Bermuda Production Journal

Beauty lies in the smallest of places and can disappear in the blink of an eye.  Capturing this beauty takes a trained eye, quick fingers, and little bit of luck.  While not every picture can capture the perfection of a moment, the ones that can should be cherished forever. 

Visual Literacy enhances one's ability to lok at a photograph critically. It should never be forgotten how important it is to let the subject of the photograph be captured because this allows the photographic moment to be captured naturally.

In the east, yellow and orange light began to creep above the rooftops of brightly colored Bermudan houses, dots of sunshine dance across the serene, sparkling beaches.  As the sun rises further, the sea foam green and deep blue waters of the North Atlantic ocean draw tourists to beaches, the vibrant magenta, pure white, and canary yellow of Bermudan flora stand out amongst the green and sandy area.

            Georgia O’Keefe’s expert use of color and close ups of flowers are an inspiration for this photo story.  Her abstract artwork in the early 1900s is incredibly innovative and creative and one of the most groundbreaking American works produced at the time.  By enlarging and creating close-ups of pieces of flowers in her paintings, she revolutionized traditional flower paintings.  In this photo project, close-ups are used as a tribute to her progressive ideas along with a tribute to her expert use of color and love of the artistic beauty of flowers.

In the pre-production of creating the photographs in the prior post, capturing the warm tropical atmosphere, the vibrancy of the landscape, and the beauty of the wildlife in Bermuda were of utmost importance.  In order to do this, color was a crucial component.  The bright morning light in these images brings out the intense hues in the sky, flowers, water, and leaves.  Color enlightens, inspires, entices, and compels the viewer visually and emotionally.  In this way, it was incredibly important that each picture utilizes the colors of Bermuda proficiently.

Another vital factor in the process is knowing how to compose a photograph.  When a photograph is composed efficiently, the viewer will feel comfortable exploring the photograph easily and without misleading or unneeded pieces.  Avoiding bad tangents, varying the empty space between the object and the image edges, and finding a point of view that gives the overall composition a feeling of unity.

            Constantly snapping pictures of every little thing, hoping to capture the true beauty of Bermudan paradise with a silver Nikon Coolpix 5600 is quite a feat.  This was one of the main difficulties in the production stage.  The old, scratched up, dented, drawn on camera from 2005 is extremely light and, due to the imbalance of duct tape repairs, reacts to every bump and too heavy button clicks, making most pictures come out tilted or blurry.  Luckily, many pictures were taken so there were enough pictures that were in focus for there to be enough variation and interest in the photographs.

            One risk taken during the production was interacting with the environment.  Shifting a flower or throwing a petal in the air sometimes added visual interest added to the images.  Other times, these interactions did not work out.  The one thing that always worked out in these pictures is color.  During the editing process, the color didn’t need to be altered or enhanced much at all because of the richness of the flowers, water, and leaves.    

            Finally, finding a set of pictures that are connected without being the exact same photograph was the hardest part of the production process.  While there were many beautiful pictures of lighthouses, sunken ships, and colorful houses, they did not connect to the other images used in the photo story.  Eliminating these beautiful images was an incredibly difficult, but necessary aspect of production.

            Looking back on this project, another difficulty was the missing camera.  A few weeks before the actually shooting of this photo story, someone stole the Kodak camera that was to be used for this project.  Luckily, a replacement was found quickly and production could commence. 

Thanks to this project, the importance of lighting, color, and every aspect of the background were exposed as vital for an effective photograph.  Also, a fence or any sort of artificial interruption can ruin the serenity of a photograph.  This was a repeated problem in many of the photographs as, although Bermuda prides itself on its natural beauty, people do live there and there are man-made objects in the tropical area.  Also, several photographs of the same objects may be needed to capture the subject perfectly.  By taking only one photograph, one might run into the problem with blurry, tilted, or just not quite right photographs, rendering it ineffective and expendable.  If more pictures were taken of some objects, maybe this photo story would have been more effective.

