James Mellers - Thismanslife (CM)

James Mellers - Thismanslife
http://www.thismanslife.co.uk/projects/photonarratives/

An established UK-based designer, previously for companies such as Microsoft and Adobe - studied photography. His website doesn't hold much in the way of video work, however he's created a number of photo-narrative video's as side-projects. 

He's included the use of animation, video manipulation and text - to boost and perhaps create the entire narrative from the photographs. A useful tool to emphasis/assist with storyline. 

Richard Vantielcke - Cardboard Box Head (CM)

Richard Vantielcke

http://www.ludimaginary.net/index-english.html

Cardboard Box Head

http://vimeo.com/18394471

A video that tells a story with conceptual photography. His conceptual work is inspired by the surrealist painter Rene Magritte, while the narrative/storytelling is inspired from current cinematic mechanisms. 

Much of his work focuses on the use of light and shadows and night photography, giving it a touch of mystery and strangeness. 

His images stand out for their poetic, dreamlike approach, sometimes humorous. 

I'll likely use this story technique for my own Converging Media assignment, creating a photo-narrative in video format with audio. 

Storyboard (CM)

Images will be shot at night and naturally lit with dim moonlight/streetlights and surrounding glow/light pollution for more realistic images. This lighting set-up will give a natural moody glow and shadows to the images. 

Here will be a few introductory images of the baby mannequin (BM) slumped in an alley on its own. Shot lower to the ground to gain its perspective, so the audience may sympathise with the character and we see the story from a closer point of view to the character at hand. A wider shot will be included for context of placement.

Straight off we follow BM along its daily struggles being alone, ignored and lost. Here included may be a frontal shot of BM waiting at a bus stop. A bluntly framed shot, so we are forced to see the awkward/lonely situation BM in placed in; more so specifically here, obviously small and alone yet being ignored by the adult bystander. 

Here a sequence of images will be placed, the camera unmoving (placed on a tripod). A slightly longer shutterspeed will be used to capture passers-by in multiple images, blurring their figure to signify time going by. These sequences may best be put together with blunt jump cuts, as so the background stays the same yet the figures cut in and out of frame. Likely best cut to a beat/rhythm for emphasis to the cut.

Another ambient image of BM, this time hungry and longing for food.

Here a small sequence of images will take place, again the tripod static in place. The viewer (alongside BM) is now introduced to a secondary character, a smaller doll (SD) sitting along in an alley. First we see BM passing by on its own, next we see its intrigue in the doll. 

Finally we see two holding hands and walking off to the distance together.

Shots of the pair walking along, lonely but together, will be placed in sequence, until we see the pair walking and a larger mannequin (LM) is sitting in the distance. Small depth of field shall be used, so most of our focus is still on the smaller pair, but we are given a small background clue as to what the next shot may be.

We now get a closer view of LM and BM stops, intrigued. 

BM approaches LM for attention in the background (in focus), whilst SD is left at the front of frame but out of focus, so the initial attention is pushed towards the two mannequins finding each other.

Another shot will be taken, with the tripod static, but this next shot will have SD in focus, so our sympathies move to it instead.

A shot will be taken of the two mannequins walking into the distance together, holding hands.

The cliffhanger shot - we are taken back to the very beginning, in the same alleyway we once saw BM in, yet this time the small doll sits in its place, to replay the story all over again.

Starting notes/Basic Plot (CM)

Basic Plot

A personified mannequin doll is lost and alone, with nowhere to go and living from the city streets. Looking for some placement in its 'life', the story goes through its daily struggles. 

• Intro - lost mannequin, establishing shots
• Complication - the struggles it faces
• Resolution - it finds a friend/family member
• Cliffhanger - leaves the toy/doll it finds, then the story circles with the smaller doll looking for a companion

Introduction

We start off in a pedestrianised underpass at night. The mannequin doll is slumped on the floor, dimly lit by the city lights. Its cold, lonely, lost. There's a sense of sympathy, yet estranged mystery with the character being peculiar, a doll and its surreal personification/animation. 

List of possible complications/Events/Visuals (so far)

• Over the underpass on the bridge, looking through, over the road with hands on the bars. Long exposure to capture the car lights.
• Train station/bus station/bus stop, watching them/the people go by with their busy lives. (will need permission to shoot).
• On a bus/train, sitting on its own, completive.
• Walking down the street for middle shots. 
• Looking through windows for food.
• Some attempts to try and get help/attention, try to tug/reach for a human passing by, but get ignored.
• After being turned down again (include shots of mannequins' rejection), it returns to its sleeping place (underpass/bins?)
• Small doll thrown/dropped on the ground, obviously forgotten about, the mannequin will be walking by and look down to notice, think for a moment (shot of face/shoulders) and then pick doll up.
• Eventually finds the friend/family member (larger mannequin)
• Leaves the toy/doll it finds, last shot of the circling story emerging.

Resolution

I'm unsure, as of yet, whether to close the narrative or not. To create a happy ending? Or to leave it on an unresolved note, so the story was simply a window into this surreal fictional characters' life and its daily struggles. 

