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Recycle Evaluation
1. What was the project theme and what did you think of it?
This project was called Recycle. We were to find old and disused items and create a scene to paint with light.
2. What part of the project did you enjoy the most/found most interesting (making the photographs? Optimizing images? printing?)
I really enjoyed working on the concept and placement in the scene. I went down the route of an old Soviet medkit/survival pack. I based this loosely from some games I play and partake in which are set in a pseudo-Soviet state.
3. What new techniques have you experienced?
I haven’t done light painting before at all so this was all new to me. I really enjoyed working on this and masking off the torch and tools to paint finely.
4. What technique would you like to develop further?
The whole thing!!! I would love to do more light painting exercises, perhaps even a car or vehicle outside.
5. Which photographers did you research throughout this project?
Noel Kerns
Harold Ross
Pete Eckert
6. How have they influenced your photographs?
Their processes helped me work out where to start on my own image. I loved Noel Kerns work though as he paints in blue hour and objects like gas pumps and phone boxes, things you would never consider but stand out so much when done like this!
7. Which technique did you enjoy the most?
Layering so much and masking off. You were constantly going back and forth to see what sat better where.
8. What do you feel is the most successful part of your project and why?
I would say my setup was a bit more unique. I went for a straight overhead shot looking down. I loved the look in the end.
9. Did you encounter any problems in your project?
The setup. My camera was heavy in the angle I was using, and I had to counterweight it.
10. How did you learn from them and how did they affect your final images?
Buy a better tripod!
11. What would you do differently given the chance to complete the project again?
I would build a better light rig and take many more exposures. Much finer.
12. Discuss any technical issues with your final images? (Focus, sharpness, exposure, highlight/shadow detail, )
I didn’t really have any as there was that many exposures it was easy to use parts from one to fix another.
13. Going Deeper; If you were asked to do a project using this technique, what would you do? What new ideas do you have? This may be explained as a visual, a drawing, sketch, photograph. You decide how you present this section.
I would buy some purpose-built lighting. I would my torch was a bit too unpredictable in certain situations. A better tripod that can take some good weight. That would be about it!
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Structure Evaluation.
1. What was the project theme and what did you think of it?
This project was an Architectural shoot where we would photograph angle of the building outside, try and get some inside, and if not, get close detail shots.
2. What part of the project did you enjoy the most/found most interesting (making the photographs? Optimizing images? printing?)
This was right up my street. I love taking random pictures of buildings, especially strange angles and close details or areas. Scouting wasn’t really an issue as I have an array of buildings I want to photograph properly for years. I am massively influenced by brutalist architecture, and I own a few books on the subject, so that was where I would start. I would say taking the actual photographs was my favourite part as it allowed me time in and around the place to absorb the forgotten culture.
3. What new techniques have you experienced?
I faked a long exposure for the first time. I have touched on it lightly before but never done it to that extent, so it was a learning curve for me. Due to the geographical location of the Seminary the light is only good when it’s high sun which isn't too flattering for a building. That, combined with the fact that it was a stunning sunny day, made for a rather dull sky. I have an ND but not enough to do an actual long exposure and the sky had very little cloud movement.
4. What technique would you like to develop further?
I would love to further my understanding of the fake LE. That, paired with the layers of light painted in post, is something I would love to learn more about. This is a technique you see a lot in minimalist/fine art architecture photography.
5. Which photographers did you research throughout this project?
Georgij Dorofeev
Kevin Saint Grey
Ben Harvey
6. How have they influenced your photographs?
Each photographer influenced me in their own way, but Ben Harvey stood out miles above the rest. His way of manipulating the light to suit his image is stunning. Put it this way, I know his picture of the hydro was shot with flat, overcast light yet he creates layers of light to where he wants it on the subject. Stunning work!
7. Which technique did you enjoy the most?
The faux long exposure. It’s fooled a fair few people, so I am happy with it.
8. What do you feel is the most successful part of your project and why?
I would say the general aesthetic of the subject. Being a derelict brutalist building it lends itself to nostalgia. I find it easy to photograph that look. I am genuinely fascinated by these places and could spend literal days walking around. I am so glad I got the opportunity to photograph this place properly.
9. Did you encounter any problems in your project?
I lost the RAW (RAF) file from the set of probably the best photo I took that day. I was gutted. I don’t know how I managed to do it but I had already processed it to jpeg and only recently realized that it was lost in RAW.
10. How did you learn from them and how did they affect your final images?
It wasn’t in the final selection, yet I would say it was the strongest image there bar perhaps one. Basically, back everything up!
11. What would you do differently given the chance to complete the project again?
I would bring a wider lens (after I bought one). I would try for a cloudy day also to do a genuine long exposure.