After three days of shooting in beautiful Bermuda from sunrise to sunset, hours of editing and choosing photographs and attempting to fine-tune my focus, the tropical vivacity of Bermudan wildlife was captured and communicated.  This photo story was successful, but could have been more focused.  The color, lighting, and compositional creativity worked together seamlessly in these photographs.

Bermuda

The hibiscus is an iconic symbol of Bermuda.  This fuchsia flower grabs the attention of tourists and locals alike.  The bright color and contrast to the green around it draws the eye.  This medium, eye-level shot captures the intricacy of the flower and shows the transformation from bud to fully bloomed beauty.  The texture in this shot is interesting in that it seems soft but bumpy because of the visible veins.  The chaotic intertwined leaves and branches in the background contrast the simplicity of the flower in the foreground.  The natural lighting used in this and all shots adds to this simplicity and ease.

Another photograph of a beautiful fuchsia flower, also photographed at eye-level, is a fantastic example of the visual interest asymmetry provides.  While the bundle of flowers is centered, the arrangement of the flowers and the buds in the lower right-hand corner make the image asymmetric.  Another note-worthy aspect of this image is the shallow depth of field.  The leaves in the background are all slightly out of focus, drawing attention to the clearer flora in the foreground.  Lastly, the diagonal lines, like arrows, lead the viewers eye throughout the picture while the partially concealed plants allow the reader to image what lies beyond what it is the picture.

The main Visual Literacy strategy used in this image is the concept of leading lines.  The edges of either side of the roof of the building in the background function as arrows, pointing towards the center of the shot where the yellow flower and palm shaped leaves are located.  What makes this photograph different from all the others in the series is the lighting.  This photo is backlit; the light source is behind the objects of interest, making the objects in the foreground slightly darkened and shadowy.

This photograph demonstrates framing impeccably.  The darkened, shadowed trees frame the pale, sea foam-colored water and jagged, moss covered rock, drawing attention to the framed objects.   This wide shot, high angle image also utilizes a variety of textures: the smooth, malleable water, the squishy moss, and the rough, warn, jagged boulder.  The rule of thirds and the idea of asymmetry are also demonstrated here.

As the only photo in the series that is monochromatic, importance lies on the composition on the photo more than anything else.  This wide-shot photo utilizes the rule of thirds; both mini-islands of trees are on the invisible lines dividing the photograph.  A long depth of field is also employed in this photograph; the background plants are just as clear as the lily pads in the foreground.  Repetition is also exhibited expertly here.  The lily pads and the little green circles are repeated throughout the picture, led by the curves of the pond all the way to the vanishing point where they seem to vanish into the shadows.

This photo, a close-up, birds-eye-view of the water in “Photo 5,” once again, demonstrates the rule of thirds and asymmetry along with the concept of repetition.  Here, the white and yellow blossom floating in the water interrupts the repeated pattern.  The lily pads in upper left corner are partially out of the shot and also draw the viewer’s eye into the photo. The flower in the lower right hand corner, right on the intersection of the invisible lines, grabs the viewer’s attention immediately.  From there, the viewer’s eye wanders from the little petals to the lily pads to the brown chips of bark floating in the water.  All these minute details (strategically placed) add to the complexity of the photo.

Contrast! Contrast! Contrast! The difference between the pure white, pitch black, various greens, magenta, orange, and purple are portrayed expertly in this photograph.  The extreme contrast catches the viewer’s eye and draws them in.  The vanishing point is clear when the leaves disappear at a certain point into complete darkness.  The smoothness of the flower increases this purity in contrast to the mysterious darkness in the background.  The shadow of the flower on the leaves adds to this imminent darkness for the green plant.  The fact that the flower is off-center adds visual interest and complexity to this compositionally basic scenery.

From the crispy, rough looking leaves in the foreground to the large smooth leaf in the background, to the prickly blossom in the center, this photo has no shortage of interesting textures.  The high-angle shot of this spiny pink and purple plant utilizes the concept of diagonal lines, which lead the viewer’s eye throughout the photograph.  The majority of the photo is in shadow except for the leaves in the lower left hand corner and the flower in the center.