If I am to resolve the story however, one of these idea's are to come into effect:

• Finally finds a place to belong
• Finds their mother/father/friend (another mannequin)
• Finds their lost body part (head)

Shooting Schedule (CM)

Nov 18 - 24: Plan/research/storyboard + search for audio

Nov 25 - Dec 1 : Shoot + search for audio

Dec 2 - 8: Shoot + shoot audio

Dec 9 - 15: Edit

Dec 16 - 22: Edit

Dec 23+: Holiday break

Jan 2 - 5: Finish off/tweak/add to R+D

Jan 6th: Hand in.

Converging Media (CM)

The Brief

To create a multi-media, audio/visual piece. It can be:

• Documentary
• Fictional
• Promotional
• Abstract

Minimum time of 2 minutes. 

Use of still images or a combination of still images and video. 

There should be at least three separate sources of originally recorded audio (one can be copyright free).

Professional quality in all respects of images, sound and titles. 

Be sure to upload the video online to Vimeo or Youtube and copy onto a disc also. 

Need to include:

• A shooting schedule
• Storyboard
• 500 word evaluation of the final work

My choice is to create a conceptual (fictional) narrative through still imagery.

Narrative

To create a successful and effective narrative, it ought to follow these classic steps:

• Introduction - let use care
• Reveal the complication - conflict
• Resolution - finish in a satisfying way, but don't give it all straight away.

Good notes to bear in mind are:

• Keep a pace/rhythm
• Make sure there is a point to the story, a point of view
• Don't forget about the use of text

Creating a fictional story can be challenging, so good questions to start from are:

• What is the issue?
• What will be the events/moments? List them.
• If needed, who are the characters?
• What is the context?
• What resolution will follow?

Good information for photo narratives can be found here:
http://www.david-campbell.org/2010/11/18/photography-and-narrative/

Aerial Photography (PA)

Tips

• Plan exact locations/subject matter to photograph. Make a list of the spots you plan to shoot, mark them on a map. Plan the position of the aircraft, circling will be useful to gain as many shots as possible.

• Finding a Pilot/Helicopter

Will not likely get good shots by flying via commercial airline/helicopter. And by good, I mean different. Will need a pilot willing to fly low and slow, flying in circles etc. So, will need to ask your pilot to acquire permission to fly in the determined areas, give details of where you need to go and how high/different angles needed. 

Good to have some background knowledge of flying yourself, just to be aware of what is possible/safe.

Helicopter with two engines, incase one goes the other is for back-up.

• Safety:

Camera strap

-        No use of lenses/filters/attachments that could be pulled off by 100mph wind.

-       All camera attachments and equipment inside the aircraft and out of the wind stream.

-       Before take off, ensure all gear is secured and within reach.

-       Only the pilot comes in contact with any aircraft controls/equipment.

• Comfort:

-       Prepare for possibilities of motion sickness.

-       Looking through the viewfinder and flying maneuvers can increase this risk.

-       Before flight discuss the importance and methods of immediately reporting any indications of motion sickness.

• Camera Damage:

-       Avoid placing the camera in the wind: it can result with impact upon the aircraft, dust can be blown into the camera optics and will effect all future images.

-       Be prepared for sudden movements/turbulence, it can result with impact upon the aircraft.

• Motion Blur

 Being the main cause of ruined photographs from aerial photography, which cannot be fixed with post-production editing, it is importance to prevent these issues.

-       Use “Program Auto” settings, or settings that favor shutter speed over aperture.

-       Do not shoot slower than 1/250^th second.

-       Keep the camera inside the aircraft out of the wind stream, grip firmly and use a strap.

-       It is a good idea to set the camera to ‘continuous/burst’ shooting mode, so many photos will be taken whilst holding down the button.

-       Snap in bursts of four or more, so at least one may be steady between lens oscillations.

-       Holding the camera so it touches nothing but your hand can result in steadier images.

-       Brace yourself on the aircraft.

-       Favor wide, zoom angle for less motion blur and more lens sharpness.

• Haze

Haze you don’t notice while flying.

-       Use a UV filter and do not shoot through a closed door/window.

-       Shoot away from the sun to reduce haze.

-       Distance = haze. So nearby/downward subjects will have less haze.

-       With brighter days, use a polarizing filter.

• Zoom

Use zoom sparingly, try to shoot several photos of each scene with different amounts of zoom.

-       More zoom = amplified motion, reduced lens sharpness, increased lens aberrations.

• Exposure

-       Exposure bracketing to improve odds of best exposure.

-       Use full-frame or ‘area’ metering mode to reduce over/under exposure.

-        

• Lens

-       General rule is to have the fastest lens that you can get.

-       Telephoto zoom lens: for close to the ground shots, to isolate the subject/close the frame. However, they are difficult to handle due to their weight and size.

-       Wide-angle lens: great for landscape/sea/sky views.

-       Zoom lens: great for first aerial experiences, for the ability to try different compositions during the flight – both close-up and panoramic.

-       Prime lens: will take a sharper photograph, however requires planning of flight position and visual thought process.



http://photography.tutsplus.com/tutorials/aerial-photography-tips-for-your-first-flying-experience--photo-5071

http://en.wikipedia.org/wiki/Wikipedia:Aerial_photography

http://hapfashion.com/photography/digital-aerial-photography-techniques/

http://jasonhawkes.com/Behind-the-lens/BBC-Interview/1/