GIFs are a form of sharing what is on someone's mind without having to type out what you are feeling, or having to make a whole video. The form is midway between writing and video making as it combines both of those aspects to express someone's feelings/what they are trying to communicate. Personally, I believe that people like to use GIFs because they are a funny/short form expressions of something that they do not feel like typing out. Additionally, GIFs are sometimes more accurate to what someone is trying to express because they can show emotion, unlike texts. People usually share GIFs to translate what they are feeling into an understandable form. The demographic for GIFs is teens/early adult as older people do not really take interest in sharing GIFs as they would rather talk in person, or what have you. Since the demographic is targeted around this adolescent spectrum, GIFs are generally only shared by and for friends, not for someone's grandma. Unless you grandmother loves to share funny cat GIFs or such, she probably does not use them, same for other people such as you boss. When friends want to communicate an idea or get something off their mind, GIFs are a fast and easy way to quickly give someone an insight to their life and how they are doing, in a comedic sense usually. For creating my first GIF I wanted to do something complex, but not out of my capacity for the time I was permitted to finish the project in class. One thing that I can rely on is my name and my opinions on myself, and I am pretty cool so that was why I decided to do this GIF. Additionally, I wanted to use text and the jumping of text out of the GIF by using the three-dimensional shadows to give the letters that pop. I also enjoy color so I decided to make the letters colorful with a cool pattern to how the color was introduced. Lastly, I also wanted this GIF to be infinite instead of stopping then repeating over again, so I made all the letters disappear at the end in the opposite order that they appeared on the screen as to give the effect of them being erased. This GIF is more of an amusing take on the art form showing somebody falling/running forward. This one was less involved to make than the 2D GIF I made (shown above) because all I had to do was sort through the frames, and I did not have to insert letters, or do any drawing of such.
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After surpassing the qualifications of the classroom science fair I have been granted the amazing opportunity of presenting my presentation on the effects of light on undeveloped film in the dark room at the school wide science fair. Additionally, I found out this week that I will be continuing onto the Bridgewater State University Regional Science Fair of 2018, which is a great honor to be both representing my school, and the technology and lessons of my shop!
These two magnificent portraits of this subject are very nicely balanced with the amount of frame the subject is taking up, versus the amount of frame taken up by the background. Additionally, by using the rules of composition, such as rule of thirds and previously said balance, these portraits are very appealing to the eye. Although I love these two photos equally, I so have a favorite. Whether it was my editing or my shooting with the camera, I prefer the photo on the left more where we can see the subject's full face. I just prefer this portrait because I like the nicely focused face of the subject and the softly blurred tree background, and again that I can see the subject's full face. When theorizing my ideas for how I wanted to structure my portraits, this was one that truly excited me. I was set on doing a sitting subject from the chest up and a photo with the subject lying ground with their hair spread out like a lion's mane. My subject luckily had long hair so the effect worked out very well as you can see in the second image. Additionally, the sitting portrait was also inspired by the Mona Lisa and her somewhat smile and her longing gaze that follows you around the room. If I had to choose which portrait is my favorite, I would hands down pick the sitting portrait on the left as it is by far one of the best photos I have ever taken in my short time as a photographer, and it is just impressive. From the detail I captured to the overall appearance of the shot, I could not have asked for a better image! Using cookie cutouts to cast shadows on one's subject is a very cool and alluring way to switch up one's photograph. By adding the purposely formed shadows/light channels, the photographer can bring more attention or emphasize specific parts of their subject or qualities, by what they cutout. The photo on the left used hands to mimic the subject peeking through her hands as if she was spying on a situation she was not intending to see. Now, I am going to admit, the shadows created during the shoot were not as dark as I desired so I did us Adobe's Lightroom to darken the shadows to make the shadows more pronounced and resemble a hand more. To edit the shadow what I did was take the brush tool in Lightroom and turn the exposure darker/under exposed so that when I drew on the subject's face it would resemble a shadow being cast. I used the existing shadows to trace where I would put the darker shadows and I feel it looks fairly realistic. My only want for the shadows I created are to try and bend them around the subject's nose and features so that they would look more realistic. The photo that I like better out of the two is the hand shadow image because I like the colors, the shadow, and all of the elements in this image better than the one on the right. Additionally, I believe the cutout (or hand) in the photo on the left is better and more demonstrative of cutouts than the circle cutout on the right.
