Urban Landscape : Michael wolf (Tokyo Compression)

In this post I will be discussing Michael wolf alongside one of his works from "Tokyo Compression" (2010).

Michael Wolf (1994)

Here I present a short introduction about Michael Wolf. Wolf was born in Munich, Germany, raised in Europe, the United States, and Canada and grew up to become an artist and photographer who focuses on the details of structure within the city, both infrastructural and with people. 

His career in photo journalism had started in 1994 as he had worked for a German Magazine company named Stern before he left and started his fine-art career due to the work he had done there became boring and non-sensical. 

 

Michael Wolf : Tokyo Compression (2010) ,Entry no. 26

 

Let me introduce to you one of Wolf's works titled Tokyo Compression (2010) and a specific photo I had picked out. Firstly, Wolf had wanted to capture the same city-scape photos had taken before but this time he wanted to focus on creating awareness for the absurdity that is the underground train system of Tokyo. To convey this, he took photos of Japanese people being squished onto the transparent glass of the subway train and also stating that some of the people he took pictures of had closed their eyes or covered their faces when they became aware they were being taken a picture out of. As stated by Schüle (N/D), "Every day thousands and thousands of people enter this subsurface hell for two or more hours, constrained between glass, steel and other people who roll to their place of work and back home beneath the city. In Michael Wolf’s pictures we look into countless human faces, all trying to sustain this evident madness in their own way." Following this, Wolf had also said that the people had either a "woeful" o "traumatized" look shown on their faces.

From a shallow point of view, one may immediately notice the sad expression the person has through the window. However in my point of view, I can see this look of distaste or disappointment of "Why do I have to endure this" as the person in question looks outside to other people or in this case at the photographer. I have also observed the great lighting the picture has presented as it may as well perfectly convey what the picture wants to say as the only thing being shined by the sunlight was one of the eyes of the person above. This tells me that we can only see a part of what they are experiencing since not all of the world's population has experienced being cramped within a subway train and how some people have to go through that gruelling process everyday for the rest of their lives. We can only see what they are in, not how they feel and how it has drained most of their humanity. 

Overall, Michael Wolf's gallery of Tokyo Compression has moved me as I am more aware of what other people go through and how this hell-bent experience is but a norm for them. Though sad, once has to accept that this is one of life's realities and we should be happy not all of us have to go through it.

Reference:

LensCulture, M.W.| (no date) Tokyo Compression - photographs by Michael Wolf, LensCulture. Available at: https://www.lensculture.com/articles/michael-wolf-tokyo-compression (Accessed: January 30, 2023).

Urban Landscape, Cultural Exchange and Self-Study Photography

In this post I will be presenting the contact sheets I made using the photos I took during my creation of Urban Landscape. I went to the Cultural Exchange or The Curb area of the Leicester city centre in which I spent around an hour of photography there. I also spent some time alone, taking some photos around Leicester within my area, though it can be said that it was partly close to the Cultural Exchange. The theme that I had in mind is a melancholic tone through urban landscapes. The photos I took here uses manual with most using a monochrome filter, however, I filtered the monochrome look so that it can only detect yellow. This is just a stylistic look that I intended to achieve with these photos.

Leicester, The Curb: F3.8, 1/200, ISO400, 6mm

In the end, I've gotten 74 photos. I am quite pleased by the end result, since most of the photos with their monochromatic colors alongside the yellow-ish tint they had presented the melancholic look of Leicester I envisioned.

Urban Landscape : Cultural Quarter & Leicester

In this post I will be discussing the photography session we had performed at the Cultural Quarter, Leicester.

Before going to the place stated above, we had firstly discussed different urban photographers and their shots and how we can tweak our camera settings to take such photos, also how to use certain techniques as well. After which, we proceeded to go the the Cultural Quarter where I chose to try and get this feeling of desolation throughout my photographs. 

The same as before, I had utilized a Sony DSC-H400 Camera for this practice run that had a default settings of F3.8, 1/200, ISO400, and 6mm, though I had changed the ISO level to 50 for other photos as well. To specific photos, although my camera did not have a monochromatic feature, I went and made it so that it only took colors from the yellow part of the spectrum in order to make it seem monochromatic. I had taken 74 photos in total and below are the contact sheets for said photos.

