Legal/ethical considerations

There is no legal issues with filming, I have filming premision for all my shooting locations with the locations being private and the owners, council and local police force informed that weapons will be used (Axe), which may interupt/scare dog walkers or passersby.

The only ethical issue is the use of fire, this could make viewer commit acts of arson, but the photos show it in the camping like setting, meaning that it isn't seen as harmful and bad.

Shooting Schedule

Date: 4th March 2014 - 9 P.M.

Title/Scene: No More Room In Hell

Location: Private land in Melbourn, Hertfordshire.

Description of photos:
The photos will be taken at night 

Safety:
Many hazards that can be easily be avoidable by taking proper safety procedures. 

Equipment:
DSL Camera (Canon 600D)
Tripod
Torches

Cast/ Crew:
Ben Breeze - Actor
Jacob Rand - Actor 
George McDermott - Photographer
Dan Atkins - Lighting

Risk assessment

The overall location within the location could be considered hazardous.

Recce of shoot location

The recce of the location was successful, the location looked overgrown and rusted, as if the world has let to nature as the zombies have left the world in rampage.

Purpose of my five photos

This photo gives the viewer the aspect of survival as we see a young man in raggish clothing scavenging and looking for equipment to survive, the flash look gives the impression that he was mid action as the photo was taken. 

This photo gives the viewer the idea that something bad has/ or is going to happen, with the axe hanging infront of a fire, this connotes dark thoughts as the axe blackens out the axe and makes it look sinister 

The Fire gives the impression of evil presence and that something bad is going to happen, this is given by the high use of red and black, which is usually connoted with bad thoughts, feelings, blood and death. 

The face gives the impression of a monster, and the idea of being watched by something, this is given by the use of red, which is usually symbolised with the devil. Making it centre of the image and having the rest black makes it the eye catching to the viewer. It could also connote that the monster is coming from the darkness.

The burnout fire gives connotes that something was here, but had to leave in a hurry, leaving the fire to still burn, for the film, this could mean that the people who left here had to leave or were killed 

Why and how were the images edited? My UK Film - No More Room In Hell

A few of the images chosen to be in my final booklet had editing techniques added to add a more negative look for the final document. The reason for editing the images is so that they all follow a similar moody look which would flow consistently throughout the booklet. Examples of this are that some images dark and moody which was the theme I was going for, but the ones that needed editing were too dark for the images to be recognisable. Theses changes i had to make as they didn't suit my film.

Before and after screenshots of the editing process on the images.

1. The Face

The original photo was too dark and could barely be seen, so I increased the brightness and slightly increased the contrast which make it more visible, but in return gave it a red-ish tone which could give the audience a dark and negative atmosphere which i want.

2. Barn

The original was too dark like The Face photo, so the image's brightness and lightness was brought up as well, giving of the light look, as if it's a torch.
The other editing technique i used was crop. I cropped the image slightly, taking out the hay which was on the left side.

 3. Ben

Originally ruined by another person, this image was deemed useless before editing,
but after cropping out the other person and making negative space for text, the image was now useful,
the image was intentionally blurred to add a more edgy look.

4. Fire

For this image the saturation was increased to make it more red and sharp, and the exposure was also slightly increased to make the fire seem more red and sharp.

5. Light

This image was edited to add more reds to the image, whilst taking away more of the darkness, this gave it more of a red background, giving the idea that it's giving off warmth. The saturation was also increased.

Why were the images edited?

The images used in my final booklet for my UK film No More Room In Hell, some had to be edited because the image taken on the camera did not fit the horror look which I wanted for the booklet. I wanted the final product to be negative and moody throughout the whole thing, which means the images used needed to be dark and moody. When taking the images - the time of shooting made the photos come out dark and unclear, at first this seemed to had made all the photos to be deemed useless, but after editing they were restored and added a blurry and negative effect which gave them a scary look. I did this by putting them into in Adobe Photoshop CS6 suite and started to changing the images with increased brightness and adding motion effect to some of the images. 

