Wednesday 10 February 2010
Friday 15 January 2010
Monday 4 January 2010
Photo essay
This is a blog of my photo essay. I am doing my photo essay on my three cats. I can have a minimum of ten images,
this can include,
1 map,
2 tables or graphs
and 1 illustration.
I am going to take pictures of their everyday life, like pictures of them sleeping and running around and eating etc.
this can include,
1 map,
2 tables or graphs
and 1 illustration.
I am going to take pictures of their everyday life, like pictures of them sleeping and running around and eating etc.
- What is your topic?
My topic is about my three
- What is your purpose (What do you hope to say)?
My purpose is to show my cat’s everyday life and to try and get cat-haters to see that cats are not bad.
- Who is your audience? Who would you like to view your essay?
My audience is people who like cats.
- What pictures do you plan on taking? Write them down before sketching them into a storyboard
I plan of taking pictures of their everyday lives such as waking up, sleeping, eating and playing. Close ups,
Friday 11 December 2009
animation notes
Notes for animation
DigiCel Flipbook lets you draw right on the computer with your mouse or tablet. Or you can draw on paper, like the pros, and shoot your rough drawings under a camera for speed and then scan your cleaned-up drawings for quality. Flipbook will keep track of all your drawings in its traditional exposure sheet with thumbnail images and play them back instantly with sound. Flipbook also provides specially designed tools to help you paint your drawings quickly and easily without having to learn or go through a lot of difficult steps. You can add pans, zooms, rotation, blurs and dissolves and then export movies that you can play on TV or post on the internet.
Once you've got the idea for the storyline you want need pictures to help you tell story. Traditionally these pictures were tacked up on a cork board and moved around until they were finally in the best sequence to tell the story. Flipbook lets you can scan, shoot or draw these pictures directly into the timeline and drag them up and down to change the sequence until the story unfolds just the way you want it to. Once the sequence is the way you want it, it's time to start working on the timing. If you tell the story too fast your viewers don't have time to get involved. If you tell it too slow they lose interest.
Flipbook lets you add the sound track lengthen or shorten any part of the story by simply dragging the storyboard panels up or down, individually or collectively. You can even pan across or zoom in on any of the storyboard panels to show how the scenes will look in the movie. Click below to see the animatic play.
Animators do rough drawings first and test them for movement before they do the final cleaned-up drawings. These drawings can be basic stick figures, simple shapes with volume or something that actually looks like the character. But right now it's more important to get the position right than to have a perfect drawing. And it's more important to get the images into the computer quickly than it is to get the best possible image quality. Shooting your roughs into Flipbook with a web cam or video camera is the fastest way to capture your roughs.
Flipbook has several features that make camera capture faster and easier. The images are captured directly in a traditional exposure sheet with thumbnails and you can make the paper transparent so you can see through lots of layers.
If you animate "straight ahead", doing each drawing in sequence, you can set Flipbook to automatically hold each drawing for one, two or three frames as needed. But when your animation has to fit in a certain time frame you'll probably do the key frames first. Since your key frames won't all be held for the same number of frames Flipbook lets you capture them and set their timing by pressing a number key on your keyboard. When the key frames are timed out and play correctly then you can go back and fill in the in-betweens or move on to the clean-ups.
DigiCel Flipbook lets you draw right on the computer with your mouse or tablet. Or you can draw on paper, like the pros, and shoot your rough drawings under a camera for speed and then scan your cleaned-up drawings for quality. Flipbook will keep track of all your drawings in its traditional exposure sheet with thumbnail images and play them back instantly with sound. Flipbook also provides specially designed tools to help you paint your drawings quickly and easily without having to learn or go through a lot of difficult steps. You can add pans, zooms, rotation, blurs and dissolves and then export movies that you can play on TV or post on the internet.
