Finalising Idea & Initial Research: Video Storytelling

 After much consideration, my final idea will be Making a Monkey.  I will make a sock monkey in an explainer video.  The shots are not too many, however, getting the different shots and angles will take time (as well as making the monkey!).  I will create a plan and shot list to ensure that this can be successful.  I intend to shoot either on the Canon 700D or an Olympus DSLR.  I may use my phone for some shots in different set up but I am still considering this. 

Sock Monkey's

Sewing explainer videos are very popular, in this example, there is no voice over or explanation - just music and the action is the creation of the monkey.  The shot is just one shot and there are extra instructions on screen as well as the pattern to download and you can subscribe to the channel

This is one approach; the other approach is to have an explanation and a person showing you how this is done.  Again, most of the video below is a top down shot of the actions, there is also the man's voice over and subtitles so the explanation is clear at all times. This video is detailed and you could easily follow this real time and watch and copy.  

Explainer videos are great for, obviously, explaining things! However, this is not their only purpose and they are used for many purposes for small and large businesses. They are an easy way to hook in users to products and services.  They can help boost search engine optimisation, boost conversion rates, have easy links to social media and are easily shared and so they improve business.  They are also good for people as people learn from them, they gain an understanding and sometimes a skill, and they can help people connect with a community online that enjoys the same things as they do.  They can also appeal to a range of learning styles and people find their favourite people to explain things and often subscribe and follow them online.  

It is important for this project to understand what makes the explainer video not just okay, but really good so people want to watch this and learn something from it. Forbes states that there are five key elements that make an explainer video great, and they are: 

• 'A clear and concise script
• A clear voice-over
• An understandable video caption
• Engaging visuals
• A catchy and memorable soundtrack' (YEC, 2022)

Forbes also states that, 'The average user will not spend more than 20 seconds on your site if they're not hooked.' (YEC, 2022).  On the internet, people will click away as soon as they are not interested, and now there is so much choice - why should they look at my video?  Looking further at the research, Forbes advises the following: 'Plan the script, make it short and sweet, use simple language, keep the tone light and create rich visuals'  (YEC, 2022).  In my own video, I plan to set up to shots that will be constant so I have a constant recording from two angles, and so I don't have to shoot them separately.  I also plan to complete a voice over just on the computer so that I can add this over the explanation as well as any straight to camera shots.  I also plan to make a storyboard and shot list tro ensure it is absolutely clear how I will be doing this.  Pre-production will be the key to making this really work.

Frontiers in Communication state: 'The use and importance of online videos about news, science, and climate change are continuously increasing (Allgaier, 2019; Frees et al., 2019; Galan et al., 2019). For example, 62% of Germans use YouTube frequently or occasionally as a search engine for specific questions and issues (Koch and Bleisch, 2020). Almost 70% watch videos on general knowledge topics, and 65% watch explainer videos or tutorials, with the share being even higher among young people (Koch and Bleisch, 2020; Wissenschaft im Dialog, 2021).' (Schorn, 2022).  The importance of this is that most people receive and learn information from websites, particularly YouTube, and younger people are even more likely to watch YouTube for explainer videos and tutorials.  The increasing use of explainer videos, tutorials and learning online has changed how people learn and what learning means.  The impact of Covid had a massive effect on people's attitude to online learning and how institutions and websites changed to accommodate how people wanted to learn and in what way.  

I may here be creating a fairly simple explainer video about making a sock monkey, but thinking about how this could mean I could teach others to do this, and how they might enjoy this, and it would bring joy to others - it is important and I do not take that lightly. There is nothing forgivable about a bad explainer video!

References

Mezzolab (n.d.). Top 30 Benefits of Explainer Videos. [online] www.mezzolab.com. Available at: https://www.mezzolab.com/blog/top-30-benefits-of-explainer-videos [Accessed 4 May 2025].

Schorn, A. (2022). Online explainer videos: Features, benefits, and effects. Frontiers in Communication, 7. doi:https://doi.org/10.3389/fcomm.2022.1034199.

YEC (2022). Explainer Videos And The Key To Making Them Great. [online] Forbes. Available at: https://www.forbes.com/councils/theyec/2022/09/16/explainer-videos-and-the-key-to-making-them-great/ [Accessed 4 May 2025].

