evaluation

for my advert i followed the inspiration from the world tour poster for slipknot's all hope is gone album

as you can see it looks pretty badass and i wanted to put that level amount of badassness in my world tour advert

and i sort of did that i invited 2 of my friends to get involved i added a few photoshop tweaks to add effect for example i added a greyish tone to the picture i found a pentagram on google and a faded it out with photoshop along with the font all in all is was really fun to do and i gotta say it was really fun to do and it was incredibly easy i also took quite a fair few pictures that day and this was the most awesome. the most hardest thing was editing on photoshop because i'm new to photoshop and tweaking the photo was both annoying and difficult and when i was finally done i was so relieved  it was unbelievable. The skills i developed whilst making this ad was more knowledge on photoshop and finding the perfect photograph they both take time and effort and i put all the time and effort i had to make this final product which i am really impressed with. compared to the slipknot world tour poster my advert is nothing sure they have the same tone but slipknot's poster was more detailed i just added a pentagram and changed the colour really. if i was to do this again i would have more time to develop and that's about it really i was impressed about this final product it's probably the greatest picture and photoshop art i've done.

copyright

http://www.copyrightservice.co.uk/copyright/p01_uk_copyright_law
it is VITAL that you don't take any product and make it as your own for example:
Photographer Art Rogers shot a photograph of a couple holding a line of puppies in a row and sold it for use in greeting cards and similar products. Internationally, renowned artist Jeff Koons in the process of creating an exhibit on the banality of everyday items, ran across Rodgers’ photograph and used it to create a set of statues based on the image. Koons sold several of these structures, making a significant profit. Upon discovering the copy, Rodgers sued Koons for copyright. Koons responded by claiming fair use by parody. the out come was the court found the similarities between the 2 images too close, and that a “typical person” would be able to recognize the copy. Koon’s defense was rejected under the argument that he could have used a more generic source to make the same statement — without copying Roger’s work. Koons was forced to pay a monetary settlement to Rodgers.This is one of those famous cases that encompassed a larger issue in the art world, the issue of appropriation art. Can you build upon another’s work to create your own original piece? And if you do so, does that constitute derivative work? It also brought up the issue of photography as art, was photography just a documentation of the world, or is it a creative and artistic product? Neither of these issues was entirely answered by the case, of course, but it has also become a reference used in many cases afterward.You can parallel this with vector-tracing a photograph for your design. Are you creating a derivative work that subtracts value from the original artist?

inspiration for world tour advert

http://www.pinterest.com/connorbradshaw/slipknot/
my world tour advert is heavily inspired by the metal-core band slipknot and their album; all hope is gone and their album cover and world tour poster with the setting and the logo here are a few more inspirations.

annotated slipknot world tour poster

today in photography we had to annotate on poster advertisement either on  music, fashion, perfume/aftershave or sport i decide to do on based on music and on my favourite band slipknot  here is my work sorry about the handwriting :/

jasper james

in today's lesson we made our own version of photography art by jasper james i have decided to make mine  on the joker from the video game arkham origins

this

plus this

equals this

my advert

for my advert i've made a world tour poster for a made up heavy metal band the people i involved of my friends and the setting of the Photo-shoot was in a field and it was produced with adobe photoshop and it's the "band" standing in line with a greyish black sky with the band logo in the back ground it was suppossed to be done before march 28th (the deadline of the assignment) but the lesson of the actual assignment deadline was cancelled so that's why i've uploaded it now and it's a great work of art :P

before

after

today we have the opportunity to make our own photoshopped picture i decide to use my creativity on a photo of a house  i added an explosion on the chimney and  added a font saying "micheal bay's house" because that guy has  a thing for explosions

before

after :P

soft light & hard light

Soft light refers to light that tends to "wrap" around objects, casting diffuse shadows with soft edges. Soft light is when a light source is large relative to the subject, hard light is when the light source is small relative to the subject.

This depends mostly on the following two factors:

• Distance. The closer the light source, the softer it becomes.
• Size of light source. The larger the source, the softer it becomes.

The softness of a light source can also be determined by the angle between the illuminated object and the 'length' of the light source (the longest dimension that is perpendicular to the object being lit). The larger this angle is, the softer the light source.