Once you've got the idea for the storyline you want need pictures to help you tell story. Traditionally these pictures were tacked up on a cork board and moved around until they were finally in the best sequence to tell the story. Flipbook lets you can scan, shoot or draw these pictures directly into the timeline and drag them up and down to change the sequence until the story unfolds just the way you want it to. Once the sequence is the way you want it, it's time to start working on the timing. If you tell the story too fast your viewers don't have time to get involved. If you tell it too slow they lose interest.
Flipbook lets you add the sound track lengthen or shorten any part of the story by simply dragging the storyboard panels up or down, individually or collectively. You can even pan across or zoom in on any of the storyboard panels to show how the scenes will look in the movie. Click below to see the animatic play.
Animators do rough drawings first and test them for movement before they do the final cleaned-up drawings. These drawings can be basic stick figures, simple shapes with volume or something that actually looks like the character. But right now it's more important to get the position right than to have a perfect drawing. And it's more important to get the images into the computer quickly than it is to get the best possible image quality. Shooting your roughs into Flipbook with a web cam or video camera is the fastest way to capture your roughs.
Flipbook has several features that make camera capture faster and easier. The images are captured directly in a traditional exposure sheet with thumbnails and you can make the paper transparent so you can see through lots of layers.
If you animate "straight ahead", doing each drawing in sequence, you can set Flipbook to automatically hold each drawing for one, two or three frames as needed. But when your animation has to fit in a certain time frame you'll probably do the key frames first. Since your key frames won't all be held for the same number of frames Flipbook lets you capture them and set their timing by pressing a number key on your keyboard. When the key frames are timed out and play correctly then you can go back and fill in the in-betweens or move on to the clean-ups.
the phenaitscope
The phenakistoscope (also spelled phenakistiscope) was an early animation device, the predecessor of the zoetrope. It was invented in 1832 simultaneously by the Belgian Joseph Plateau and the Austrian Simon von Stampfer.
One variant of the phenakistoscope was a spinning disc mounted vertically on a handle. Around the center of the disc a series of pictures was drawn corresponding to frames of the animation; around its circumference was a series of radial slits. The user would spin the disc and look through the moving slits at the disc's reflection in a mirror. The scanning of the slits across the reflected images kept them from simply blurring together, so that the user would see a rapid succession of images with the appearance of a motion picture (see also persistence of vision). Another variant had two discs, one with slits and one with pictures; this was slightly more unwieldy but needed no mirror. Unlike the zoetrope and its successors, the phenakistoscope could only practically be used by one person at a time.The phenakistoscope was only famous for about two years due to the changing of technology.
One variant of the phenakistoscope was a spinning disc mounted vertically on a handle. Around the center of the disc a series of pictures was drawn corresponding to frames of the animation; around its circumference was a series of radial slits. The user would spin the disc and look through the moving slits at the disc's reflection in a mirror. The scanning of the slits across the reflected images kept them from simply blurring together, so that the user would see a rapid succession of images with the appearance of a motion picture (see also persistence of vision). Another variant had two discs, one with slits and one with pictures; this was slightly more unwieldy but needed no mirror. Unlike the zoetrope and its successors, the phenakistoscope could only practically be used by one person at a time.The phenakistoscope was only famous for about two years due to the changing of technology.
types of animation and what is animation
Cartoon animation is often considered to be animation in its classic form. The animated cartoon made its debut in the early part of the 20th century and calls for the use of 24 different drawings per second. In traditional animated cartoons, frames are hand drawn.
Animation is both time-consuming and costly to produce. For this reason, most of the animation made for television and film is produced by professorial studios. However, there are also many independent studios. In fact, there are many resources, such as lower-cost animation programs and distribution networks that make the work of the independent animator much easier than it was in the past.
When animation is used for films or movies, each frame is produced on an individual basis. Frames can be produced using computers or photographs of images that are either drawn or painted. Frames can also be generated by altering a model unit in small ways and using a special camera to take pictures of the results. No matter what method is used, the film or movie that results fools the eye into seeing continuous movement.
