Final Photo Essay

Link to Photo Essay

For my final project I shot a photo essay in an antique mall in Laurel, Maryland. My hope was to document and examine the objects I found there on a particular day. As I hoped, the antique mall was full of interesting objects to photograph. However, because of lighting, the mall proved to be a problematic place to shoot. Aside from the entrance, the mall had few windows, and was mostly lit by garish fluorescent lighting. Without the flash my pictures turned out blurry, but because I was shooting so many glossy and shiny surfaces, when I used a flash many of my shots came out with glares or appeared washed out. Also, because I was in a store and did not want to be disruptive, I felt pressure to keep the setting up of my shots and flash use to a minimum, which meant that many shots were taken quickly. Unfortunately, numerous shots that appeared okay on my tiny digital camera screen turned out to be blurry or otherwise unusable when viewed on my larger monitor screen at home. Thankfully, I still had more than enough shots to complete the assignment.

Many of my ten photographs share compositional elements. For example, I took a number of shots in close-up (using the macro function of my camera), emphasizing the texture of my subjects. Since I was photographing used objects, many had interesting texture, due to usage and age. In the photograph of the antique sign (with the caped girl) and the photograph of the ocean liner painting, there are cracks in the paint, dirt, and possible water damage. In a close-up of a glass figurine, grayish dust has collected around the boy’s neck and trumpet, providing an interesting contrast with the high-gloss of his blue overalls.

I also took a number of shots playing repetition: a group of vintage telephones, vintage suitcases stacked one on top of another, multi-colored sweatshirts hanging side-by-side, a pile of red and yellow plastic records, their shape and colors repeating.

In my final shot I used texture and repetition in a slightly different way, taking a medium close-up of several boxes stuffed full of records and postcards. I took the picture with the camera tilted, intending to emphasize the haphazard way the objects are shoved into the boxes. In contrast to my earlier shots, which are mostly clean compositions of single objects or groups of objects, this shot shows the darker side of the antique store experience: the feeling of mess and chaos, and the imperative on the shopper to dig for buried treasure.

Flight of the Conchords Title Sequence

The title sequence to the HBO series Flight of the Conchords does what a good title sequence should do: it gives you a stylized glimpse into what the show is about. As the opening sequence begins we see the show’s two main characters, Bret McKenzie and Jemaine Clement, walking down a city street. The camera pans left to show the two sitting on a stoop. As they look straight ahead, they catch guitars that are tossed to them from off-screen and they begin strumming along with the theme music. The sequence then cuts to a shot of Bret and Jemaine sitting together on a park bench, tapping their feet to the music. There’s then another quick cut to the two of them inside their apartment, showing Bret encouraging Jemaine as he rides an exercise bike. Within the first ten seconds of the sequence we’ve been given a great deal of information: we have the show’s setting (city streets and the apartment the two characters share), the show’s two main characters have been introduced, we’ve learned that the characters are musicians, and we’ve been given a taste of the action of the show – the two hanging out, walking around the city, practicing music. That the two sit on their stoop playing music without fanfare from any passers-by also illustrates the main problem of the show – the band’s lack of popularity.

The title sequence is playful, with elements of animation, bright colors and a variety of settings. The music, a low-fi casio keyboard beat behind acoustic guitar strumming, shares the playful feeling of the sequence’s visuals. At times the theme music seems to be diegetic, as Bret and Jemaine are shown responding to it or even creating it: playing guitar along with it, dancing to it, or air drumming to it. Other times the characters on-screen seem unaware of the music, as they exercise or eat cereal, oblivious to the soundtrack we hear. When the characters on screen can hear the music, other objects on screen respond to it as well: for example, when the two start playing air guitar and air drums along with the theme music, the salt and pepper shakers at their table become animated and seem to groove to the music, whereas in the previous shot when the two are simply eating their cereal, seemingly unaware of the music, the salt and pepper sit still.

My only criticism of the sequence is that the ending doesn’t necessarily make  sense. The two characters are shown playing guitar inside an aquarium – an event that actually happens in one of the episodes – but strangely, in the title sequence an animated whale floats out of its tank from behind the band and  travels across screen. The camera pans along with it, and as the whale exits off screen, we’re left with a shot of a gig poster for the band, hanging in a dark room, perhaps a club. Visually this end scene is interesting, but it defies any kind of rational logic.

