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what seems like fellow prisoners, handling his belongings for the guards to inspect.
The very even lighting, neutral color balance and deep depth of field are attempts at being unnoticed; so
the image looks as little constructed as possible. The result is to give a feeling that we are looking ‘at real-
ity’, rather than a representation of reality. The more naturalistic, the less stylized, and the more this im-
age will be remembered and felt as a fact rather than a depiction of a concept.
However, other elements are less ‘neutral’. The texture of the ground adds to the idea of extreme rough-
ness - linoleum would be comical, dirt would be exagerrated. The concrete evokes the geography of the
prison but also the poor areas of cities, where buildings are unmaintained.
The high angle distances the viewer from the subjects, identification is not possible; however by mimick-
ing surveillance photography, the angle anchors the subject, even more than he already is, in the position
of a powerless individual.
Exposure normal, with highlights on the subject’s skin where they directly reflect the light.
Color normally saturated, neutral balance
Lighting sunlight from the top, very diffused. High key.
Subject size long shot
Depth of field deep; everything in focus
Space telephoto; space is compressed
Texture low graininess, rich texture on the floor, skin and clothing are flat
Elevation high angle; not aerial photography (there is perspective); maybe from a rooftop.
The low lighting, intimate setting, low angle and slouching subject all summon the image of an old per-
son in a moment of despair as he remembers, as he often does, that time is slipping away. However this
picture displays a young person, thereby creating unease and puzzlement.
The orientation of the lights isolates the two important elements (the watch and the face). The three —
slightly desaturated — primary colors (complementary redish skin, blue shirt, green wall) converge to-
wards the colorless but very bright watch, so as to guide to guide the eye both in terms of shape and color
towards the central element of the picture.
The lighting is restricted to the subject himself, which creates intimacy. Hiding the surroundings reduces
the degree of realism and allows the picture to be more symbolic.
The focus is shallow enough to emphasize the spatial relationship between the hand and the head, but
deep enough to reveal the expression on the subject’s face.
The watch, and what it represents, is what is in the character’s mind at the very moment. This is empha-
sized by the spatial relationship between the two, by the rich texture on the hand (giving it more mate-
riality) and the graininess of the face (making it part of the decor), and by their respective shapes — the
head forms the top of a triangle of which the hand is the base.
Exposure normal; areas of high contras created by the black of the hair and the shadows around the wheelchair
Color black and white photograph
Lighting key is to the left of the camera and is hard, creating distinct shadows; subjects are evenly but sharply lit;
background is either overexposed or black. 4:1
Subject size close-up
Depth of field average; subjects are in focus but background is out of focus.
Space long lens; the space between the feet and the wheelchair is compressed.
Texture visible texture: veins, scar. slight graininess only visible on skin and wheelchair.
Elevation tracking shot from eye-level to low-angle
This picture establishes a place that generates anxiety and suspens. The used walls, the hot mantels, the
plastic bag, the bucket and the bench all suggest a countryside setting. Moreover, it feels to me like an
eastern european setting, I wouldn’t be able to pinpoint why though.
The detailed textures and seemingly chaotic setup are transformed into harbingers of gloom thanks to the
crosses painted on the door and scratched on the wall. Reminiscent of Deliverance and Hostel, the dis-
tant reality depicted here becomes scary because of the unusual way religious symbols are used: uselessly
doubled, painted through destruction (graffiti and scratching) rather than construction (a classic wooden
cross for instance).
The subject size is small but looking through the window, and threatens to walk in, gain in size, and
let the cold (represented by color) of the outside get in this warmer inside (however green in it is). The
normal lens length and eye-level elevation both increase the possibility for the viewer to feel like this is a
POV shot.
The light is even to let the color reveal the grunge and broken surroundings.
Exposure overall low, but varied; window background is overexposed; shadows and mantels are very dark
Color green tone balanced by blue window, red object on table, brown/orange of closet and dark cyan of plastic bag.
Lighting shaded light bulb in the middle of the roof, but highlight on the table, and edges of the shadow under
the chair both suggest a harder light -- not quite sure.
Subject size half-way between long shot and full shot
however camera might be panning, then the subject is the room itself.
Depth of field shallow, 3-15ft.
Space normal
Texture scratches on the walls, crackled paint on the bench, broken edges of door frame.
light is diffused, so texture comes from color variation rather than topology of surface.
Elevation eye-level
This picture offers a visual representation of the relationship between dream and reality in a child’s mind.
It also possess a mythical aspect because the child sleeping with one black eye open suggests that he is
looking at the world from the vantage point of the dream-world.
The high variations in exposure and color added to the complex reflections take the picture away from
banal reality and into evocation.
The eyes are geometrically central to the picture; the child is both asleep and awake, looking towards one
of the reflections. It is as if his journey in the train has all the qualities of a dream, and while asleep he
does not need to close both eyes to dream, for he simply can keep looking at the window.
Here the colors and play with exposure work at giving the viewer this sensation of a dream, giving them
an insight into the world of the child. The blue light of the sheets, associated with night, competes with
the yellow (warmer) outside, telling the opposition between the calmness of sleep itself and the agitation
of dreams.
The deep focus allows the details to be visible; a shallower one would have replaced the landscape with
confusing spots of green, yellow and white.