Persistence of vision is often projected as the reason the eyes can be fooled into seeing continuous movement that isn't really happening. Basically, the brain and the eyes cooperate, storing images for a mere fraction of a second. Minor jumps or blips are automatically smoothed out by the brain. Since animation frames are shot at very fast rates, most individuals see the movement without stoppages.
Animation is both time-consuming and costly to produce. For this reason, most of the animation made for television and film is produced by professorial studios. However, there are also many independent studios. In fact, there are many resources, such as lower-cost animation programs and distribution networks that make the work of the independent animator much easier than it was in the past.
When animation is used for films or movies, each frame is produced on an individual basis. Frames can be produced using computers or photographs of images that are either drawn or painted. Frames can also be generated by altering a model unit in small ways and using a special camera to take pictures of the results. No matter what method is used, the film or movie that results fools the eye into seeing continuous movement.
Persistence of vision is often projected as the reason the eyes can be fooled into seeing continuous movement that isn't really happening. Basically, the brain and the eyes cooperate, storing images for a mere fraction of a second. Minor jumps or blips are automatically smoothed out by the brain. Since animation frames are shot at very fast rates, most individuals see the movement without stoppages.
stop-animation
A frame-by-frame animation changes the contents of the Stage in every frame and is best suited to a complex animation in which an image changes in every frame instead of simply moving across the Stage. This type of animation increases the file size more rapidly than tweened animation because Flash stores the values for each keyframe.
To create a frame-by-frame animation, you define each frame as a keyframe and create a different (typically modified) image for each frame. Each new keyframe on a layer typically contains the same contents as the keyframe preceding it because the contents of a frame are copied to the next keyframe when you select a frame and press F6. By selecting a frame and pressing F6, you can modify each new keyframe in the animation incrementally. In Figure 14, you can see that a frame-by-frame animation was used to move a pirate's head very slightly on sequential frames.
To create a frame-by-frame animation, you define each frame as a keyframe and create a different (typically modified) image for each frame. Each new keyframe on a layer typically contains the same contents as the keyframe preceding it because the contents of a frame are copied to the next keyframe when you select a frame and press F6. By selecting a frame and pressing F6, you can modify each new keyframe in the animation incrementally. In Figure 14, you can see that a frame-by-frame animation was used to move a pirate's head very slightly on sequential frames.
bird and cage animation
Bird in the cage animation
Bird in the cage animation is really easy to make, because all it is pieces of paper stuck together and some string on the outside that you can twist it so the paper spins around. On one side there is a cage and on the other side is a bird. So when the string spins, it appears as the bird is in the cage.
Bird in the cage animation is really easy to make, because all it is pieces of paper stuck together and some string on the outside that you can twist it so the paper spins around. On one side there is a cage and on the other side is a bird. So when the string spins, it appears as the bird is in the cage.
Flipbook animation
Flip Books
Flip book animation is easy to make, all it is a flipbook with images drawn or stuck on to the like a storyboard. Not many people use flipbook animation anymore because it was first made in the 16th-17th century and there are many more and more effective types of animation.
Flip book animation is easy to make, all it is a flipbook with images drawn or stuck on to the like a storyboard. Not many people use flipbook animation anymore because it was first made in the 16th-17th century and there are many more and more effective types of animation.
Hula Hoop animation
Hula Hoop Animation
I made a Hula Hoop Animation that was about 2-3minutes long about D-Day.
I used two packets of Hula Hoops, some scenery and some pictures of the actual D-Day. I liked this because it gave me a chance to improve my media skills and it was also quite fun. This type of animation is reletivly easy to produce and easy to edit. The only thing that I didn’t like was that you need to to small scenes of about 3-5 seconds long, and its really hard to not get your hands in the shot. This was the first animation i made. It took about 2 hours to set-up, film and edit
I made a Hula Hoop Animation that was about 2-3minutes long about D-Day.
