Operating Camera Equipment Safely

During the task of exploring Riversley Park, Nuneaton and capturing and displaying different camera shots; along with their uses and applications within the real world, it was important for photographers to make sure the camera equipment was being operated safely. This includes procedures to ensure that the health and safety of everyone involved (Photographers, models, and bystanders) were respected, equipment was not damaged or stolen, etc).

One procedure that we made sure to follow, was the the equipment at no moment of time was to be left unsupervised and unattended. This procedure was one that we considered crucially important to guard against theft attempts from strangers. Between the 5 members that made up the group, we were able to delegate roles within the group so tasks were not left uncompleted. 1 of the 5 in the group were drafted the task of watching the camera equipment.

Another procedure that we were careful to follow was ensuring the bystanders' health and safety was respected. One way in which we maintained this standard, was by ensuring that camera equipment such as tripods were not impeding the paths of pedestrians; thus minimising the risk of damage to the camera equipment and the risk of injuries to bystanders through faults of our own. Another less significant procedure we followed, was attempting to take shots away from the public, this wass mainly done to avoid capturing bystanders and pedestrians in our footage, but another reason was the camera flash can be blinding to unsuspecting victims and could be further agitating for people who suffer from conditions such as seizures. Directing the camera flash away from people enabled us to have more freedom in how we captured our footage without the limitations that may have constricted the laissez faire mentality we utilised for our task.

Butterfly Lighting

Butterfly lighting (also known as 'Paramount lighting') is yet another basic camera lighting applied to the work of cinephiles and photography-enthusiast. The butterfly lighting technique consists of just one main light that is pointed directly straight ahead at its subject, raised just high enough to create a downwards shadow on the subject.

The butterfly lighting technique is a renown camera lighting setup in the field of high-fashion and glamour photography.The name 'butterfly' stems from the butterfly-like shadow thats created on the underside of the model's nose.

On occasion, photographers using this lighting technique augment a fill light/reflector just in front of the subject, underneath the camera's field of view. This is usually done because capturing images of models from high angles often darkens the light around the subject's eyes. The fill light/reflector bounces some light into the subject's eyes to produce a higher quality image.

Edge Lighting

Edge Lighting, or Rim Lighting as it is also known as in photography and film terminology, is another basic lighting setup. Edge Lighting is lighting placed on a subject which gives the appearance of a light outline. This lighting setup offers a sense of depth and dimension to what is being captured by pulling the subject apart from the background.

Edge Lighting is achieved by setting up the lights in a 'triangle formation', with the main light being assisted by two fill lights/reflectors. This results in an image being captured, where the subject appears separate to the background surrounding it/them. This is especially useful in instances where the camera-person wants the audiences focus to be drawn to the subject. An example of edge lighting application in use in the real world can typically found in perfume posters/billboards.

In this image of Chanel's marketing campaign for their popular 'Bleu de Chanel' line features a close up of model Gaspard Ulliel, with edge lighting being utilised to draw the audience's attention away from the insignificant background, and pull their focus towards the subjects; the perfume bottle and the model's swagger.

Personal Statement

My experience in the field of Journalism started during my early years. My aunt (whom I used to reside with during the first few years of my childhood), became a junior reporter for

Rembrandt Lighting

Rembrandt Lighting is just one of the known basic lighting setups used by photographers. Named after the famous Dutch painter; Rembrandt Harmenszoon van Rijn, who was widely recognised for his consistent use with this type of lighting.

There are 2 key principles that Rembrandt lighting complies by. One of these is lighting on one side of the face; which in turn produces a shadow on the other side of the subjects face, and a triangular area of lighting often labeled a 'triangle shadow' or a 'chiaroscuro' as it is more commonly known by photography enthusiast. With 'true' Rembrandt lighting the chiaroscuro should be no wider than the eye, whilst the length should be limited to the size of the nose.

Rembrandt lighting is constructed utilising just one light source, typically placed at a 45 degrees offset from the subject lighting the side of the face furthest from the camera's view; just above eye level in order to produce the chiaroscuro.

Occasionally, a reflector or a dimmed light source operating at lower power may be implemented to slightly illuminate dark shadows surrounding the subjects face.. This is labeled as the 'key light' in photography terminology.

