Slow shutter speed and fast shutter speed: (Moving Objects)

 

Small Aperture and large aperture:

Low ISO and high ISO

Week 3:

Medium close-up shot-

Medium shot-

Long shot-

Research activity:
Annie Leibovitz:
Annie Leibovitz is a photographer known for her iconic portraits of celebrities and cultural figures. Her unique style, dramatic lighting, and intimate portrayal of subjects have made her one of the most influential photographers of her time. Her work:

Christopher Nolan:
Christopher Nolan is a well-known filmmaker recognized for his innovative storytelling in film. He’s known for complex, non-linear narratives and thought-provoking, ambiguous endings, which draw audiences into deeper engagement and interpretation. His emphasis on character perspectives in cinematography and the use of flashbacks add depth and intricacy to his films, distinguishing him as a unique voice in modern cinema.
Films that were directed by him: Oppenheimer (2023), The Dark Knight Trilogy, and more.

For my first assessment, I plan to use Christopher Nolan’s technique of using black and white versus colour to highlight different character perspectives.

Week 4:
This week, we researched different approaches to convey a narrative.

Eve Arnold: (1912 – 2012):

Eve Arnold was an American pioneering photojournalist known for her empathetic portraits and documentation of cultural icons. With a candid and compassionate approach, she captured the humanity of her subjects, from Marilyn Monroe to marginalized communities. Arnold aimed to challenge stereotypes, foster empathy, and inspire social change through her photography, leaving a lasting legacy in the world of documentary photography.

USA. Virginia. A black girl and a white girl make up in the ladies’ room before an integration dinner party during the civil rights strike in America. 1958. © Eve Arnold
USA. Hollywood. US actress Marilyn Monroe resting between takes during a photographic studio session in Hollywood (Paramount Gallery) for the making of the film “The Misfits”. 1960. © Eve Arnold

Week 5:
What is a composition in photography?
Composition in photography is simply the arrangement of visual elements within a frame. The term composition literally means ‘putting together’. So, to get the “perfect shot”, the photographer has to organize all the objects in a scene.

Why is composition important in photography?
Photo composition is often underestimated but is just as crucial as technical aspects in a photoshoot. When a photographer arranges visual elements following composition rules, it naturally guides the viewer’s gaze to key parts of the image, making it more captivating. Well-composed shots distinguish great photographers from good ones.

Rules of Composition:
1. Rule of Third:
Split the camera screen into a grid. Keep in mind the key points of intersection, and place essential elements along those lines for visual appeal. This asymmetric composition in photography works well for any genre, including landscapes, still-life photography, and portraits.

2. The Golden Ratio:
The Golden Ratio differentiates from the rule of thirds by the balance of the photograph. Here, the photograph focuses more on the centre (with more details).

3. Leading Lines:
Take advantage of the structures and lines in landscapes. Use them in proportion to your subjects to lead the eye into the picture. Everything can serve as leading lines: rivers, dunes, waves, roads, paths, bridges, fences, staircases, hallways, patterns, etc. Leading lines do not necessarily have to be straight.

4. Diagonals:
The lines help create movement in the photograph, even when your subjects are still.

5. Frame within a frame:
As you plan how to frame your shots, consider that outside structures, such as windows, doors, or arches, can serve as natural frames.

Photo Story:
A photo story is a series of photographs arranged to tell a narrative or document an event. It often includes captions or text to provide context and guide the viewer through the sequence of images. Photo stories can cover a range of subjects and are a powerful way to visually communicate stories, experiences, and issues.

Narrative Sequence: Shapes 7.3.2024

First Assessment Preparations:
Presentation
My Idea for the first assessment:
The narrative: “Jewish Life in London in 2024”.
The series will include 10 photographs displaying Jewish life and experience in London in 2024. The focus will be on how their lives have been influenced by the events of October 7th. However, not all the pictures will be directly linked to the October 7th events, but also reflect my personal experiences and feelings as a Jewish person in London.
The series will follow a chronological order based on the days of the week, starting from Sunday, the first day of the week in Judaism.
The aim is to connect each image with a specific message or emotion.

To enhance storytelling, I intend to employ Christopher Nolan’s technique of contrasting black and white with colour. This approach will allow me to highlight different “stories”. I will use black-and-white imagery to show aspects of Jewish life in London unrelated to the events of October 7th. On the other hand, coloured images will show scenes influenced by the events of October 7th.

The pictures I plan to take:
1. Peace sign at the pro-Israel protest
2. International flags at the pro-Israel protest
3. Hiding the Israel flag – sadness
4. Guards outside a synagogue – frustration
5. Mezuzah
6. Golders Green – Signs in Hebrew – feeling home
7. Synagogue Entrance
8. Friday night dinner – Happy
9. Friday night dinner – Happy
10. Hostage raise awareness event – hope
11. World War Free graffiti
12. Pro-Palestine protest
13. Pro-Palestine protest

The preparations for the 8th picture and the final portrait:
I used a tripod, set all the camera settings in advance and used a Bluetooth remote controller to take the picture so I could be inside the picture as well.

