Time Lapse

This is a time lapse video that I made using a D20 (twenty-sided die) and a dollar bill. It was probably the most challenging thing we've done all semester, mainly just in figuring out how to take the photographs and how to use the video editing software. My camera doesn't actually have a time lapse setting so I had to sort of count everything out myself. In the future I'd like to experiment a little more with time lapse photography and will probably invest in a remote shutter controller with an auto timer. It would have been more interesting in the video below if I could have actually shown my hands folding the paper. That was what I originally planned to do but did not have the means.

Portaits

I'll be honest -- I don't know very many people in the city of Pittsburgh yet, so I decided to photograph the one I know best, my boyfriend Damian. For the series, I wanted to capture his multifaceted personality. By day he works as a biochemist, earning his PhD at Duquesne University. At night he's an amateur sound engineer and producer of EDM and electo-house music. While he has always excelled in the sciences, Damian has recently been progressing in the music industry as well. He's just released his first single under We Spin Records under the name of Midnight Monster. Despite his hard-working, stoic nature, Damian is also very empathetic and caring. He loves all people and animals, even those who are misunderstood by most. His animal companion is not the typical dog or cat but a corn snake named Yismir.

Koyaanisqatsi

Koyaanisqatsi is an interesting film about the destructive tendencies of human beings and their impact on the earth. Prior to watching the film, I learned that the name "Koyaanisqatsi" is Hopi for "unbalanced life." Based on the title, I assumed that the film would have some sort of politically driven environmental message. I was also aware that the film used some form of time-lapse or stop motion and that it was made in 1982. Right before starting the film, I read that it did not contain any dialog or narration, only music -- by Phillip Glass, no less. I had learned about Phillip Glass years ago in a dance class and I knew that he had written obscure avant-garde musical ballets. I figured that the film would be interesting but I still wasn't quite sure what to expect overall.

The film begins with long, slow panoramas of natural landscapes:  canyons, mountains, fields of flowers, a waterfall, a cave. The music is also slower here, matching pace with the imagery. Then, there's a scene that appears almost distorted at first, and it takes a while to see what it is. At first it looks like snow; then ash falling from a volcano. As the camera zooms out, something distinctly man-made and mechanical appears in the bottom left of the frame. Zoom out a little more and a rocket is revealed, mid take-off. This is the transition from calm, tranquil natural earth to the industrial wasteland that we've created.

The shots are slower at first, increasing slightly from the initial sequence, showing oil refineries, the pipe line, a glass building. As the speed of the film and the music increase in tandem, so does the intensity of the images. All of these things culminate with dramatic shots of collapsing buildings, explosions, missiles, and the dropping of an atom bomb. I had expected the industrialization but not the images of war and weapons. This was a slightly different take than the film Manufactured Landscapes that we had watched at the beginning of the semester.

After all of the dramatic explosions and implosions, the film shifts to very rapid time-lapse sequences of people doing various activities:  the line at the subway terminal; workers at an Oscar Meyer factory packaging hotdogs and bologna; customers at a grocery store checkout. Then there are the ceaseless images of cars -- cars in parking lots, cars in production, cars on four-lane highways, cars packed like sardines in rush hour traffic, cars in the city at night. There are also many scenes of people walking about in swarms, as if being herded by some unseen force. I did notice that during this portion of the film, the music in the background almost sounded like bees in a beehive. I found this to be particularly effective as a commentary on the insignificance of the individual.

While the message was clear and the imagery was striking, I felt myself losing interest after the first half hour or so. Perhaps this is because those images have become so ubiquitous that we're now desensitized. Koyaanisqatsi was released over 30 years ago. In the early '80s, perhaps questions of the environment and the impact that humans have on the world was still fairly new. The imagery would have been more shocking and unfamiliar. However, today we're used to seeing stills and video of the changes we've made to the earth. To me, the movies message was dragged out a bit longer than necessary. It might have been more effective had it expanded to more complex concepts through the progression of the film. I felt that the first movie that we watched at the beginning of the semester, Manufactured Landscapes, told a similar message but with superior delivery.

Although I wasn't too keen on the film itself (or the repetitive, arpeggiating Phillip Glass music), I did find the cinematography quite interesting. I thought it was very effective how the image sequences increased in technological complexity as the video itself increased in speed. It helped give a sense of ease to the natural landscapes, while the factories, shopping centers, and city streets appeared more frantic and stressful. However, I think that some dialog or narration may have helped to break up the monotony.

