Burlesque Orca

Burlesque Orca is the personal visual journal of Aleksander Dimas-Lehndorf, a professional communications student at MacEwan University.

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Check out my photo story that features details of luxury cars from different countries. https://goo.gl/I9BQoy

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For my last official journal entry, I was asked to find an example of visual propaganda, so naturally I found this image on the Right Wing News page on Facebook. The images that this page posts consistently pander to a ridiculously conservative audience. Scrolling through the posts is an entertaining but very concerning experience. The main text plays on the phrase “the end of an era,” but replacing the final word with “error,” implying that Obama’s presidency is some kind of mistake. The ways in which this photograph has been manipulated further push this image into propagandist territory. The image tries to shape the audience’s perception of the Obamas, portraying them as disrespectful and dishonest. Barrack Obama is pictured crossing his fingers, and Michelle Obama is pictured giving the audience the finger, although to my eye, it appears as if the rest of her finders have been cut off. The US flag is a symbol that is so significant to Americans. In this image the flag is pictured upside-down, torn, and in flames. Disrespecting the flag in this way is seriously offensive in American culture, if not a felony. Although the Obamas are not pictured doing this action, the disrespect behind the action is transferred to them. This poorly-edited conservative internet photo attempts to shape the perceptions of the audience though an aggressive emotional appeal.

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This image is the product of my first experience with Adobe Photoshop. The image is a restoration of Roberta Laurie's photograph: Victor, Harry and John.jpg. The tools in Photoshop are daunting at first, but after a few minutes of use, they become understandable and intuitive. I am not exactly proud of my restoration efforts, but I was asked to produce a reasonably improved image, and I believe that this restoration is very reasonable. Correcting the saturation was the first and easiest task, and was by far the biggest improvement that I made. Te second tool that I used (and went to town with) was the spot healing tool. I used the tool to remove many white blemishes from all parts of the image. I believe that I was successful at removing most of the noticeable/distracting blemishes, even ones on the subject's faces. The most complicated task was removing the muddy stain. I used the cloning tool to repeat the colour of the siding and make it appear at least reasonably uniform. I think that I made a passable effort to hide the stain. After cloning, I used the healing brush again, to smooth-out the corrections that I made to the siding, and when I continued to the bottom of the house, I made a shocking discovery. The tool I was using uncovered more siding beneath the skirting. I have concluded that this apparition is either a ghost trying to communicate with us, or the manifestation of a sub-conscious, innate urge that I have to redecorate everything. Alternatively, I could have been using the wrong tool.

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Helvetica is the ubiquitous typeface. I can almost guarantee you that from where you are right now, you are no more than 20 meters away from physical text printed in Helvetica. Helvetica has no inherent positive or negative connotation. Because the typeface is so generic, it can be used to communicate a variety of different messages. One can infer that a positive use of Helvetica is positive because of the message that the text communicates. The same inference can be applied to negative uses of Helvetica. Helvetica as a medium allows the message to be the message. My positive example was found on Google Images, and there are plenty of examples with identical typography, but with different backgrounds. Almost everyone would take the message as a compliment. Even if you do not appreciate Helvetica as a typeface, most viewers would agree that the intentions are good or positive. The party game called Cards Against Humanity is created entirely in Helvetica and black-and-white. There are countless examples of very negative (and subsequently hilarious) messages. This example, one of many from Google Images, creates an image of mass casualty in a freak ferris wheel accident – an inherently negative message. In the game, arguably all card combinations communicate a negative message, and all of the messages are communicated in Helvetica. Helvetica is so generic and versatile as a typeface that the words themselves dictate whether the message is positive or negative.