Video Storytelling: Timed Practice One

 In this timed practice we all chose an emotion and shot footage for 30 minutes with a partner showing that emotion.  As the teacher I did not shoot this however I created a video with stock footage as we spent 30 minutes editing.  I edited on clipchamp.  I added music from the free music archive, I used crossfades and added titles and credits 

This is the video I created - I added this to Youtube and so this easy to view and publicly available.  This was a nice quick edit, I obviously did not shoot this but I did think about the shots and I like teh shots with miovement and moving from close up to long shots works well.  I enjoyed this short exercise. 

Introduction: Video Storytelling Project

 Over the next three weeks I will be working on my video storytelling project.  In this project I can choose to make an Explainer video, A Day in the Life Video or an Event Video.  We looked at examples in class of all three types of video and after this I began to think of ideas about what I would like to make for this project.  The project could be filmed on any device and needed to be doable in the time given with the shooting and editing.   

I started by brainstorming and making a mindmap Lucidspark

Explainer Video Ideas

After completing this and thinking about my ideas, and considering time available and what I need to do in terms of filming and editing, I have chosen to do 'Making a Monkey'.  I like this as it links to a project I did in the first term which was making sequential monkey images.  I can plan and storyboard this easily and although I will need lots of different shots. The set up at home should not be too complicated and I can reshoot and take many shots so I should have lots of choices when I edit this together.  My next post will be the planning of the shoot.  

Photography Project: Curation, Quality Control & Finalising Images

 My next step was to curate my images, I needed to find the best 10 images that would be consistent for my Neonate Tarot Collection.  

To curate the images I went through every image and first narrowed this down to around 25 images that were the correct light, did not have any flaws and were composed as I envisioned them for the project.  I wrote the image file numbers for all the images down:

The Fool: 1251/1268

The Star:1278/1268

The Moon: 1291/1290

The Devil: 1321/1320

High Priestess; 1339/1355/1360

Death: 1404/1399/1394/1378

The Lovers: 1425/1415/1451/1455

The Magician: 1464/1474

The Wheel of Fortune: 1522/1508/1505/1523

The Hanged Man: 1503/1564

After narrowing the images ,down I uploaded a set for each card to make a final decision and then I began quality control.  Here is an example of what I did for all images.  

I opened Photoshop and opened the images. I chose the one to work on in this case 'The Star'

I then unlocked and duplicated the background to make a new layer in the layers panel.

I wanted to even out the dark backdrop shade and ensure the bright areas were bright and the dark, dark, so I went to 'Image' in the top menu, then 'Adjustments' and then 'Curves'.

On this panel, I can adjust the image gently and subtly by just moving the line carefully in the dialog box

After this adjustment, I needed to get rid of a small spot of light that had come through in the corner of the image. To do this, I went to the tools panel on the left-hand side and right-clicked on the clone stamp tool.  I then took the tool into the image and pressed Alt and clicked where I wanted to clone from, and then went to the corner and gently clicked over it to clone the black over the error.

The image was now consistent, clean, and the contrast was correct.  I now wanted to make this into a round-sided Tarot Card, so I began by going to to tools panel and clicking on the Rectangle Tool

I then drew the rectangle onto the image.  I went to the tools control in the top menu and used fill and just filled this blue and checked that the stroke was transparent.  I then gently pulled the edge down in one corner to create my curved corners. 

Now I just needed to move the layer over the top of this layer in the layers panel and then I clicked on the layer and in the drop down box clicked on 'Create Clipping Mask'  I now have an image with rounded edges.  

My last stage is to finalise the image.  I have mocked one up in my previous post.  Now I will show this process.  I will now just add the Text layers to create the card. I click on 'T' in the tools panel and then click on the image. In the text tools in the top menu, I change the font to 'Harrington' and Type in the title of the card. I also changed the colour to white. The size of the font is 400pts. This is only because my image was very large, and I did not resize it as I wanted to see the original size while I was adjusting. I will now merge down the image before saving.

The image was now ready to save as a jpeg file in my final images ready for my portfolio on my website.  I click on 'File', 'Save as a Copy', and choose jpeg.  I will also save them as a psd in case I need to go back and adjust again for any reason. 

This is my final image of 'The Star'

I will now follow this process for my other nine images, and they will now be ready for my final portfolio

Photo Project Shoot: Neonate Tarot

 My ideas for this photoshoot were to create ten of the twenty two major acana of the tarot cards.  My idea was using baby heads as this was a portrait project so I had purchased a bag of baby heads.

For the shoot, I set up a light box with a black backdrop This meant that I could arrange the heads in different ways, but the light and backdrop would keep the photographs consistent.  I had drawn the different set-ups, and I had ideas about how I would execute each one.  I also used felt, blu-tack, sticky tape, a needle and strong thread and scissors.  The shoot took several hours due to the nature of the set-ups, and the heads are very small, so it was quite fiddly to put them together.