This photograph is the only extreme close-up and the only low-angle shot in the series.  The extreme close-up allows the viewer to see the veins intricately intertwined within the petals.  The rule of thirds adds visual interest to this piece and the partial concealment leaves the reader with mystery.  The pistil of the flower is used as a leading line, bringing the viewers attention from the petals to the pink fuzzy stigma at the very tip of the pistil.  The vertical line of the pistil conveys feelings of growth and strength in this photograph while the diagonal lines of the little pink and yellow stamen guide the viewer’s eye out and into the photograph.

The Cutting Edge

"The Cutting Edge" is a documentary about film editing.  The film is based around three main ideas which stand out in the conglomeration of clips from famous movies and interviews with world-renowned directors and editors.  These aspects include the transformation of editing rules over time, the principles of editors themselves, and the technical tricks used in editing today.

Movies used to have no editing.  Directors simply filmed whatever was of interest to them and stopped filming when they got bored of the subject they were recording or ran out of film. The fathers of  cinema, Edison (US) and the Lumiere brothers (France), were very pessimistic about the future of film because, although moving images were of interest, what was being shown were things people could see in real life for free such as a train pulling out of a station or a silly prank with a garden hose.  Auguste Lumiere even claimed that “cinema was an invention without a future”.  However, when Edison's right hand man, Edwin Porter, discovered you could physically cut the film strips and put them together in different orders or mix scenes together to show several things happening at the same time opinions changed.

In the 1930s, when sound films were invented, the editing process became an assembly line.  At the same time, D.W. Griffith, the first great film maker to understand the psychological importance of editing, brought the concept of the "close-up" to the big screen.  Many people were skeptical of this idea, but audiences reacted with great interest for Griffith brought the audience into emotional contact with the actors.  Editors used to be considered hands for hire before Griffith and other revolutionary, artistic craftsmen emerged.

The films being made in the 50s used a certain language, a formulaic way of presenting scenes.  The scene always started far away with an "establishing shot" and then zoomed in or gradually cut in on the scene, to change locations an editor would use a dissolve feature, when a character was entering a building, match cuts would be used, connecting the actions of opening the door, seeing the door opening from in outside then inside, etc.  In the 60s every rule was broken.  Films such as Breathless are excellent examples of this revolutionary change.  Breathless played with how long to hold a shot, the discontinuity of what is going on in a scene, and screen directions.  Breathless showed editors a new way of crafting a film and changed perception of what filmmaking actually was.

Nowadays, there are no defined rules. Editors are all given creative freedom on their projects based on the directors vision.  Walter Murch, a fantastic editor, has certain principles he follows to preserve his creativity and to avoid creating a bias so his films are always 100% for the audience. He makes it a principle not to go on the set, not to see the actors out of costume, not to see anything other than the images that come to him from location.  As an editor works, all they see is what is on the screen, not what is going on at the time of shooting.  That’s what the audience will see too so it is so important for Walter Murch, among others, to keep a distance from the action behind the scenes.

Lastly, the current concepts of angles and speed, continuity of cuts, and the intricacies of editing are brought into play.  Firstly, more angles and higher speed add chaos to a scene.  It doesn’t matter what order a scene is seen in or how many times the start or end is shown as long as the clips are fast and cuts are frequent, chaos and excitement can be achieved.  A fight scene can even have 200 shots that can be split second, eye blink shots that bring the audience into the action.  Kids today grew up on TV and; therefore, can process information faster and demand faster information.  

On the opposite end of the spectrum, a continuous cut is used to mask the cut so the audience won’t notice the cut itself and can forget they are watching a movie.  Continuous cuts are gesture matches from one shot to the next.  This is a great example of how editing truly is “the invisible art”.  An audience does not realize the time an editor put in to create a film, but the finished product the audience sees is editing.  Editing is why people like movies.  A major Hollywood film uses 200 hours of film.  Unspooled, the spool would stretch from LA to Vegas.  Finished, it will contain thousands of 1/24^th of a second frames.  Each of these frames can make all the difference in a scene.  For example, in Jaws, the shark looked fake at 38 frames, but real at 36.  Even though it may take a long time to film, sometimes its important to just cut out that little piece that just doesn't work.  It’ll be worth it in the end.  As profesor Levin says, "kill your baby". 

