The camera is one of the most important aspects when in the design process of creating something such as a world in Animation, using the camera to your advantage to capture the feeling you’re trying to get across to the observer.
Conann also went further into the use of lenses and how they had evolved during the early years when cameras were very heavy and more inconvenient to travel around with. He had mentioned a iconic Photographer: Henri Cartier-Bresson, a French photographer that was considered to be the master of the candid Photography and was an early user of 35 mm film.
He did not like the heavier cameras and always carried his Leica around as it was more compact and convenient for whenever he was looking to go out and beyond to capture the best of his visions, we were also told an interesting fact that really stood out for me that every camera that Bresson had obtained that he would paint the camera black because he felt the brighter colored cameras got between him and the subject at hand.
Whenever i first seen this i had believed that what i was looking at was floating shapes in a wide open landscape with people commuting but as i observed and focused more into the photo i noticed that the “floating shapes” were nothing more but windows on a large flat building. I decided to do a brief research into this and it turns out that this image was taken in Madrid in 1933 and the children in this photo were playing football in the streets, i love how the tones of grays gave me that initial response to think it was some sort of surreal scene!
This photograph made me feel quite sad, its also very self explanatory, something i feel that Bresson had done amazingly with while he was around.
Conann had then started to show us a presentation video based on peters work on how he shapes the face of his models by manipulating light and how this can affect the overall photo, he seems to prefer soft lights to hard lights as he feels they are harsh and create a distraction on the face whereas the soft light is more natural and blends in with the face and seems to wrap around the likes of the jaw, cheek bones etc.
He is pretty big on his lighting and shadows, you can hear the passion in his voice as he discusses his work process on how he gets the right lighting position to make the piece feel like it is apart of his work,
he seems to use different approaches when working with male and female models, he tends to use a lot more softer lights when working with a female model and more hard lights to define the structure of the males face “Males are more forgiving than females” – funny little quote when watching the video, he seems to be very careful when working with a woman, wise move.
He encourages to experiment and go through trial and error when working with light, he did not like the thought of using upward light that is basically facing the light direction under the model, i agree that it is a very crazy move although i’m sure i can be used in something such as a edgy piece for Halloween? Also when working with lighting and shadowing he suggested to use items such as an umbrella as they are great objects to reflect light to soften the shadows that cast on the models face. Personally i preferred the hard light umbrella piece as it defined the structure of the woman’s cheek bones and jawline. (Although that is my opinion)