BORN INTO BROTHELS: Documentary Film

KidsShooting2

https://vimeo.com/56717860

MOVIE DISCUSSION GUIDE

In your Photography Teams answer the following questions below and post to your website

1. What human rights issues are illustrated in the film? What international laws are
in place to stop or prevent those abuses?
2. In the beginning credits of the film, we see images of the children’s eyes looking
down on images of the red light district. What themes do these images reflect?
What does it tell the viewer about the children?

3. What are the changes in the children’s outlook and personalities when they are
taken out of the brothel to the beach and zoo?

4. If these children were taken out of the brothel environment permanently, do you
think that they could fully recover from the injustices and trauma that they have
previously faced? Why? Why not?

5. If life in the brothels is all the children have ever known, then how do they know
that it is not how they want to live? If it has become the norm, then how do they
know that it is not normal for a child to grow up in that environment? Are we born
with an internal human rights’ radar? Is awareness of human rights a part of human
nature?

6. Why did Zana become so involved with these children? What lessons did Zana
learn throughout her journey? There were times when Zana seemed to get very
frustrated with the bureaucracy in India. What do you think kept her going?

7. Zana is not just documenting these children, but she is enabling them to document
what they see around them. What opportunity does this provide for them?

8. Think about the scene in which Zana is talking to a school principal about the
possibility of enrolling the children into school. The principal says “No one will take
them.”

On your own please respond and explain your answers (THIS IS NOT FOR YES/NO ANSWERS!)

• What does it mean to have the right to education?
• What challenges do these children face in claiming their right to education?
• Should the possibility of being HIV positive affect your right to an education?
• Should your economic or social status affect your right to an education?
• Should being the child of a sex-worker take away that right?
• Explain your answers.

PORTRAIT LIGHTING 101

P3-SYH-RosaRodarte-Dahlia

The portrait lighting 101 assignment will teach you how to use both natural and artificial (FLASH) lighting sources to create professional looking and beautiful portraits.

Portrait photography is one of most common forms of photography.

Portrait photography, which is also called, more often than not, portraiture, is the art of capturing a subject (in this case, a person or a group of people) in which the face, facial features as well as facial expressions are made predominant.

The portraiture photographers aim is to focus on the person’s face. They aim to give emphasis on the face of the person because this will also be the focus or the emphasis of the photograph. This does not mean, however, that the person’s body or even the background will no longer be included. Under portrait photography, these can still be included in the photo by the portrait photographer but again, the focus or the emphasis should be on the person’s face, facial expression and even distinct facial features.

There are no boundaries or rules when it comes to portrait photography. Truth be told, that’s what makes portrait photography easy and difficult at the same time! Easy because just about anybody with a point and shoot camera can do a portraiture but difficult because when you need a professional portrait taken, you must rely on professional portrait photographers…That is YOU!

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NATURAL LIGHT versus ARTIFICIAL LIGHT

Learning the techniques for both styles of portrait lighting are invaluable. the ability to take your subjects both into a studio and outdoors allows for a true mastery of light. After all that’s what photography is, controlling light, capturing reality and imagination. When capturing portraits, one of the first decisions you need to make is what kind of light you want to use. Some photographers prefer using natural light. It’s no-nonsense, relatively easy to work with and it can produce excellent results. Other photographers opt instead for using artificial light, oftentimes trying to recreate a somewhat natural look, but with more flexibility than you have when working with available light. After all, the sun doesn’t produce great light all the time. Each approach has its pros and cons and are viable options for portraiture.

img_4606NATURAL LIGHT

The natural light portraits will be taken using a 5-1 reflector. You will bounce light using the gold, silver, white or black surfaces. There is also a diffuser that allows you to face the sun and soften the light on your subject.

IMG_7494ARTIFICIAL LIGHT

The use of FLASH photography will allow you to control light with precision and create mood and emotion with ease. This will be available using both portable flashes and in class studio strobe flash heads.

img_5320PORTRAIT LIGHTING STYLES

There are FIVE major portrait lighting styles we will cover. SPLIT, LOOP,  BUTTERFLY, REMBRANDT, & MONSTER.