Samantha's favorite quotes from the documentary:

“What makes a movie a movie is the editing.”

“Editing is the thing you’re always looking at.”

“Editing is why people like movies because, in the end, wouldn’t we like to edit our own lives? I think we would. I think everyone would like to take out the bad parts, take out the slow parts, and look deeper into the good parts.”

“Editing is manipulation of elements within a film…creating effects…[that's what elicits] responses within an audience”

“Editing is manipulation. We’re manipulating reality as the audience sees it because you want the audience to respond in a certain way whether it’s a laugh, a sigh, a fright….all we do is manipulate” - Michael Kahn

“Many times, editing is about when not to make the cut, when to have the silence, let the moment be itself.”

“Editing is like poetry.  It has to do with rhythms it was to do with visual. It is visual poetry.”

“The last draft of the screen play is the first cut of the movie and the final cut of the movie is the last draft of the script.”

Car Jacker FAIL

One of my all time favorite YouTube celebrities is Joe Penna, better known as MysteryGuitarMan.  Known for his incredible looping skills, Penna never fails to deliver innovative entertainment every Thursday.  One of his weekly uploads is entitled "Car Jacker FAIL".

This video begins with the camera placed directly beside the car's taillight, making the light itself seem larger in comparison to the rest of the car.  MysteryGuitarMan then enters the frame from the right.  With the given angle, it appears as if this camera is hidden from Penna.  Since the camera is angled up at him it creates the illusion that he is in charge.  The location of the camera, partially concealed by the car, also frames the shot and exemplifies the rule of thirds.  The angle of the car and the sidewalk also work as leading lines which, at 0:05, point to Penna who is attempting to break into the vehicle.  This beginning shot is the second longest in the entire video at 10 seconds long (the longest being 15 seconds).  The majority of the shots are between 2-5 seconds in length.

Another tool used for the duration of the video is the close-up.  Throughout the scene, the camera zooms in on all the items that make the sounds contributing to the soundtrack: the handle bar, the air conditioning dials, Penna's fists on the steering wheel, the glove box, the ignition, and the gas pedal.  These close-ups are mostly intermixed within the medium shot from 0:36-1:10 when MysteryGuitarMan is behind the steering wheel of the car.

The scene overall has a grey-blue tint.  Everything has a dusky look, a cooler "temperature", perhaps adding to the mystery of the car jacker.  At 1:29, after a fast-forwarded sequence of Penna preparing his sound equipment, the video turns into a "vlog" (a.k.a.video blog).

Another aspect of film that MysteryGuitarMan explores expertly is depth of field.  While outside on the street, the depth of field allows almost all the details in the shot to be in focus.  However, while inside the car, everything outside the door is a blur (a shallower depth of field).  The smaller depth of field while inside the car allows Penna and the musical car parts to be the only objects the audience can see, not allowing for any distraction from the scene.  Outside, with the larger depth of field, the audience is free to allow their eyes to wander from the flashing light in the lower left hand corner to Penna trying to break open the window.

Finally, MysteryGuitarMan's ability to cut between shots is also commendable.  One great example is at 0:28-0:30.  These two seconds demonstrate his skill in allowing the viewers eye to naturally follow the action of opening the car door from one shot to the next; from wide shot, to medium shot.  This idea is seen throughout the video a countless number of times.  MysteryGuitarMan's cutting abilities are by far superior to most other YouTube celebrities.

The one aspect MysteryGuitarMan could have benefit from utilizing is the idea of clean entrances and exits.  At 0:38-0:42, instead of using another cut between shots, he could have filmed his hand entering and exiting the shot of the air conditioner dial.  At 0:41 it appears as if a clean exit was being made; however, his hand re-enters and a cut is made at the end of the shot.  The repetition of this cutting can be somewhat dizzying at times and the video would benefit from the intertwining of other techniques (such as clean entrances exits).  By using techniques such as this (which I'm 100% confident he is able to do), the issue of making the viewers' heads spin would be solved and the piece would further display Penna's capabilities.

