Rush Hour - Image Selection
d e v o n

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Aqua Utopia|海の底で記憶を紡ぐ
trying on a metaphor
NASA
official daine visual archive
untitled
he wasn't even looking at me and he found me
Mike Driver

Janaina Medeiros
Claire Keane
cherry valley forever

ellievsbear

JVL
TVSTRANGERTHINGS
RMH
ojovivo
Show & Tell

blake kathryn
Noah Kahan
seen from Argentina

seen from Germany

seen from United States
seen from United States
seen from United States
seen from United States

seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States

seen from United States

seen from Italy
seen from United Kingdom
seen from United States

seen from Jordan

seen from Malaysia
seen from Malaysia

seen from United States
@szymong
Rush Hour - Image Selection
Rush hour - Image selection
Architecture - Evaluation
We were introduced to the brief architecture that involves shooting external and internal shots of a building to show its features. I researched architectural photography and learned about new equipment such as tilt-shifting lenses. I then researched Perspective correction and found out how useful it is to make a building's alignment more accurate. I have never used it before in any of my photos, but after using it for some of my images, I was surprised by how much better it made my image look after using it. I want to approach shooting buildings from a more creative point of view, like focusing on details and abstract features of buildings. In my research of a couple of architecture photographers, I found that they all had a similarly creative approach to shooting these unique structures. Similarly to the photos I saw from some photographers I have looked at—a particular duo team of photographers that piqued my interest when researching Hufton & Crow. I enjoyed looking at some of their photos as they focused on the contemporary interior and exterior architecture design of buildings.
I have also immensely enjoyed learning about this new post-production technique, perspective correction. I will use this to my advantage whenever I encounter abstract images in the future. I captured some interesting features of a few locations I've been to and creatively shot them to bring out these interesting features. For the exteriors, I shot on a cloudy/sunny day with a tripod so I could establish a focus F/20 to ensure there was sharpness in my images. For my interiors, I absolutely had to shoot on a tripod to be able to shoot at a slower shutter speed so I could capture the images at a smaller ISO and avoid grain. The only actual issue when trying to shoot was people walking through the frame since most buildings were quite busy. I had to find an opening when fewer people were walking to get the most pleasing shot, and this task required patience and accuracy. If I were to do this again, I would research better times when there were fewer people or find just as interesting locations where a few fewer people were roaming around.
Architecture - Final images
Moving image -storyboard
Architecture - edits
Moving Image - Techniques
Camera movements are explained well here in this video below:
https://youtu.be/ZYiWIKnm8_A
Movement
This video explains camera movement in cinematography:
https://youtu.be/idFRHEbYp8Q
Viewpoint
In this video, camera angle viewpoints are explained:
https://youtu.be/SlNviMsi0K0
Focal Length
In the video, there are many different examples of ways different lenses can impact a shot:
https://youtu.be/Nnq55BAlGVY
Moving Image - Research Task 1
This is a Cinematic B-roll used for commercial purposes that I came across and immediately became intrigued with this style of videography. Films and videos may cut away from the main story to show related scenery or action. These secondary images are often presented without sound or superficial level sound, as the sound from the primary footage is expected to continue while the other images are shown. The various shots presented without sound are called B-rolls. B-roll shots may be used to show the audience the story's context in a cinematic way.
https://youtu.be/8m9vzffbae4
When making my video for Moving Image, I will be using the B-roll technique to create a cinematic car commercial by using cutaway footage to make the final short video and experiment with it.
Architecture - Task 1 Inspiration
This absorbing documentary photo from 2008 focuses on Julius Shulman, a photographer best known for his modern, dynamic studies of mid-century modern Californian architecture by Richard Neutra, John Lautner and Pierre Koenig. Although Shulman himself is less well-known outside the photography and architecture scenes than those architects, his frequently reproduced images of their structures helped create the iconic status of those buildings.
Hufton & Crow are dedicated to creating inspiring and striking photographs of contemporary interior and exterior architecture worldwide. As two experienced photographers with complementary skills and competitive characters, they offer a unique service because they work as a team, simultaneously photographing one project or providing input, critiques, and direction of the other's work.
Lucien Herve, High Court of Justice, Chandigarh, 1955
The Hungarian photographer Lucien Hervé was more than Le Corbusier's official photographer; he became his design partner. Hervé's dozens of high-contrast, closely-cropped photos gave Le Corbusier's buildings the cinematic look the architect endeavoured to create.
Bernd & Hilla Becher, Lessines, 2010
German husband-and-wife duo Bernd and Hilla Becher documented the industrial architecture in Western Europe. Their work created an archive of the proliferation of buildings that sprang up between the World Wars and inspired subsequent photographers.
Thomas Struth, Clinton Road, London, 1997
Thomas Struth. The German photographer works in black and white and has shot everything from skyscrapers to theme parks to deserted streets, like this one in London in 1977.
Ed Ruscha, Dodgers Stadium, 1000 Elysian Park Ave, 1967-1999
American pop artist Ed Ruscha paid close attention to commercialization, and therefore, structures like gas stations, street signs, and billboards.