Assignment:

Using both the natural light with reflectors you will take natural light portraits

Using the indoor and outdoor flashes you will take artificial light portraits.

Levitation Photography

jasmine-flotando

Levitation Photography

You may have not heard of the terminology, but you must have definitely seen some stunning levitation photography on the internet. In levitation pictures, everything seems to be defying gravity. The model is floating, the objects around are floating and everything is floating.

Levitation photography is a simple concept of layer masking in Photoshop. To break it down in simple terms, a picture of the scene is taken without any props and models. Later, several pictures are taken with the model and the props by suspending them in air. Then they are all brought together in Photoshop by layer masking to form one image after eliminating the suspending equipment using the first image of the blank scene

There are two phases to creating a levitation shot. Shooting and post-processing.

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Shooting

1. Work up a scene

Levitation photography is a creative process. You don’t actually need a pricey camera for it, even a basic point and shoot camera will help you create a good levitation photograph. Just work up a good scene. Think of various different positions in which you can make your model float in the air and how is it that you will do it. Normal methods which photographers use to suspend their model are:

  • Using stools, tables, chairs or any other furniture for support.
  • Using ropes. Use real strong ones so they can support the weight of the model.
  • Using a trampoline or jump method, ask your model to jump up in the air while making the desired pose. Use burst mode to capture shots in succession.
2. Set-up your camera

Apart from the trampoline method, if you are using any other support methods to keep you model suspended in the air, then you will have to use the tripod. Set your focus on the model and compose your scene to start shooting. Before you start taking pictures of the model, it’s best to take a picture of the blank scene.

It’s a good strategy to include some props as well in your picture. It creates a better impact and adds to the story behind your scene.

Once you have taken all the necessary shots, move on to processing your images and creating your levitation photograph.

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Processing

  1. Import all your images in Photoshop. You will be moving the image with props and subject levitating on to the blank background. Notice the photo’s are in different tabs. Follow the instructions given.
  2. https://www.youtube.com/watch?v=Nyuyo9AXGl0

MANUAL MODE PHOTOGRAPHY

“There is only you and your camera. The limitations in your photography are in yourself, for what we see is what we are.” Ernst Haas

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Get more creative with Manual Mode

A photographer takes full creative control over every aspect of the photo and makes creative choices in the image creation process. Aperture, shutter speed and ISO are the base. If you don’t control these then you will be unable to create the best possible image. From bright sun light to low light in the gym using MANUAL mode will get you the best chance to create your masterpiece.

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The Exposure Triangle

Shooting in Manual Mode means controlling three fundamental settings in photography:

  1. ISO
  2. Aperture
  3. Shutter Speed

Together they are collectively known as “The Exposure Triangle”.

How do you use this with Manual Mode…follow these steps

Step #1 – How much light is on the subject?

Do I have:

  • Full daylight
  • A gloomy interior
  • A heavily shaded area between buildings
  • And so on…

Step #2 – I ask myself “What is my priority?”

It all comes down to what I’m shooting – prioritizing shutter speed or aperture to whatever I think will make my subject look its best.

  • Am I shooting landscapes and want a wide depth of field? (select a small aperture like f/16).
  • Am I shooting portraits and so want a shallow depth of field? (aperture again, this time a wide setting like f/2.8).
  • Perhaps I am shooting sports or action, and want pin-sharp images of fast-moving subjects? (shutter speed this time – choose a fast one to freeze the subject like 1/2000th).

I’ll make my choice of shutter speed or aperture as my top priority. Now I have two points of the exposure triangle set. For the last setting, I adjust the exposure on the light meter scale.

Step #3 – Adjusting the exposure

Now is the time to look at the camera meter.

Use the light meter scale – get the marker near the center or thereabouts with the one remaining dial (in other words if you chose the aperture in step #2, the last one being set here is the shutter speed). On this -2 to +2 scale, where you place the exposure matters a lot! This is the essence of creative exposures. It dictates the mood of the photograph.

Being in the center or “0” position is rarely the right exposure for me.

