Introduction – Visual Narrative
For this module we were greeted to an overview in what we will be covering for this part of the course such as structure and assessments as well as, disclosing the idea of narratology and how narrative correlates with photography. Results of this, will help us to understand the narratives we read in photographic projects/photographs.
After our detailed introduction of the course our first task was to take simple portrait pictures of each other to get a feel of the camera and how lighting caters to a simple photograph.
Introduction to Photography
In our every day-to-day life we see photography all around us; some ways it is presented is through art and documentation. The main elements of photography are: exposure, aperture and ISO
Exposure Triangle
Exposure – when capturing footage exposure refers to the amount of light that hits the cameras sensor, results of this determines the brightness.
Aperture – this refers to how much a lens is open/closed controlling how much light passes through.
ISO – measures the cameras sensitivity to light and effects whether or not we will get a high or slow shutter speed photo.
Shutter speed highlights the outcome of a photo depending on how long the cameras shutter stays open for to let light reach the sensor. When this action occurs it produces either high or slow shutter speed.
Slow Shutter Speed
Faster Shutter Speed
Depth of fieldDepth of field – refers to how much of a photograph appears sharp and in focus from the front to the back, mainly affected by aperture, distance from the subject, and focal length, allowing photographers to control how much of a scene is sharp or blurred.
Shallow depth of field – establishes only a small part of the image (usually the subject) is in focus, while the background and foreground is blurred.
Deep depth of field – requires most to all of picture in focus, from foreground to background, which is commonly used in landscape photography.
Corrine DayCorinne Day was a British photographer known for her raw, natural style that changed 1990s fashion photography. Her work focused on real emotion and youth culture, often rejecting the polished look of traditional fashion images. Corrine Day’s style has left me wanting to homage her style into my projects by showing that fashion photography doesn’t have to be polished or perfect to be powerful. Day’s raw, natural style and focus on real people influenced me to explore anti-fashion subculture, rejecting traditional beauty standards and creating images that feel honest and rebellious.Day has influenced the ‘grunge look’ in which has become more popular in today’s society but not fully socially accepted. Later on in her career she was able to capture catalogue photography and present fashion in a more professional manner but still obtaining the anti- subculture fashion appeal. I aim to showcase both of her cinematic photography elements through polished and un-polished imagery.
Ai Weiwei
Ai Weiwei is a Chinese artist and activist known for his bold and often political artwork. He uses photography and other media to challenge authority and speak about freedom and human rights. Results of this left me inspired by Ai Weiwei’s Study of Perspective series, where he uses the middle finger as a provocative gesture to challenge authority and dominant cultural norms. His work reflects an anti-subculture attitude, rejecting traditional respect for institutions and questioning accepted values. In my own piece, I aim to display his rebellious approach, using imagery to express resistance and individuality, as well as disrupt expectations and encourage spectators to think critically about power, culture, and the idea of conformity.
- What mode of address is the photographer using?
– In this you tube video Jeff wall follows a conversational mode of address, he does this through his voiceovers and communication with the spectator etc. - What is your reading of the story in the image? What is an alternative reading?
– In my opinion Jeff Wall takes a cinematic approach to his photography in order to convey that there is meaning to life. - What are the cues that led you to that conclusion?
– Jeff Wall presents a cinematic approach to his photography through his staged documentary photographs. Wall has a way of making these images look more spontaneous/ candid rather than staged. Results of this take a more director like approach making it cinematic. - How would your narrative reading shift in a different context?
- -Walls cinematic photography style shifts narrative as it almost sits on the cusp of documentation and fiction
Sequencing and Seriality
In this lesson we looked at a series of images and how they are structured/distinguishing patterns
We started off by looking at Eadweard Muybridge (1830-1904)
This is Muybridge’s work of four pictures of horses galloping, this was executed by setting up a couple of cameras in which trigged a sequence. Results of his work inspired the progression photography.