Turkish photographer Yener Torun also uses Instagram as his medium, documenting architecture in Istanbul and other cities in Turkey that features bold shapes, vibrant hues and patterned facades. Through his work, he hopes to reveal that there is more to Turkey than opulent mosques and old streets.
Swiss photographer Nicolas Grospierre refers to himself as an "obsessive collector" of Modernist architecture, and has spent the last 15 years documenting buildings across five continents. In his exclusive essay for Dezeen, the Warsaw-based photographer discussed how his images of the movement's now dilapidated concrete-formed churches, Soviet housing estates and various saucer-shaped structures show its failure.
Photographer Alastair Philip Wiper travelled to Flaine, the Marcel Breuer-designed Modernist ski resort in the French Alps, to find out why it had such a bad reputation. According to Wiper, the concrete hotels and public buildings didn't go down well with visitors looking for more traditional Alpine cabins, and in his photo essay, the photographer explained why he believes that the recent surge of interest in Modernism and Brutalism could help restore Breuer's vision for Flaine.
Following the 2011 Christchurch earthquake, which severely damaged New Zealand's second-largest city, Mary Gaudin was struck by how many notable Modernist houses had been destroyed. With no records left of these buildings, she embarked on a project to capture those that remain and created a series of images documenting mid-century residential architecture in New Zealand.
Triptych - Examples
Graded - Evaluation
The Personal Project (Graded Unit) is an opportunity to show our creativity and professional freedom, making any images we could think of doing and working in a photographic genre or specialism that we may have always loved to do or have recently discovered. For my personal project, I have decided swiftly to do Commercial Photography. I knew I could try many creative and exciting ideas to promote a particular brand and make it eye-catching to any viewer. The photos were all done primarily in the college studio as it was the most suitable place as it had good equipment and space to work with. Most of my ideas required a lot of complexity and trial & error to catch the perfect moment of the set object in action. My images' central core will rely mainly on me retouching them in post-production (Photoshop) in different and creative ways to construct a final image. As for prints, I decided to print them in A3 and show the most relevant to each other photos in a creative series.
As for the planning of my shoots, I decided it would be best for me to be able to catch up to the standard requirement of 10 images, as I knew it would be quite a lot of trial & error ahead of me in most of the concept ideas. The more complex images I shot would be my primary focus as I knew these would take more time and precision and get the best result that I was expecting to achieve. So to do this, I thought I could do at least two shoots every time I come in on Tuesdays and Fridays and use the rest of the days in between to retouch the images I have captured. The first Shoot I have used as my primary understanding of how easy or difficult it could become the more complex ideas I would choose to do as this Shoot has opened my eyes to many things I needed to do more before doing the Shoot. One of these things was the extra preparation I needed to do before any other shoots; for example, If they would get messier, I would need Dust covers and waterproofs to protect things around me from any potential damage or mess, and this has helped me improve on shooting more complex shoots. Another important thing was bringing a considerable amount of props and objects to the Shoot, so I would need to use any of my extra time going to the store and needing to buy anything constantly.
In my post-production stage, I had to edit each of my images accurately, and the complex ones required more attention as they were more of a challenge than the rest. Some of these were constructed with separate elements that were implemented into the main image or stacked on top of it to create a realistic image. As all this was challenging, it was also a great learning experience during these complex editing parts as it showed me how much I could push myself and the techniques I knew, and I also learned a few new things along the way.
During the course of my shoots, I had to change my scheduled shoots to an extra day to be able to create more images in the time we had till the deadline, so I added this. It helped me push through most of the challenging phases of my shoots as it gave me more time to put into action most of my ideas that I wanted to try out.
When doing this genre of commercial photography, I enjoyed many of the creative aspects of learning how things were created and how they are portrayed to us in the final image. I was then able to do these in my way and know what I needed to do to create an image and what is required to construct an idea and make it a reality. This process was the most enjoyable of my project as it was interesting and fun to explore different areas of commercial photography.
In conclusion, I have managed to deliver on what was asked of me from this project, and I was able to create a successful series of final images. I have learned many things from this project, like handling better preparations and planning for shoots, learning new Photoshop techniques, and how things were constructed behind the scenes. This was all a very enjoyable learning experience. If I were to have another opportunity to do this project again, I would like to improve my set building skills a little more as I feel it would make my image even stronger. I would want to try even more complex Ideas and challenge myself with them with great ambition.
Graded - Final 5 for print
Graded - Final 10 images
graded - shoot 7 Idea 13 CS / Edit 1
graded - shoot 7 Idea 12 CS / Edit 1
graded - shoot 6 Idea 11 CS / Edit 1
graded - shoot 6 Idea 10 CS / Edit 1