For this reading assignment on Movement and Rhythm, it is slightly different. We had to do a short video to demonstrate our understanding. Movement and rhythm in films can actually be altered by various actions, such as camera movements, actor movements, editing, nature of action, music etc.

For this short, I decided to use “time” as a factor of alteration of rhythm –  as time runs out, the action and rhythm should be more quick-paced. Yet I contrasted it with a twist in the end. 🙂

Routine from Wong In Chi Gigi on Vimeo.

This week’s reading is about color. Subjects in photos which are consisted of different color combinations will give off different feelings.

The photo above shows a analogous color scheme. Analogous colors are colors that are adjacent to one another on a color wheel. When analogous colors are put together, since they are combinations of colors that are less contrasting to each other (e.g. blue and green are less contrasty than red and blue), the colors tend to harmonize together.

This photo consists of yellow-green (grass), blue-green (lake) and blue (sky). These three colors are adjacent colors on the color wheel. As a result of the harmonizing colors, the photo gives a very harmonious feel portraying the natural scenery. It gives a very calming sensation.

This photo shows a complementary color scheme. Complementary colors are opposite to one another on the color wheel. When placed next to each other, their saturation increases and makes a really large contrast between the colors.

This is taken at the 8/F of the library. The blue (sky) and the orange (sun) are the complete opposite on the color wheel, and when put together it enhances the colors’ saturation and maximizes the contrast between the two. The saturation is ideal for a sunset photo because it then can demonstrate the warmth and romance of the sunset, while keeping a contrast with the originally blue sky and not when the whole sky is orange which gives no special contrast to the photo. The color scheme suits the subject – sunset ideally with the saturation it portrays.

Tone refers the brightness of objects when we shoot. The tonal range (i.e. black being the dark end, white being the light end) will help us convey different emotions. Some techniques that we can use is affinity of tone, contrast of tone, and coincidence/noncoincidence of tone. In the following photos, we will explore these techniques.

1. Affinity of tone

This photo demonstrates AFFINITY of tone because the tones of grayscale are pretty much similar with elements which had low contrast. Gray tones next to each other on the gray scale would create the greatest affinity.

The brightness of the objects in the photo are all of similar brightness. This would lead to the subject not being easily identified at first glance as it would have been if it was featured the brightest.

2. Contrast of Tone

This photo demonstrates the CONTRAST of tone, as can be seen that there are very bright parts (white walls) and very dark parts (black chairs, ceiling). Maximum contrast is constructed by black and white, which are two opposite ends of the gray scale.

The brightest parts of this photo is the scene outside the window, as well as the reflected light on the floor, which are both the subject of the photo. (Unless if you feel like the ceiling is important too…) The shadows on the nearer floor and ceiling provide a frame to show the main subject, so that the audience can acknowledge the main subject first.

3. Noncoincidence of Tone

This photo demonstrates noncoincidence of tone due to the underexposure of the subject – the girl and her food. The audience cannot see clearly what the subject is because it is not clearly revealed, nor is it the brightest area. On the contrary, the less important background is more visible. This leaves a slightly mysterious feeling of the girl.

Linear Motif refers to how any photo can basically reduce to simple lines.

I generally like taking photos of architecture, because the repetition of lines and figures, as well as the symmetry amaze me. I feel like it also trains you how to take photographs which are symmetrical as it is very important to at least be able to balance your composition. (I hate it when I ask random people on the street to help me take a photo and there is too much headroom, not symmetrical, cutting at joints etc… just. come on.)

For this assignment, I chose to take something which had repetitive lines (again). This is taken at West Hall.

This image tries to construct a very solid repetition by the elements in the photos, where viewers will find the photo simple yet symmetrical.

The linear motif for this photo is basically the vertical lines as composed by the windows and doors, as well as the slanting line created by the corridor.  The motif is clear in a way because the windows, lights, doorway are all of regular shapes and occurred regularly in a pattern. By rotating the angle of the photo to make the lines symmetrical to the border of the photo (in short, to make it symmetrical), it further accentuates the linear motif of it.

The linear motif of the photo can be seen more clearly in the Threshold version of the photo.

Deep Space

This image illustrates the concept of deep space , as the hallway extends to a vanishing point at the guy’s right. By taking this photo standing towards the right of the hallway, it gives the feeling as if the long hallway extends by the feeling of ‘space’ it portrays. Also in the foreground we see the poles and nearer doors; midground our focus of the picture – the guy; and background the trees at the far-end.

Flat Space

This image portrays a flat space because it looks very “2-dimensional”. The foreground – the bicycles; and the midground – the wall; are not separated far enough to give the sense of spaciousness. Also since it was shot with the camera in parallel with the wall (meaning it is not shot at a slanted perspective which gives a slanted wall which extends into space), it gives a rather ‘flat’ composition as it doesn’t portray any possible extension of space in the environment.

For your first prompt, locate and cite one image with low visual intensity and one image with high visual intensity and post the images to your blog. What basic visual components are dominant in each frame? How do those components work to give the image a certain kind of visual intensity?

High Visual Intensity

(source: http://wallpaperswide.com/hong_kong_night_view-wallpapers.html)

This is a photo of the nightview at The Peak of Hong Kong. The basic visual component is space and color. It has a deep depth of field , allowing it to capture the whole scene of Hong Kong clearly. Also the way this is captured accentuates how deep the space is, as the foreground is Hong Kong Island, midground the Victoria Harbour, and background the further areas. The colors in it are also in a variety; I like how there was contrast in the colors but it didn’t overpower it like an HDR photo would have, and the saturation is not tuned up to a point where the blobs of yellow lights would have looked artificial. The combination of color and space enriches this photo’s content and leaves an impression to the viewers of this busy metropolitan city. I hope this leaves an impression to you too because this is one of the prettiest scenic spots.

Low Visual Intensity

(source: http://monkmanphoto.com/wp-content/uploads/2012/02/Monkman_MABKS_D30112.jpg)

This photo is composed of pastel colors, which gives a sense of ambience. The space in this photo is relatively flat, as there is not much distance between the foreground (grass) to the middle ground (house) and the background (trees). It seems to me that it is taken by a telescopic lens. Also the tone is slightly bright, so it further enhances the calmness of the photo. These components join together to give an overall ambience to the viewers, as suggested by the colors and the flat space. I think it would make a good poster in a living room, especially when living in the city. 🙂