I used two packets of Hula Hoops, some scenery and some pictures of the actual D-Day. I liked this because it gave me a chance to improve my media skills and it was also quite fun. This type of animation is reletivly easy to produce and easy to edit. The only thing that I didn’t like was that you need to to small scenes of about 3-5 seconds long, and its really hard to not get your hands in the shot. This was the first animation i made. It took about 2 hours to set-up, film and edit
Animation Timeline
Animation Timeline
Date Event
1824 Peter Mark Roget, who did research in physiology at the University of London, published "Persistence of Vision with Regard to Moving Objects." This book presented the idea that a succession of still images could create the appearance of motion.
1832 Joseph Plateau (a Belgian scientist) developed the phenakistiscope.
1889 Emile Reynaud (from France) patents the praxinoscope .. a device that used mirrors to project a sequence of images (along with a fixed background) onto a screen. It was sufficiently complex that only he could run it. The infinite length tape changed the medium from a curiosity into entertainment.
1895 The age of movie camera and projector begins .. experimentors discover they can stop the crank and restart it again to obtain special effects. Example: James Stuart Blackton creates "The Enchanted Drawing" in 1900 .. a caricature is drawn with no evidence of an artist.
1907 Emil Cohl (from France) begins a long animation career..
1914 Windsor McCay produces perhaps the first popular animation .. Gertie the Dinosaur, which becomes part of his vaudeville act
1915 John Bray patents the use of clear cels over a background
1917 John Bray patents rotoscoping (developed by Max Fleischer)
1919 Koko the clown (Max Fleischer) appears
1920's Otto Mesmer creates Felix the Cat
1928 Walt Disney releases "Steamboat Willie" .. an early cartoon w/ sound -- cartoons are now seen as entertainment. Disney innovations over the next 10-20 years include the storyboard, pencil tests, and the multi-plane camera stand (3D effects). Disney also promoted the analysis of real-life motion.
1937 Snow White is released at cost of $1.5M
1930's Fleischer studios create Betty Boop and Popeye
1930's Warner Bros .. Porky Pig, Daffy Duck, and Bugs Bunny appear
1940's Walter Lantz and Woody Woodpecker, Paul Terry and Mighty Mouse, MGM w/ Tom & Jerry (animators William Hanna and Joseph Barbera)
1963 Ivan Sutherland and SKETCHPAD at MIT/Lincoln Labs
1972 University of Utah, Ed Catmull develops an animation scripting language and creates an animation of a smooth shaded hand. Ref: E. Catmull, "A System for Computer Generated Movies", Proceedings of the ACM National Conference, 1972. (In the SIGGRAPH 98 Seminal Graphics collection.)
1972 University of Utah, Fred Parke creates first computer generated facial animation. Ref: F. Parke, "Computer Generated Animation of Faces", Proceedings of the ACM National Conference, 1972. (In the SIGGRAPH 98 Seminal Graphics collection.)
1974 National Research Council of Canada releases Hunger/La Faim directed by Peter Foldes and featuring Burtnyk and Wein interactive keyframing techniques. Ref: N. Burtnyk and M. Wein, "Interactive Skeleton Techniques for Enhancing Motion Dynamics in Key Frame Animation", Communications of the ACM, 19(10), October 1976. (In the SIGGRAPH 98 Seminal Graphics collection.)
1982 Tron, MAGI, movie with CG premise
1983 Bill Reeves at Lucasfilm publishes techniques for modeling particle systems. "Demo" is Star Trek II: The Wrath of Kahn. The paper also promotes motion blur. Ref: W. Reeves, "Particle Systems -- A Technique for Modeling a Class of Fuzzy Objects", Computer Graphics, 17(3), July 1983. (In the SIGGRAPH 98 Seminal Graphics collection.)