Hard light sources cast shadows whose appearance of the shadow depends on the lighting instrument. For example, fresnel lights can be focused such that their shadows can be "cut" with crisp shadows. That is, the shadows produced will have 'harder' edges with less transition between illumination and shadow. The focused light will produce harder-edged shadows. Focusing a fresnel makes the rays of emitted light more parallel. The parallelism of these rays determines the quality of the shadows. For shadows with no transitional edge/gradient, a point light source is required. Hard light casts strong, well defined shadows.

When hitting a textured surface at an angle, hard light will accentuate the textures and details in an object

soft light 

hard light

rule of thirds

The rule of thirds is a "rule of tumb" or guideline which applies to the process of composing visual images such as designs, films, paintings, and photographs. The guideline proposes that an image should be imagined as divided into nine equal parts by two equally-spaced horizontal lines and two equally-spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections. Proponents of the technique claim that aligning a subject with these points creates more tension, energy and interest in the composition than simply centering the subject would.

The photograph to the right demonstrates the application of the rule of thirds. The horizon sits at the horizontal line dividing the lower third of the photo from the upper two-thirds. The tree sits at the intersection of two lines, sometimes called a power point or a crash point. Points of interest in the photo don't have to actually touch one of these lines to take advantage of the rule of thirds. For example, the brightest part of the sky near the horizon where the sun recently set does not fall directly on one of the lines, but does fall near the intersection of two of the lines, close enough to take advantage of the rule.

The rule of thirds is applied by aligning a subject with the guide lines and their intersection points, placing the horizon on the top or bottom line, or allowing linear features in the image to flow from section to section. The main reason for observing the rule of thirds is to discourage placement of the subject at the center, or prevent a horizon from appearing to divide the picture in half. Michael Ryan and Melissa Lenos, authors of the book An Introduction to Film Analysis: Technique and Meaning in Narrative Film state that the use of rule of thirds is "favored by cinematographers in their effort to design balanced and unified images"

When filming or photographing people, it is common to line the body up to a vertical line and the person's eyes to a horizontal line. If filming a moving subject, the same pattern is often followed, with the majority of the extra room being in front of the person (the way they are moving). Likewise, when photographing a still subject who is not directly facing the camera, the majority of the extra room should be in front of the subject with the vertical line running through their perceived center of mass.

example of rule of thirds 

all the pictures i took today at college

today at south downs college at photoshop lesson as part of out major assignment for paultons park we have decided top make our logos for our rides for my group our ride's theme was a spider and our subtitle was "conquer the fear" so as the them was a giant spider we made a web and we drew a grey spider with the paultons park logo in the corner in our logo for our ride showing where the ride belongs to it was a really fun lesson yet very complicated to create the logo now i can relax :D

today we are learning about the start of our photoshoot for our "ride" for paulton's park and we have decided to our ride based on a spider (my worst fear)

what the colours mean.

what the colours mean.

advertising posters

today in photography we had to annotate on poster advertisement either on  music, fashion, perfume/aftershave or sport i decide to do on based on music and on my favourite band slipknot  here is my work sorry about the handwriting :/

complementary colours

Complementary colors are pairs of colors which, when combined in the right proportions, produce white or black.  When placed next to each other, they create the strongest contrast and reinforce each other. They are widely used in art and design. The pairs of complementary colors vary depending upon the color model, and how the color is made. In painting, which uses subtractive primary colours the traditional primary–secondary complementary color pairs, described since at least the early 18th century, were red-green, yellow-violet, and blue-orange. In the more accurate RGB colour model, used to make colors on computer and television displays, red, green and blue light are combined at various intensities to make all the other colors. In this system, using addictive colours, the complementary pairs are red–cyan, green–magenta, and blue–yellow. In color printing, another system of subtractive colors, the colors cyan, magenta, yellow and black are used to produce all printed colors; the CYMK- system complementary pairs are the same as in the RGB system: red–cyan, green–magenta, and blue–yellow.

colour

Additive colour is colour created by mixing light of two or more different colours. Red, green and blue are the additive primary colours normally used in additive colour system. Additive colour is in contrast to subtractive colours in which colours are created by subtracting (absorbing) parts of the spectrum of light present in ordinary white light, by means of coloured pigment, or dyes, such as those in paints, inks, and the three dye layers in typical colour photographs on film. A subtractive colour model explains the mixing of a limited set of dyes inks paint pigments or natural colorants to create a wider range of colours each the result of partially or completely subtracting (that is, absorbing) some wavelengths of light and not others. The colour that a surface displays depends on which parts of the visible spectrum are not absorbed and therefore remain visible.