Secret Gardens

For my final photography project, I’m going to take images of secret gardens, hidden green spaces nestled away in the city. I believe that people have an innate need to be around nature. While human beings have lived in industrialized societies for centuries, in the grander scheme of our existence, we were primordial beings living out in nature. If you take that away – if you put people in cities – the surroundings, though familiar, are still unnatural. This can be unnerving and stressful. Plants seem to resonate a sense of calm and peace as well, which may be a result of their contrast to our urban environments. I come from a fairly rural area and this dissonance was something that I feared. I’ve been happy to experience first-hand the relief that comes from seeing so much green space in the bounds of the city.

The other phenomenon that I wanted to bring out in my project is the psychology of the color green. I took a color theory class as an undergraduate where we discussed the physiology of the eye and the psychological perception of color. Green is considered a relaxing and tranquil color, often used in spas to help reinforce the calming atmosphere. A lighter mint green seems to be, more specifically, the color of choice. Interestingly, the plant mint has also been used traditionally as a medicinal herb. Its oils create a soothing effect on nerves and can also help ease an upset stomach. Similarly, aloe is known for its cooling and healing qualities.

In that same class, I learned that green is the most commonly reported favorite color in surveys. Perhaps this is simply because of the relaxing effect that green has on the human psyche, but I have a notion that the cause may be deeper than that alone. I also learned that when the eye perceives light, the iris – a muscle – contracts to adjust the size of the lens, much like adjusting the aperture of a camera. This change in focus not only controls the amount of light entering the eye but it also helps to angle specific wavelengths of light so that they fall upon the fovea, the point on the retina where cones are most concentrated. Green wavelengths naturally fall on the fovea and do not require any contraction of the iris. The color green is literally easy on the eyes.

I believe that there is an evolutionary basis for this phenomenon. Most of the world inhabited by humans was once covered by green plants. Perhaps in the beginning, the location of the fovea varied from person to person. Those whose foveas directly received green wavelengths of light would have improved vision compared to their comrades, and would therefore have a slightly easier time navigating in a predominantly green environment. Perhaps this small difference would somehow impact their ability to survive. Over time, the number of individuals with this characteristic would accumulate as others with less beneficial eyesight began to die off. This could also be a contributing factor to our compulsion to fill our urban landscapes with natural plant life.

The Morning Glory Inn - Southside, Pittsburgh

The Morning Glory Inn - Southside, Pittsburgh

The Morning Glory Inn - Southside, Pittsburgh

The Morning Glory Inn - Southside, Pittsburgh

Pittsburgh People by Jerry Caplan - Downtown Pittsburgh

Pittsburgh People by Jerry Caplan - Downtown Pittsburgh

Smicksburg Bokeh

These photographs were taken at the McAninch residence in Smicksburg, a small rural town in the heart of Pennsylvania. Several years ago, the McAninch family lost a beloved husband and father. Behind their home, the family created a memorial garden in his honor. The space is filled with trees, flowers, and benches for loved ones to sit and remember him.

In the following two photographs, I wanted to capture the serenity and ethereal beauty of the memorial garden. Focusing on minute details also made it easy to achieve the bokeh effect. 

Below is my attempt at photographing sparklers at the annual McAninch bonfire. There wasn't enough contrast between the foreground and background for a shallow depth of field so I switched my f-stop up to attempt an airy disk. It worked in this photograph on the lower right sparkler, although it isn't as vivid as I would have liked it to be.

Downtown Color

Sometimes if I have the time, I'll go out an shoot during my lunch break. I work downtown near Market Square and there's also a small park nearby. These photos were taken the week of the Pittsburgh Arts Fest. It was a beautiful day in late spring when these were taken and I was trying to capture the freshness of the season in my photography. I am also drawn to cool tones, particularly greens and purples.

Flowers are an obvious sign of spring. These small clusters can be seen in a variety of colors all over the downtown area. I first saw flowers like this on Hilton Head Island several years ago and I'm very happy to see them now on a regular basis in the 'burgh. This particular bunch was planted in Market Square.