At 2,136,272 subscribers and 288,976,133 total upload views, MysteryGuitarMan must be doing something right.  From his iconic dark sunglasses, funky hairstyles and exaggerated hand motions, MysteryGuitarMan has succeeded in creating a brand image for himself.  This image not only sells videos, but t-shirts as well.  Overall, each of Penna's videos showcases his skill and commitment to his editing and animation meets music technique.  Penna really has taken YouTube from a world of webcam-based videos into a world where amateur filmmakers can showcase their talent.

Propaganda or Persuasion: Product Placement

In the world of advertising, the over-arching goal is to "...support existing opinions, change attitudes, and cause actions by those who use their output" (72).  Nowadays, as with everything else, people are multitasking.  We aren't simply glued to the TV; we have our laptops open with Facebook ready to steal our attention.  When a commercial break comes on, we are no longer obliged to sit and watch the commercial.  Companies are sneaking more and more product placement into the entertainment itself, so that we are forced to watch it and can't simply navigate away.  This makes for more effective advertising and more messages to unsuspecting consumers associating a good life with a brand of computer or beer, and more importantly, the message that you are what you buy.   Although the implications of this may seem grave - what it means is that we don't necessarily know we are being advertised to; however, this is also smart advertising.  

Product placement has been criticized as being too stealthy (the propaganda argument), a form of advertising we are unprepared to process.  We allow companies to get inside our minds and seamlessly integrate their products into our entertainment, forcing us to associate our favorite characters, artists, and idols with their product.  Product placement is a particularly prevalent issue for parents attempting to protect children from negative affects of advertising.  In the United Kingdom, there are even plans for legislation prohibiting the placement of junk food, gambling, alcohol, baby formula, tobacco, and over the counter medicine.

The difference between these two opposing view points (one positive, one negative) seems completely subjective.  A positive or negative standpoint depends on the social definition of the "persuasion" and "propaganda" in the context of each advertisement and in the mind of each viewer.  So what is the difference between the persuasion and propaganda besides the social acceptability?  There really is none.  Propaganda/Persuasion is a smart business strategy.  Accordingly, successful brand marketers do not fear change; they discover innovative ideas and learn how to use them to their advantage.  In the twenty-first century, we are always "plugged in".  Product placement is the smart way to sell a product.  It is a persuasive method of selling a product and should be viewed simply as such.  As Diana Kendall stated in her article "Framing Class, Vicarious Living, and Conspicuous Consumption": "Consumerism is a normal part of life" (338).  To survive the transforming environment, marketers must ask "How?" How can this new concept help me? How can I use this trend to my advantage?

Mystery

Using theories, techniques, and other information we learned in class, Matt, Kylah, and I worked together to portray the idea of "Mystery" through 8-10 photographs.  While wandering behind the Media Production Center, we came across a cluster of dumpsters and took a couple of shots.  After uploading them to the computer I noticed something peculiar lurking in the shadows.  Is it a person?  Is it a shadow?  Whatever it is, it takes that photograph to the next level! (Shown below)

Beyond the mystery object hiding within the shadows, this image utilizes the idea of framing skillfully.  By framing the mystery object, the viewer's eye is drawn to the center of interest and keeps the eye from wandering outside the frame.  Another concept that enhance this shot are leading lines.  Leading lines draw the viewer's eye through a photograph or to a specific object or focal point in the photograph.  The lighting in this scene is also note-worthy.  The only light sources were two lamps: one on the side of a nearby building, the other a street lamp to the right of the photographer.  There is a reflection of one of the lights on the street sign next to the mystery object, further drawing attention to this focal point.  Overall, the photograph is fairly dark and makes the viewer physically lean in to see the details.  This creates a mystery for the viewer attempting to decode the image itself, forcing the viewer to ask himself/herself "what is in the shadows?"