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The Google logo is entirely comprised of typography. I found this compilation on Google Images. In my opinion, the current logo is an effective use of typography. Additionally, I think that the evolution of the logo over time is indicative of changes in type design taste since the late 90s. The current logo is clean cut and features geometric shapes that are consistent and pleasing to the eye. The typeface chosen is also unique, avoiding the hate associated with fonts that are considered ubiquitous and cliché, like Helvetica. The unique type choice also allows Google to use the lone G as a symbol or auxiliary logo. The current logo is colourful and positive. The only colours that are repeated are blue and red. Blue is used on the first and only capital letter, and could be used to associate the brand with trustworthiness and positive. Red could be repeated to indicate power and strength. The first two iterations of the logo featured different colour schemes, and the first three utilize different, and very 90s-reminiscent typefaces, whereas the typeface we associate with Google was established in 1999. We can also see how tastes have slowly moved away from three-dimensional elements with shadows being eliminated in 2010, and 3D texture being flattened in 2013, before the geometric re-brand in 2015. The Google logo is an effective example of typography in branding, and its changes over time show us how taste has evolved since the 90s.

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Personal Choice

I found this image on Tumblr, and it found itself on my dashboard courtesy of Tumblr user meanplastic. The photograph features a person on the corner of an intersection, in a knock-off Mickey Mouse costume, holding a sign. I am a big fan of this kind of candid, side-of-the-road photography because it can be hilarious. First off, there is the costume, which is clearly not genuine Disney merchandise, so I think it is fair to say that this person in not a representative of The Walt Disney Company. The costume’s eyes are large with small enough pupils to make the character terrifying. Adding to the terror is a large, arrow-shaped sign reading: “YOU’RE NEXT!” I believe that the sigh could have originally intended to mean “your next right,” as in turn. Instead, the I am faced with a sociopathic Mickey threatening me. Originally, I was under the impression that this picture must have been captured in the global south, where intellectual property, like the Mickey Mouse character, are not as well-protected as in the global north. My original impression was mistaken because, under closer inspection, there is both an American flag and a McDonalds restaurant in the background. There are many elements of this image that make this photo hilarious to me, many of which are common among examples of this roadside-meme photography genre.

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Personal Choice

I found this set of photographs on the Motor Trend website, but they are the official press photos for the Bugatti Chiron, produced and published on behalf of the brand. These are the first photographs of the much-anticipated car to be revealed to the public, so they are very important to the company, potential customers, and industry enthusiasts. There are some interesting choices that have been made to make the vehicle appear more appealing. The first photograph was captured with a slower shutter speed. This setting blurs the trees, road, and wheels in a way that portrays the vehicle at great speed, which is a desirable quality in a performance car. The vehicle is also pictured in all black which not only makes it appear scary, but also allows the C-shaped design feature to stand out. The vehicle pictured in the second and third photographs features a black-on-blue colour scheme that is, in my opinion, far less flattering than the all black one, but it does allow the vehicle to really pop in both images. The third image was captured in the Grand Palais in Paris, France, but the colours of the building have been muted significantly in post-production to further highlight the car. The setting of the second image is cleverly chosen. This palatial location is most likely intended to establish a connection between the Bugatti brand and a lavish lifestyle. I think that these images successfully promote the product and brand as they were intended to.

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Robert Tarr is a photojournalist, and these are two of his photographs that I found on his website, which are from the same album/collection. Analyzing James Nachtwey’s work left me feeling pretty sad, so when choosing photos for this entry, I found a situation that was still sad, but left me with more hope for humanity. These photographs are communicating news to somebody. The news may not be war, famine, or political unrest, but it is still news. I believe that the false killer whales had been stranded on the beach somehow, and the humans in the photographs are trying to keep them damp, and therefore alive, until they could be returned to the water. The first photograph features a man actively pouring seawater on the animal. The photograph is shot in such a way that the viewer can figuratively feel the heat of the sun, and the splashing of the water. The second photograph is captured with the sea in the nearby horizon, showing how close the people are to their goal, but the caption indicates a more depressing reality. Paired with the correct language, these photographs could communicate news, such as how the whales became stranded or the efforts of the people in the photographs, very well.