1984 The Last Starfighter, CG is used in place of models
1984 Porter and Duff at Lucusfilm publish paper on digital compositing using an alpha channel. Ref: T. Porter and T. Duff, "Compositing Digital Images", Computer Graphics, 18(3), July 1984. (In the SIGGRAPH 98 Seminal Graphics collection.)
1985 Girard and Maciejewski at OSU publish a paper describing the use of inverse kinematics and dynamics for animation. Their techniques are used in the animation "Eurythmy." Ref: M. Girard and A. A. Maciejewski, "Computational Modeling for the Computer Animation of Legged Figures", Computer Graphics, 19(3), July 1985. (In the SIGGRAPH 98 Seminal Graphics collection.)
1985 Ken Perlin at NYU publishes a paper on noise functions for textures. He later applied this technique to add realism to character animations. Ref: K. Perlin, "An Image Synthesizer", Computer Graphics, 19(3), July 1985. (In the SIGGRAPH 98 Seminal Graphics collection.)
1987 John Lasseter at Pixar publishes a paper describing traditional animation principles. "Demos" are Andre and Wally B and Luxo Jr. Ref: J. Lasseter, "Principles of Traditional Animation Applied to 3D Computer Animation", Computer Graphics, 21(4), July 1987. (In the SIGGRAPH 98 Seminal Graphics collection.)
1987 Craig Reynolds then at Symbolics (now at Dreamworks SKG) publishes a paper on self-organizing behavior for groups. "Demos" are Stanley and Stella and Batman Returns. Ref: C. W. Reynolds, "Flocks, Herds, and Schools: A Distributed Behavioral Model", Computer Graphics, 21(4), July 1987. (In the SIGGRAPH 98 Seminal Graphics collection.)
1988 Willow uses morphing in live action film
1992 Beier and Neely, at SGI and PDI respectively publish an algorithm where line correspondences guide morphing between 2D images. "Demo" is Michael Jackson video Black and White. Ref: T. Beier and S. Neely, "Feature-Based Image Metamorphosis", Computer Graphics, 26(2), July 1992. (In the SIGGRAPH 98 Seminal Graphics collection.)
1993 Chen and Williams at Apple publish a paper on view interpolation for 3D walkthroughs. Ref: S. E. Chen and L. Williams, "View Interpolation for Image Synthesis", Computer Graphics Proceedings, Annual Conference Series, 1993. (In the SIGGRAPH 98 Seminal Graphics collection.)
1993 Jurassic Park use of CG for realistic living creatures
1995 Toy Story first full-length 3D CG feature film
Date Event
1824 Peter Mark Roget, who did research in physiology at the University of London, published "Persistence of Vision with Regard to Moving Objects." This book presented the idea that a succession of still images could create the appearance of motion.
1832 Joseph Plateau (a Belgian scientist) developed the phenakistiscope.
1889 Emile Reynaud (from France) patents the praxinoscope .. a device that used mirrors to project a sequence of images (along with a fixed background) onto a screen. It was sufficiently complex that only he could run it. The infinite length tape changed the medium from a curiosity into entertainment.
1895 The age of movie camera and projector begins .. experimentors discover they can stop the crank and restart it again to obtain special effects. Example: James Stuart Blackton creates "The Enchanted Drawing" in 1900 .. a caricature is drawn with no evidence of an artist.
1907 Emil Cohl (from France) begins a long animation career..
1914 Windsor McCay produces perhaps the first popular animation .. Gertie the Dinosaur, which becomes part of his vaudeville act
1915 John Bray patents the use of clear cels over a background
1917 John Bray patents rotoscoping (developed by Max Fleischer)
1919 Koko the clown (Max Fleischer) appears
1920's Otto Mesmer creates Felix the Cat
1928 Walt Disney releases "Steamboat Willie" .. an early cartoon w/ sound -- cartoons are now seen as entertainment. Disney innovations over the next 10-20 years include the storyboard, pencil tests, and the multi-plane camera stand (3D effects). Disney also promoted the analysis of real-life motion.