Joshua Lovering
Lighting Safety 1-5-18 Video and Audio Production Lighting Safety When learning any new skill, it is crucial to know the safety precautions and all dangers that could lerk ahead. Concerning the shop Video and Performing Arts of Southeastern Regional High School, there are many equipmental dangers that are related to picture taking and various other scenarios. One main caution when taking photos is lights, as there are many different types of lights, and many different dangers surrounding lights. For instance, one should know which lights are safe to touch and which are not to be touched, as if the wrong light is touched, one’s hand could be scorched. Although the danger of heat and other cautionary tales of lights seem intimidating and scary, lights are very easy to learn, so taking photos will not feel like a chore when using lights, instead it will make the individual feel intelligent and educated. Starting off with the parts of a light. The most essential part of a light is the lightbulb as it acts as the light source for pictures. There are many different types of bulbs such as LED, tungsten, fluorescent, yet the main lights that are dealt with are those of the LED and tungsten family. More specifically, the names of the lights used in this shop are omni, tota, and LED panel lights. Attached to the light are usually barn doors, which control the direction of the light and the lights shape, and a screen that covers the lightbulb so that oils from hands do not touch the light, as that creates a burning flesh smell on some of the lights. Continuing through the set up, the bulb will have an outlet receiver on the rear side of the light so that it can be plugged in to fuel the light. Now, the light will need to be placed on a stand of sorts to allow it to be manipulated and raised or lowered to the photographer’s liking. Lastly, if the light seems to hard, a diffuser such as an umbrella can be added to the light through the umbrella arm on the light so that the light can be softened. Although the set up of a light is very important, the preservation of the elements used in the lights is also very important. To properly maintain cables/cords they should be wrapped up in a circle about ten inches in diameter, and be kept in a safe place such as at the base of the lamp or in a storage container. Additionally, instead of trying to stretch out the light’s cord to reach an outlet, feel free to use an extension cord as it will allow more mobility with the light, and allow the light to reach farther distances. Most importantly, to prevent any mishaps, make sure that all wires located in areas with foot traffic are taped down so that nobody trips over them, or even use a rug to cover the wires. Not only is the preservation of cords and equipment crucial to lighting, but the preservation of the studio’s/shooting area’s outlets is also very important as well as nobody wants to blow a fuse and have to stall a photoshoot. To make sure no fuses are blown, when using lights one needs to know the amount of wattage/amperage their area of work has, such as a kitchen, or bedroom. Typically each room has a few outlets and each outlet registers in at 15-20 amps each. Knowing that, photographers can calculate how many lights they can have plugged into each room, to ensure that they will not blow a fuse. The lights used in the Video and Performing Arts shop known as Omni, Tota, and LED Light Panel, all have different wattages that need to be converted, or one could convert amps into wattage (converting amps into wattage is more efficient as it is one conversion compared to three). Since each outlet/circuit is roughly 20 amps each, the calculation for converting that amparage into watts will look like this: ( _____ watts ÷ 120 volts = 20 amps ). In the United States the voltage standard is 120 so that is why 120 is in the equation and the rest is self explanatory. Through solving that equation by multiplying 120 volts by 20 amps, it can be concluded that 20 amps is equivalent to 2,400 watts, meaning each household circuit is capable of administering 2,400 watts through its corresponding outlet(s). While taking in that omni lights register at 500 watts, tota lights register at around 750-800 watts, and LED light panels register at 40-60 watts, any photographer can now rest assured that they are not going to blow a fuse because they know the amount of wattage available in their outlets, and the amount of wattage each light source requires. Even if proper care is administered to each element of lights, there is still the inevitable, replacement. To replace a lightbulb, if you are a student you should always inform a teacher and not attempt the replacement yourself, but if need be wearing gloves is a must, preferably white cotton gloves, so that no oils are transferred onto the bulb. Wearing these cotton gloves also prevents the horrid smell of burning flesh and the potential for a bulb to explode, because those are two consequences of oils from skin being in contact with the bulb. Last, but certainly not least, of the safety precautions when dealing with lighting is accessories. By using a variety of items, a photographer can mold the light to be exactly how they want. From using makeshift barn doors out of aluminum foil, cutting fabric to create a pattern, or using an umbrella to cast a soft, diffused light, many different approaches can be taken when customizing the light in a photoshoot. However, to follow proper safety, one must keep all elements, such as the umbrella and fabric, at least one to two feet away from the bulb so that no fires or burns occur. Additionally, securing lights down is another important factor for photoshoots because if a light is not properly secured down, then it could fall, burst, and even start a fire. However, all of these mishaps can be avoided by employing a sandbag to hold down the light. Sandbags are usually placed on lights that are extended beyond 7 feet, positioned over the bottom inner-rail of the light’s stand. Now being properly versed in the safety and dangers of lighting the Video and Performing Arts shop and many photographers alike can use lights properly without fear of a mishap occuring. Additionally, now whenever taking photos, photography students of this shop will be able to properly avoid fuse blowouts and other dangerous events such as a light breaking, because they are properly educated on how to safely and confidently use lights. This photo demonstrates a new skill called cookie cutout. This concept involves pieces of paper or objects that are put in front of the light source to cast a shadow on the subject in the shape of that object. I used a piece of paper with a rectangle cut out in it to create this shape that is reminiscent of a ninja scene where the black bars drop down, signifying a tension.
