Short depth of field task

 In all three photos I used F4.5 to get the shallow depth of field.

The third photo, I think, is the best because the subject matter is the least obvious, but I think the texture of the unwashed grapes and the plant leaves work well with the short depth of field - the textures are clearly in focus, but since the rest of the photo is out of focus, the textures don't overwhelm the photographs. The same can be said for the rich colour of the grapes, but I'm not sure whether I should have used different lighting or colour balance to make the green of the stems appear more vibrant. Similarly, in the shot of the pot plant, I perhaps needed to leave more pot in the shot so that the smooth glazed texture of the pot and the matte of the plant could have been more in balance. 

As mentioned above, the third shot is the most interesting because of the subject matter - instead of a traditional still life, the photograph of the shoes hints at a story - the high-heeled impractical shoes and the bottles suggest a party has occurred, or is occurring, especially as the bottles are empty and one shoe has been abandoned. The lighting, however, is perhaps not the best - I like the spots of light on the bottles in the background and the spot of light on the shoe in the foreground, but I think the glare on the oven unbalances the composition of the shot, and the bits of dirt on the floor too clearly picked out.

Task 1

The idea of these three photographs was to produce three photographs using the same subject but each image having a different and clear meaning. It would defeat the purpose to explain the meaning each photograph is supposed to convey, and I would hope that the subject of the photographs (alcohol, specifically wine) is clear, but there are some things that I would like to say about the photographs. Firstly, I made a mistake in forgetting to change the depth of field after the session which produced the first photograph, making the photographs from the session which produced the second photograph not as sharply in focus as I would like. Secondly, I had originally intended to have the third photograph to be of the girl about to angrily hit the boy with an empty bottle of wine, but the model didn't wish to have a photograph taken of her apparently about to glass someone. The original plan was to make the photographs not look too closely related, but time constraints meant that I had to use the same models and consequently the photographs appear to tell a story rather than stand alone with different meanings. There are other things I wish I could change - the lighting in my living room and bathroom is not the best, and I really need to acquire image editing software so I could have edited out the pesky sink poking into the left side of the third image instead of awkwardly cropping the photgraph - but I like the colour in the second photograph and the atmosphere in the first.

Definitions of Location Photography

Location photography can be broadly defined as any kind of photography where the photographer goes to the subject, instead of the subject coming to the photographer's studio. There are, however, countless different kinds of location photography. The diagram above roughly explores three kinds - travel, journalism and venue. As is clear in the diagram, after a while the many, many subsections begin to interlink with each other. Travel photography may cover wildlife, food, culture, architecture, street photography and landscapes, and journalistic photography among other things may document wars, politics and civil unrest, but both may have other cultures as subjects and both are forms of documentary photography. 

Another example is that venue photography may cover many kinds of events and live performance in many kinds of locations that are very separate from another kind of genre of location photography such as wedding photography, both both venue and wedding photography may potentially be geared towards marketing purposes for a company.