BOKEH

Bokeh is the term used in photography when referring to the aesthetic quality of the blur produced from a image with shallow depth of field. Factors that can determine the results of bokeh are things like lens aberrations and shape of lens aperture.


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Hannah Hylen

Bokeh is one of my favourite techniques to recreate and working with moving image, gives me the chance to explore this techniques further and how my knowledge of bokeh will change. As my project is based on visual elements over sound now, I have decided I will experiment with bokeh, and see how successful it will be.

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Will Montague

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Ting Hay

Bibliography + Reading

http://www.wassilykandinsky.net/yellowsound.php

https://sounds.bl.uk/

http://www.smithsonianmag.com/arts-culture/how-do-you-make-a-painting-out-of-sounds-38014594/?no-ist

http://www.hirshhorn.si.edu/collection/directions-jennie-c-jones/#detail=/bio/directions-jennie-c-jones-higher-resonance/

http://www.theguardian.com/artanddesign/picture/2012/dec/10/photography-fox-talbot

http://www.metmuseum.org/toah/works-of-art/2005.100.498

http://www.metmuseum.org/toah/hd/rfen/hd_rfen.htm

http://www.allworldwars.com/Crimean-War-Photographs-by-Roger-Fenton-1855.html

http://www.getty.edu/art/collection/objects/60602/roger-fenton-valley-of-the-shadow-of-death-english-april-23-1855/

https://www.youtube.com/watch?v=PqfCmQtrTcE

http://www.imdb.com/title/tt2221420/

https://www.youtube.com/watch?v=ZNc-mazLcko

http://www.earlycinema.com/technology/kinetoscope.html

http://www.americaslibrary.gov/jb/gilded/jb_gilded_kinetscp_1.html

http://www.rowthree.com/2010/11/15/133-years-of-film-18891990-monkey-shines-no-1/

http://en.wikipedia.org/wiki/Magic_lantern

http://www.manufactum.com/laterna-magica-magic-lantern-p1464565/

http://www.magiclantern.org.uk/history/history01.php

http://www.geh.org/fm/magiclant/htmlsrc/introduction.html

https://www.youtube.com/watch?v=oGRTEjTzgBc

http://www.mhs.ox.ac.uk/exhibits/fancy-names-and-fun-toys/praxinoscope/

http://www.earlycinema.com/technology/praxinoscope.html

http://www.mhs.ox.ac.uk/exhibits/fancy-names-and-fun-toys/zoetrope/

http://zoetrope.org/zoetrope-history

http://courses.ncssm.edu/gallery/collections/toys/html/exhibit10.htm

http://www.instructables.com/id/Mutoscope-The-Hand-Cranked-Cinema/

http://en.wikipedia.org/wiki/Mutoscope

http://en.wikipedia.org/wiki/Salon_Indien_du_Grand_Caf%C3%A9

http://en.wikipedia.org/wiki/Auguste_and_Louis_Lumi%C3%A8re

http://www.earlycinema.com/timeline/

https://forums.creativecow.net/thread/3/913854

http://screever.org/2013/05/15/the-laterna-magica-1885-1932/

http://www.magiclanternsociety.org/about-magic-lanterns/

https://www.david-campbell.org/2010/11/18/photography-and-narrative/

http://www.oxforddictionaries.com/definition/english/narrative

http://www.getty.edu/art/collection/objects/65038/william-henry-fox-talbot-the-open-door-british-late-april-1844/

http://www.joblo.com/horror-movies/news/indie-horror-honeyspider-crawls-onto-some-new-stills-and-a-poster

http://www.ozarkfoothillsfilmfest.org/films_indie_initiative.html

http://archivioditra.altervista.org/ING/arch_KIEN_memoria.html

http://www.academia.edu/5819920/_Re-presenting_America_Edward_Kienholz_s_Portable_War_Memorial_1968_Vietnam_and_Cold_War_Politics_

http://www.huffingtonpost.com/2014/04/17/iconic-photos-gifs_n_5153108.html?slide=7#slide=start

http://www.thephotoargus.com/inspiration/40-beautiful-examples-of-bokeh-photography/

http://news.usni.org/2015/02/23/iwo-jima-at-70-the-most-reproduced-and-parodied-photo-in-history

http://www.archives.gov/historical-docs/todays-doc/?dod-date=223

http://www.nationaljournal.com/pictures-video/the-70th-anniversary-of-the-flag-raising-at-iwo-jima-20150223

http://www.nikonusa.com/en/Learn-And-Explore/Article/h0ndz86v/bokeh-for-beginners.html