This was one of the projects from Art Fest:  "Pop-up Patios." There was a patch of lawn near my building that had been filled with a collection of patio furniture sets in neon greens, oranges, and reds. The project created outdoor spaces to encourage social interaction. I didn't notice anyone using the spaces, but I found this bright trio to be quite inviting. If I hadn't already finished my lunch, I might have enjoyed it here.

This is a fountain at the park near my workplace. The central feature had a beautiful glass surface in greens that reflected the blue of the water. The way the water fell from the fountain gave a sense of energy and the surrounding pool looks lush and refreshing. The whole scene just made me feel alive.

Experimenting with Light

As it turns out, it's nearly impossible to take accurate photographs portraying the behavior of "natural" light while in the city -- there's just too much ambient light! This is especially true in the evening when the street lights come on. As a result, I ended up with a few outside with the pseudo-natural light. Then I decided to experiment a bit with reflections and artificial light inside.

Here are my top three:

Here are the three taken indoors:

And a few extras:

Abstraction

The following images are all common items found in my apartment. I'll post the answers at the bottom.

Note:  The first two images did not convert to JPEG well. I even tried maximizing the quality and re-saving but it's still compressing some of the data into red blotchy areas. I'm a little disappointed, they look much better as PSDs. At least the others seem to be unaffected.

One

Two

Three

Four

Five

Six

Bonus!

Answers (from top to bottom):  wooden ladder; radiator under the bathroom window sill; curtains; growler handle; inside of a teacup; umbrella; yoga mat.

Exposure: Room

Long Way Down, f/5.6, 1/15 sec - June, 2014

A Porch is an Outside Room, f/5.6, 1/1600 sec - June, 2014

Fountainheads, f/4.0, 1/4000 sec - June, 2014

Meatball, f/5.6, 1/25 sec - June, 2014

Manufactured Landscapes

The film Manufactured Landscapes (2007) was directed by Jennifer Baichwal for Zeitgeist Films and features the work of photographer Edward Burtynsky. The documentary combines video and still images with Burtynsky’s narration to create a unique perspective on the impacts of industrialization on a global scale. The imagery, mainly taken in Canada, China, and Bangladesh, focuses on the ways that industry has affected the environment, as well as the human population. Burtynsky’s work is simultaneously beautiful and unsettling, capturing our manufactured landscapes with a keen eye but also demonstrating the sheer scale at which human beings have changed the surface of the planet. The images that Burtynsky creates are awakening, intimate, and inspiring. These strange landscapes represent neither right nor wrong, but they demand attention, and as Burtynsky stated, require “a new way of thinking.”

Burtynsky’s photographs serve both as documentation and as art. His images include Canadian hillsides that have been mined and quarried for decades; armies of Chinese factory workers; and rust-laden ships washed ashore in Bangladesh. Burtynsky stresses the importance of documenting these scenes, arguing that they are as relevant to our existence as the natural world. It is important for us to understand the impact that we've had on our environment. However, his photographs are also often beautiful and picturesque. He uses wide angles to capture roads carved into mountains; he uses light to create a colorful sheen on the surface of polluted water. I found the artistic nature of Burtynsky’s photographs to be very effective. After the first glance, it becomes apparent that these beautiful images are not of something naturally occurring, but rather are the result of damage that we have done to the planet.

The images that Burtynsky creates are quite powerful and evoke many emotions in the viewer. At one point, Burtynsky mentions seeing the damaged oil rigs in Bangladesh and thinking to himself that he has probably used oil that had been carried in those ships in his own personal vehicle. Looking at his images, you come to the realization that you as an individual also probably contributed in some small way, just by existing in and accepting our industrial culture. You feel a nagging sense of ownership and responsibility for the scenes that Burtynsky captured. Then as the camera zooms out, the scene becomes wider, vaster, and you develop a new feeling – helplessness. Even if you were to reduce your own impact, it would be such a small fraction of the total that it wouldn't even be noticeable. I felt that this combination of emotions was both eye-opening and humbling, effectively conveying Burtynsky’s argument. There are some obvious negative impacts of industrialization, but there are also equally as many, if not more, positive impacts. Though we have manipulated our planet to a great extent, the quality of life for many people has greatly increased. Industrialization cannot be viewed simply as right or wrong; however, it is a prominent facet of our reality and must be treated as such.