Print Ad Review

This anti-AIDS print ad portrays Wonder Woman as an AIDS patient in a hospital bed.  She wears her iconic red, gold and blue costume, but her cheeks look hollowed out, her eyes are sunken black holes, and her skin appears grayish-blue; overall she has the appearance of a corpse. The only sign that she’s still alive is her right hand, which clutches the sheet above her leg, as if to indicate that she’s struggling with unimaginable pain. The color of the photograph seems to have been manipulated to achieve this effect; the photo appears overwhelmingly blue and gray, as if warm colors have been toned down to increase the eerie, corpse like appearance of the model.

The image of Wonder Woman with AIDS is upsetting, even disturbing, which is exactly why this is an extremely effective ad. As the caption states, “Aids Makes Us Equal,” which emphasizes that even a seemingly invincible superhero is not immune to AIDS. As far as criticism goes,  I wonder if this ad is controversial among people living with AIDS.  The message of the ad – that AIDS can strike down anyone – encourages people without aids to protect themselves, but also presents the disease as a death sentence, and could encourage people to be fearful of those already infected.

The Brilliant, Fabulous Wes Anderson!

This commercial for  Japanese cell phone company Softbank, was directed by my favorite film director, Wes Anderson. As is typical of Anderson’s style, the almost entire commercial was shot in one long tracking shot. First Pitt attempts to purchase a peach at a fruit stand and finds that someone has already taken a bite out of it. We then hear a car crash and the camera rapidly pans left, showing two women trying to push a car. Pitt runs into the shot and gives the car a push, sending it on its way. Next we hear a bicycle bell and Pitt  jumps out of the way of a group of bicyclists , finding himself in front of a group of backpackers, who walk out of the shot, revealing a group of young women on a picnic blanket. One of the ladies is topless, posing for a portrait and Pitt snaps a picture of her with his phone. Here we get the only cut in the entire commercial, to a close up of the cell phone in his hand with the photograph of the topless girl’s back; a stuffed toy dog dangles from the phone – evidently the company’s mascot.

The commercial works in a number of ways, first, as homage to French film director Jacques Tati, Pitt’s exaggerated physical gestures and brightly colored clothes are spot-on.The commercial is funny, and a little edgy (ie: topless girl). The rapid pace of the commercial and the quick shift from one scene to the next is perfectly complemented by the soundtrack, which is a French pop song, manipulated with distortion. The way that we drop into short scenes (the fruit stand, the car, the bicycles) provides us with a snapshot into the lives of a number of different characters, an effect that I find charming and interesting to watch. The setting of the film seems to be a rural French town, which works in a number of ways: as an homage to Tati (one of Tati’s films was set in a similar location), it complements the French soundtrack, and it is visually interesting.

The sell for the phones isn’t too heavy handed either – Pitt is talking on the telephone as the commercial begins, but has to put it away as he interacts with all the different people. He then brings it out of his pocket to snap his picture , showing that the phone is portable and easy to use. In my opinion, the commercial is an effective piece of advertising for Softbank, while also standing on its own as a work of art.

If I were forced to criticize my beloved Wes Anderson, I would note that it is strange that though this commercial was intended for a Japanese audience, we never see any Japanese people – by my count every character is white.

(I had problems embedding the video, so here’s a couple links):

http://www.dailymotion.com/video/x7rcq3_bp-vid_latino

http://www.videosift.com/video/A-Wes-Anderson-directed-commercial-starring-Brad-Pitt

‘To Kill A Mockingbird’ Movie Poster

If the poster for 1962’s To Kill a Mockingbird were making a single statement, it would be that the film is based on a book. Not just any book, but a Pulitzer Prize winning best-seller. The poster depicts the film’s actors springing forth from a drawing of the book, as if to say that this film brings the book to life. In the top left hand corner of the poster appears the text: “Pulitzer Prize Winner Greatest Best Seller of the Decade,” illustrating that not only is the book critically acclaimed, it’s popular too. The words are within a red circle – appearing almost like a book-jacket sticker announcing a book prize – while its placement on a yellow background creates contrast that calls attention to the red circle. Interestingly, this poster tells the potential viewer very little about the subject of the film. No scenes from the movie are depicted and there’s no illustration of the setting. Instead, this poster announces that this film is a faithful adaptation of an important book – we know it’s a faithful  adaptation since a picture of the book appears in the poster.