The 1st picture (Peace sign from the pro-Israeli protest):

Week 6 – Traditional Photography and Dark Room:
In traditional photography, a darkroom is a space where photographs are developed and printed. It’s called a “darkroom” because it needs to be completely light-tight in order to process light-sensitive materials, such as film or photographic paper.

– Developing: The first step in the darkroom process is developing the film. This involves taking the exposed film (which contains the image info) and immersing it in a series of chemical baths. These baths include a developer solution, which brings out the image, a stop bath to halt the development process, and a fixer to make the image permanent and remove any unexposed silver halide particles. Each chemical needs to be used according to precise instructions to achieve the desired results.

– Rinsing and Drying: After the prints have been processed, they are usually rinsed in water to remove any remaining chemicals and then hung up to dry.

– Processing Prints: To make prints from negatives, enlargers are used. An enlarger projects the image from the negative onto light-sensitive paper, which is then developed similarly to film. The process involves exposing the photographic paper to light through the negative, then processing it through a series of chemical baths similar to those used for film.

Week 7 – Studio Session :
Things we covered in class:
This week, we had a studio session. We learned how to use and work with the studio facilities. We also used different light settings to understand how lighting and their angles can affect the image.

The Weekly Activity:
Research one photographer:
Cindy Sherman

Cindy Sherman was born in 1954 and is a famous photographer known for her self-portraits. She transforms into various characters using costumes and makeup, challenging ideas about beauty and gender. Her work explores identity, questioning how society shapes our sense of self. Sherman’s photos challenge norms and encourage viewers to think critically about representation and perception.
 
Cindy Sherman took 70 photos where she acted like different female movie characters from the 1950s and ’60s. She did this to talk about how women are often shown in movies. Even though she took the pictures, they’re not really about her, just about the characters.

Nan Goldin (1953, Washington DC, US)
Nan Goldin is known for her raw and intimate documentary-style photography, capturing the lives of marginalized communities, particularly the LGBTQ+ community and those affected by addiction and HIV/AIDS. She is a founding member of the advocacy group P.A.I.N. (Prescription Addiction Intervention Now). She lives and works in New York City.
Her work is characterized by its honesty and emotional depth, confronting issues of love, desire, loss, and trauma with unflinching honesty. Through her photography, Goldin aims to advocate the acceptance and understanding of marginalized communities, making her a pioneering figure in contemporary photography.

Nan Goldin’s series, “The Ballad of Sexual Dependency,” candidly portrays her life and relationships, including struggles with drugs and dependency. One standout photo, “Nan one month after being battered,” captures the aftermath of severe abuse by her boyfriend Brian. Their relationship was marked by jealousy and dependency. This powerful image sheds light on the reality of abusive relationships and their destructive nature.

Nan Goldin’s photo “Misty and Jimmy Paulette in a taxi, NYC” captures a moment before the Pride Parade, featuring Jimmy Paulette. These images reflect Goldin’s personal life and broader LGBTQIA+ issues, including the AIDS epidemic. During the 1991 parade, participants held pink ribbons to remember AIDS victims.

One series of photos captures Gilles and Gotscho, including “Gotscho Kissing Gilles, Paris,” taken in the hospital where Gilles passed away from AIDS. In an interview, she emphasized that her aim was not solely to depict her friends’ illnesses but to showcase their lives and complexities. Goldin’s work focuses on the people affected by AIDS rather than the disease itself.

Week 8 – Storyboards and Visual Narratives in Photography :
Things we covered in class:
Storyboard:
A storyboard is a series of illustrated panels or sketches arranged in sequence. It outlines the key scenes or shots of a story, helping to plan out the visual narrative before production begins.

What is camera movement?
Ultimate Guide to Camera Movement
Camera movement is a technique in filmmaking that changes the frame or perspective by moving the camera. It allows filmmakers to shift the audience’s view without cutting, creating psychological and emotional effects to enhance immersion and engagement.
Examples of camera movements in film:
– Pan: Horizontal movement left or right, often motivated by character actions or to reveal new information.
– Tilt: Vertical movement upward or downward, used for character dominance or to capture awe-inspiring moments.
– Push In: Moving the camera closer to a subject to draw attention or convey internal reactions.
– Pull Out: Moving the camera away from a subject to reveal surroundings or evoke emotions like isolation.
– Tracking Shot: Camera movement that follows a subject through the scene, enhancing continuity and immersion.