F3.8, 1/200, ISO50/ISO400, Only yellow

F3.8, 1/200, ISO50/ISO400, Only yellow

F3.8, 1/200, ISO50/ISO400, Only yellow

Traces, Research on Artists

In this post I will be researching about various artists for my conceptualization of my traces.

Photography has long been regarded as a medium of memory and nostalgia. However, as the French philosopher Jacques Derrida suggests, photography can also be seen as a "trace" of something that has passed. This "trace" can take many forms, from the physical marks left on the surface of a photograph to the psychological imprints of the past on the viewer's mind.

Sally Mann's "Immediate Family" - Vogue

Firstly, we will examine the work of Sally Mann, an American photographer known for her black and white images of the American South. In her series "Immediate Family," Mann documents the lives of her three children in a way that is both intimate and unsettling. Her images are marked by a sense of nostalgia, but they also contain traces of pain and vulnerability. The scratches and stains on the surface of the photographs, as well as the way the subjects are posed, suggest a sense of impermanence and mortality. Mann's photographs are not simply memories of the past, but rather traces of a specific moment in time.

Elinor Carucci's "Mother" - Meer

Secondly, we will turn to the work of Elinor Carucci, an Israeli photographer based in New York City. In her series "Mother," Carucci documents the joys and struggles of motherhood through intimate images of herself and her family. Carucci's photographs are marked by a sense of vulnerability and raw emotion. The physical traces of motherhood - stretch marks, scars, and other imperfections - are visible on her body, and this physicality is echoed in the way she photographs her subjects. Carucci's images are not simply memories of a specific time and place, but rather traces of the lived experience of motherhood.

Andres Serrano's "The Morgue" - Artsy.net

Finally, we will look at the work of Andres Serrano, an American photographer best known for his controversial images of bodily fluids and waste. In his series "The Morgue," Serrano documents the aftermath of violent death in a way that is both shocking and strangely beautiful. The photographs are marked by a sense of detachment and objectivity, but also contain traces of empathy and humanity. The physical traces of violence - blood, bruises, and other wounds - are captured in great detail, but so too are the subtle traces of the lives that were lost. Serrano's images are not simply records of a violent act, but rather traces of the human experience of death.

Ultimately, the concept of traces in photography offers a rich and nuanced way of understanding the medium. Through the works of selected artists, we have seen how traces can take many forms - from physical marks on the surface of a photograph to psychological imprints on the viewer's mind. By exploring these traces, we gain a deeper understanding of the past and the present, and of the complex ways in which photography can capture the fleeting moments of our lives.

References:

Bate, D. (2009). Photography: The key concepts. Bloomsbury Publishing.

Benjamin, W. (1936). The work of art in the age of mechanical reproduction. Zeitschrift für Sozialforschung, 5(1), 40-68.

Berger, J. (1972). Ways of seeing. Penguin Books.

Cotton, C. (2014). The photograph as contemporary art. Thames & Hudson.

Fontcuberta, J. (2014). The photography of nature and the nature of photography. Blume.

Sontag, S. (1977). On photography. Penguin Books.

Traces, Final Piece & Reflection

In this post I will be discussing my final piece and having my reflection about it

After taking photos with the theme of traces in Uni, I've created the final piece by collecting four photos, which is the minimum, and combining them into a collage using Befunky.

This final piece presents a theme of someone there but not in frame at all. It encompasses my vision of what traces are to me and presents it in a what that gives off this casual and lazy tone of studying.

Though short in time, I have learned much from this practice photography I had performed. It taught me the difference of camera settings in each environment and how they improve the picture both in major and minor ways. Though I should have taken more than 28 photos, I will pursue more creativity in the future and focus on taking more than focusing on getting a singular "perfect" photo that may not even be great in another's eyes.

Traces, Photography Process

In this post, I will be discussing about the photography we had done during a session at university.

Beforehand, we firstly discussed various artists and their galleries or photographs that present traces aka implied presence in order to be informed of how and what the photographs we take should be or should take after. After which,  we then discussed the different settings and functions we had for our cameras such as ISO level and modes that the camera had to make taking photographs easier. We were then given an hour to take photographs around the campus in order to practice for our photography session for the curb on a later date.