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James Nachtwey is a photojournalist who specializes in war photography. To the best of my knowledge, this image was captured in Rwanda, and I found it on Google Images. The most striking feature in this image is the human subject. He is shockingly malnourished. People have previously told me that I am just skin and bones, but this man truly is. This image probably resonated with audiences purely because his condition is almost inhuman. First-world audiences would therefore immediately feel sorrow and sympathy. Nachtwey chose not to pose the subject, and simply capture him crawling on the ground. This position gives the audience the impression that the subject is struggling to move, or ‘on his last legs.’ Another interpretation that is more abstract is that by showing the subject on his hands and knees, he is likened to an animal. The setting for this image is somewhere with a barren, dirty ground, and what we could consider a temporary shelter or structure in the background, but it may actually be a permanent structure. This photograph is very emotionally evocative, which is the essence of  photojournalism.

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Personal Choice

This short video is a representation of the original RollerCoaster Tycoon computer game (1999). I found the video on YouTube. What makes this point-of-view video unique is that is shows the perspective of the peeps (little guests in the amusement park created in the game). There are so many thoughtful elements that connect with audience members who played the game ‘back in the day.’ These elements include: stunningly accurate visual representations of ride entrances and queues (including little things like titles – Log Flume 1). The music also helps connect with the audience, because it matches the music found within the game. At one point the viewer sees another human portrayal of a peep jumping for joy and vomiting with the same physicality as a peep would in the game. Around 40 seconds in, there is a shift to a portrayal of the subtly horrific things that players often did. The peep’s balloon spontaneously pops, there are rollercoasters crashing, and of course peeps are picked up and drowned. These activities are entertaining as a player, but from the perspective shown in the video, these activities are sadistic and scary. This video effectively connects with a specific audience, while also showcasing a creative use of perspective.

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Personal Choice

Although this image is simply a frame of a stage recording, it can be interpreted as an visual because the creative team behind the production made several symbolic choices about how this moment would appear. This is a moment in a number titled “American Dream” in the musical Miss Saigon. Set pieces and costumes are signifiers, with signified ideas. The largest and most prominent visual element is “Lady Liberty.” The set piece is an allusion to the iconic statue in New York City, which is a symbol of freedom and liberty, and the American Dream itself: opportunity, individuality, democracy. However, the allusion takes the form of a mask, implying the concepts it represents are entirely feigned. Another symbolic set piece is the car in the centre of the stage. It represents the glamour, elitism, luxury, and materialism associated with mid-century American culture. The costuming of the chorus is also an allusion to the objectified showgirls of American entertainment, and patriotism is implied through the blue and red suits. In summary, all of these symbolic visual choices are interconnected with the lyrics of the number and Miss Saigon as a text, but they can also be interpreted as a part of a standalone image.

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This photograph of the Hindenburg disaster is iconic because it drastically changed the public’s opinion on lighter-than-air travel. Zeppelin airships became a more feasible mode of transportation in the early 20th century. In the years leading up to 1937, airship travel became a glamourous and prestigious experience, and the Hindenburg was the largest and most impressive airship to date. After the disaster in New York, this image was on the cover of newspapers around the world. Thankfully, only about a third of the people on board perished in the accident, but this statistic did not stop public terror from spreading like fire. The public reaction to this image ended the vision of airship travel. There has been no meaningful commercial use of airships since then (with the exception of Goodyear’s application) because this image was so directly associated with them. This iconic image is a good example of the power of iconic images, because it was instrumental in the demise of an entire industry.