I then shot each set-up using ISO 100, F4 and would adjust exposure compensation as I went along. I shot in black and white and really wanted to bring out the contrasting shades and tones.  I shot a few in colour just to see what these looked like.  I took around 350 shots in total. 

I then uploaded these to my desktop and completed the contact sheets on Photoshop, this means there are 12 sets of contact sheets, so I will add some here, but all the contact sheets can be found on this link: Neonate Contact Sheets

My first shots were of card 0 - 'The Fool'.  These shots were the simplest as they just included one head and the jester's ruff.  The fool doesn't know anything; he is a new beginning and is guided by intuition.  The fool is the beginning of a new journey. He is optimism and hope but can be foolish and make rash or spontaneous decisions. 

This shot was taken on F5 with a fairly slow shutter at 1/50, ISO 100 and slightly underexposed at 0.7, I underexposed slightly to bring out the black backdrop.  The slow shutter was okay as it was a fairly still shot. I did not use a tripod for these; however, as they were tabletop, I could balance my elbows on the table to keep static. I believe this shot came out exactly as I had hoped, it is kind of haunting, and the contrast of the black backdrop and baby face worked well. 

This shot is of XV - 'The Devil'.  The Devil is about being seduced by the material world, luxuries and pleasures.  It is also about over-indulgence and being trapped by fear, perhaps in a cycle of addiction to these things.  

This shot was taken on F4 nd at 1/80, ISO 100 and with a -2 exposure compensation.  Again, I underexposed the shot to bring out the blacks.  This shot really does work well for me as the devil looks pensive and downwards, suggesting where he has come from. This shot is very consistent with my first of 'The Fool'. 

The next shot I will share here is VI - 'The Lovers'.  The Lovers is about relationships and what needs to be sacrificed for a relationship, and often in this card, the snake may appear as in The Garden of Eden to show temptation.  This card is also ruled by Gemini, which is why I chose to show the two heads, like the twins, in this image. It is about finding a soulmate, but it could be about finding a reflection, and perhaps not liking what you become when looking at yourself through their eyes. 

In this shot, again fairly consistent with the other shots F4.5, ISO 100 and Shutter 1/80. This time the shot was exposure compensation -1.3 underexposed.  This double image I really enjoyed taking as head below, is not a reflection but a real head, but it looks like a reflection.  The face is slightly darker and in the shadows, and again, there is something strange and ethereal about it.

The next shot is I - 'The Magician'.  The Magician is the next step from the fool, and here the Magician is often at the crossroads, as this is where we make choices, or he points above and below.  The magician is about using our own abilities and resources and finding our way.  The magician, of course, cannot be trusted; he may lead you down the wrong path. 

Originally, in this image, I thought about adding arms to the head as they were in my original drawings in teh ideas post.  However, when creating this, instead, I added a shining orb that dangled from the head, the magician's magic ball.  Below this, I added an additional head, and this juxtaposition of the two heads above and below really balanced this image.  Here, the settings are again consistent and underexposed by -2.7, and the high contrast here does really work with the head at the top of the image, almost looking divine and beautific.

I will share one more in this post - I cannot share all ten here (I will be adding all of these to my final website portfolio).  The next image I would like to share is XII - Death'.  This was challenging as I did not want to add a scythe or skull, but give that impression of death. Death actually means in the tarot not usually physical death, but the end of something important, so it could be a job, a relationship or something else that has life-changing effects.  It is the end and then rebirth, change and transformation.  So it is a major upheaval and change, but not necessarily bad. 

Again similar setting and underexposing by -2.  In this image, the mass of heads closer to the camera causes a slight blur in the foreground, but this works well; the bodies (or heads, in this case) are buried right here, within you, below you.  The main head at the top of the image is wearing a black cap similar to what was once worn by Judges in the UK when passing a death sentence. 

Judge wearing the Black Cap

The last image I will show is just one of the examples in colour, I shot a few in colour just to see how they looked and felt.

The same setting were used, here just -1 underexposure.  The colours are vibrant and the red jesters' ruff really stands out and complements the red lips of the baby lips.  The purple string does not really work, and if I had shot in colour throughout, I would have changed this to black.  The head below is darker and duller, and this again works at the bottom of the 'wheel', this set-up is for X - 'The Wheel of Fortune'

My next steps will now be looking at curating the best 10 shots, and I may play with creating the tarot cards. Something like this..