12. Discuss any technical issues with your final images? (Focus, sharpness, exposure, highlight/shadow detail, )
I had to do a full sky replacement in one image, the centre piece image. This was quite lengthy. I also had to remove a fair few trees from the shot which again was time consuming to make it look clean afterwards. I shot the whole thing as an HDR stack with some stack focus points too, this was to get maximum sharpness and full dynamic range.
13. Going Deeper; If you were asked to do a project using this technique, what would you do? What new ideas do you have? This may be explained as a visual, a drawing, sketch, photograph. You decide how you present this section.
Using the seminary as the example here I would shott differently as shown in the image below. This is the main entrance and everyone who has ever been knows this inside out. A Google search shows this scene a lot. I would set up a shot here and use a pano stitch, HDR and focus stacked. If I was to do it again, I would have used one of my vintage lenses just for me. I like the idea of vintage glass for a derelict building. I would wait until it was a cloudy day, perhaps even rain for some more dynamic light. I am in fact going to shoot this building this winter in the snow as I haven’t seen any pictures of it in that weather yet. I am hoping we get another structure style brief in the future.
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Perspective control.
Starting off with the image. Now, I would like to point out, I would never “correct” a perspective this harsh for my own images. This is the natural way our eyes see depth and height. Again, this shot would be far more planned if it was for a client.
Into camera RAW and down to the geometry tab. Set up some guide lines too.
Once in there I used a combination of vertical, aspect and scale slider to get the desired effect.
Below is the corrected image. With this kind of angle you must expect to lose a lot of the image so a much wide lens or even a stitched pano might help in losing so much information.
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Illusion Evaluation
1. What was the project theme and what did you think of it?
This project was a composite image to create an “illusion” that wasn’t of the norm.
I thought it was good. I rather enjoyed this and hit so many snags along the way it made for some solid learning.
2. What part of the project did you enjoy the most/found most interesting (making the photographs? Optimizing images? printing?)
I would have to say trying to not soak my actual camera equipment! Playing near water with lenses isn’t fun. I really enjoying layering everything together and having a clean edit. I was happy with the outcome.
3. What new techniques have you experienced?
Definitely the versatility of layer masks! I have used them before but not to this level.
4. What technique would you like to develop further?
Again, layer masking and becoming much more fluid at it.
5. Which photographers did you research throughout this project?
Phillip Halsman
Lara Zankoul
Erik Johansson
6. How have they influenced your photographs?
Lara I would say was most inspirational due to h er use of water in her subjects. I fact, it was her work that directly impacted and gave me the idea.
7. Which technique did you enjoy the most?
The practical elements of the shoot. Having to suspend a £1000 lens, tied with black thread. Then getting the angle correct. Then dropping a bottle of water into a tank of water at the same angle the lens was photographed at.
8. What do you feel is the most successful part of your project and why?
I would say the uniformed colour grading. I really like the clean, sterile look and I went for that as opposed to the bright colours the project suggested. I wanted this to look like an advert, no, an infomercial for people doing stupid things!
9. Did you encounter any problems in your project?
I wouldn’t really say so no.
10. How did you learn from them and how did they affect your final images?
I learned that you only get better by repetition! This took a fair bit to get correct in the practical sense.
11. What would you do differently given the chance to complete the project again?
Nothing. It turned out as I wanted.
12. Discuss any technical issues with your final images? (Focus, sharpness, exposure, highlight/shadow detail, )
As stated, there was a fair few practical elements in play here and they all had to link up at points. I had some issues with light reflecting due to it being a fishbowl. I done my best to flag off unwanted light, but I couldn’t get rid of it all. I would certainly use a squared tank if I had to do it again.
13. Going Deeper; If you were asked to do a project using this technique what would you do? What new ideas do you have ? This may be explained as a visual, a drawing, sketch, photograph.. you decide how you present this section.
As above, some more tools and practical elements in place for this.
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Moving Image Evaluation.
1. What was the project theme and what did you think of it?
This project was a video/film to be made that was at least 60 seconds long and had to have at least three camera movements in it.
I thought it was quite decent. Not something I am really into personally, but I have dabbled in filming in the past.
2. What part of the project did you enjoy the most/found most interesting (making the photographs? Optimizing images? printing?)
I would have to say trying to make my footage stable but “gig like”. I also like the story board idea as I haven’t done that before.
3. What new techniques have you experienced?
Using a make-shift approach to movement and such. I had to use in-house things to help with the camera movements and this made things interesting.
Techniques:
Creating a detailed storyboard that anyone could follow.
Camera movements with homemade gear.
Creating a soundscape to go with my video.