1937 Snow White is released at cost of $1.5M
1930's Fleischer studios create Betty Boop and Popeye
1930's Warner Bros .. Porky Pig, Daffy Duck, and Bugs Bunny appear
1940's Walter Lantz and Woody Woodpecker, Paul Terry and Mighty Mouse, MGM w/ Tom & Jerry (animators William Hanna and Joseph Barbera)
1963 Ivan Sutherland and SKETCHPAD at MIT/Lincoln Labs
1972 University of Utah, Ed Catmull develops an animation scripting language and creates an animation of a smooth shaded hand. Ref: E. Catmull, "A System for Computer Generated Movies", Proceedings of the ACM National Conference, 1972. (In the SIGGRAPH 98 Seminal Graphics collection.)
1972 University of Utah, Fred Parke creates first computer generated facial animation. Ref: F. Parke, "Computer Generated Animation of Faces", Proceedings of the ACM National Conference, 1972. (In the SIGGRAPH 98 Seminal Graphics collection.)
1974 National Research Council of Canada releases Hunger/La Faim directed by Peter Foldes and featuring Burtnyk and Wein interactive keyframing techniques. Ref: N. Burtnyk and M. Wein, "Interactive Skeleton Techniques for Enhancing Motion Dynamics in Key Frame Animation", Communications of the ACM, 19(10), October 1976. (In the SIGGRAPH 98 Seminal Graphics collection.)
1982 Tron, MAGI, movie with CG premise
1983 Bill Reeves at Lucasfilm publishes techniques for modeling particle systems. "Demo" is Star Trek II: The Wrath of Kahn. The paper also promotes motion blur. Ref: W. Reeves, "Particle Systems -- A Technique for Modeling a Class of Fuzzy Objects", Computer Graphics, 17(3), July 1983. (In the SIGGRAPH 98 Seminal Graphics collection.)
1984 The Last Starfighter, CG is used in place of models
1984 Porter and Duff at Lucusfilm publish paper on digital compositing using an alpha channel. Ref: T. Porter and T. Duff, "Compositing Digital Images", Computer Graphics, 18(3), July 1984. (In the SIGGRAPH 98 Seminal Graphics collection.)
1985 Girard and Maciejewski at OSU publish a paper describing the use of inverse kinematics and dynamics for animation. Their techniques are used in the animation "Eurythmy." Ref: M. Girard and A. A. Maciejewski, "Computational Modeling for the Computer Animation of Legged Figures", Computer Graphics, 19(3), July 1985. (In the SIGGRAPH 98 Seminal Graphics collection.)
1985 Ken Perlin at NYU publishes a paper on noise functions for textures. He later applied this technique to add realism to character animations. Ref: K. Perlin, "An Image Synthesizer", Computer Graphics, 19(3), July 1985. (In the SIGGRAPH 98 Seminal Graphics collection.)
1987 John Lasseter at Pixar publishes a paper describing traditional animation principles. "Demos" are Andre and Wally B and Luxo Jr. Ref: J. Lasseter, "Principles of Traditional Animation Applied to 3D Computer Animation", Computer Graphics, 21(4), July 1987. (In the SIGGRAPH 98 Seminal Graphics collection.)
1987 Craig Reynolds then at Symbolics (now at Dreamworks SKG) publishes a paper on self-organizing behavior for groups. "Demos" are Stanley and Stella and Batman Returns. Ref: C. W. Reynolds, "Flocks, Herds, and Schools: A Distributed Behavioral Model", Computer Graphics, 21(4), July 1987. (In the SIGGRAPH 98 Seminal Graphics collection.)
1988 Willow uses morphing in live action film
1992 Beier and Neely, at SGI and PDI respectively publish an algorithm where line correspondences guide morphing between 2D images. "Demo" is Michael Jackson video Black and White. Ref: T. Beier and S. Neely, "Feature-Based Image Metamorphosis", Computer Graphics, 26(2), July 1992. (In the SIGGRAPH 98 Seminal Graphics collection.)
