Tuesday 29 November 2011

Treatment - In Motion

1. Type of production and brief details on Subject/Concept:
We have been given three choices and it was out of In Transition, In Motion or In Solitude. We have to capture the moments of the subject we have picked, I picked In Motion.


2. Facilities: What facilities do you need for this project list all including software and hardware for the whole project?
Camera
Tri pod
Something in motion


3. Finance: If you produced this project outside of the college you need to show how much

Would it cost to hire the equipment that you intend to use?


HIRE THE CANON 1000D CAMERA



PIXELS: 10.10

SENSOR SIZE: 22.2x14.8mm

SENSOR TYPE: CMOS

LENS MOUNT: EF/EFS

3 day hire: £41.25
I have my own Tri Pod
then you are ready to take the photo's.


4. Contributors: Who do you need to help this for you project? This includes talent and crew.
I could use people to be in motion e.g. on a bike, running.
I wouldn't need anyone for crew.



5. Presentation: How will you present the pictures? Will you include a sound track; think about copy writer issues etc.
I will put them in a powerpoint and then add have a track playing but I am not sure what track yet.


Monday 21 November 2011

Fashion Photography

To what degree should the image be minipulated to go into fashion magazine?
When it comes to fashion photography everybody knows that the photo's have usually been minipulated and airbrushed but should we actually be minipulating the images because a good photographer shouldn't have there pictures airbrushed and and changed they should just be able to take a good shot and print it.
In this picture you can see that they have made her waste skinnier and her arms and legs, they have even changed the colour of her skin tone and even changed the way her knees look. Adverts and fashion magazines don't help with the way they make people look because they are portraying that you have to look that good even though in the before shot the models and actors don't look like that, fashion pictures shouldn't be munipulated because even the people posing for the picture could start to worry because they have been changed so much and could either not go for jobs or just really start worrying about the way they look. I don't think fashion pictures should be minipulated the way they are and they should just let the photographer do there job otherwise in a few years to come photographers won't have a job and all it will be a person made up on a computer.

Techniques of Arbus's work

After visiting the Tate gallery on Monday I realised that many different photographers see things and situations in different ways and they show that through there photographs. Diane Arbus started photography after she got married to her childhood sweetheart Allan Arbus who was also a photographer for the United States Army and then he started a photographic advertising business in Manhatten with Diane. Many people questioned her work even after she died, Arbus didn't want to be remembered as " the photographer of freaks" which is what she is most known for and I think that is what made her different because she wasn't afraid to take photographs of dwarfs, giants,transvestites, nudists and circus performers, all people that no one else at that time would think to take pictures of.
Diane and her husband contributed to the fashion world even though neither of them like the fashion world, Arbus also taught a photography course at the Parsons school of design and the cooper union in New York city. Her first major exhibition was at the Museum of modern Art in 1967 show called " New Documents". Her magazine assignments decreased as her fame as an artist increased, the day that Diane Arbus died was the day that a great talent was lost, Arbus took her own life on 26th July 1971 partly because she exsperienced depressive moods and her ex husband once said that she had 'violent changes of mood.' Many people have tried to copy her work but none have succeeded and I think that she has left a great example of how different people's styles can be and how the photographer can interpret a moment with one simple shot.