French New Wave Essay Draft

Introduction

The French New Wave was an artistic movement in the film making industry, that lasted between the years 1959-1964 The French New Wave was a self-aware movements based around a rejection against the trends of traditionally Hollywood-styled film. In its own sense, the French New Wave movement was an innovative project, who's influence on worldwide film over the past decades has been profound. The French New Wave has been credited for birthing 'auteur' and saw the rise of 'camera style', an explosion of young and vibrant film makers, and has been admired as a 'cinematic revoltution'.

Origin

The French New Wave movement's origin seem to stem from Alexandre Astruc's 1948 publication from L'Écran Français; titled 'The Birth of a New Avant-Garde: La Caméra-Stylo'. Alexandre Astruc; a French film director and critic, was fundamental to the movement's progress, it was his ideologies and beliefs that would be later be expanded by fellow film maker/critic 'François Truffaut' and the Cahiers du Cinéma magazine.

“the cinema is becoming a means of expression like the other arts before it, especially painting and the novel. It is no longer a spectacle, a diversion equivalent to the old boulevard theater...it is becoming, little by little, a visual language, i.e. a medium in which and by which an artist can express his thoughts, be they abstract or whatever, or in which he can communicate his obsessions as accurately as he can today in essay or novel”.
- Alexandre Astruc

By declaring this, Astruc was implying that, cinema had now developed into an expression of the 'artist's' imagination. The same way painting is personal to its artist, film; as an industry, had now become just as much of an artistic life-form as other forms of emotional imagination.

"Our New Wave would never have come into being if it hadn't been for the young American Morris Engel, who showed us the way to independent production with this fine movie."
- François Truffaut

In 2008, Truffaut claimed that he took inspiration for his film 'The 400 Blows' from young American film maker; Morris Engel's 'Little Fugitive', showing his appreciation expecially in the film's spontaneous production style. By this quotation, Truffaut connotes that much of the French New Wave movement built its foundation on the Little Fugitive. Also signifying that the film provided the 'guidelines' on independent production.

Andre Bazin, was also a prominent figure of influence in the rise of the French New Wave. Bazin; just like like Astruc, believed that cinema was equal to the novel, and thus he invested much his time and efforts on the cause. In 1951, Andre Bazin co-founded a French language film magazine along with several other film makers and critics titled 'Cahiers du Cinéma'.

Cahiers du Cinéma

Cahiers du Cinéma is a French language film magazine; founded by Andre Bazin, Jacques Doniol-Valcroze and Joseph-Marie Lo Duca in 1951. During its earlier years, Cahiers du Cinéma could be considered as to playing a pivotal role in the success of the French New Wave movement. 

French New Wave Essay

Introduction

The French New Wave was an artistic movement in the film making industry, that lasted between the years 1959-1964 The French New Wave was a self-aware movements based around a rejection against the trends of traditionally Hollywood-styled film. In its own sense, the French New Wave movement was an innovative project, who's influence on worldwide film over the past decades has been profound. The French New Wave has been credited for birthing 'auteur' and saw the rise of 'camera style', an explosion of young and vibrant film makers, and has been admired as a 'cinematic revoltution'.

Origin

The French New Wave movement's origin seem to stem from Alexandre Astruc's 1948 publication from L'Écran Français; titled 'The Birth of a New Avant-Garde: La Caméra-Stylo'. Alexandre Astruc; a French film director and critic, was fundamental to the movement's progress, it was his ideologies and beliefs that would be later be expanded by fellow film maker/critic 'François Truffaut' and the Cahiers du Cinéma magazine.

“the cinema is becoming a means of expression like the other arts before it, especially painting and the novel. It is no longer a spectacle, a diversion equivalent to the old boulevard theater...it is becoming, little by little, a visual language, i.e. a medium in which and by which an artist can express his thoughts, be they abstract or whatever, or in which he can communicate his obsessions as accurately as he can today in essay or novel”.
- Alexandre Astruc

By declaring this, Astruc was implying that, cinema had now developed into an expression of the 'artist's' imagination. The same way painting is personal to its artist, film; as an industry, had now become just as much of an artistic life-form as other forms of emotional imagination.

"Our New Wave would never have come into being if it hadn't been for the young American Morris Engel, who showed us the way to independent production with this fine movie."
- François Truffaut
In 2008, Truffaut claimed that he took inspiration for his film 'The 400 Blows' from young American film maker; Morris Engel's 'Little Fugitive', showing his appreciation expecially in the film's spontaneous production style. By this quotation, Truffaut connotes that much of the French New Wave movement built its foundation on the Little Fugitive. Also signifying that the film provided the 'guidelines' on independent production.