This project, overall, was an compelling experience that required a lot of exploring, creativity, and teamwork.  Matt and I wandered around the American University campus on a dark night, searching for an interesting piece of architecture, bizarre lighting, spooky shadow, or creepy plant to convey our theme of mystery.  We tried several cameras, helped each other situate the camera in engaging angles, point one another towards a possible photo shoot location, and gave each other advice.  Our on-scene teamwork was both fun and academic.  Matt and Kylah both had training in photography before this year while I had training in art.  It is intriguing to see how the two arts intertwine and how our point of views connect and blend to create a visually enticing final product.  The only problem our group had was scheduling.  We're all very busy.  Kylah has rugby, Matt has work study, I have RHA, and we all have to eat, sleep, and go to class.  Scheduling is a constant struggle.

If I were to redo this project, I would have found a flashlight!  On the shoot, Matt and I struggled to find a way to cast light on objects in the distance; often, our shots came out entirely black.  Not having a suitable light source destroyed some of our ideas and concepts such as a dark figure sitting in the middle of an empty field or on a hill under a tree.  Without a light source, we couldn't achieve these goals.

What I like most about the finished product is how it transformed from my initial vision.  What started off as cliche, reshaped itself into something more complex based on the particular night of the shoot.  About a week before we actually took the photos, I explored campus at around 10:30pm looking for possible sets.  Within a week, these areas changed: the lighting was different, but the scene beside it was gripping.  These natural changes allowed our photo shoot to occur almost fluidly, allowing the mysterious atmosphere to unfold itself.  This was also the most important concept I learned: allow your subject to speak for itself.  As a photographer, I should be there to capture what is already in existence, I do not need to create the subject, I need to capture it in an thought-provoking and engaging way.

Flight of Refugees Across Wrecked Bridge in Korea

In the remarkable Newseum on Pennsylvania Ave. two photographs stand out from the rest: Faith and Confidence and Flight of Refugees Across Wrecked Bridge in Korea.  These exceptional images can be found in the Pulitzer Prize Photographs Gallery on the first floor.

Flight of Refugees Across Wrecked Bridge in Korea - Max Desfor
Associated Press photographer Max Desfor who was covering the Korean War took this photograph at a destroyed bridge over the Teadong River near Pyongyang, North Korea. "As a war corespondent, I was attached to a military unit," Desfor explained, "Whichever one I chose." The 187th Regiment, a group whose goal it was to liberate United Nation prisoners by parachuting deep into North Korea was the group Desfor chose.  On one such journey through North Korea, Desfor encountered hundreds of refugees crawling over the warped metal of the destroyed bridge.  "It was a fantastic sight," Desfor said, "All these people clambering over the girders and the broken girders were dipped down into the icy water."  Desfor only took a few shots of this "fantastic sight," his own fingers numbed by the frigid air.  The Pulitzer Prize winning shot encompasses the determination and desperation of the refugees successfully. 


This wide shot photograph was taken from a high angle.  A high angle is not as severe as a bird's eye view, but still makes the people being photographed seem to be swallowed up by their surroundings.  The bridge, at one point, towers above the rest of the objects in the photograph, rendering it intimidating, just as the photographer would want to portray to the viewer.  When the viewer first glances over this photograph, if he/she starts at the bottom he/she will feel as if he/she is in a godlike position, looking down onto the action, but as his/her eyes scan up the image, tracing the spokes of the bridge, he/she gradually reaches eye-level, bringing the viewer into the daunting scene.  The wide shot also initially gives the audience a feeling of godliness as if they are overseeing the flight of the refugees.


The concept of pattern was used expertly in this photograph.  Pattern repetition creates a sense of unity and structure.  The pattern in this photograph initially appears to be a supporting element to the movement of the people.  This could cause a distraction from the flight, which may overwhelm the viewer.  However, this pattern was interrupted, making it an important focal point of the image, strengthening the image and making it more interesting.  The interrupted pattern (the broken and bent spokes) enhances the chaos of the scene.  When looking upon the image, the viewer can feel the instability of the bridge and the imminent danger of possible collapse.  The asymmetry and the random placement of people emphasizes this sense of chaos, interrupts the calmness of the normalsy of the bridge over the river, and draws the viewers eye to the photograph.


