in one space. She got like the technical aspects as well as well as the art and kind of navigating all those in one space. It's interesting. Mm hmm. Yeah. Yeah. Yeah, that's the beauty of creativity and thinks things can influence things so kind of unconsciously like yeah, that's all right. I am, I'm not sure, but I think I will uh kind of, I may in a couple of days do a big celebration with friends and come together. So today is going to be quite chill day. Yes. Ah yes, totally. Yes. Okay. Yeah. Oh, thank you. Yes. Yeah. Yeah. And expand it. Yes, I I probably will expand the idea and bring new work and ideas into it. Yes, thank you so much. And I hope I hope my answers were clear enough. Yes, thank you so much for um allowing me to feature my work as well. I hate that. I hope that um with the physical magazines you hate to create will be interesting and hopefully hopefully, you know that they'll get a lot of sales, that means fair enough, yeah, yeah, fair enough, yeah, yeah, yeah, yeah, as it as it really is kind of a passion a little as you've built it up yourself as well and so Yeah. Yes, Yes. Oh well, I look forward to it seeing it all all if thank you in the flesh. Yes, so uh were you okay with the license to use that I provided? So I listed all the uh kind of aspects of the images that you like. I I just I just said free images because I understand which images you would like to publish and so were you happy um to send me if you get an even the the um a total of Mhm. At the end of the three months, yeah, At the end of the 2nd period just Yeah ah Britain, but yeah, brilliant. Yeah, yeah, I yeah, I'm if you can sign as um as well just um um I'll so I'll resend it and then put um sign your your signature as well, then you can send it back fuel did you talk to? Yes, yeah. Mhm, I'm true. Mhm. Yeah, it was very, very mixed, I do apologize about that. Uh what do you mean, what do you mean? So use the whole the whole theme on the but um um I don't know if I like myself the sound of that, but um so if you just write aspects or if that's um whatever you were like stick ah Yeah. Yeah, yeah, no it's a good question, it's good. Uh huh And yeah I could have them features but it's just they're very different to my Yeah, so I thought I thought might as well stick to one of them. Bye. Yeah. Yeah. Yeah. Thank you. Yeah. Yeah. Yes, because it's looking it's looking good so far. I was like oh this is cool, I've never experienced like a virtual space before, so I was like oh this is cool. Yeah. Yeah, I feel like oh my God is she? Don't know what this is big, thank you. Yeah. Yes I will, I certainly will. Yeah. Yes, have a good day. Thank you, bye."}],"items":[{"start_time":"1.44","end_time":"1.76","alternatives":[{"confidence":"0.8545","content":"huh"}],"type":"pronunciation"},{"alternatives":[{"confidence":"0.0","content":","}],"type":"punctuation"},{"start_time":"3.44","end_time":"4.2","alternatives":[{"confidence":"0.9769","content":"continue"}],"type":"

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