http://www.tillmancrane.com/portfolio_soft_focus.php

http://www.scannerdot.com/

http://www.robinrimbaud.co.uk/Scanner_-_Robin_Rimbaud.html

http://en.wikipedia.org/wiki/Robin_Rimbaud

http://www.firstpost.com/topic/person/robin-rimbaud-profile-17821.html

https://www.youtube.com/watch?v=Yfuat21E_dg#t=298

https://soundcloud.com/scanner

http://artarea.tv/webroot/media/images/praxinoscope-zoetrope.jpg

http://www.americaslibrary.gov/jb/gilded/jb_gilded_kinetscp_1.html

http://inventors.about.com/od/kstartinventions/a/Kinetoscope.htm

https://www.youtube.com/watch?v=k6NgpeDjF7s

http://en.wikipedia.org/wiki/Mutoscope

https://www.magnumphotos.com/C.aspx?VP3=SearchResult&ALID=2K7O3RB0V426

http://www.oxforddictionaries.com/definition/english/juxtaposition

Aitken, D. (2006) Broken Screen, Expanding the Image, Breaking the Narrative, 26 Conversations with Doug Aitken . Edited by N. Daniel. New York, NY: D.A.P./Distributed Art Publishers, Inc. .
Buchan, S. and Surman, D. (2007) Animated ‘Worlds’. Edited by S. Buchan. Eastleigh: Libbey, John & Company.
Goodridge, M. and Grierson, T. (2012) FilmCraft: Cinematography. United Kingdom: Ilex.
Leighton, T. and Esche, C. (2008) Art and the Moving Images: A Critical Reader. United Kingdom: Tate Gallery Pubn.
Maltby, R. (2003) Hollywood Cinema 2nd. 2nd edn. Malden, MA: Blackwell Publishing.
Parkinson, D. (1995) History of film. New York, NY: Thames and Hudson.
Watkinson, J. (1988) The art of digital audio. London: Elsevier Science & Technology Books.
Anonymous (2010) “Gregory Crewdson (b. 1962) Untitled (Twilight Series)”, School Arts, vol. 110, no. 4, pp. 24.

EXISTENTIAL

This is my final piece, titled EXISTENTIAL, and is a narrative about a journey, taken  physically but also mentally. The title EXISTENTIAL stems from the idea of one human making a change and creating something for themselves. Everyone takes a journey and has a story to tell, and I wanted to channel the theme of a narrative, with a beginning, middle and end and apply this idea of art and existence to it, and I think it has worked successfully.

I believe have kept my theme running throughout my developmental work with the filters and letterbox cropped frame, and I think that’s how each piece links in with the other. However, I decided to edit this video black and white, as I felt the other pieces were too happy and had not depth or pain to them, no story. I wanted to include an element of sadness and I feel I have chosen and appropriate song choice to accompany my footage.

With the initial idea of making sound a major part in this project, I am glad it has taken a back seat. The theme of VISION having lots of visual elements, light and moving imagery I’m glad I chose to focus on sight, and EXISTENTIAL epitomises that. I have tried to make my work visually excelling as this project required LO2. Demonstrate knowledge of the technical skills relevant to the project and visual effect worked the best. Also I found the timelapse worked very well in this video. I had a lot of footage to sift through, yet I still wanted a lot of elements, but they would not all fit into a 4 minute window, so I had to speed some footage up, and I believe it’s worked very well.

Song: Emeli Sandé – Clown (Instrumental)

Gregory Crewdson’s Photography Capturing a Movie Frame

Talking to the Reserve Channel, Gregory Crewdson talks about the underlying factor, that an image cannot simply be aesthetically pleasing, it also needs can incorporate emotion and narrative. Crewdson’s level of attention to detail and sophistication, makes his work truly stand out in the history of photography, having sometimes 60 people working on a single shoot with him, to create cinematic pieces.

Crewdson always admits his projects start small, and grow organically into something much bigger. From his early career, shooting uncanny photographs, to shooting homemade tableaux, to his series Hover where he used aerial cranes to shoot from an unfamiliar angle; Twilight began to combine all of these elements together throughout his career. I think Crewdson shows great majesty in his evolution of his work, as I feel the Twilight series was amazing work, as the attention to detail and the grand nature of scale, suggests that he planted a seed and it’s just grew and developed, and I love that idea and seeing the final image, and the idea that his narrative is the evolution of his work.