The use for all the images that I have taken and included in the final booklet for No More Room In Hell is for them to be used for commercial use of the film. The images used show a small photos on what could be featured in the film and to show the audience what the tone and atmosphere of the film.

Terry Richardson

Terry Richardson was born in August 14, 1965.

He is an American fashion and portrait photographer who has shot advertising campaigns for Marc Jacobs, Aldo, Supreme, Sisley, Tom Ford, and Yves Saint Laurent among with others.

He has also done work for magazines such as Rolling Stone, GQ, Vogue, Vanity Fair, Harper's Bazaar, i-D, and Vice.

Style:

Editorial/Fashion  

Photobooks:

• (1998) Hysteric Glamour. Hysteric Glamour (Tokyo).
• (1999) Son of Bob. Little More (Tokyo). 
• (2000) Terry Richardson – Feared by Men, Desired by Women. Shine Gallery (London).
• (2002) Too Much. Sisley (Italy).
• (2004) Terry – The Terry Richardson Purple Book. Purple Institute (Paris).
• (2004) Terry Richardson. Stern Gruner + Jahr (Hamburg). 
• (2004) Terryworld. By Dian Hanson. Tashen (Hong Kong; Los Angeles). 
• (2006) Kibosh. Damiani Editore (Bologna). 
• (2006) Manimal. Hysteric Glamour (Tokyo).
• (2007) Rio, Cidade Maravilhosa. Diesel/Vintage Denin (Brazil).
• (2011) Hong Kong. Diesel (Hong Kong).
• (2011) Mom & Dad. Mörel Books (London).
• (2011) Lady Gaga x Terry Richardson. 
• Grand Central Publishing (New York).

• 

This picture shows the lighter and happier side of the President, the use of light could connotes that he is 'just like everyone else' and is human. The loose tie and casual look gives him friendly and comfortable look. The use of a white background with his clothes being white brings out his facial features, making his smile and face the main feature of the photo. Making him centre of the photo also makes him eye catching to the viewer. 

This picture shows Pharrel as innocent and it even makes his tongue blue, which links to his blue shirt.

This picture shows Ben Stiller, this is a reference to his pose in one of his well know film, called "Zoolander".

Sources:

http://en.wikipedia.org/wiki/Terry_Richardson
http://www.leveledmag.com/wp-content/uploads/2012/11/tumblr_md2sfvhU0k1qa42jro1_1280.jpeg
http://www.vibe.com/sites/vibe.com/files/styles/article-bounds-718/public/photo_gallery_images/pharrell1.jpg
http://s3-us-west-2.amazonaws.com/hypebeast-wordpress/image/2010/03/ben-stiller-terry-richardson-photoshoot-1.jpg

Edward Weston

Edward Weston has been called called "one of the most innovative and influential American photographers" and "one of the masters of the 20th century photography".

Edward Henry Weston was born on the 24th March 1886 to 1st January, 1958. 

Over his 40 year career in photography, ranging in photographing a wide range of subjects, from landscapes, still lifes, portraits, nudes, genre scenes and even whimsical parodies. 

Style:

Photographer in a range of styles.

The photo on the right shows an image of a rock like object. The image is black and white, this gives the photo a romantic and emphasises the wetness of the object, this could connote skin and that the object is actually two objects embracing, as it the two tips could be seen as heads.

 It is said that he developed a "quintessentially American, and specially Californian, approach to modern photography" because of his focus on the people and places of the American West. In 1937 Weston was the first photographer to receive a Guggenheim Fellowship, and over the next two years he produced nearly 1,400 negatives using his 8 x 10 view camera. Some of his most famous photographs were taken of Point Lobos, California, near where he lived for many years.

Major Exhibitions:

• 1970, the Rencontres d'Arles festival (France) presented an exhibition "Hommage à Edward Weston" and an evening screening of the film The Photographer (1948) by Willard Van Dyke.

