#studio assignment

[createjam]

These aren’t the greatest photos of my studio assignment 😂 inside the fabric is a fabric baby i made. And i would love to have it hanging up rather then on the table 🙈 The quote is - open up whats inside show me show me What is there to hide? Do you know what’s inside? Peel back the layers then decide What do you hide? What is trapped inside? Show me show me Whats inside

[quirkylittlegirl-blog-blog]

My architectutal model for studio assignment

[curtislatouche-blog]

Sunday Sessions | #1 - Moe Motivez

New recurring segment; ‘Sunday Sessions’

This week's session consists of a short music video I directed last week featuring aspiring Deadline Entertainment/NXEvolution artist Moe Motivez

Moe Motivez - Pacman

Download Studio Assignment EP ; this 8 track project features production from Rynsa Man, Knox Brown, SNY and more.

<a href="http://motivezonline.bandcamp.com/album/moe-motivez-studio-assignment" data-mce-href="http://motivezonline.bandcamp.com/album/moe-motivez-studio-assignment">Moe Motivez - Studio Assignment by Moe Motivez</a>

Check it out

[girlwithonelens-blog]

Studio Assignment - True Icons

"The Greek word “icon” (eikon, or image) now seems to denote any thing, person, or idea that is, for whatever reason, a centre of attention, and which has acquired significance that raises it above the flow of ordinary events. It may be difficult to put this significance into words; but the crucial thing is that an icon is common property. You and I can both refer to it, and know instinctively what we mean, even when we have no other way of saying what we mean. Produce four photographic images that explore and challenge our cultural artefacts, you will determine the nature of the product/s you are photographing, the details of which you are asked to describe in your visual work journal. Models (people) can be used but only as an accessory."

[girlwithonelens-blog]

Studio Session #2 - Review

(12/10/12) The session in the studio this week was the first session booked to begin taking images for the Big Mac Challenge, and to take more Grey Goods images. The first half of the session was spent photographing some more 'Grey Good' images, this time with a Macro lens. In the first session I didn't have access to a macro lens, and after the feedback session given in the workshop, I felt that an approach to the project that I'd like to take would be shooting images with a Macro lens. After reviewing the images, I'm not 100% pleased with the outcome. Whilst I liked the ideas that I was developing and creating during the studio session, I feel that the images taken are not as strong as the ones from the original session. 

Images where the Macro lens has been used, the edges/outlines of some of the items aren't in focus. Additionally, in others, the parts of the items wanted in crisp detail again, aren't in focus. 

Overall, I feel that the images taken in the original session are of a much higher standard.

During the second half of the studio session, I shot the first images for The Big Mac Challenge. The brief states that I am "required to produce two photographic images of a Big Mac, before and after." After researching the process of advertising the 'perfect' Big Mac, I wanted to mimic this process and see if I could re-create it as much as possible. Knowing that the food stylists use the exact same ingredients as they do in the restaurants, it was key that I only use the ingredients given to me with the burger when purchased. 

The first image, or the 'before' image that I wanted to create, would be to line up all the ingredients individually, so the audience would be able to clearly see each ingredient that makes up the iconic Big Mac. 

However, after taking a few photographs of this idea, I knew that the idea simply wasn't working. The ingredients didn't look clear enough, and they were each surrounded by shadows, something that I knew would become an issue when editing. For both images I wanted to create a sterile look, meaning that the backgrounds would be completely white, with the only colour coming from the burger. Shooting the image in the way that I did, made it very hard to make the backgrounds completely white.  The second image, or the 'after' image would be of the burger stacked up, in the order that it is presented in the restaurant. Using the same method as the stylists do, I carefully arranged the ingredients round to the front of the burger, to where     the image would be taken from, making sure that all the ingredients were clearly displayed. 

However, despite trying to make the burger look as appealing as possible, none of the photographs taken were working. I knew that I needed to research and structure my ideas further.

Even though the photography session wasn't a successful one in terms of producing the perfect images, it gave me the opportunity to test out some ideas, and gave me the chance to identify the pros and cons with each one.   

[girlwithonelens-blog]

Studio Session #2

Later today, (12/10/12) I will be returning to the Photography Studio to produce some more 'Grey Goods' photos. Last week I feel that I produced work that I was incredibly pleased with, however I have since bought a 90mm Macro and a 50mm lens which I would like to test in the studio and see if I produce more images that I feel are of a higher standard than those produced last week.  Additionally, I will produce the first images for the Big Mac Challenge, which I will be able to receive feedback on in Week 4's workshop. 

[girlwithonelens-blog]

Studio Assignment - Big Mac Challenge

Big Mac Challenge

"Have you ever wondered why your Big Macs never looks like the one advertised on the menu board? Now’s your opportunity to engage with the process of food advertising photography. You are required to produce two photographic images of a Big Mac, a before and after set of images."

[joshuapounds-blog]

Annex Andy (assignment)

Annex Andy You agreed to this, Andy, is all I think, sitting alert, waiting for an armed rescue squad. The banging of fists on cinder block walls that surround me has begun to seem like faint bongo drumming. And occasional screaming. I’m crouched under the pink glow of the EXIT sign above me, in the United States’ Federal Government Annex—officially. This small room makes up the entire facility I’ve been forced to watch after, to serve, and protect in middle of nowhere, Utah. The Bonneville Salt Flats. Upon signing consent, I’m to wait on specified U.S. Government “clients.” Thousands of keys hang on the walls for something not of my concern. I store each client’s key. “It’s Federal Government business.” He called them less fortunate. “Crustaceans, our clients,” said the officer. “Now that you work for us and accept the conditions, you’ll soon realize how jaded you’ve been.” His malevolence made me nervous, but he promised I’d be fine. They’re official staff on government-ordered business, to be perfectly honest, but I’d do whatever he asked of me for that paycheck. I’d never instigate a superior officer. I’d accept the terms of agreement between us. Those hip-replacements and spinal-corrections were eating black holes through my funds. Oftentimes I feel like mom’s recklessness caused dad’s heart failure. They’d be fourteen hundred miles to the Midwest, back home. I’ve been away from her 17 months now. As Annex Manager, I’m sole employee under a lengthy bill of amenities to keep me occupied for as long. It’s lonely. I was never ready to deal with an attack. I didn’t think it could happen, but I quickly noticed the albino skin color. I don’t think anybody could’ve predicted that virus to send test subjects into monolithic and uncontrollable rage. Lockdown was inevitable.