4. What technique would you like to develop further?
I wouldn’t mind learning more about video editing and transitioning from scenes. Even using some proper form of steadycam/shoulder rig to give it a try.
5. Which photographers did you research throughout this project?
It was adverts for inspiration.
6. How have they influenced your photographs?
I knew from the get-go I was going to do the Cadburys Gorilla/Drum ad. This was due to being a drummer and having a very good drummer friend.
7. Which technique did you enjoy the most?
Close up Panning with a 135mm lens! It was difficult to get focus correct and movement at the same time. Combined with the fact that the shot was hilarious as my mate couldn’t keep a straight face!
8. What do you feel is the most successful part of your project and why?
A combination of the depth of field look and the music. I used a tele photo lens to replicate a more “cinematic” look. Though it made for some difficulties as the slightest movement with that looks like you’re in a tornado. Marrying up the music required that to be edited to match too and I thoroughly enjoyed doing that!
9. Did you encounter any problems in your project?
I wouldn’t really say so no. I couple of little things but nothing of note.
10. How did you learn from them and how did they affect your final images?
N/A
11. What would you do differently given the chance to complete the project again?
Nothing. I think it turned out well. I would maybe use a shoulder rig or something similar but as I have no interest in filming I would do it the same.
12. Discuss any technical issues with your final images? (Focus, sharpness, exposure, highlight/shadow detail, )
Never had any issues really. I set up my own lights, created my own stage and had an idea of how I wanted it to look. My friend Raymo “acted” out the Gorilla parts as best as he could to the storyboard setting and we went for it!
13. Going Deeper; If you were asked to do a project using this technique what would you do? What new ideas do you have ? This may be explained as a visual, a drawing, sketch, photograph.. you decide how you present this section.
I would like the chance to script something that wasn’t a copy of another film/advert. Something we had to storyboard for ourselves, our own story. If I was to do that, I know I would go much deeper into it as it would have much more meaning for me. I love Urbex and decaying buildings so I would love to do a video of that.
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Stop Motion Workflow.
General time lines made up of 7 shots.
Soundscape using a song (LTR - Happinesss), war sounds and seperate explosions added in to sync with the SFX used in the scene.
Very slight edit pushing exposure a tad, saturation and pulling pback a tad on contrast. All shot using the Eterna profile in the X-T3.
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Structure, the new finals.
After a few chats I decided to go down the B&W route for the entire set.
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Stop Motion Tech.
Resolution
TV - 3840×2160 (4K)
HD - 1920x1080
UHD (Ultra High Definition TV) - 3840×2160
Laptop - 1920x1080
Desktop PC - 1920x1080
Top Spec Screen (Apple, Eizo) - 5120x2880
My Phone - 2340×1080
Aspect Ratio
The ratio of the width to the height of an image or screen.
TV at home - 16:9
HD - 16:9
UHD (Ultra High Definition TV) - 16:9
Laptop - 16:9
Desktop PC - 16:9
Top spec iMac - 16:9
My Phone - 19.5:9
PPI
TV at home - 110.15
HD - 55.07
UHD (Ultra High Definition TV) - 110.15
Laptop - 226.97
Desktop PC - 81.59
Top spec iMac - 218
My Phone. - 402
Frames per Second
Instagram - 24FPS - 1080 x 1080 - 1:1
Facebook - 24FPS - 1920 x 1080 - 16:9
YouTube - 24FPS - 3840 × 2160 - 16:9
Vimeo - 24FPS - 3840 × 2160 - 16:9
Q: What would happen if you had too many pixels (resolution & PPI) when playing your Stop Motion on the above devices?
A: I would lose areas of footage. A forced crop.
Q: What does a TV do if it doesn’t have enough pixels & what is Photoshops equivalent?
A: Tv’s will do something called upscaling. It will make the content have a resolution by filling in extra information and almost resizing it. It isn’t as good as true resolution. This can be seen the now with 8K tvs. There isn’t a lot of 8K content at the moment, so a lot of content is upscaled. A similar thing for photoshop is called upsampling.
Q: How many pixels (resolution WxH e.g. 6000 x 4000) does your camera have?
A: 6240 x 4160
Q: What is the resolution (WxH) of the recommended Stop Motion Brief?
A: 1920 x 1080
Q: What is the aspect ratio of the Brief submission?
A: 16 x 9
Q: How much of the image area do you need to crop out from your camera image?
A: I won’t crop. the X-T3 has a function internal that allows me to set the camera to shoot in ratios. So rather than shooting and having to do the equation to drop in post I’ll set my camera to shoot in 16:9.
Q: Does your camera allow you to change the aspect ratio so you can see the crop in camera when shooting?
A: Yes.
My camera’s standard ratio is 3:2. I will set it to shoot 16:9.