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These are five photographs that I have taken that represent life at MacEwan University. I chose to focus on the architectural elements of the City Centre Campus that either I appreciate or I feel represent the student experience. I selected a picture of the spires as my first image because I believe that they are representative of the institution as a whole. Also, the spires are instantly recognizable, and quite regal. The spires are an essential part of the MacEwan experience because one sees them when entering and exiting the campus. I often find myself admiring them when I am walking from class to class. My second image features both the roof structure in the library and students working below. I think that the decorative roof structure is very aesthetically pleasing and I am glad that students can research and create in such a pleasant environment. My third image highlights the curved staircase inside the clock above the main entrance. In my opinion, the aesthetic environment created by the designers significantly improves the student experience. The curved staircase and clock are good examples of expensive and unnecessary choices made to enhance the ambiance of the campus. My fourth image is of a study space where students spend hours working, conversing, or sleeping - all of which are significant aspects of life at MacEwan. Although there is nothing architecturally pleasing about the quick-service food establishments or Towers on 4th, I think that alcohol and low-quality food are a quintessential aspect of student life. I tried to experiment with perspective, capturing spaces from uncommon vantage points. I also chose to capture my photographs without people if I possible, because I wanted to focus on architectural choices. This anonymity also allows the viewer to imagine him or herself in the pictured space. I have thoroughly enjoyed my experience at MacEwan, and I enjoy spending time at the City Centre Campus because of its aesthetics.

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These five images tell a story – a short story, but a story none the less. While on vacation in Venice, my family traveled by boat through the canals. I decided to take a selfie with my mother (Figure 1), but I quickly realized that she was not paying attention, and proceeded to take a picture anyway. At this time, I switched my camera around to take pictures of my sister and father, neither of whom were paying attention either. Figures 2 though 5 were all captured within one minute. If the photos are viewed in quick succession, the viewer sees my father successfully clear something from his eye and adjust his glasses, all while taking in the beauty of Venice. The viewer also sees my sister change from giving vogue side-eye, to glancing to her left before looking to her right again, and finally in figure 5, she realized what I was up to. I think that the brief story that these images communicate is unique because the individuals are nots posed, prepared, or even aware that I am taking the photographs. This candidness gives the viewer a brief view of natural human life. I also appreciate how near to the subjects I was able to get, giving the viewer a rare, up close perspective. I believe that the story communicated by these images is almost as hilarious as it is concise. These photographs also capture a very fond memory of mine, within the larger story of the vacation itself.

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Personal Choice

Any text can be interpreted in countless different ways. In isolation this short video (which was shared by Tumblr user Commongayboy) will put a smile on the face of any viewer that possesses a human soul. The video brings to mind the innocence of childhood, and the beauty found when being silly. Because most people have experienced what it is like to be a toddler, or have at least interacted with one, anyone can relate to this video. However, this relatability is not the reason why I think this post is successful. The choice that I feel makes the post appealing was not even the creator of the video. By the time the video ended up on my dashboard, somebody had added a caption saying: “when u and ur drunk friend tryin to get to the bathroom at the party.” This caption profoundly changes the video fro the viewer because it turns these children into an abstraction of grown-up human experience. I think that the similarity is beautiful, hilarious, and accurate. I think that this post is so interesting because it is an excellent example of how a simple caption or comment can completely change the meaning of a text for a viewer, and how an audience can take a text an make it their own-appropriation, if you will.

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This is an advertisement found in Top Gear magazine for the Lexus IS executive sedan. I believe that the advertisement is ineffective because of its boring aesthetic and logical appeal. The large script at the top of the advertisement states that “the only thing more attractive is the monthly payment.” In my opinion, this is a terrible way to sell a car. From what I know, the IS is a perfectly competent luxury car, but the saying makes me believe that its best feature is its low cost of ownership. Also, instead of supplementing the main text with information about the car, its features, and why its desirable, they include a chart full of running costs. Smaller text at the bottom claims that the IS has the highest owner satisfaction in its class according to J.D. Power; I feel as if this advertisement would be more successful if this claim was the primary text at the top. Although cost is important to most consumers, there is little to no emotional appeal here, only logical. Additionally, the photograph itself is simply boring. The creators chose to feature a car in white, which I associate with renal cars and fleet vehicles. The IS is also pictured traveling in a straight line through some generic urban environment. If Lexus is trying to sell me a lifestyle, this is not the one that I want.