Besides emphasizing the film as a book adaptation, the poster also subtly illustrates one of the main differences between the film and the book: in the book the story is told from the perspective of eight-year-old Scout Finch, while in the movie is told from the perspective of Atticus (played by superstar Gregory Peck). Besides the illustration of the book, the main focal point of the poster is Gregory Peck. He wears red against the yellow background, which draws attention to him visually, while the other two actors face him and are much smaller. Also, his name appears on the back cover of the book – almost as if he were being listed as an author. The caption on the poster reinforces the emphasis on Peck and his character, Atticus: “The rare film story of a father who must expose his children to a small town’s outraged passions… and can only protect them with his love.” According to the poster and its caption, To Kill a Mockingbird the movie is about a father’s struggle, rather than a little girl’s coming of age story, as the book was.

I think the poster is visually quite effective. It follows a consistent color-scheme of primary colors and is nicely composed, with the actors placed to the right of center. There isn’t an inch of wasted space, which could have been problematic or too busy, but in this case, I think it works for the poster. If I were to criticize the poster, it would be that the poster’s caption – like the promotional captions on most movie posters – is a little ridiculous. The phrase “the rare film story of a father” is completely awkward, and undermines the rest of the poster’s emphasis on the book as the rare and special commodity.

Tom Waits “Lie to Me”

For my video review I chose Tom Waits’ 2006 music video “Lie to Me.” The video is similar to La Jetée in that it is comprised entirely of still photos. The separate photos are connected through jump cuts, paced in time to the music, creating the illusion of movement. I believe this would be considered a “jump cut sequence,” since the camera focuses on one character in one room, changing the angle slightly for each shot.

The video has a gritty, DIY feeling, and is set in a room with a dirty industrial feel, perhaps a warehouse. Besides Tom Waits and his guitar, the only things we see in the video are musical equipment, some random chairs and at one point a dog. Although the video seems very low budget and hastily constructed, it’s clear that it was carefully put together. In instrumental parts of the song the photos switch from full shots, showing Tom Waits’ entire body, to close-ups of his feet, continuing the jump cuts between still photos so that it looks as if he is dancing. In places where he does a rockabilly “whoo!” we see a quick subliminal cut of his face, he mouth open, as if he were singing. Although the camera set up is pretty simple, for a short segment of the video we get some multilevel action/ depth staging, as a dog is in the foreground, moving around, while Tom Waits continues playing his guitar and jumping around in the background.

Also interesting about the video is that instead of straight still photos, the director uses close-ups of a contact sheet. We know this because each shot is framed in black, we see the white film lines at the bottom of the screen, and in most shots pieces of the photos on either side of the one selected are visible. Some shots are circled, as if a photographer selected the shot to be printed.  The contact sheet contributes to the video’s overall deliberately messy feeling, and at once points out the video as a construction – deliberately assembled with specific shots selected – and contributes to the overall feeling of grittiness or messiness. This complements Tom Waits’ unconventional, gravely singing voice.

Personally, I love this video.  I think it works because it’s a simple concept, yet the images perfectly complement the song. In the same way that the video has only a few different types of shots (long shots, a couple close-ups of his face and feet), the song has a simple repeating line “You gotta lie to me, baby” that alternates a couple times with a few short verses. If I had to criticize the video, I wonder why they chose not to include the backing band. In the song we hear upright bass and drums, but the video is just Tom Waits.

A Window into Georgetown

The subject of my photo essay is Georgetown’s storefront windows. As the city’s largest shopping district, Georgetown’s store windows are an obvious symbol of the neighborhood: whatever is in the window is what the merchants are trying to sell. However, I liked the way that the windows capture more than just the store’s marketing pitches. The mannequins and decorative art in the windows speak to the particular ways that we are being appealed to as consumers. Also, the reflections in the photos provide a glimpse – a literal and metaphorical window – into what is going on at this particular moment in time in this particular place: the weather, the texture of the sidewalk, the look of the buildings, the cars on the street, who’s walking by and what are they doing.

The main subject of many of my photos are mannequins, who serve as stand-ins for us as potential shoppers. I noticed a lot of interesting variations in the look of the mannequins and their poses. For example, in the suit shop window all of the mannequins were posed assertively, their arms folded confidently across their chests – presumably to suggest that purchasing such a suit would give the wearer similar confidence. In my photo I focused on the mannequin’s hand, trying to emphasize the ways that this veneer of confidence is undercut: the line where the mannequin’s hand is attached to his arm and the little scuff marks on his hand. I took a different approach in photographing the female mannequins, who tend to be frozen in dramatic, sometimes absurd positions; I tried to focus in on the combination of grace and awkwardness of their contorted bodies. In one shot a mannequin stretches her arm dramatically to her side, as if paused mid-dance; in another a mannequin in white pants has her hip dramatically shifted to one side; in another a mannequin in white sandals stands with one foot lifted slightly off the ground. Generally speaking, the female mannequins seem posed to convey balance and grace while in strenuous positions, while male mannequins tend to be positioned to express solidity and confidence.

