experimental photography task 1

Rity tascum 

In the image you can see that there is a car which is like a ghost car I will take a picture like this and edit it in photoshop and turn the photo ghostly. in the picture the time is near dawn and you can see the  pylon which looks shaded in the background and the car looks like it is floating the way how it is done is through photoshop you open the picture and make sure you have selected the car bit in the image you want to make ghostly and you make a copy of that image and then you move the copy until you see it and then you select the old image and delete and put the ghostly image on where the old image was and then on the right where you can see mini images of the image you are editing on the top you see opacity and hardness you have to adjust both because adjusting anyone of them can make it ghostly for tghis image you can see the results on the photo well this photo is not mine i know that but i needed a photo to give them an example of an image that i have to take for my experimental photography assignment          

as you can see that in this image the image has been distorted and i have used ZIG ZAG  and twirl on it to make it digitally manipulated and the reason why i choose this picture is that the manipulation suits it and it even looks a bit like a Lamborghini Gallardo to me but it is obvios that it is a ferrari 458 i needed a photo that could be eddited and needed to be digitally manipulated for my assignment. The picture that i choose is my favorite car to make this picture digitally manipulated i used photoshop i fixed the levels in it first because i could not see the picture properly so i fixed it which made it perfectly bright and then i used the twirl to the way you can use that is by going on filter on the top and an in the options of  the side bars you will find disort and then go all the way down you can choose this option or any other options if you want 

this photo is an experimental photo in the photo you can see car crashed on the lamp post and the picture has multiple colours on it which reminds me of blue rider this image stands out more one of the reason why i like this image is because it has diffrent colours in it and some of them have my favourite colours in it you can even  the way you can do this is by changing the colour level on it and turning it in to HDRI 

John stezaker

in the photo you can see that the artist used an old effect on it from the movies of the 19 century he used two photos and put them together to make one side different and the other different. I like this image because of the effect it gives to the photo when it has been edited and the double photo as well one photo on one side and the other on the other side a double photo the thing that i hate about this photo is the way it has been taken i don't like the photo's that have an smudge effect on them on the photo you can see that on the photo there is another one the artist has cut a photo and put it on another one a piece of it. 

in this photo you can see that the face have been covered by a landscape of a jungle and the dirt is used to finish off the faces and the trees and grass to finish of the hair the thing that i like about this is the landscape of the photo that has been blended in the faces because in the landscape i like the dirt which has been used to finish off the faces the thing that i hate about the photo is the portrait of the photo i only like photos that are used on people who act like there photo is not being taken

in this photo you can see that there is a picture of a man and the picture of the girl is removed but you can see a burnt jungle instead of her i like this photo because of the effect and the photo the man is acting like his photo is not being taken in this photo there is an 19 century movie in it the thing that i don't like about this photo is that the photo used for the second picture a burnt jungle because when you open this photo the first thing that comes in your mind is a war zone, dead people

  

contextual influence

Conflict Photography

Conflict photography is like war photography there are different types of them they are in black and white and they are even in colour they are on wars such as the situation on the ground in Aleppo

The photographer was covering the situation in Aleppo since August. When he first arrived there, he was taken to the Hullok and Hananu districts – areas that were subject to heavy bombing. Since then, he was expecting what was going to happen there. It was scary. The people here are divided over the war: some support the revolutionists, some don't. A large number of the population are desperate, they want this war to end; at least in the area controlled by the rebel fighters, which is constantly under heavy shelling and suffers from a lack of supplies. Most of the areas controlled by the rebels are working-class neighbourhoods. There is no place for them to go. They continue with their daily lives as far as they can, leaving everything in the hands of Allah. They call themselves martyrs and are open to sacrifice themselves. The battle for Aleppo is being fought with the city in ruins. On the front lines there is not a single house or building that remains without damage. Everything looks destroyed, shelled or burnt. It seems as though the Syrian leaders would rather destroy the city than give it up to the rebels. The Alawite militia, known as the Shabihas, terrorise the population and the rebels catch anyone suspected of being a spy or Shabiha. The most brutal situation that I have witnessed has been the shelling of civilian neighbourhoods. It has been indiscriminate. The bombs and mortar artillery can land anywhere at any moment. It is too dangerous to dare to stand on the street for any length of time. once went to the hospital to photograph victims of the shelling. There was not enough space, so all the wounded and lifeless bodies were just lying on the floor. I felt dizzy when I saw one child lying on the floor, weeping, bleeding from his foot while holding a coin in his hand. He was injured while queuing for bread and a mortar hit the bakery. He was terrified. When his mother came to find him he opened his hand, giving back the coin and said, " Please mum, don't send me out for bread again, I don't want to go and buy bread anymore." I think the work I am producing here is strong. I lived and studied at a monastery in India before becoming a conflict photographer and everything I see now is through the eyes of Krishna. This is my personal belief. I am just an instrument in this situation.

strafford