I had utilized a Sony DSC-H400 Camera for this practice run that had a default settings of F3.8, 1/200, ISO3200, and 6mm. All photos were taken with the same settings since it was taken in a single room as well as the lighting not changing for any angle within said space. 

Here I will present to you my contact sheets of the photos I had taken.  In total I took 28 photos, although, I was informed it was not sufficient enough.

I will now pick out some of the photos I prefer over the others and explain as to why.

F3.8, 1/200, ISO3200, and 6mm

This photo was inspired from the presentation we discussed back in the classroom since it presented this lack of person but it still tells that there is or was somebody there or in this case, in this photo.

F3.8, 1/200, ISO3200, and 6mm

This photo in particular I appreciate very much due to the fact that it feels like somebody is there. Sleeping while a book lays on their face. Though there is not much to go with, the human brain automatically imagines the person since the shoes present the casual laying back motion one may have when lazing on a couch the same as above.

F3.8, 1/200, ISO3200, and 6mm

This was a better angle I took of the first photo I discussed which better presents a "ghost-like" entity existing within this media.

F3.8, 1/200, ISO3200, and 6mm

This was another angle I took of the first photo I discussed which better presents a "ghost-like" entity existing within this media.

Biteable Final Piece & Reflection

 In this post I will be discussing the final piece and my reflection for the biteable video.

The final piece , its slides and the audio fit well together and make a decent enough promotional video of myself for employers of rookie visual effects artists. It presented the characteristics to make said employers interested briefly and adequately eye-pleasing. 

The experience of making this promotional video was enjoyable and educational since I did not know of such tools in creating a video this easy. In my viewpoint, this will help me make a better video that I might utilize for the future when I am seeking a place in companies that require a visual effects artists.

Biteable Video Process

 In this post I will be discussing the process I made to create my biteable promotional video.

Firstly, I chose a template that was minimalistic and easy to edit the pictures it had that biteable had provided. Then, I uploaded my own photos, one of which was from a professional photo shoot of mine in order to make the promotional video be more presentable. 

This was followed by different slides presenting characteristics that employers searching for visual effect artists would be interested in that I have at the moment. Namely : Well-versed in Editing

Passion for projects being Overflowing

Able to finish a project once is started

And as an individual I am original and I make my own creativity if need be.

Lastly, I added an audio file that is copyright free that also fits the theme of my biteable video. This was then uploaded onto my website under the about me section of said website.

Biteable, Self-Promotion to Employers

In this post I will be discussing my research about my creation of the self-promotion video for biteable.

To start off the process, I had to choose an example employer within my field that comes with their requirements for a job as a VFX artist and if I fit the qualifications presented. And for my research, I have chosen Third Kind Games as the company example for their qualifications for employment.

The description they have given for the job in question was "As a Senior VFX Artist you will have a desire to build a career in gaming as you'll use the latest technology to produce computer-generated creatures, crowds and other digital assets. There is also the growing area of digital particle effects, which includes fluid and fire, as well as object and lighting manipulation. You need to make the viewer believe that what they are seeing is real. This could be a dragon, a fairy-tale castle, a rainstorm, a big wave, spaceships, superheroes, alien cities or entire planets." 

And with the qualifications, the requirements that they want to see most importantly would be a degree or HND, to build a portfolio or showreel presenting your works for them to review and 3+ years of industry experience on working gaming titles. I am very much lacking in this aspect as of now since I am taking a course to receive a degree, my portfolio is incomplete and needs more content and I have not gained more than 3 years of experience within the VFX and game design industry.

Following these qualifications are as follows :

• Demonstrate strong VFX technical and visual skills, which are evidenced in your portfolio.

I have not completed my portfolio to be reviewed by recruiters as I am still studying for the job  

• Be motivated by creative freedom, ground-breaking challenges, and unknown territory rather than being guided by specs and detailed requirements.

I have created projects before with no inspiration from other artists and only from my own creative instinct though I cannot be confident enough to say that my skills are sufficient to keep up with my creativity

 • Contribute to Scrum meetings, creating innovative solutions for our games and helping drive the development of the project and the team.