A high depth of field is used in this photograph in order to allow the viewer to see that the movement of refugees is everywhere: on the bridge (in the foreground) and off (in the background).  Cleverly, the horizon line did not divide the work in half, but is positioned very high in the photograph, bringing the emphasis to the bridge.  Interestingly, the horizon line is still emphasized.  Besides the line where the sky appears to touch the ground, there is a line of houses parallel along with a row of people.  Horizontal lines (such as a horizon) create a feeling of tranquility and calmness, which is not at all what the photographer is trying to portray.  The emphasis of this horizon and repetition of horizontal lines in the background changes the "flight" into a "migration".  While this calms the anxiety the viewer feels from the breaking bridge, it does convey the reality that this flight is being taken place everywhere for refugees.  Conveying this reality is important even if it detracts from the main message.


Overall, the author adeptly conveys the "desperation- and determination- of the refugees' flight".  This piece is visually interesting online, but emotionally captivating in person.  The instability emanating from the image is what initially draws the viewer in.  The incredible detail put into the photograph never ceases to amaze.  The only thing this piece of art is missing is a face.  Each body, every spoke, every minute detail makes one appreciate the photograph even more, but as one admires all the pieces present, he/she craves the vision of strength, drive, terror in one person's face in order to fully understand the idea of "flight".

Shock Advertising

A large portion of our class this past Wednesday was focused on Chapter 6 of "Visual Communication: Images with Messages" and shock advertising.  Benetton is one of the main utilizers of this type of advertising, incorporating controversial ideas into his advertisements.  One such advertisement is of AIDS advocate David Kirby on his deathbed, his father, sister, and niece at his side (shown below).

After being published in Life magazine, the photograph was still largely ignored.  Accordingly, Benetton got permission from Kirby's family to feature the image in an advertisement for one of his stores.  This raised extreme controversy.  Was it right to use this heartbreaking image for something so frivolous as clothing?  Morally, I would like to say "no way," but, in the end, the photograph got the publicity it deserved from this irrelevant usage and Benetton, once again, grew in popularity.  This is the epitome of the saying: “all publicity is good publicity”.  Benetton received the exposure it craved, and earned the label of a rebel, appealing to teenagers.  Calvin Klein also earned this reputation with his sexually precocious portrayal of young boys and over-sexualizing of young girls or women who look like children.  Both names seem to describe how to break taboos and still continue to improve business.

As Newton N. Mino said in "A Vaster Wasteland", children have been "bombarded... [by] commercials disguised as programs and with endless displays of violence and sexual exploitation" for over fifty years (2). With this, another question arises: Is it more moral for a company exaggerate how great a product is (lie) or tell the raw, gruesome truth about an entirely separate entity?  It seems to me that, in the toxic world of advertising, it really doesn't matter which extreme a company chooses to take.  One thing is true: there is no happy medium if a company wants to stand out in a sea of billboards, newspaper ads, and commercials.  If a company wants publicity, it needs to think of a new, iconic way to captivate consumers. As heart wrenching as it is, over-sexualizing objects and people or displaying controversial images may just be the way to go!

Contact Sheet

During my volleyball photo shoot, I took about 60 pictures. Here are my top 26 in a "contact sheet".

Self Portraits with Photoshop

During class today, I explored Adobe Photoshop for the first time.  After manipulating some of my earlier photographs (one of the images of a volleyball from my earlier blog post), I cropped, enhanced, and manipulated a portrait of myself.

I began with this image:

This image is a little dark and I am not excited by the cinder block wall behind me, so my first step in editing was to adjust the exposure.  After adjusting the exposure the cinder block virtually vanished.  Next, to add color to my now white-washed face, I increased the contrast and sharpness of the photograph.  After these edits, I ended up with this:

Finally, I adjusted the color balance, increasing blue and red levels and cropped the photograph so my face was centered.

After, I put the image on my very own Visual Literacy business card.

Stocking

Never heard of stocking?!  Well apparently it's the new planking!  Before taking this class, that would have been gibberish to me too.  I'll show you how to stock!