Manufactured Landscapes is neither a call to action nor a skepticism – it simply encourages awareness. Burtynsky is insistent upon this notion in the documentary and it seems to be demonstrated appropriately in his work. Whether the impression that his images leave is positive, negative, or somewhere in between, the impression will surely be a powerful one. Burtynsky’s photographs are capable of evoking multiple emotions, but they are conflicting enough to allow the viewer find their own meaning. I found myself in the same state of turmoil that Burtynsky mentions near the end of the film – while the reality of industrialization is unsettling, I’m probably not going to abandon the modern conveniences that I've come to rely on. One thing is for certain, though – I will never be able to look at my iron in the same way.

Power Lines, Shadyside (Pittsburgh) - June, 2014

Sidewalk Construction, Shadyside (Pittsburgh) - June, 2014

Gas Meter, Shadyside (Pittsburgh) - June, 2014

Electricity Meter I, Shadyside (Pittsburgh) - June, 2014

Electrical Meter II, Shadyside (Pittsburgh) - June, 2014

Carnegie Museum of Art

In a very basic sense, the contrast of light and shadows in the paintings at the Carnegie Museum of Art were used to make subjects on a two dimensional surface appear three dimensional. This added depth makes the image more realistic, rather than leaving it flat and lifeless. The amount of highlighting and shadows, as well as the saturation of colors in the painting, also contribute to the overall feeling that the painting conveys. For example, a darker painting may invoke sadness, and a brighter painting happiness. Some artists are more effective in using light and color to add life to an image. Below are some examples that I found to be particularly interesting or skillful.

Cape Cod Afternoon, Edward Harper

Edward Harper's Cape Cod Afternoon uses light and shadow to create dimension and depth to the buildings in the scene. The lighting also helps to indicate the time of day - afternoon - and creates a cheerful, uplifting mood. The bright colors gives a sense of what life could be like in a typical Cape Cod community.

Allegheny-Ludlum Steel Mill, Pittsburgh, Raymond Simboli

Raymond Simboli's Allegheny-Ludlum Steel Mill, Pittsburgh uses light to depict fire. The lighting and color in this particular painting is vital to make the fire appear realistic. The intensity of the light and the saturation of the reds, oranges, and yellows in the painting also give a sense of the extreme temperatures required in the steel mills in order to heat and melt the iron.

Allegory of Spring and Summer, Tintoretto (Jacopo Robusti)

Tintoretto's (Jacopo Robusti) Allegory of Spring and Summer uses the contrast of light and shadow to control the depth of field between the foreground and background. The main focal point of the painting is a figure in the foreground, a woman who appears to be the personification of spring. In the foreground, the contrast is high, providing greater detail through highlights and shadows. In the background, the details are less pronounced, with the majority of the scenery in much lighter tones. There isn't as much shadowing as in the foreground, and the saturation is low, giving it a more muted, almost hazy appearance. This prevents the surrounding scene from distracting the eye from the details of the figure.

View of the Waterfall at Tivoli, Claude-Joseph Vernet

Claude-Joseph Vernet's View of the Waterfall at Tivoli also uses the lighting to bring the foreground into focus. The detailed highlights and shadows give life to the scene in front of the falls, particularly the grouping of people gathered on the stones below. The lighting also helps to create a sense of motion in the water. Among the examples that I’ve included, View of the Waterfall at Tivoli was the one I found most impressive. The figures are very lifelike and I definitely got a sense of what it might be like to spend a day fishing by the falls.

Venus Lamenting the Death of Adonis, Benjamin West

Benjamin West’s Venus Lamenting the Death of Adonis has a similar but opposite use of lighting to bring the foreground into focus. The background is very dark and little detail is visible. In the foreground, Venus bends over the body of Adonis. Highlights and shadows are used to emphasize the expressions on the face of Venus and a watching cherub. A tear can be seen clearly on the cherub’s cheek, while the rest of his face is in shadow. The highlights and shadows also help to create texture in Venus’s dress, giving dimension to the folds in the fabric.

Like these paintings, I’m also hoping to use light to enhance my photographs. I don’t want my images to simply document reality – I want them to come to life, so that anyone looking at them may be able to image what it would be like to be in that scene. If I do include people in any of my work, I would like them to be relateable. I want people to be able to read emotions from my work. I especially like the way that depth of field can impact a photograph, and I plan on using that in my own work.

Pedestal I, Carnegie Museum of Art - May, 2014

Pedestal II, Carnegie Museum of Art - May, 2014