Since all of the photos were taken through windows, many have reflections in them. I like the reflections for a number of reasons: first, I like the element of chance that the reflections provide (since I can’t control who is walking or driving by); second, I like the way they give the photos a ghostly, layered effect; finally, I like the sense of place the reflections provide. For example, in the photo I called “Benneton and M” you can see the street signs reading “M St” and “Joe Pozell Square.” The M Street sign situates the photograph in the heart of Georgetown, while the sign reading “Joe Pozell Square” references a police officer who was killed while directing traffic at this corner a few years ago. That the wording of the two signs are visible in reverse make them seem like ghostly memories of the past, layered on top of the glossy, official Georgetown of the store windows; yet, viewed another way, the street signs and traffic light, though represented in reflections, are the more “real” and permanent aspect of the scene, since they will presumably outlast the latest fashions on display in the window.

In a similar photo, which I call “Mysterious Lady Behind Glass,” the reflection is easier to make out than the official subject of the photo, the blonde mannequin. Glancing at the photo your eye goes to the bright reflected storefronts and the blue sky on the left hand side, and even the traffic light reflected in the window. When looking closer you see the blonde mannequin with sunglasses, peering from behind the window. It’s possible to mistake the mannequin for the reflection of a woman looking into the window. I like the way that the line between subject and object in this photo becomes blurred. I also like that this mannequin wears such a serious expression; compared to the Benneton mannequins, whose hair is textured into the white plaster of their bodies, this blonde mannequin with her realistic hair and painted lips seems amazingly real and lifelike.

Also included in my photo essay are pictures of things in store windows that used to create atmosphere, not items for sale. The first is the paper beehive, which was in Anthropologie’s store window (full disclosure: this is my favorite Georgetown store). I like the paper beehive because it’s colorful and provides interesting texture to the photo. I also like how unreal it seems, an effect that is intensified by the reflection of the blue sky in the upper left-hand corner. In another photo I show a photo of Marilyn Monroe in a vintage clothing store window. I liked the way that Marilyn’s glamour is undercut by the graffiti on the window pane beside her. Also in this photo is my reflection, holding up my camera, calling attention to the constructed nature of the project by showing me in the process of creating the photo. Also visible is the reflection of my shopping bag, the ‘X’ and ‘P’ of “Express” are visible in Marilyn’s collar. I like this, since it shows I am both participant and observer, both documenting the falseness and plasticity of the store windows, while also subject to their seduction.

Link to full photo essay:  http://s559.photobucket.com/albums/ss35/yerstar11/

Robert Frank’s America

I first saw Robert Frank’s work at the National Gallery earlier this year, when they had an exhibition of his series of photos, The Americans. All of the photos in the series were taken on a massive cross-country road trip Frank took in the 1950s. I love his work because the small moments he captures are so poignant and interesting; the photos capture people doing completely normal things, and yet they express something sad and dark. There’s a real feeling of loss and isolation in them. For example, in the above photo entitled Rodeo, a cowboy is in the city, lighting a cigarette. He’s alone and seems totally out of place, and yet he also seems strangely at ease, resting against a trash can. It’s a completely normal moment, and yet there’s something unsettling about it; something isn’t quite right.

The feeling of the cowboy’s isolation in this photo is repeated in a number of his photos. The image entitled Movie Premiere features a young woman in the foreground, dressed in an evening gown. The woman’s face has no pleasure in it, her eyes are dark; she seems completely alone. Although she occupies much of the image, she’s out of focus; instead, the camera’s focus is the fans in the background, who smile and lean, trying to get a glimpse of the woman. Leaving the main subject of the photo out of focus forces us to look at this red carpet scene – which we see over and over again in popular media – and think about it in a different way, emphasizing the voyeurism of the crowd, the isolation of the woman and the meaninglessness of the entire spectacle. Frank also uses focus to create a sense of isolation a photo entitled Chattanooga, Tennessee. In this shot a young couple walk together down the street. They seem serious, even mournful. This time the subject of the photo – the young couple – are in focus, looking completely serious, while everything else in the shot is a blur. That these two are the only things in focus creates a sense that they are alone in the world, that it’s the two of them facing unimaginable odds.