Reading a Photograph: Alexander Rodchenko

 Alexander Rodchenko (Russian, 1891–1956).  Rodchenko announced, “I reduced painting to its logical conclusion and exhibited three canvases: red, blue and yellow. I affirmed: It’s all over.” (Nouril, 2016) The death of painting in 1921, as it was to him, heralded a new age of the constructivist movement, and this included his work in photography.  His photography 'allowed him to easily experiment with the composition of images. He framed the world from new points of view—from above, below, and at other unexpected, sharp angles—encouraging the viewer to see familiar things in new ways.' (Nouril, 2016)

Portrait of Mother by Alexander Rodchenko (1924)

What?

What is in the photograph, and what are your first impressions?

This is a portrait of a Mother, it could be Rodchenko's own Mother, as it seems to state in the title.  In this image, the woman's life-worn face fills the frame.  She looks tired, perhaps rubbing her eyes.  Not only can we see her face, but also her weathered hands and the gold ring she wears on her little finger.  Perhaps this is her wedding ring or her own mother's ring, but now it is hers, as a remembrance. She seems to be wearing a large black hat and a smart coat, perhaps made of fur.  It seems to be winter, cold and fresh.  The woman's face is concentrated, perhaps she is trying to see properly or read something, and she is taking her glasses off or putting them on. What is most important is everything about this woman, this frame is her.

Who?

Who is in the photograph? How do you feel when looking at the people in this image? 

Do you feel part of the image, or do you feel you are just looking on? 

As discussed about the woman is his Mother or perhaps a representative of all Mothers.  This close-up uses a high angle just above the subject. What does this suggest?  It could be that the photographer was just taller and caught this shot as he tilted the camera down, or it was intentional and he was 'looking down' upon the Mother.  Also, Mother herself is looking down, so the whole suggestion of the shot is looking downwards.  Looking down suggests sadness, dejection, weariness or, as I suggested previously, concentration/tiredness.  I don't feel part of this image, I feel I am looking into a private moment.  I am a voyeur; I am glimpsing a moment that would have been lost to time without this image.

When?

When was this image taken?

What does that mean in terms of historical information?

This image was taken in 1921, this was a period between to first and Second World Wars, and art was flourishing.  The Constructivists in Russia, Dadaism, Surrealism and the avant-garde, through Europe, Rodchenko, 'On a trip to Paris in 1925 he bought a handheld camera, which allowed him to easily experiment with the composition of images.' (Nouril, 2016) A new wave of art and experimentation had begun, and Rodchenko really experimented with his camera, and he often used geometric patterns, and even with people, there was a constructivist mindset.  The Constructivist manifesto stated, 'The material formation of the object is to be substituted for its aesthetic combination. The object is to be treated as a whole and thus will be of no discernible ‘style’ but simply a product of an industrial order like a car, an aeroplane and such like. Constructivism is a purely technical mastery and organisation of materials.' (Tate, 2017) These images are the product of the industrial and technological revolution.  Now, as images are just pixels, materiality has gone and as Baudrillard, what really does exist anymore? 

Why?

Why did Rodchenko take this image?

Why is the photograph important?

It is unclear why Rodchenko took this image, but he was experimenting with the camera, and this close-up really shows that he was trying to get to the heart of what the camera could reveal in a person's face.  Rodchenko did believe that photography was art and had surpassed painting. 'The Russian formalists, including Viktor Shklovsky, who was photographed with Rodchenko, called [one of their]  techniques ostranenie - or making strange.'  (Raine, 2008) The idea was that you take something familiar and then you defamiliarise it through the photographic technique. her is an example below with Pioneer with a Trumpet, look at the unfamiliar angle and we see the pattern of the man's face and the trumpet from below.  Again, like the image of 'Mother', the face fills the frame.  

Alexander Rodchenko, Pioneer with Trumpet, 1930

How?

How has the image been taken? 

What technical points can you discuss? 

How has your view changed after researching the image?

What do you now understand the image to mean? 

As discussed, the image was taken from a high angle, and the face filled the frame. High contrast of the black hat and white skin, making the details all the more poignant and drawing the viewer's attention to the eyes, darkened and worn. Rodchenko may have used a Debrie Sept camera and also a Leica  camera. The Debrie Camera, imported from Paris, included a Zeiss lens, and Rodchenko would also have used a tripod and imported film stock. 