I will barely contribute to improvement since I have not more than a year of experience within the industry thus making my say on each matter not very credible or most of the time, incorrect

 • Be a team player, but also work on your own, whilst knowing when to ask for advice from your colleagues.

I am an open-minded person and knows when they have made a mistake or does not know what to do in a situation and also knows that asking for help is not always the first solution to each situation that follows  

 • Demonstrate a good, fundamental understanding of game development processes. Though I have been educated for more than a year about the subject in question, it is still a very in-depth topic that would require more than 2 years to fully understand each and every process that goes into video game production  

 • Be naturally inquisitive and keep up to date with emerging technologies and industry trends and developments As a part of my current generation, I can confidently say that I can easily adapt to brand new technology as they are released alongside trends within developments as I am easily informed and am adaptable

 

 • Share knowledge and recommend best practices across the team and business.

I am not sufficiently knowledgeable to be able to recommend practices about the industry.   

 • Be highly adaptable and a great problem solver

I am a very adaptable person and very keen on solving a problem when one arises, especially when it comes to either coding or in creating different VFX texts

 • Strong PFX skills using Unity.

I have not used Unity before

 • Strong understanding of additional areas including rendering and shaders.

I may have studied and knowledgeable in this area, however, I still consider my knowledge about the topic in question quite shallow and needs more experience before being capable.  

 • Experience using game engines including Unity and Unreal. I have not used both Unity and Unreal beforehand.

 

 • Good communication skills and an eye for detail. I am very confident with my communication skills and I also take the little things into account as they have the same importance as major parts of a project. Observing their requirements, I can say that I am not qualified enough for this position mainly due to the fact that I am very much lacking in work experience within the field. Aside from the fact that they require 3+ years of VFX and game design experience, they are also looking for specific skills for specific software such as Unity and Unreal Engine. However, this is also due to the fact that the position that is being offered is for a "Senior"  VFX artist which then makes these qualifications understandable. In conclusion, I understand that getting more experience and a degree for the most part will definitely be a great leverage in securing a position in a company such as Third Kind Games that is about my passion and what I want to always do in my everyday life. Alongside this, I should also aim to improve my skills on different aspects of VFX and gaming softwares since this will also help  in improving the way my CV sounds to recruiters, focusing on posting my works from said softwares on my portfolio. Lastly, I am now more knowledgeable about what companies expect from me when I am aiming for a position for a VFX artist.  

Reference:

Third Kind Games (no date) Senior VFX Artist, Senior VFX artist. Third Kind Games. Available at: https://g.co/kgs/8mB3md (Accessed: January 30, 2023).

 

 

   

Biteable, Target market

In this post I will be discussing my research for the target market for my biteable video.

To start with, it's important to identify the target market for your video promoting yourself to employers. Your target market should be employers and recruiters in the industries and companies you're interested in working for. Consider factors such as their age, gender, geographic location, and job titles.

Here are some potential target markets and their characteristics:

Human resources professionals: This group is likely to be responsible for screening resumes, interviewing candidates, and making hiring decisions. They may be interested in a video that showcases your skills, experience, and personality. They are likely to be middle-aged, with a mix of genders and may work in various geographic locations.

Hiring managers: These individuals will be directly supervising the new employee and are interested in someone who is a good fit for the team and can handle the responsibilities of the job. They may be more interested in the specific skills and experience you bring to the table. They can be any gender, age or location, but are likely to have supervisory experience.

Recruiters: These individuals may work in-house or for an agency and are responsible for sourcing candidates for open positions. They are interested in finding the best candidates for the job and may be more focused on your qualifications and experience than your personality. They can be any gender, age or location, but are likely to have recruitment experience.

Film and Television Studios: Film and television studios are a major target market for visual effects artists, as they require visual effects for movies and television shows. These studios often have a dedicated visual effects department that hires visual effects artists to work on their productions.

Advertising Agencies: Advertising agencies often require visual effects for their commercials and other advertising campaigns. Visual effects artists can create realistic effects to make advertisements more engaging and memorable for consumers.

Video Game Developers: Video game developers require visual effects artists to create special effects for their games. These effects can range from explosions and particle effects to realistic lighting and shadows.

Architectural Firms: Architectural firms often require visual effects artists to create 3D renderings and animations of their designs. This allows clients to better visualize the final product and make more informed decisions.