1993 Chen and Williams at Apple publish a paper on view interpolation for 3D walkthroughs. Ref: S. E. Chen and L. Williams, "View Interpolation for Image Synthesis", Computer Graphics Proceedings, Annual Conference Series, 1993. (In the SIGGRAPH 98 Seminal Graphics collection.)
1993 Jurassic Park use of CG for realistic living creatures
1995 Toy Story first full-length 3D CG feature film
Tuesday 1 December 2009
Animation
Bird in the cage animation was invented in 1825. Today we use paper and string to work it, the string spins the cage around and it appears as the bird on the other side of the paper is in the cage. Light reflects off the picture.
Flipbook animation was quite popular because its easy to use and quite cheap. Now there are lots more ways of animation.
Animation
This is bird in the cage is an easy form of animation. It was very popular in the Victorian I
Friday 27 November 2009
Self Portrait
- Firstly think about the type of person you want to portray.
- Where are you going to take the picture, Think about a location important to you or the image that you want to project.
- How will you structure the image? Props, or picture editing software (what are you going to manipulate?)
For my self portrait i could appear nice and laughing in a destructive background
Thursday 26 November 2009
Rag Week 2009
Last week, the whole class dressed up everyday to raise money for children in need.
Tuesday was neon day, everyone wore bright clothing and glowsticks.
Wednesday was mad hat day, everyone some kind of wierd hat.
Thursday was random day, everyone wore what they thought of such as pj's.
Friday was hero and villian day, everyone wore clothing of some hero or villian.
On each day the whole class took turns taking pictures and helping moving props and lighting such as the red heads. Some of us created posters to put round the college to notify everyone what we were doing. At the end of the day, we chose the best pictures and put them on display on the ground floor.
Tuesday was neon day, everyone wore bright clothing and glowsticks.
Wednesday was mad hat day, everyone some kind of wierd hat.
Thursday was random day, everyone wore what they thought of such as pj's.
Friday was hero and villian day, everyone wore clothing of some hero or villian.
On each day the whole class took turns taking pictures and helping moving props and lighting such as the red heads. Some of us created posters to put round the college to notify everyone what we were doing. At the end of the day, we chose the best pictures and put them on display on the ground floor.
Friday 13 November 2009
Lighting
Deflecting light with daylight makes a shadow on your face.
spot light/infilm (red head)
Deflector light (blue filter)
Day light filter
Shadows
With deflector you don't have to use the big disk, you can use paper instead.
Shadows are created by a source behind
spot light/infilm (red head)
Deflector light (blue filter)
Day light filter
Shadows
With deflector you don't have to use the big disk, you can use paper instead.
Shadows are created by a source behind
World Turned upside down
This is my favourite upside down picture. This is because its perfectly placed on the important object. The background is blurry which means that the sign is the most important. People don't really obey the sign and do smoke.
This is my second favoutrite image for the upside down pictures. This is a picture of the college taken by looking up at the building, this impleys that the college is the most important part in the picture and a fortress.
Friday 6 November 2009
Thursday 22 October 2009
This is my favourite decieve picture. This is because there is half a car which is blurred as its moving quite fast and there are some people crossing the road. This is my favourite picture that i took about decieve moments. In this picture there are six people half a car and half a van. There is quite a lot of colour in this picture.
In this picture, a train is coming to a stop at the train station so people can get on and off. This is my second picture and its urban nature. We took this picture whilst standing on the bridge that goes across to the other platform. i like this picture because the train is just stopping and its a bit of a decieve moment.
This is my final favourite picture because its a funny portrait of me. We took this in the grounds at college. I like it because its a decent picture that has enough light and colour.