Harold Eugene Edgerton (1903-190)
Edgerton was a photographer and engineer known for advancing high-speed photography , as well as strobe. This is Edgerton’s ‘ Bobby Jones multi-flash golf swing’ (1938).Edgerton showcased motion multiple strobe flashes within a single long exposure, in order to obtain Bobby Jones’s swing action. Overall we are greeted with a single image presenting the entire motion of the swing over a course of time.
Back Lighting – back lighting is when model is placed in front of light it is also known as edge lighting
Loop Lighting – lightly contours facial elements with soft shadows on the opposing side of cheek from light.
Split Lighting – is broken up to, two different parts of one side unlit and lit.
Rembrandt Lighting – origins of name resonate with Dutch painter. This style of lighting follows similar attributes to loop lighting but with a profound triangle of light placed on check, connected where cheekbones and nose shadows meet.
Butterfly Lighting – symbolises a butterfly like-shadow located under model’s nose, accompanied by soft and lighter shadows beneath cheek bones and chin.
Short Lighting- is the opposite of broad lighting, as it refers to any lighting style (Rembrandt, Loop and Split etc) where the darker side of the face is positioned more to the camera.
…
Light has a big fundamental impact when it comes to the concept of photography and producing quality pieces (without light nothing is visible). In todays society we have found a way to manipulate artificial light to suit, as well as natural, lighting has a big impact on a photograph as lighting organically creates a mood and gives us the ability to see what we are working with. Connotations of warm light temperature such as reds, yellows and oranges etc can produce feelings of happiness, nostalgia and potentially intimate like feels. In contrast, cool tones of light are completely opposite, staring off with colours like purple, blues and soft greens etc simultaneously can create a sad, calm or detachment like features. Results of this make choosing the right kind of light/structure and intensity for the image at hand challenging as it can change the purpose and narrative.
Some photographers we looked at within reference
(Images sourced from in class PowerPoint)
We also looked at the photographical work of Daniel Barenboim with Schubert. https://tomfecht.com/portfolio/portraits/sounds-end/
My story board
Location: Studio
Model: 1
Frame 1: Full even layout of the illusion of multiple heads
Frame 2: Even image of illusion of multiple heads following a diagonal motion
Frame 3: Illusion of 5 heads stemming from the right hand side
Fram 4: Intense stare of illusion of 3 heads produced from right side
Option 1 – Shadow Thief
My photography tells a narrative through showing a sequence of actions/changes, allowing the spectator to follow a story from beginning to end. The repetition of similar scenes with slight differences suggests movement, as if something is happening step by step, which builds a sense of progression and time passing. Connotations of mystery, identity, and loss, aids the concept of an underlying “shadow thief.” The stroboscopic features of the shadow appearing to move/ separate from the subject creates a sense that something is being taken away, which also links to themes of absence and the unknown etc. This also connects to imagination and narrative, as the shadow becomes more than just light—it becomes a character within the story. Strong directional lighting creates clear, defined shadows, making them the main focus of the images and allowing the illusion of the “shadow thief” to work. The contrast between light and dark adds drama/tension, while the positioning of the light source helps distort or extend the shadow, making it appear unnatural and reinforcing the idea of something mysterious or being stolen.The concept of lighting plays a key role as it aids the story line and produces dark undertones to the imagery.
Behind the Scenes
End of Course Overview
As a first time vfx university student visual narrative has introduced me to the fundamentals of storytelling through visual media and aided me to enhance my technical/creative skills,as well as communicate ideas visually. One challenges I faced was operating the camera/settings but as the course went on I managed to adapt and can now add basic use of camera work in my forte.This module also gave me the opportunity to collaborate with other students in the course, which is great as it shows how communication can affect the given project at hand. My favourite part of this module was crafting or looking at photographs and conjuring up a story and how certain lighting etc can change narrative. More over, this part of the course has led me closer in becoming in the visual effects industry.