Medical and Scientific Visualization Companies: Medical and scientific visualization companies require visual effects artists to create 3D models and animations of complex biological and scientific processes. These visualizations help researchers and students better understand these processes and their implications.

Music Video Production Companies: Music video production companies often require visual effects artists to create special effects and animations for music videos. This can include adding 3D elements to live action footage or creating completely animated music videos.

Independent Filmmakers: Independent filmmakers often require visual effects artists to create effects for their films, as they may not have the budget to hire a large visual effects team. This can include anything from adding explosions and gunfire to creating completely digital environments.

Education and Training Providers: Education and training providers require visual effects artists to create educational material and training programs. This can include creating 3D models and animations to help students better understand complex concepts or creating training videos for new employees.

Once you have identified your target market, you can tailor your video to their interests and preferences. For example, if you are targeting human resources professionals, you may want to focus on your personality and how you can contribute to the culture of the organization. If you are targeting hiring managers, you may want to emphasize your specific skills and experience that are relevant to the job. If you are targeting recruiters, you may want to provide specific examples of your achievements and qualifications.

In addition to tailoring your video to your target market, you should also consider the best channels to reach them. For example, if you are targeting recruiters, LinkedIn may be a good platform to share your video. If you are targeting human resources professionals or hiring managers, you may want to send the video directly to them as part of your job application.

To conclude, it's important to identify your target market for your video promoting yourself to employers, tailor your video to their interests and preferences, and consider the best channels to reach them. By doing so, you can create a more effective video that resonates with your target market and increases your chances of landing your dream job.

Welcome to the New Term of 2023

Welcome Readers! Another term has come, it is time for us to paint another canvas full of education, expression and artistry. 

Toby Fox

To start off the term, I would like to tell you about a man named Toby Fox (1991- current times). Toby Fox aka FwugRadiation is an American video game composer and developer (sometimes music producer) known for one of his critically acclaimed games "Undertale"of which he worked on independently! 

Toby Fox has created a handful of games that have won countless awards even one of the hardest ones any piece of media text may achieve, the "people's award". One game to be taken note of is Undertale as it as a game has affected a huge chunk of  my generation, ones before and those that followed. It is said that even after 7 years, the game is still being talked about and the reason for that cannot be boiled down to a single factor as the game presents more than what you expect and shocks you with a different and witty way to play an RPG alongside a story that you cannot forget.

Throughout the game, you encounter different characters/situations with music that accompany them, creating this feeling of having to role-play unconsciously. And speaking of music, it is one of the main reasons as to why the game is still alive within the minds of the youth today as it has been connected through different emotions that each character conveys when it was presented with, or the composition was just very well-made. 

A very small fun fact as well, the very game I have explained has made $29 million and has sold over a million copies.

Toby fox is now currently working on a brand new chapter (Chapter two) for another game he has created titled "Deltarune" which may be considered an epilogue to Undertale as it features the same characters from before but with another different cast. Unfortunately, he lives with chronic hand and wrist pain. 

References :

bulbapedia.bulbagarden.net. (n.d.). Toby Fox - Bulbapedia, the community-driven Pokémon encyclopedia. [online] Available at: https://bulbapedia.bulbagarden.net/wiki/Toby_Fox [Accessed 9 Jan. 2023].

‌alexaanswers.amazon.com. (n.d.). How many copies has undertale sold? - Alexa Answers. [online] Available at: https://alexaanswers.amazon.com/question/74p1LIy98fBAdRGnW7g9XY#:~:text=By%20the%20end%20of%202015 [Accessed 9 Jan. 2023].

Agu, N. (2020). Toby Fox Net Worth and How Much He Has Made From Undertale? [online] JustRichest.com. Available at: https://justrichest.com/toby-fox-net-worth-and-how-much-he-has-made-from-undertale/ [Accessed 9 Jan. 2023].

‌CBR. (2020). Why Undertale Remains So Popular, Five Years Later. [online] Available at: https://www.cbr.com/undertale-rpg-classic-indie-game/.

‌Undertale Wiki. (n.d.). Toby Fox. [online] Available at: https://undertale.fandom.com/wiki/Toby_Fox.

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