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SM Contact Sheets
I only done a few as there was 1400 pictures!
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Creative Industries
The History.
Creative industries are those based on individual creativity, skill and talent, or which have the potential to create wealth and jobs through the development or production of intellectual property.
In Scotland our creative industries comprise over 15,000 businesses employing more 70,000 people, in addition to a large number of freelancers as well as students studying creative courses. Together they make an important contribution to our national wealth and international reputation.We are working in partnership with other organisations to support Scotland's creative industries and ensure that they continue to enrich and grow our economy.
The significance of creative industries has become a major boost in productivity, employment, sustainable economic growth, social integration, social values, competitiveness, cultural promotion and a source of information and knowledge.
What is brings in (UK).
Uk creative industries contributes almost £13 million to the UK every hour. New statistics reveal the creative industries sector is growing more than five times faster than the national economy.
Creative industries contributed more than £111bn to the UK enconomy in 2018.
Advertising and marketing were two of the key drivers of growth in the creative industries.
Growth in the sector means it is more than five times larger than growth across the UK economy as a whole, which increased by 1.4 per cent.
The sector was supported by large contributions from tech services and the film and television industries, which contributed £45.4 billion and £20.8 billion to the economy respectively.
Minister for the Creative Industries (Nigel Adams):
The creative industry encompass the best and brightest of UK businesses and these figures paint a vibrant picture of creativity and talent in our country today.
I would like to congratulate all those within the sector whose hard work and ingenuity means the industry is making a staggering contribution of team £13 million to the national economy every hour.
Roles and opportunities (Scotland).
Scotland’s creative industries contribute more than £5 billion to the Scottish economy every year.
Our Economic Strategy identifies creative industries as a growth sector where Scotland can build on existing advantages to increase productivity and growth.
In particular, we aim to develop Scotland as a production centre for screen industries and are working to create the right conditions to allow these industries to flourish.
The creative industries sector is made up of 16 distinct industries:
advertising
architecture
visual art
crafts
fashion and textiles
design
performing arts
music
photography
film and video
computer games
radio and TV
writing and publishing
heritage
software/electronic publishing
cultural education
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Moving Image Ad research 2.
https://www.youtube.com/watch?v=9OJ106mPDsg
Mazda Car advert. This has loads of camera angles, pans, zooms, tilts. Everything! There are many different acts in the scene. Easy 20 plus different actors portraying elements of their lives. The last half of the ad focuses on the car and the freedom it brings to drive it.
The entire piece is held together with the outstanding music by M83 and the song is “Outro” as the YouTube link has the wrong song named. Again, I feel these adverts are gelled together by how strong the music is supporting it and I endeavour to do the same with mine.
https://www.youtube.com/watch?v=JaAWdljhD5o
Now this one is a bit strange. I looked at this as an advert, but unofficial for years. This is a song that pretty much everyone knows now through some means or another. This isn’t the official video of this song. This was two sisters that done a a video for this song for fun and in turn it lauched Awol Nation into the lime light. Three years later the released the official video for this song that hasn’t touched the impact of this video. Now, not an official advert, not really and ad at all, but it propelled a bands career, who are now massive because of a well shot video. Proves this can be done with a very very low budget and some imagination.
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Time Lapse two.
https://www.youtube.com/watch?v=TgBM2BR67Sw
This is my finished TL. I originally was going to use my other more “Visit Scotland” vibe one but this one works so much better with the music. Warning, rather heavy metal music haha!
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Stop Motion Final Vid.
Video of the “Fruit War” as it rages on. This took way too long haha!
https://www.youtube.com/watch?v=7Fs5xAJGdK4
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Moving Image Final Vid.
So here’s my adaptation of the Cadburys drummer ad. Be warned, it has metal music in it and you WILL want a Mars Bar at the end!
https://www.youtube.com/watch?v=NH9x8Yq4D3Q
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Unseen Time Lapse.
I done a few different Time Lapse videos just to mix things up. Having a penchant for street photography I decided to just fire off a few shots of Argyll street. I’m very happy with the outcome as there was more than a few things that are “Unseen” on our streets in this video...
https://www.youtube.com/watch?v=2dJ6x7HrcO8
I used the Fuji X-T3 with a Manfrotto pocket tripod. I shot for around 20 minutes with an interval of one shot per second.
I used a Leica/Minolta 90mm F4 lens adapted to the Fuji system. Hence the stunning contrast of the shot as this lens is beautiful (and a tad pricey, not mine though haha).
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Unseen BTS.
A few BTS shots of the Unseen setup and processes.
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Moving Image Workflow.
Using Rush to iron out some of the kinks in the video. By the last image I ahd redone the music with the help of an audio engineer friend.
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