Alexander Rodchenko is an interesting figure in Photography and after relative freedom for a while a change in the Soviet State, his work came under scrutiny for being too Western and avant-garde, and as times changed, 'Rodchenko’s output was used repeatedly to make a state-sanctioned Soviet reality visible. In the wake of this, other official commissions began to arrive, from photograph albums of Civil War heroes or further examples of Soviet prowess, from parades and gymnastic displays to parachute jumps. The state needed Rodchenko after all,' (Lowe, 2023) 

Conclusion 

Rodchenko created great photography, and without him and his way of seeing, photography would be missing a seminal and important figure who was admired by other photographers around the world.  The state-sanctioned images may have changed his output, but in photographic terms, he was one of the greats who led the way for so many others. 

References

Raine, C. (2008). Craig Raine on the Russian avant-gardist photographer, Alexander Rodchenko. [online] the Guardian. Available at: https://www.theguardian.com/books/2008/jan/26/photography [Accessed 27 Apr. 2025].

Lowe, P. (2023). Aleksandr Rodchenko’s Photography: Seeing Things Differently. [online] Izba Arts. Available at: https://www.izbaarts.com/aleksandr-rodchenkos-photography-seeing-things-differently/ [Accessed 27 Apr. 2025].

Nouril, K. (2016). Aleksandr Rodchenko | MoMA. [online] The Museum of Modern Art. Available at: https://www.moma.org/artists/4975-aleksandr-rodchenko [Accessed 27 Apr. 2025].

Tate (2017). Constructivism. [online] Tate. Available at: https://www.tate.org.uk/art/art-terms/c/constructivism [Accessed 27 Apr. 2025].

Reading a Photograph: Robert Frank

 As part of the photography brief, we are reading a photograph, for the class task we are looking at Robert Frank's Trolley from 1955.

Trolley, New Orleans (1955) Robert Frank 

What?

What is in the photograph, and what are your first impressions?

This is an image of a 'trolley' or bus with the people of New Orleans.  The bus is segregated, so the black people are at the black and the white people are at the front of the bus. The framing of the image is very effective as it is split into thirds.  The bottom third is just the blank side of the bus, and at the top, there is a thin sliver of the side of the bus which almost gives the impression of a cinema with the lines below and above.  The most important and largest third is in the middle and directly at the viewer's eye line. Each person is then framed again in the windows, and they stare back out at the photographer/us, now from history.  Each person with their own story. The older well-dressed lady at the front, her handbag sitting on her knees and sits straight and looks out at the view. In the next frame is a boy and a young toddler who is crying.  The boy, dressed quite smartly, holds onto the frame and looks directly at the photographer.  In the third frame, a man wearing what looks like work clothes leans on the frame and again seems to catch the photographer, and now looks directly at the viewer. The fourth frame is an older woman again, quite well dressed, looking back, perhaps she is going to work or shopping and taking the bus.  The final third with the upper windows shows reflections of the outside and silhouettes of the people within, creating an impressionist film strip along the top of the image.

Who?

Who is in the photograph? How do you feel when looking at the people in this image? 

As above the people in the image are just the ordinary people of New Orleans, the people look like they are just living their lives as it was in 1955.

Do you feel part of the image, or do you feel you are just looking on? 

I do feel part of the image, the image draws you in and I could imagine beimng on the bus.  I imagine that it is a hot day, there is hardly a breeze and the trolley is hot and sticky and it is going to be a long ride in a cramped and noisy bus.  The smell is of sweat and dust, I can imagine being in this different world.  This frame is a long way from my own life however the social issues still exist and this image was before I was born, but I can imagine this time and this image is an important historical document that transports me back and helps me to understand.

When?  When was this image taken? What does that mean in terms of historical information?

This image clearly shows segregation on the buses and 'In 1958, [Robert Frank] wrote: “With these photographs, I have attempted to show a cross-section of the American population. My effort was to express it simply and without confusion.”' (Reed, 2020).  This is a historical document and through Franks seminal book The Americans (1958) first published in France and then a year later in the United States,  American life can be seen from a different viewpoint, it is a social commentary and Frank not coming from America, he was a Swiss-Jewish immigrant,  has the advantage of seeing it from an outsiders point of view. Frank took eight hundred rolls of film to capture American life, and 'His elliptical, off-kilter style was controversial, as was his innovative treatment of his subject matter, which revealed a profound sense of alienation in American life.' (The Museum of Modern Art, 2025).  This sense of alienation really refelects Franks feeling from the outside he is an alien in a foreign land and like my impression of the image, I feel like I am inside it, I can imagine it but it is another world, a world I have never lived in, but I am also a product of that history. 