First, pick out a "Stock Photo".  Then recreate it.

Below are some examples of my stocking.  Click images to view in full size.

On the far right, is the stock photo I found on google.  In the center, is the picture I took using my MacBook's iSight camera.  Finally, the photo on the far left is my final product.

Center: "Stockfresh" photograph

Left: iSight picture of me

Right: Edited image

Left: "Shutterstock" image

Right: My version

Right: "Shutterstock" image

Left: My version

Visions of a Volleyball

This image is a fantastic example of the use of depth of field. The lens is focused on the volleyball in the foreground using a shallow depth of field.  Due to this, the trees in the background are a blur and the volleyball net fades into the distance, creating an elongating illusion.  The shadow of the net in the sand also adds to the depth of this photograph.  The randomness imprints in the sand shows how the area is so treaded on in disarray.  There is no clear path.  The repetition of the prints in the ground and the square patter in the net make people take a second look, appealing to humans' curious nature by prompting questions like:  What happened here?  Who did this?  Why?

In this image I, of course, utilized natural light. The natural light draws the viewer's attention to the upper left corner and creates a warm, optimistic, summery feel.  This photograph makes me nostalgic for warm sand and relaxing days in the sun on the beach surrounded by friends and family.  Another aspect of this picture that I love is the contrast of textures.  The smooth, leathery ball to the rough, grainy sand seem almost tangible.

Juxtaposition occurred here with the unexpected way the ball seems to be balanced on the bungee chord, and the bungee chord on the tip of the flagpole.  This photo comments on the balance of work (the AU flag in the background, signifying education) and play (the volleyball) in my life.

This photo incorporates both focus and lack of focus.  I took this focus by following a volleyball as it rose and fell through the air.  The movement of the camera created a blurring effect in the sky, but I made sure the camera stayed focused on the ball, the focal point of the photograph.  This photograph implies constant motion and rising and falling action.

The shadow of my hand on the volleyball tells a story is some ways.  It tells the audience that someone is reaching for the ball and, presumably, will proceed to play.  All this is shown without even showing a person in the photograph.

Momentous or Mundane

Terror.  There is no other way to describe the looks on the two women's faces besides pure terror.  This image did a fantastic job in exaggerating the 5.8-magnitude earthquake that apparently "rattled buildings... and forced workers to flee as ceiling tiles and moldings crumbled and crashed to the ground."  At first glance, I believe it!  I believe that these women were forced into the streets in hopes of escaping from the terrible quake.  Even though this was not at all the experience most American University students or nearby DC residents experienced, this image makes it seem like the entire district was in chaos.  That is the exact message the Washington Post wanted to spread. 

As a consumer it is the terror that one sees, but as a photographer the first thing one may notice is the off-center placement of the women.  This is an archetype, a universal constant in the world of photography.  Asymmetrical compositions allows the reader more visual stimulation than if this picture were symmetrical.

Further along in the article, Federal Emergency Management Agency Administrator Craig Fugate claimed, "...our immediate next thought was is it a bomb blast...” The two women in the forefront of the photograph appear so terror-stricken that a bomb blast seems like a logical explanation for this.  The photographer utilized his knowledge of emotion and how it impacts the viewer to create this eye-catching image and convey the emotion of terror.

The two women also seem incredibly confused.  In the article, a child says, “The Navy Yard needs a better mass communication system...They have loud speakers on some of the buildings (they call the system Big Voice), but when they use it, the sound just echoes around the buildings and gets muddled, so it’s impossible to understand what they’re saying.”  This description of mass confusion is clearly supported by the women in back grasping onto the women closest to the camera out of desperation.  By utilizing the woman's strength and desperation in the grasp, the photographer created a sense of impending movement, making the photograph more dynamic.

Although this picture portrays the Washington Post's "view" on the earthquake, it aggrandizes the severity of the earthquake in reality.  The media, in this case, is manufacturing fear in order to increase sales; making what seemed to most as mundane and unimportant into something that is momentous and possibly life-threatening.