If you follow the blog regularly (I'm sorry for the stinted flow of content), you might have seen some of the work created for the School of Photo at RIT. One of the major responsibilities of my role as a student employee is to create content that not only instructs and informs, but also entertains the people involved with an interested in what we do. From project to project, we may be doing something as daunting as documenting the school's (well known and renowned) facilities, or on the polar opposite, creating a video that details our new Feline Photography program (for April Fools' Day.
This quarter was the first time that I had utilized video as an art form, rather than an information piece. Through the People Illustration Photo course, I ended up producing two pieces that I considered a strong departure from my "de rigueur" of video work.
Allegory of Light (as appeared previously in April) dealt with light as visuals wield it, in the sense of revelation and obstruction. This was the first time I lit more for the artistic aesthetic rather than "flattering light".
The second piece, "Faces" was a final project for the quarter, that further looked at an introspective view of visual artists. The subjects were lit in a simple manner, and shown a series of faces from the book "101 Faces and Poses for Professional Photographers," (or something like that, I forgot the exact title).
As friends, each of the subjects is personally significant in my life, but as producers, models, directors, and even fellow photographers, the introspective portion dealt with what is typically considered a "low class" or "elementary" type of trigger imagery. They were asked to respond and mimic each of the faces that they saw, and the footage that resulted ended up being a pleasant mix of facial study (relevant context: Andy Warhol's Screen Tests) but also telling about them as I've known them.
Looking back at the two pieces, I feel that they represent something to grow off of, in the sense of aesthetically pleasing light and personal thought. The challenge of relying on thought, rather than information presented a significant challenge in learning to shape and control every frame while maintaining concept. Through this, I hope to grow primarily in now bringing the concept to the motion skill, rather than just the technical ability.