Light Meter Scale

Exposure-Scale

 Did you know that two of the best ways to fully learn something is to:

  1. Practice it
  2. Explain it or teach it to someone else

By practicing it over and over you are teaching it into your body, almost like muscle memory. You do it so many times you’ll end up with it being automatic like it is for me (and those with years of experience who make it look effortless).

GOAL: You will complete a series of 10 photographs using MANUAL MODE only. Choosing  to underexpose or overexpose your photograph with purpose and artistic motivation.

PHOTOGRAPHIC PRINCIPLES OF DESIGN

BALANCE

Just like you wouldn’t eat your three meals of the day in the morning, you don’t want to pack all your elements in only one area of your composition. That’s what balance is: making sure that the visual weight is equally distributed in your design.

To be precise, there are three types of balance:

  • Symmetrical balance: The elements of one side of the composition are strictly similar to those of the other side. This option naturally evokes classicism and constancy – like the pillars of a Greek temple.
  • Asymmetrical balance: The elements on both sides are different, but still give a feeling of having the same “weight”. This is achieved by playing with the colors, textures, shapes and positions of the items. For example, a small object can balance a bigger one if its color is darker, or its texture is more contrasted. This type of balance evokes modernism and vitality.
  • Radial balance: The elements are equally positioned all around the central point of the design, like if they were radiating out from it. This option gives a strong sense of life and dynamism.

EMPHASIS

It occurs when an artist creates an area that is visually dominant in the composition. It’s often achieved by means of contrast, but not exclusively. Every design should incorporate a primary element like this, known as a “focal point”, that will serve as a door through which the viewer can enter the composition.

RHYTHM & MOVEMENT

Life is like a riding a bicycle. To keep your balance, you must keep moving”, once said Einstein. The exact same goes for your composition. For your viewers to enjoy it to the fullest, they have to “move” within your design. This is why a good creation always incorporates a path, which seamlessly leads the eye from one element to another, while communicating the proper information.

REPETITION OR PATTERN

Repetition = boring? Think again. A repeated element can create a pattern that is highly satisfactory. Repetition helps to create consistency, which is crucial when it comes to enforce the unity of your composition. Pattern or rhythm is simply repeating an element in such a manner. This will cause the viewer’s eye to move around to each element.

UNITY

Unity in design exists when all elements are in agreement. It creates a sense of completeness, and completion. To achieve this precious state of harmony, the designer needs to make sure that every element really belongs to the composition, with a specific place and role. Nothing should be useless or placed randomly.

PROPORTION

Proportion is the visual size and weight of elements in a composition and how they relate to each other. Proportion is using the size of an object to give it more or less importance. Proportion can be achieved only if all elements of your design are well-sized and thoughtfully placed.

VARIETY

Variety is exactly what it sounds like, having variety in your elements. Combines different shapes, forms, textures, values and sizes to create interesting compositions.

GOAL: You will create a set of 5 photographs for each Principle of Design. Please title your assignment Principle of Design then type your principle and it’s definition along with your 5 photographs the represent the principle of design visually. There are 7 Principle’s of Design so you should have 35 wonderful visual examples.

PHOTOGRAPHIC ELEMENTS OF ART

LINE

Line is the most important element of all and also the most strongest in its meaning. Your eyes follow the line whether it is visible or invisible. Based on its character and direction, lines communicate emotions making it one of the strongest elements of design.

Horizontal lines suggest feeling of restfulness or calmness, vertical lines suggest feeling of power, and diagonal lines suggest feeling of movement and direction. Soft curved lines represents relaxing or soothing feel whereas acute or jagged lines suggest frenzy or chaotic feeling and so on.

SHAPE

Shape is a two dimensional representation of an object. Kids draw primarily using the shapes like an outline of a farm house, a tree, sun, etc. The outer line of an object forms the shape.

In photography, you can represent interesting shapes of the objects by using silhouette effect due to backlighting. Silhouette photographs make an impact when the shape of the subject (object) is clearly defined in contrast with the background.

FORM

Form is a three dimensional representation of an object. A third dimension (thickness) to the Shape yields Form.