If I had to provide a criticism of Frank’s work – and I hesitate to do so, since I really enjoy his photos – it would be that some of his techniques sometimes work and sometimes don’t. For example, Frank frequently obscures the faces fo his subjects.  As is the case of the photo of the cowboy, whose hat obscures his face, making him annonymous. This technique works well in this photo, as the cowboy seems to stand for the idea of a cowboy and all that represents (an idea of American manliness, virility, bravery, dominance over the landscape, etc). That this symbol of the cowboy is displaced in a city, with seemingly little to do, makes for interesting interpretations of the photo. However, at other times when Frank repeats this technique, and I’m not sure it works so well. This is the case in the photo Political Rally, where a tuba player’s face is obscured by his instrument, which to me makes the photo a little borring. It seems to lack a subject.

Gallery of his work is available at http://www.npr.org/multimedia/2009/01/frank/index.html

This image, “Flower Girl,” was taken by the user Docphoto on the photo sharing website redbubble.com. In it a young woman is photographed from above in a swimming pool, as several flowers float on the water’s surface, like decorations in her hair. There’s a great deal of texture in the photo, her skin, the water, the pool tiles, and her mass of black hair. Despite her positioning -  as if she were caught mid-stroke in the pool – the photo was clearly very carefully composed. The way her red lipstick perfectly matches the two red flowers, and her serious, direct look at the camera both show that the shot was thought out before hand. Although the focal point of the photo is her face, which is in the center of the photo, the way her body stretches across the image creates a beautiful composition.

What I like most about the photo is the color. The contrast between the blue of the pool tiles and the red of the flowers in her lipstick creates a striking, vibrant effect. I also like that there’s an eerie quality to the photo. Maybe it’s her expression, looking directly into the camera, or the lack of movement in her body, but there’s something a little bit unnerving about this photo that you can’t quite put your finger on. The contrast between the lively color and this eerie quality is what makes this photo so interesting and exceptional – it almost reminds me of a David Lynch film. I also like that the photo has a  vintage sensibility to it. The woman’s make up is classic Hollywood, especially her glamorous red lips, while the vantage point of the photo seems to reference old synchronized swimming movies (see shot of Esther Williams below).

The only criticism I have of the photograph is that the two red flowers look a little bit fake or flat, as if it’s possible they may have been photoshopped in. Its difficult to tell.

Possible inspiration for "Flower Girl": Esther Williams in the 1946 film Ziegfeld Follies (yes, I am an old movie nerd).

The word of the day is “tempting”

Tempting Cupcakes

I took this “tempting” shot at Hello Cupcake in Dupont Circle. The subject of the photo – cupcakes – is obviously “tempting” in a diet-busting, delicious kind of way, but I my hope is that some of the technical aspects of the photo make it even more tempting. The photo is shot somewhat close-up, which emphasizes the texture of the cupcakes – both the frosting and the cake – making them seem more tangible and edible.  Since I didn’t use the macro function on my camera, pretty much the whole image is in focus, not just one or two cupcakes in the foreground. As a result, the repeating image of the cupcake forces the viewer’s eye to travel over dozens of cupcakes, which I hoped would evoke a kid-in-a-candy-store feeling in the viewer, as if he or she were in the bakery choosing among the cupcakes. I think the repetition also works visually as it gives the photo depth. This technique is discussed in Photo Idea Index, when Krause notes that finding ways to convey depth and distance in your photo draws the viewer’s eye into your composition and makes it more visually interesting (120). Over all my hope was to evoke temptation by making the cupcakes seem inviting and delicious.

I also tried to make the image more tempting by playing with the color and lighting.  Since I took the photo quickly in the bakery, I had little control over the lighting. As the original shot (included below) came out a little bit underexposed, I used my computer’s photo software lighten the image. In the end I took it to the opposite extreme, making it appear a little overexposed, while also playing with the color saturation. The end result is a slightly unreal effect, making the sprinkles seem to “pop” out of the photo and the pink cupcakes in the background seem to glow. My hope is that making the photo a little brighter and more colorful than it should be creates a kind of cartoony, child’s birthday party feel, evoking memories of fun and indulgence, generally making the image seem – you guessed it – more  tempting.

My final alteration to the photo was cropping, which I did to create an  asymmetrical image that I found pleasing to the eye (Krause discusses this on page 88). I think the cropping improves the overall composition, emphasizing the vertical lines created by the rows of cupcakes, and the negative space between them. I also cropped the photo to compensate for a technical error; because I took the photo so quickly, my original shot is a little bit tilted – and not in the dramatic, deliberate way discussed in our textbook (32). Since the crappy photo software on my computer won’t allow me to “straighten” a photo, I compensated by cropping out some of the more obvious horizontal lines that called attention to my mistake.

Original Version of Tempting Cupcake Photo