Personal Narrative: My Photos

The same cinematic technique is utilized in Charlie and the Chocolate Factory. In the inception of the film, darker and paler shades of colors are emphasized in the scenery. Especially inside Charlie’s home. However, once inside the chocolate factory, conspicuous colors are introduced. Even though the factory seemed like an exuberant center, there was still a profound void inside the hearts of Wonka, the obnoxious children, and non-proficient parents, not including Charlie and his grandfather. They were lacking the warmth of family unity and self content amid impecuniosity, that Charlie and his grandfather possessed. One can discern that Burton’s style is highly influenced by his lighting effects which in turn affects the tone, mood, and imagery of the film. The sharp contrast of coloration, establishes symbolism, tone, mood, and imagery. Another apparent effect of lighting is the mood it synthesizes. During the scenes in which the figures are pale or low key, the viewer feels uncomfortable. The reverse occurs during the high key scenes. Without the implementation of high key and low key, Burton’s message would have never been fully apprehended in both of the films.

Henson’s work is powerful, creating an illusion of both a painting and a film through a combination of different techniques that make his work unique. The most prominent feature and device of Henson’s work is his use of light. The majority of his work features dark tones and colours, sometimes slightly tinted with yellow, red or blue. The brighter portions of Henson’s photographs and his use of light is tactically well controlled to uncover only crucial details. In some of his photographs, Henson juxtaposes the colourful yet mysterious, distant city lights through the use of bokkeh, with the underexposed, graphic images of the subject in the foreground. Some examples of this in his work include several images from the Untitled 2000/01 series, such as the girl sitting, the girl that is lying down, yet at the same time positioned so to look as if she is in flight, and another image of a girl lying on her stomach,

His cinematography “creates an exceptionally inviting, varied look for this nocturnal story, and special visual effects are smoothly integrated into the action. The makeup that adds pale eyes, ghostly pallor and tiny blue veins to the principals' faces manages to create a frisson of danger without marring the actors' attractiveness” (Maslin). Rousselot used dark-lensing, a way to attain low key shots and thus created a huge contrast to the sets and costumes (Maslin). This made the characters seem as though they were the only important things in the otherwise dark and gloomy shots.

A technique that Farrell uses includes, lighting and color. The photograph’s lighting is dark and gloomy and does not give a feel of happiness. Dark photographs gives the audience a mood of sadness and pain. The family members are all dressed in black and the color black is paricularly related

Believe it or not but the lighting also impacts the movie. The lighting has to be just right for the scenes can look believable, like if it was dark the lights would be dimmer. The movie did have its fine and lousy quality. The light in at night needed to be a bit darker to understand that they are using lanterns, but the light outside in the day was appropriate. There was a exceptional amount of light to shine through the barn or even outside.

The image is brighter and sharper in the film. The contrast of the film really affects the mood. Since the contrast is so bright the viewer is bound to stay focused and aware because everything is so catchy and noticeable. Also, the exposure changes throughout the film. At the very beginning the film starts in black and white and changed to color as the story progressed. The filmmaker uses a lot of Long Takes, each shot of Dorothy meeting someone new is pretty lengthy.

The colors of this drawing give off an ominous mood. There is a lot of value in this drawing which is the amount of light and darkness in an image. Almost every object starts off light(white) and then as you look up to the object it gets darker. For example, Mob’s hands, jack, and face all start of light from the bottom then get darker as you rise up the object same for the rocks and the background itself. There is very low saturation in this picture meaning it’s not colorful and vibrant it’s mostly void of color which also highlights the very ominous mood this drawing

My Visual Representation is from the war poem 'Dulce Et Decorum Est' by Wilfred Owen. The visual piece specifically references the soldier who couldnt put his gas mask on fast enough and died from inhaling chlorine gas. The background is supposed to be a forest filled with the green gas described in the poem. The mask on the ground represents the fallen soldier who couldnt get his mask on in time. I tried to convey a hazy, fuzzy feeling with the picture to represent how the soldiers felt lame and blind. I decided to use white fog as it gives the picture a dreamy feeling, referencing both how tired the soldiers were and how i believe the poem suggests he dreams of the event. Overall i tried to make the image somewhat chilling and spooky, because

“Untitled” displays a dimly lit bedroom in a typical home. The light from the blue moon

Mood: The picture of the girl in her flannel shirt displays some mood, along with character. It can be sunny in Victoria, British Columbia, but it isn’t likely. The sad young girl holding a teddy bear creates a dark place which is a big part of the book since Nico lost her mother. The dark forest symbolizes the scary journey that Nico went on to find her mom. The picture of Kurt has mood in itself; he looks sad, and it seems as if he is trying to tell you something without speaking. The Incesticide album cover creates a depressed, artistic tone to the video. The Pixies’ album cover also carries a depressed tone.

This photo was taken from an eye level point of view. There is a deep depth of field because one can see the small wooden boards way past the bikers. There is linear perspective because the viewers eyes follow the railings all the way into the center of the photo. This photo is high contrast because of the dark shadows and bright highlights and is low key because there is an interesting lighting. The second photo I matted is a picture of my cat stretching and yawning while on the railing. I named this photo Cat Nap. This photo is interesting to me because of the peak of the action as the cat is yawning and stretching along the top of a railing. This photo is a wide frame and closed form. There is a bug’s eye point of view because one does not typically view a cat from this perspective. There is a low contrast and high key because the photo is evenly lit and has a muted feeling. The last photo I matted is of one of my chickens. I named this photo Why Did the Chicken Cross the Road? This photo is very interesting to me because it gets the viewer to question what is happening in the

I genuinely felt the blue motif that shows up all over the place in this movie helped create a desolate and coldness type of feeling, which is continually displayed in the eyes of the main character Dwight. Sticking with color I thought the cinematography particularly in the outdoor shots were downright gorgeous.

This will be a quick post and a single image post.  One night, after I couldn't find a photo group I was suppose to meet up with, I walked around in downtown Fayetteville, GA.  I came across the Historic Fayetteville Courthouse. The courthouse alone did not catch my attention, but the red light on the clock face did.

I always told myself I wasn't going to be like them. They were telling me one thing, but I wanted something completely different. At least that's what my 12 year old, indecisive brain thought. I was young, and of course I didn't want to do what people said. I changed my mind every three days, but I was adamant, I wasn't going to listen to them.

The shot in Van Gogh’s bedroom used warm tones, as opposed to the normal planes. The tones and colors imitated the characteristics of Vincent’s paints with high contrast of tones among warm colors. The scene where Vincent arrived to Arles was shown with bright colors and a strong illumination to show Vincent’s expectations. Cool colors and blue tones created an effect of remoteness and sadness in other scenes. The interior illumination in the first scene is solid, frontal and flat; it is diffuse in the third scene.