The Workshop Activity:
Create a storyboard and use it to shoot a series of 5-10 images inside the studio.
The storyboard we created as a group:

Shooting (Was later edited in Lightroom):

The experience:

The Weekly Activity:
Create one more storyboard and shoot it at home.
Title: “Back to London”
The sequence is about travelling back from Tel Aviv to London.

The first image is a place in Israel which is like home to me. The last image shows the iconic King Cross station, which represents London in this sequence.
 

Demonstrate your understanding of camera movements by producing brief video clips using either your mobile phone or a digital camera. These clips should exemplify the following camera movements: Pan, Tilt, Push In, Pull Out, and Tracking Shot. 
Pan:

Tilt:

Push In:

Pull Out:

Dorothea Lange:
Dorothea Lange, a pioneering documentary photographer, is renowned for her empathetic images capturing the struggles of Americans during the Great Depression. Known for her stark realism and empathy, she focused on migrant workers and marginalized communities, notably capturing the iconic image “Migrant Mother.”

Lange’s photography aimed to convey the human cost of economic hardship and social injustice, advocating for social reform and inspiring empathy. Her work remains a poignant reminder of the power of visual storytelling to drive social change.

Week 9 – Studio Session :
Things we covered in class:
This week, we had a studio session. We took portrait photos of everyone in class. We practised how to use and work with the studio facilities.
The Workshop Activity:
Edit our portrait using Adobe Lightroom:


The Weekly Activity:
The 12 principles of animation:
1. Squash & Stretch: Used to depict weight or flexibility, such as flattening a ball when it bounces.
2. Anticipation: Prepares the audience for upcoming actions, enhancing realism.
3. Staging: Focuses on clear intentions and strong compositions for easy recognition.
4. Straight Ahead Action & Pose to Pose: Sequential drawing for spontaneous or planned movement.
5. Follow Through and Overlap: Continuation of body parts’ movements after stopping, and sequential movement of body parts.
6. Ease In & Ease Out: Ensures natural acceleration and deceleration in movements.
7. Arcs: Emulates natural arcing motions for smooth and realistic animation.|
8. Secondary Action: Supports and enhances the main action for a more lively performance.
9. Timing: Distribution of frames to convey speed and weight convincingly.
10. Exaggeration: Pushes movements further for added appeal and realism.
11. Solid Drawing: Accurate depiction of volume, balance, and anatomy in 2D or 3D animation.
12. Appeal: Combines techniques to create charm and connection with the audience, emphasizing memorable character design and relatable features.

Research two photographers:
Robert Capa
Robert Capa was a Hungarian war photographer. Working close to the action, he captured the emotion and the human face of conflict, notably during the Spanish Civil War and World War II.

One of his most iconic photo series was the D-Day invasion, which included 11 photos.
He took the photos on June 6, 1944, at Omaha Beach in Normandy.
On assignment for LIFE Magazine, he was there to document D-Day, the largest amphibious assault in history.

Through his work, Capa aimed to show how war affected people and provoke empathy, believing in photography’s power to inspire social change. His images remain enduring symbols of wartime journalism, urging viewers to confront the realities of conflict with compassion.
Robert Capa: Israel 1948-1950 – Link

Tel-Aviv. 1950.
The mayor of Tel Aviv, Israel, ROKACH, also the leader of the General Zionists (political party), made a political speech at the Hatikva Quarter during the Municipal elections of the Tel Aviv-Yafo region.

Tel Aviv, November 14th, 1950: Chaim WEIZMANN, Israel’s first President, votes at the municipal elections.

Robert Capa The Altalena burning. Tel Aviv, Israel. June 22, 1948. © Robert Capa © International Center of Photography | Magnum Photos

Don McCullin (1935):
Don McCullin is a famous photojournalist known for his powerful images of conflict and human suffering. His photography style is characterized by its raw and gritty realism, capturing the harsh realities of war with unfiltered honesty. McCullin’s work shows wars and conflicts around the world, including Vietnam and Northern Ireland, shedding light on the devastating impact of war on civilians. Through his lens, he confronts viewers with uncomfortable truths, challenging them to confront the human cost of conflict and social injustice.

Jordanian soldiers captured by Israeli forces in the Six-Day War near Jerusalem.
June 1967. Don McCullin/Contact Press Images

Ibo soldier during the Biafra civil war. Nigeria. April 1968. Don McCullin/Contact Press Images

Dying United States Marine carried by tank through the ruins of the citadel during the Tet Offensive. Battle of Hué, Vietnam. February 1968. Don McCullin/Contact Press Images
Catholic youth taunting British soldiers in the Bogside, Londonderry, Northern Ireland. 1971. Don McCullin/ Contact Press Images

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1st Assessment:
This series, titled “Jewish Life in London in 2024”, consists of 11 photographs that explore the Jewish experience in London during the year 2024. The collection is shaped by the significant events of October 7th and their impact on Jewish life. While some photos directly relate to these events, others are more personal, reflecting my own experiences and emotions as a Jewish individual in this city. Each image is carefully crafted to convey a specific message or emotion, providing a nuanced portrayal of our community in these times. The use of black and white versus colour highlights aspects of Jewish life in London unrelated to the events of October 7th, alongside scenes influenced by these events.