Gregory Crewdson

Gregory Crewdson is an American photographer, born in 1962 in Brooklyn, New York City. He specialises in taking shots of elaborately staged neighbourhood scenes, as if they were a tableau of the first act of film. He combines light and extras on set, often to get his photographs as unique and thought provoking as possible. Crewdson has a very different style to many other photographers. The photos usually take place in small town America, showing the eerie, weird and wacky going’s on in people’s houses, gardens and sometimes even the whole street, to give an almost cinematic effect. One of Crewdson’s most famous projects was his ‘Twilight’ book by Ricky Moody published in 2002, which comprised of 40 original photographs set the twilight zone, between the certainty of day and fear of the dark.

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Twilight Series 2003

I have always been fascinated by the poetic condition of twilight. By its transformative quality. Its power of turning the ordinary into something magical and otherworldly. My wish is for the narrative in the pictures to work within that circumstance. It is that sense of in-between-ness that interests me. – Gregory Crewdson

I think Crewdson has a real passion for the unknown, and the in-between times of day and night that conjure up many crazy ideas of what may happen when no one’s looking. When I look at his photographs, they make me wonder about what was going on at those times for the scene to happen like that? I often think of how does he achieve such a cinematic perspective of the scene that he is creating?

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Twilight Series 2003

With Crewdson, it is all about the lighting and how he uses the light to his advantage to create such an extraordinary array of photos that fit together really well. With the idea of twilight he uses the element of this time in the day and the natural light to create interesting scenes that have an eerie glow to them. One of the reasons Crewdson like to work in these times of the day is because the lighting at these times are usually softer, and have a warmer hue to them. When the sun is near or below the horizon, it takes a longer time for the sunlight to travel through the atmosphere, therefore reducing he light intensity of the harsh and often colour-washing, direct light.

Overall, the way that Gregory Crewdson has managed to channel other artist’s perspective to create his own scenes in such a cinematic perspective, with his crazy and outlandish taste, is quite unique and makes me wonder on how I could achieve something similar to his work with copying and transcription. Also I like his inclusion in his photographs that threat is everywhere, and danger is just a short walk down the garden path.

Raising the Flag on Iwo Jima

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Raising the Flag on Iwo Jima is a momentous photograph taken on 23rd February 1945, by Joe Rosenthal, an American Photographer from Washington D.C. The photograph portrays five United States Marines and a Navy corpsman raising an American flag on top of Mount Suribachi, on the little Japanese island of Iwo Jima, during the ‘Battle of Iwo Jima’ in World War II. The US occupied Iwo Jima until 1968 when it was returned to Japan.

The photograph was exceedingly popular, being reprinted in thousands of publications. Later, it became the only photograph to win the Pulitzer Prize, an award for achievements in journalism, literature and musical composition, for Photography in the same year as its publication, and came to be considered in the United States as one of the most symbolic and recognisable images of the war, and possibly the most reproduced photograph of all time, recreated on millions of posters, both pro- and anti-war. The photograph even appeared on the commemorative US Dollar in 1945.

 What few people know is that this inspiring moment was actually a second version of the original event.

 I swung my camera around and held it until I could guess that this was the peak of the action, and shot. I couldn’t positively say I had the picture. It’s something like shooting a football play; you don’t brag until it’s developed. – Joe Rosenthal

 Rosenthal admitted that when he took a shot of six men raising the Stars and Stripes on Mount Suribachi, he had no idea that he had captured something extraordinary. He was setting up for a different shot when he spotted the group of men planting the flag and quickly took a snap without even looking through the viewfinder. Unsure if his photo would come out clearly, he assembled some marines to reproduce the original image. This photo would become iconic overnight and go on to win the Pulitzer Prize. When the six men in the second image returned home, they were classed as War Heroes and toured America, explaining life of the front-line.

 Many copies and parodies have been done of the iconic image, the most of any other image of its kind, and hold the record for the most reproduced photograph in history. Most of them can be seen on this website: http://www.usni.org/iwo-jima-parody-photos. Some other famous artists and photographers have even copied and made their own Iwo Jima style image.

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British toy photographer Mike Stimpson, creating the scene out of Lego (above), and American instillation artist Edward Kienholz, making a ‘Portable War Memorial’ (below)  in 1968, which encourages you to go and sit down on the piece.

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 Overall, I feel that the narrative in Raising the Flag on Iwo Jima is the history and emotion behind it. The terrible wars that were breaking out, the lives lost and the stories left behind were incomprehensible, and to be alive and living in such times must have been extraordinary and painful. This one still image has been able to portray such deep emotion into society especially in the US and Japan and encourages people to remember what happened in the past actually happened, no matter how traumatising it may seem.

Sallie Gardner at a Gallop

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The piece titled Sallie Gardner at a Gallop is a series of photographs consisting of a galloping horse (above). This short, repetitive film was created by Eadweard Muybridge on June 15th 1878 as a photographic experiment into early moving image. Sometimes referred to as an early silent film, Sallie Gardner at a Gallop lead the way for other experiments and the development of motion picture.