Photography (and art) is a two dimensional form lacking the depth which poses a challenge to  you as a photographer to somehow represent the third dimension by creating an illusion of depth.

By using light and shadow you can create an illusion of depth in your photograph.

TEXTURE

Texture represents the details that are present on the surface of an object. You can use texture to create photographs that are visually interesting.

Direction of light plays an important role in bringing out the textures. Based on the mood you want to convey in your photograph, you will either wait for the light that will emphasize the roughness or softness of an object.

COLOR

Color is a major design element that we love. Colors play an important role to set the mood of the photograph.

The colors can be broadly classified as warm colors and cool colors. Red, Orange, and Yellow are the warm colors that suggest the feeling of warmth, liveliness, and energetic whereas Blue and Green are cool colors that suggest the feeling of calmness, tranquility, and sad/gloomy.

SPACE

Space is another important element of design that suggests the distance between the objects, perspective, and proportions of objects.

A subject represents the positive space in an image and the background represents the negative space. Negative space is as important as the positive space in defining the shape of the subject.

VALUE

The lightness or darkness of tones or colors. White is the lightest value; black is the darkest. The value halfway between these extremes is called middle gray. Values help create forms and differentiate space or distance. Gradation of values within a space or shape create forms, or the illusion of volume and mass.

GOAL: You will create a set of 5 photographs for each Element of Art. Please title your assignment Elements of Art then type your element and it’s definition along with your 5 photographs the represent the element visually. There are 7 Elements of Art so you should have 35 wonderful visual examples.

Historical Photographer Presentation

http://aphotoeditor.com/2012/09/18/100-most-influential-photographers-of-all-time/

https://fstoppers.com/news/professional-photographer-magazines-100-most-influential-photographers-all-time-5238

HISTORICAL PHOTOGRAPHER PRESENTATION

For this report assignment, you will select and research a photographer and their work. Once decided, there are many books in class, which may be used for reference; however, these must stay in the room. Feel free to use them here during class or after school. You may use your computer for serious research during class time and the creation of your Google Doc and Presentation. You will work by yourself or with a partner.

Your product will be in two parts:

PART I– a handout to share with your classmates (10 copies). It is to be word-processed, in no larger than 12 point font. The introduction will explain your reason for selecting this photographer. In bullets & phrases cover at least 7 of the following:

  • Full name of individual
  • Date and place of birth & indicate years of life (and if still living)
  • How influenced-by others in field of photography
  • How influenced-by circumstances in life
  • Awards, fellowships, grants, etc. (explain nature of award)
  • Typical subject matter of photographs made by this artist
  • What this artist is trying/ tried to communicate
  • Typical style of work
  • Geographic places this photographer shot
  • Significant contribution(s) to photography (or the art world)
  • What they themselves said/say about their work (quotes OK)
  • What others have said about the work

Include 2 examples of this person’s photography, either photocopied (from a print source) or computer generated images (from an electronic source). These visual images need to include the photograph’s title, year made, must be at least 5×7 inches and of good visual quality (i.e., readable-not overly pixelated) to be displayed in our classroom.

Also, you will need to list at least 3 sources you used for research. Please do so in the following manner: (print source: title, year of copyright, author, publisher / electronic source: address [complete http], title, author, copyright year)

You will be expected to present from your handout information about the artist you select in class. You are responsible for knowing the information on each photographer, so keep track of this handout.

PART II- will be a Google Slides, Power Point, Prezy or any other software format of your choice…

Please select 10 photographs that you feel best represent the best of their work, think the GREATEST HITS! Your presentation will include a title slide with the photographers name and year of birth and death. Each slide will include

  • Title of Photograph
  • Year taken

You will provide the additional content via note cards or any other aid and communicate to the class why each photograph is significant and why you chose the image. This will be done for all 10 images.

  • What is happening in the photograph?
  • What is the setting of the photograph?
  • Why was the photograph taken?

GOOD LUCK! The purpose of this presentation is to introduce yourself and your classmates to the many historical photographers in the world and recognize their contributions to the photographic arts. We are standing on the shoulder of giants my friends and we should pay homage to the men and women who have helped advance photography to higher levels.