Personal Reflection of AS1:

Creating the series “Jewish Life in London in 2024” was deeply personal for me, driven by the events of October 7th and my identity as a Jewish individual in this city. I aimed to show the diverse aspects of Jewish life, both influenced by these events and beyond.

Each photo stirred different feelings in me. Capturing the pro-Israeli protest filled me with pride, yet sadness too, as it reminded me of the situation in Israel. However, being among other Jews and supporters made me feel safe. The 4th and 5th images of traditional Jewish spaces, like the synagogue and Jewish house, brought me a sense of calm. Documenting Friday night dinners was heartwarming and exciting, and the goal was to highlight the importance of community.

The photograph of the graffiti in Shoreditch was meaningful. Although I was frustrated by the destruction of the original artwork—a drawing of Palestinian and Israeli girls living in peace. This piece was destroyed by individuals who defaced the Israeli girl’s image.
The replacement graffiti, seen in the image, served as a poignant reminder of the ongoing conflict and the impact of hatred, particularly towards the Jewish people. The use of a long exposure to blur moving objects symbolized the indifference of people. What’s fascinating is that each viewer can interpret the photo differently, especially given its placement within the collection.

The images from the pro-Palestinian protest evoked frustration and sadness, prompting me to hide my identity for safety. Overall, this series reflects my perspective on Jewish life and the complexities of the conflict.

2nd Assessment:
For our second assessment, we were tasked with snapping a series of 4-7 photos in the photography studio. I set up the studio with a soft lightbox and a spotlight, casting a circle of light onto a black background.
The camera was set to ISO-100, F5.6 aperture, and a shutter speed of 200.
All the images were edited in Adobe Lightroom.
I aimed to craft a series of self-portraits, so I took charge of setting up the scenes and compositions. I adjusted the lighting settings and placed the camera on a tripod. Since the goal was to create self-portraits, I needed someone else to click the camera instead of me.

Storyboard:

Title: “True Friend”
This series, “True Friend,” consists of seven photographs illustrating a girl’s journey to finding solace and companionship in tennis. From initial isolation to the joy of connection, each image depicts her evolving relationship with the sport, highlighting the transformative power of finding friendship in unexpected places.

In this series, my aim was to depict a girl discovering the calming influence of tennis, helping her feel less alone.
The first photo shows her in the corner, looking a bit puzzled.

The second photo features only a yellow tennis ball, almost resembling a light bulb, symbolising an idea.

The third photo shows the girl behind tennis strings, hinting at a sense of distance or sadness but also the dawning realisation that tennis could bring her joy.

The fourth photo captures her fully engrossed in playing tennis, clearly enjoying herself.

In the fifth photo, she seems calm, no longer trapped by the tennis strings, with the racket close by.

Finally, in the last photo, the girl is pictured alongside the tennis racket, positioned as if it’s a friend beside her, indicating her newfound sense of connection. She no longer feels disconnected or alone.

Personal Reflection of AS2:

Creating the series “True Friend” brought me joy. Tennis became a significant part of my life after cutting ties with a close friend. Through these photos, I wanted to highlight how finding new interests can bring happiness during difficult times.

Ending that friendship left me feeling unsure and alone. Tennis filled the void, becoming a source of fulfilment. Each image represents a different stage of this journey, from feeling confused to self-reliance, showing that as long as you have yourself, you’re never truly alone.

While I usually prefer street photography, I found the studio setting helpful for controlling the mood I wanted to achieve and the message I wanted to convey.

Stop Motion Assessment:
Title: “A Friday Night Dinner”
In this stop-motion video, I show a friendly Friday night dinner.
For non-Orthodox Jews, Friday night dinner is the most popular meal of the Shabbat, welcoming Saturday—the day of rest in Judaism. It’s a time for celebration when many families, often spanning several generations, gather to eat together. It’s a great chance to bring the family together and catch up after a busy week. This tradition happens every Friday and is also enjoyed with friends.
The meal starts with the “kiddush,” a blessing spoken before eating begins.

Technical Part:
I set up the camera on a tripod and adjusted the exposure to suit the room’s lighting conditions. Using a remote, I captured around 3000 images that night.
These were the settings I used:

After reviewing all the images, I selected 550 to create a sequence. I edited them in Lightroom by adjusting one image and then applying the same settings to the rest. I used a new tool in Lightroom to reduce grain caused by high ISO.
Next, I worked on the sequence in Premiere Pro, setting each image’s duration to 2 frames.
At the end, I added the music and the titles.