Sallie Gardner at a Gallop is a series of 24 images that were shot one after the other very rapidly, in turn shown on a Zoopraxiscope, a device created by Muybridge to view his work as a moving piece, instead of 24 singular images. The purpose of this experiment was commissioned by horseman Leland Stanford, who wanted to investigate whether a galloping horse lifts all four feet completely off the group, as a human eye could not determine, as the speed is too fast.

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Too complete the shoot, Muybridge arranged 24 cameras along a track to photograph the horses path, and the shutters were activated by trip-wires in the horses path so each image would be in frame. I think Muybridge is the pioneer of the moving image, inventing and building devices to capture and project stop-motion style pieces such as Sallie Gardner at a Gallop, thus developing the early frame idea, that would be used in today’s technology.

Experimentation – T W O

TWO is a experimentation of development, tools, effects and techniques.

Song: The Givers – Up Up Up


I wanted to incorporate techniques that I had learned from previous experimentation like the letterbox style video frame and develop them into a short snippet film. I chose to work with a little more with sound here. During the unfocused footage of the cars in this film, I decided to use a muffled effect to involve the senses together, both sight and hearing. I did this so both senses would work harmoniously with the other, so what was being seen matched what was being heard. Although this was a developed piece, I included new and old footage that worked appropriately together, the narrative side to my film is yet to be shown clearly, but I like the effect of having an unclear route to take, a journey that is not set out to be easy with a cinematic force, similar to Gregory Crewdson‘s work again.

What do I think worked well? – The overall emotion of the piece is good, it promotes a happy mood and it’s aesthetically nice to look at. I think the muffled sound with the bokeh effect work very well together and may include this again.

What didn’t work so well? – I think the start of this experimentation/developmental video was weak. The shaking camera footage makes it hard for the audience to focus on a particular point, therefore loosing its authenticity, so I will take this into consideration.

What’s next? – I am going to be taking some footage for a journey and I am excited to combine different elements from different shoots together. also working on developing my moving image to create my final one.

Inspiration

As I would be creating my own moving image piece, I wanted to discover the artistic direction that I wanted my work to take. Looking through videos on YouTube and Vimeo among other resources, I was always drawn towards beautifully created videos that came from a commercial stance, often playing with focus, and both VISION and BOKEH were resonant in this artistic technique. I decided to look further into stills of videos and still images, choosing which parts of them that I liked and that I would perhaps channel through to my own work.

HONEYSPIDER_CAPTURE_02

Above is a still from the indie horror flick titled HONEYSPIDER, created by indie film-makers Josh Hasty and Kenny Caperton, centred around Halloween and a college student who slowly succumbs to hallucinations, all while a mysterious stranger watches over her. The film finished in post-production in 2014 and was scheduled to hit the festival circuit in search of distribution in the Autumn of the same year. One of my favourite things about this still is the use of the rule of thirds, I think this works incredibly well in achieving an artistic edge, and that along with the ambient lighting in the most appropriate colours, I think this is what makes this still so successful. Lastly, the element of this still I am so intrigued with is the focus and focal length, by increasing the aperture and  having a short focal length, I feel the image becomes a little more professional in appearance, and this is something, that i will be carrying on in my own work.


stills_45rpm

This is a still from Juli Jackson’s 45 RPM. She describes her film as

a dark comedy that extends the world of the classic American road movie to multiple mediums while exploring rich Southern history. The story follows Charlie, a struggling New York artist who seeks a connection between her work and her deceased father’s music. She teams up with Louie, an obsessive record collector from Memphis, and begins a search for a rare 45 recording from the 1960’s Arkansas garage rock scene that takes them on a journey across the seldom explored landscape of the new Old South.

The theme of a journey is very symbolic and powerful. There is something so existential about going on a journey, both physically yet also mentally, learning, discovering and developing. I am very intrigued with this theme and want to create a short piece developing this.


Pop 005

A style in film that I am very interested in is the cinematic look, similar to the work of Gregory Crewdson in his Twilight series, photographing huge high-budget scenes that encapture the essence of cinema. Above is a still from music video ‘Popular Song’ by musicians MIKA featuring Ariana Grande. The video was released on 29 April 2013, directed by Chris Marrs Piliero, an American director of short films and music videos. The main theme of this video in the cinematic ‘letterbox’ style of presentation. I had previously used this in my original VISION, I liked it as it gave the work more credibility. This still and the whole video for ‘Popular Song’ have a very dark, Gothic theme running throughout, and I think this important to keep the continuation and style, so each scene fits in with the next.