When shooting photos, it often becomes difficulty dealing with the settings of the camera to try and properly capture, and flatter the subject. Although tinkering with shutter speed, ISO, and aperture could result in the perfect image, using the photo setting of camera RAW allows the photographer to edit their photos beyond the limited settings available on the camera.
Turning camera RAW on, initially there is no significant difference on the camera screen besides the RAW icon on the screen. The camera settings such as ISO, shutter speed, and aperture are still available to edit the camera and how much light is coming into the photo and such. Although no cosmetic changes are made to the camera interface, a major part of camera raw is that it decompresses all of the pixels in the image and allows for each and every aspect of the photo, and its pixels, to be edited and transformed. Whether in horrible lighting situations or your images need fixing, camera raw mode is amazing for fixing up and editing different elements of photos. With edits such as exposure, clarity, and vibrancy, photographers can successfully tune there photos to their desired product. In the future I would definitely use RAW again to edit images that were taken in very dark lighting so that when I wanted to submit them or add them to my portfolio I could edit the lighting to make sure the lighting or other aspects are up to par with the standard. To the images shown above, from left to right shows the transformation. I mostly edited the images' exposures either intensifying or lowering to properly light the image so that the subject could be seen. Alongside the exposure, I also edited the vibrance of the images so that the purple pattern on the subject's shirt would stand out against the drab black background. For final touches to the image to flatter the subject, I reduced the clarity so the subject's skin would be blurred, hiding blemishes and such. Additionally, I also finagled the black and the white appearance in the image to soften the highlights, and control the shadows so that there would be an even balance between the two elements of the image, highlights and shadows. Camera RAW can save an image from the garbage as it can bring back to life the image through adjustments of the different aspects within a photo. From decompressing the pixels of an image, to the actual modification of the image, camera RAW is a life saver when it comes to editing an image after it was taken. After receiving a camera for Christmas I was determined to experiment with my camera and well these photos are exemplars of my experimentation! From capturing wildlife feasting, helicopters frozen in midair, to a detailed shot of a building, I truly feel confident using my new camera!
EXAMINATION OF INSPIRATIONS:
Categorizing images from classic Renaissance style paintings to modern interpretations of that dated style comprise my inspiration for posed portraits. I favor these specific stylistic choices because I heavily appreciate the detailed and in focus faces and outfits of the subjects in this photo as I love when an image can draw me from the face to the attire, because of the extreme detail present. However, I do not favor the dark, and desolate background as present in most of the modern interpretations of the renaissance style, because I desire more detailed background such as that which is present in the background of the "Mona Lisa". From being able to see the wrinkles in a subjects face, or lack there of, an being able to see the texture of their outfits, such as the plastic bag and Mona Lisa's airy attire, I prefer and adore extremely detailed images, whether pictures or paintings. Not only is the extreme detail important to me, but, the emotion on these subjects faces and the posture they have in the pose chosen for the shoot are also crucial to why I favor these images and this style as a whole. The emotion on their faces are favored because their faces are very mysterious and have to be thought on for a long time because the viewers need to examine the photo thoroughly to figure out what the subject is thinking. Through making the viewers having to spend time figuring out what the subject is thinking, meaning the photo/portrait itself is enticing and interesting. Such as in the "Mona Lisa", her awkward smile mixed with her curious eyes grasps the viewers attention and makes them think for a long time to figure out her true emotion. Additionally, the posture of these individuals or subjects is very confident and forceful in a way because when combined with their emotions it can be taken that they either want to be left alone or are in someone calling the viewer to follow or come to them. PROPOSAL: Add elements to your blog with pictures: who you want to photograph, clothes you want then to wear, locations you want to use, and overall elements you want to use in your photos! To test my abilities and challenge myself to take a photo with the same stylistic approach as my inspirations, I would want to take a photo of a female individual with a very lustrous fabric that is very smooth in appearance and very elegantly rippled on the individuals body. I do also want to have Rembrandt lighting because I feel that with the style of clothing and style I am going for, renaissance, it would be the most appropriate. Additionally to Rembrandt, I would like to have a back-light. I want a back-light in my photo because I want to Photoshop my subject out of the photo and put them on a background like the one behind Mona Lisa. The last piece of lighting that I would want to incorporate into my portrait is a butterfly light so that I can replicate the shadowy eye brow bone that is present on the Mona Lisa. Although most of my lighting elements are desired currently, they may over power each other, and in that case I would sacrifice the butterfly light, as I feel that light would disrupt the Rembrandt effect that I am sure I want. To position my subject I want there chest to be puffed out a small bit to make them seem a bit intimidating and there backs to be straight, and I want their arms to be parallel to each other and for them to be against her sides. Additionally, I would