• Nov. 25, 1986-March 29, 1987 Edward Weston in Los Angeles at Huntington Library

• 1986 Edward Weston: Color Photography at Center for Creative Photography, University of Arizona

• May 13 - August 27, 1989 Edward Weston in New Mexico at Museum of Fine Arts in Santa Fe

• Edward Weston : the Last Years in Carmel at The Art Institute of Chicago, June 2-Sep. 16, 2001, and at the San Francisco Museum of Modern Art, Mar. 1-July 9, 2002.

My photos.

Leading Lines:

Rule of thirds:













Frame within frames:











Foreground / background:

Motion:

Gregory Crewsdon

                                "One of America's greatest living photographers"
                                        Born on 6th September, 1962 (Aged 52)
He is best known for elaborately staged scenes of American homes and neighborhoods. 
Crewdson's photographs usually take place in small-town America, but are dramatic and cinematic. They feature often disturbing, surreal events. His photographs are staged and lighted using professional crews familiar with motion picture production and lighting large scenes using motion picture film equipment and techniques.

Style: Fine Art

Photography Books: 

• Hover: Artspace Books, 1995,

• Twilight: Photographs by Gregory Crewdson, with essay by Rick Moody: Harry N. Abrams, 2003, 

• Gregory Crewdson: 1985–2005: Hatje Cantz, 2005,

• Gregory Crewdson: Fireflies: Skarstedt Fine Art, 2007,

• Beneath the Roses, with Russell Banks: Harry N. Abrams, 2008, 

• Sanctuary, with Anthony O. Scott: Hatje Cantz, 2010,

• In a Lonely Place: Hatje Cantz, 2011, 

• Gregory Crewdson: New York, NY: Rizzoli, 2013.

Exhibitions: 

• Yale University Art Gallery; New Haven, Connecticut (1988)
• BlumHelman Warehouse; New York (traveled to Portland School of Art, Portland, Maine; Ruth Bloom Gallery, Los Angeles, California) (1991)
• Houston Center for Photography; Houston, Texas (1992)
• Feigen Gallery; Chicago, Illinois (1993)
• Palm Beach Community College Museum of Art; Palm Beach, Florida (1994)
• Galleri Charlotte Lund; Stockholm, Sweden (1995)
• Les Images du Plaisir, Frac des Pays de la Loire, Galerie des Carmes; La Flèche, France (1995)
• Jay Jopling / White Cube; London (1995)
• Ginza Artspace, Shiseido Co.; Tokyo, Japan (1996)
• Cleveland Center for Contemporary Art; Cleveland, Ohio (1997)
• Espacio Uno, Museo Nacional Centro de Arte Reina Sofía; Madrid, Spain (traveled to Salamanca in 1999) (1998)
• Kulturhuset; Stockholm, Sweden (2011)
• Gregory Crewdson: In a Lonely Place, C/O Berlin; Berlin, Germany (traveled to Det Kongelige Bibliotek, Copenhagen, Denmark in 2011/2012) (2011)

This photo is entirely set up, with many details which make the photo seem as realistic as possible in it.


This photo is also set up, but this one is on a stage. Some of this photo is also altered afterwards. The cold outside could connote how it feels inside, as the baby looks cold and alone as the mother stares at it. The light on the baby gives off the impression that it's the centre of attention and it's cuddled up posture gives the impression that the baby is cold, and the mother is denying it off it's motherly care.



This woman shows a woman, who looks drunk as she sits on a step as the early fog comes in at the distance.


Sources:
http://en.wikipedia.org/wiki/Gregory_Crewdson
http://artblart.files.wordpress.com/2011/01/gregory-crewdson-untitled-brief-encounter-beneath-the-roses-2006.jpg
http://www.photoforager.com/wp-content/uploads/2012/02/gregory-crewdson-untitled-birth-beneath-the-roses-2007.jpg
http://twi-ny.com/blog/wp-content/uploads/2012/11/gregroy-crewdson-2-e1351958302699.jpg