Thursday 15 October 2009
These are the other two pictures that i chose to put up on my blog. The first one is of a loyalist soldier being killed in the Spanish civil war. The second picture is of D-day where the American soldiers are dashing forward to cover under fire.
Robert Capa, war photographer notes
Robert Capa was a journalist in the front line, taking pictures of the troops in action. He was the only photographer that took part in the first wave on D-day. Capa had risked is life hundreds of times but when he was taking pictures of the Vietnam war, he accidently stepped on a land mine and died aged 40. I like this picture because it shows some American GI's taking cover from German fire.
A decieve moment is a picture taken at the right place at the right time. Some photographers waited hours to get a decieve picture.
Friday 9 October 2009
photography notes
Things i have learnt about photography with Ansel Adams.
I learnt about the golden third. The golden third is the middle third. This is normally the most important part of the picture, especially when its landscape. Its important because normally it contains the most amount of information.
In this picture the golden third is the mountain in the middle.
Ansel was a photographer from the USA. He was born on February 1902 in San Franisco. He died in April 22nd 1984. The three thirds were drawn by pen on the picture.
I learnt about the golden third. The golden third is the middle third. This is normally the most important part of the picture, especially when its landscape. Its important because normally it contains the most amount of information.
In this picture the golden third is the mountain in the middle.Ansel was a photographer from the USA. He was born on February 1902 in San Franisco. He died in April 22nd 1984. The three thirds were drawn by pen on the picture.
Friday 2 October 2009
For my picture and clicked on filter and clicked on brush sketches. I then changed the black and white intensity. I like this picture as it makes me look like a
ghost or that its in night vision. For my second picture, I clicked on 
filter and then sketch. I then made it look like water paper. After that I then changed the different intensitys.For my third picture, I clicked on filter and then neon glow. I then chose the differnt intensitys to make it look better.
on the fourth picture, I clicked on filter and then on stylize. I then chose glowing edges and changed the intensitys.
Friday 25 September 2009
Photography notes on shutter speed and aperture
I took some notes down today about the shutter speed and the aperture.
I found out that the slower the shutter speed then the more light gets let through into the image.
The faster the shutter speed then the less light that gets let through.
The slowest is 1 second to 5 seconds or more, the fastest is 1/1000 of a second.
The aperture is the opening on the lens it controls the amount of light that hits the film.
The aperture sizes range from 2.4 (lowest) to 22 (highest).
Single
Lens
Reflects
Depth
Of
Field
F-stops.
The smaller the hole in the aperture the bigger the F stop
I found out that the slower the shutter speed then the more light gets let through into the image.
The faster the shutter speed then the less light that gets let through.
The slowest is 1 second to 5 seconds or more, the fastest is 1/1000 of a second.
The aperture is the opening on the lens it controls the amount of light that hits the film.
The aperture sizes range from 2.4 (lowest) to 22 (highest).
Single
Lens
Reflects
Depth
Of
Field
F-stops.
The smaller the hole in the aperture the bigger the F stop
Thursday 24 September 2009
TATE Modern
Your next post will be about your trip to the Movium and Tate Modern. I want you to put the titles and creators of the two works that you viewed, into two separate posts.The first blog title will be. The Tate image I liked. In this post you will need:
- The title of the work,
- Name of the artist
- and a short description of the art work stating what you liked about it.
- Then try and find an image of it.
The second post will be about the work you disliked. use the same detail as above,
- Title of work,
- Name of artist
- and why you disliked the work.
- Again find an image of the work.
use the following links to search for the works
http://www.tate.org.uk/modern/
http://images.google.co.uk/imghp?um=1&hl=en&btnG=Search+Images
1. block head
2.Paul Mcarthy
3. its big and stands out. Its a sculture of a camera on feet.
4.
1
Friday 18 September 2009
My introduction to photography
I have taken some pictures on my phone and with my camera, i then edit them. I save them onto my laptop then. I take pictures of my family, friends, pets and special events.
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