appreciate if my subject would also interlock her hands so that she would appear in a sense like the Mona Lisa. Lastly, I want my subject to give a faint smile, that is not totally obvious, and for her to have a somewhat joyous look in her eyes. For properties I want in the photo, I may want the subject to hold something, maybe a candle or such, something with a deep meaning behind it, yet is readily available for me to use. With the butterfly lighting at the top left hand corner of this contact sheet, it is visible that the shadows are being cast downwards and darkening features such as the eye sockets and cheek bones. The lighting, in relation to the subject, is positioned above them and tilted a little bit behind the subject to really exaggerate those harsh shadows. Additionally, this lighting was very hard as no diffusion was present (no umbrellas, etc...) meaning that these shadows are very crisp and clean lined because their is no diffusion to blur the shadows with the highlights. To cast those deep shadows, I also had my subject tilt their head ever so slightly back so that I could additionally capture the shadows that were cast by the eyelashes. Butterfly lighting is great for exaggerating certain features such as cheek bones and eye sockets, however it is also effective at making someone appear older as this lighting exaggerates and makes fine lines and wrinkles more prominent. Shifting to the left and moving onto Rembrandt lighting, we can distinguish the notable signs of this style, the triangle of light present on the subject's shadowed cheek. This style is reminiscent of Rembrandt's paintings as he would use this style of lighting, including that triangle of light, which was the reason for its name. The lighting for this style was fairly challenging as creating a light triangle of a fairly decent size took many trials and including many errors. To properly demonstrate this lighting style I had to position the light at a 45° angle to the subject so that the light would highlight one side of the face and just peak over the bridge of the nose to form the triangle on the shadowed sign. This light fell on the left side of my subjects face and just barely peaked over her nose to, in my opinion, form an amazing Rembrandt style of lighting. Onto the bottom row, starting at the photo on the left, this style is split lighting, which is self explanatory as the lighting splits the face in half leaving one half perfectly lit and the other half in the dark. To create this effect I had to position the light directly to one side of the subject, and make it so that the light was facing the subject straight on from that side. This positioning let the subject be split in half, and the light perfectly carved those halves of her face out with a hard line, making a clear distinction between the two opposite sides. Lastly, three-point lighting will finish this contact sheet off. At the bottom right of this sheet we can see that the subject has one side of their face light from a light that is positioned diagonally from them, and then the background is lit from the same side as the other light, and then the shadowed side of the face has some highlights near the jaw, caused by a third light source, a white card. All of these elements together formed a very flattering lighting as it makes the subject's face attractive because of the varying lit high points and shadowed low points that are created. These varying focal points caused by the lighting attracts and draws the eyes to the face and makes them examine the face as their eyes are guided throughout the portrait by the transitions from light to dark. Additionally, this lighting is very soft and smoothes out the skin and makes the subject look youthful as if I removed the umbrella and had a hard light on my subject, the lines and wrinkles present on the subject's face would have been exaggerated, ruining the beauty present with soft lighting.
The photographer was using hard lighting because the shadows that are being cast from the lighting, such as his face shadow appearing on his shoulder, are very harsh, indicating a hard light was used. The hard lighting also creates a Rembrandt effect and style because the lighting just makes it over the subjects nose and forms a triangle on the subjects cheek. In addition, the shadows are not blurry at the edges, rather they are very crisp and do not have any blur effect that is indicative of soft lighting. I would also say that they used some soft lighting in addition to the hard to fill in the detail and make aspects of the subject such as the eyes and the shirt visible.
To make those harsh shadows appear, the hard lighting should have positioned far away from the photo because the farther away the light, the harsher the shadows appear, meaning those very dark and crisp shadows such as his head's shadow that is cast on his shoulder. The shadows would appear darker and more crisp at a farther distance because as the light moves away from the subject, the smaller the light is in comparison, which makes shadows darker. The smaller light in comparison to the subject creates darker shadows because the lights are focusing on a smaller portion of the object then it was when it was closer, meaning the shadow is only being created by a smaller area, making it harsher because there is not a lot the light is being cast on. The light would have been smaller in relation to the subject in this portrait because the shadows, as I have said, are darker, and more crisply edged. Either the light was smaller or the light was positioned farther away, yet each of them serve the same purpose of creating those harsh shadows desired for more dramatic shoots. The photographers most likely choose this dramatic lighting because this shot is supposed to highlight a sporty mood and a sporty mood is most often than not more competitive, making the harsher shadows appropriate. If the lighting was more soft and filling of the detail in the subject's face, then the subject would have looked inviting and such, and not have that competitive, and almost intimidating look the photographers were going for, and ended up with. |
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