Why? Why did Robert Frank take this image? Why is the photograph important?

Frank took this image and all the other images for The Americans (1958) to express what he saw as American life at the time.  His images were unusually shot, framed and composed differently; they were not just straight shots of buildings, landscapes, people, they took a different perspective.  This shot that has been flattened almost to make it look like a postcard, the trolley fills the frame and using the frames within the frame create individual stories, not only is there segregation, but each individual is highlighted by their own frame and through this they become more human, more individual to the viewer. LadyKflo states;  'The trolley car punctuates each square window with white bars on each side, as if to say that whiteness organized this system and keeps it in place.' (Katherine, 2022) I don't believe that this statement is really the truth, I don't believe the white bars were about a system, I think the bus had what we window frames and actually Frank through these frames did highlight individuality, even through the segregated bus. 

How? How has the image been taken? What technical points can you discuss? 

This image was taken as a snapshot as the bus was moving, hence the blurred windows and moving reflection in the upper third of the shot.  The flat 2D frame and separation into three follows photographic rules and creates a shot that fills the frame and uses frames within the frame to create a really masterful shot that has stood the test of time, as we are still talking about this shot 70 years later. 

How has your view changed after researching the image? What do you now understand the image to mean? 

I think it is interesting that now we look at this through the lens of history.  At the time when it was published, it was probably not understood or appreciated, Jno Cook states; 'It was little understood and appreciated at first, and it took ten years before its influence was recognized'  (ASX, 2009).  Viewpoints change through time, and how we see certainly changes.  We all now have a more sophisticated understanding of the image only because we are bombarded by them.  Photography at this time was still young, and these images were experimental and strange to people.  Now they have become important historical documents. Frank also stated of his images, 'My photographs are not planned or composed in advance and I do not anticipate that the on-looker will share my viewpoint. However, I feel that if my photograph leaves an image on his mind—something has been accomplished.' (amer4127, 2012).  Frank wanted others to take whatever they could from his images. he was a recorder but as he said, he did not plan this; he just took what he saw in his own way.  Frank was a pioneer in the photographic field, he discovered new perspectives, new ways of seeing that he shared with us.

Conclusion 

This image is a seminal image from Robert Frank's collection in The Americans. The image now still has impact and stands up as art and a historical document.  As we look into the eyes of the people here on the bus, we can imagine being within the frame, at a different time and with different attitudes and perspectives. Times have changed, but we still have many issues still with racism in America, which is why Black Lives Matter is so important.  We are in a better world, in some ways, but we still have an awful lot of work to do.

References

Reed, R. (2020). Robert Frank. Trolley: New Orleans. MoMA One on One Series. Photographs by Robert Frank. Text by Lucy Gallun. 9781633451193 - photo-eye. [online] Photoeye.com. Available at: https://www.photoeye.com/bookstore/citation/DT894?modal=%23booktease-modal [Accessed 22 Apr. 2025].

Reed, R. (2020). Robert Frank. Trolley: New Orleans. MoMA One on One Series. Photographs by Robert Frank. Text by Lucy Gallun. 9781633451193 - photo-eye. [online] Photoeye.com. Available at: https://www.photoeye.com/bookstore/citation/DT894?modal=%23booktease-modal [Accessed 22 Apr. 2025].

the Guardian. (2024). ‘It changed 20th-century art’: revisiting Robert Frank’s The Americans – in pictures. [online] Available at: https://www.theguardian.com/artanddesign/gallery/2024/nov/20/robert-frank-the-americans-in-pictures-photo-book [Accessed 22 Apr. 2025].

The Museum of Modern Art. (2025). Robert Frank. Trolley--New Orleans. 1955 | MoMA. [online] Available at: https://www.moma.org/collection/works/54484 [Accessed 22 Apr. 2025].

Katherine, L. (2022). Trolley New Orleans by Robert Frank, 1955 - LadyKflo. [online] Ladykflo.com. Available at: https://ladykflo.com/trolley-new-orleans-by-robert-frank-1955/ [Accessed 22 Apr. 2025].

ASX, E. @ J.C. (2009). Robert Frank: Dissecting the American Image (1986). [online] AMERICAN SUBURB X. Available at: https://americansuburbx.com/2009/01/theory-robert-frank-dissecting-american.html [Accessed 22 Apr. 2025].

amer4127 (2012). A Statement by Robert Frank (1958). [online] AMERICAN SUBURB X. Available at: https://americansuburbx.com/2012/07/robert-frank-a-statement-1958.html [Accessed 22 Apr. 2025].