 

 

 

Light Painting Photography

Light Painting Photography

Light orbs, fire wheels, light drawings, 3D light extrusions and more – they are all heaps of fun, super creative and surprisingly easy to do! There is no hard and fast rules for how to do them, but here is what works well.

Saul Gonzalez Light Painting 2

All you need is your Camera, a tripod, some kind of light, maybe some string, LED lights, flashlights, Christmas lights or Light Sabers!

  1. Get your camera on a tripod: Yep, you do need one, or at least, a place to rest the camera so that it doesn’t move during the photo, which can be quite a long time – 5, 10, 15, 30 seconds or even longer!

 

  1. Frame up your shot: Best to do this now, before you start focusing etc., because on some lenses when you start zooming in and out to compose your shot, it throws off your carefully pre-set focus you will be doing next. Don’t forget to use MANUAL FOCUS and ensure that you’re shooting wide enough to fit in your whole intended light drawing.

Focusing: The basic trick here is that you have to pre-focus your camera with Manual Focus to ‘lock in’ the focus before you start taking shots, because as usual in these low-light situations, the camera will often struggle to find anything to focus on if you just leave it to it’s own devices. It’s easier to pre-focus with a friend – get them to go and stand where you’re intending to do your light painting, and then have them shine a torch or something at the camera, or alternatively you shine a torch on them to make them visible – either way, it should be pretty easy to focus on the lit subject.

  1. Camera settings: I’d recommend using TV mode on your camera’s Mode Dial (this is the same as ‘S’ mode on non-Canon cameras). This is the mode where you select whatever length of shutter speed you want, and the camera works out what aperture /f # must go with that to produce a correctly exposed image.

 

  1. Scroll your shutter speed out to whatever length you think you will require to do your light painting. Better too long than too short! 10 seconds (looks like 10 ” on the camera display) is plenty for a simple light drawing. Bigger more complex light painted scenes can take 30 seconds or more!

 

  1. As for your ISO take it off the AUTO setting and try setting it to 100 or 200. This will allow the colors of the lights to much more vibrant and visible. If you would like to see more of the subject/person holding the light use a higher ISO like 400.

Saul Gonzalez Light Painting 3

This is super easy – in theory! Pretty much all you’re doing is drawing an image in mid air with some kind of glowing light source (like a flash light, or it could be a glow stick, or whatever) and the path your light follows will trace itself into your photograph as a glowing trail. It’s actually harder than it looks to remember where you’ve already drawn – it’s like trying to draw with your eyes closed, but practice makes perfect.

Light_Painting_by_Maria_Saggese_1_1024x1024

 

GOAL: You will complete 10 beautiful light painting photograph’s for this assignment. Start small and easy, for example your initials or a smiley face, then work up to more creative imagery.

DIPTYCH & TRIPTYCH PHOTOGRAPHY

DIPTYCH & TRIPTYCH PHOTOGRAPHY

Diptychs are two photographs; Triptychs are three that have been placed together to tell a single, intertwining story. While diptychs can be as unique as their creator’s imagination, the most popular ones can tell a simple story.

Photography is about visual communication: sharing stories, ideas, and feelings through images. A diptych of two images, or parts of two images, is an impact full storytelling tool. Look for thematic, composition, and other visual synergies that will make your diptychs more powerful than the sum of their parts.

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Diptych and triptych come from the Greek meaning two (dip) or three (trip) fold (tych). Many modern artists create pieces that are designed to be on display together and the diptych and triptych have become very popular story telling devices.

As well as being great story-telling devices, diptychs and triptychs are visually pleasing and help make use of photos that may not work on their own.

Collecting Acorns

There is no right or wrong when it comes to these composites so play, have fun and put together whatever feels right. Think complimentary images or think completely opposite images! Try color combinations, pictures with a running theme, things that show movement or photos that show the passage of time. The possibilities are endless!

GOAL: You will complete 6 sets of Diptych or Triptych combinations. You can choose to complete 6 diptych or 6 triptych combinations or a mix of both.