So I just opened my bathroom cabinet at a bizzare angle, and hen looked at the camera lens through one of the mirrors that I wasn’t standing directly in front of. I like how it is almost symmetrical but not quite.

This a closeup with the camera lying on the opposite side of a water bottle, and the shot was taken at the surface of the water. I particularly like this shot because the distortions happen in some locations but not in others. For example, my lips are just little distorted, but my chin is completely distorted. Same thing happens with my left eye being distorted but you can still see the left side of my glasses. For the lighting I used my lamp and put it directly above the water bottle. But I think the photo and its distortions kind of swirl around my eye in the top left corner of the frame, which remains clear.

The first scene I’d use a close up shot of Eveline leaning against a water dribbled window, while she plays with an engagement ring, remembering her childhood. The color being a contrast of the color used during her memory flashbacks. The internal memories will be represented through the reflection of the glass. As the camera zooms in, we will transfer into the memory inside the house. As to what the colors would be, I’m not sure, (perhaps just b;lack and white v.s. color), but her staring out the window would fade into her memories of childhood. The ones of her playing with friends would be more vibrant in color, while the moments of abuse from her father and all of the memories of after her mother died, but the scene of her mother on her deathbed while Eveline promises her to keep the home together as long as she could.

Then I’d want a CUT BACK TO Eveline holding Franks hand walking toward the boat with her while she looks over the envelopes, but we never really see Frank entirely. I’d also like Frank’s towering dark shadow to lurk over Eveline.

The we CUT BACK TO a memory of her mother ill in her bed, and this scene should be the longest in dialogue because it’s when Eveline promises to keep the family together for as long as possible. One idea that comes to mind is that Frank’s tall figure could cast a shadow over Eveline as they’re walking along a stark path towards the boat, through the crowds.

Then it would fade into the deathbed scene, and that would and should be very silent in contrast with the previous scene of a crowded dock. But it should be a very emotional scene for Eveline.

The ending scene would be of Eveline and Frank standing in the middle of a crowd trying to board the ship, and when she resists and looks emotionless I’d like the contrasting colors to come together somehow. Perhaps when the camera overlooks Eveline’s shoulder from behind, the background consisting of the ship will be black and white, and when it switches to a close up from the front I’d like the background to be colorful to represent the familiarity of home, but more deeper and darker shades of the colors given the stark reality of her home presently. To capture the certainty of her wretched home life and the uncertainty of whether or not her life with frank would be better, on top of the guilt from her last conversation with her mother needs to be shown here..perhaps a division of light on her face, meaning one side has a shadow and the other is lit up, yet her face is emotionless.

A)Linear

B)Non-linear

1a)

For this linear series of photos I kept the idea of bringing the past back to the present rather primitive. For the fifth photos I needed to signify a time lapse of some sort other than the empty water bottle, and I didn’t want to use another filter on my phone so I tilted the photo and took a screenshot, giving it black space…I don’t really feel like it displays a time lapse well enough if at all though. Of course, the fifth shot shows the man realizing  his bladder is telling him something, and the sixth ends the cycle.

1b)

For the non linear series, which I thought was much more difficult, I decided to clear the three shelves of my fridge and put take a photo of a Snapple bottle in each of the corners of the fridge. This is kind of Duchamp-esque, but I see more in he open space than in the Snapple bottle. I would think the fridges owner loves Snapple so much that it is quite literally on top of the shopping list every other week. It doesn’t matter what order you put them in, but after looking at the six of them I think the viewer can asymmetrical they’re all from the same fridge and deduce the great value of Snapple to the fridges owner.

This is a medium long shot of me drinking the rest of my beer as I walk from my bedroom to my kitchen. The asymmetrical composition comes from the lighted doorway being paired with the darker me. I turned off the lights in my bedroom to experiment with the lighting that comes through my bedroom window every night, which thankfully makes most things in the photo more defined. However, I feel like another photo where maybe a little distance between me and the kitchen door would be better. And if I could do it just right, maybe the light from my bedroom window could reflect off of the beer bottle.

(The photos are numbered just as they were assigned)

1)One that shows a symmetrically balanced comp

2)One that is asymmetrically balanced

3)One that obeys rule of closure

4) one that does not obey rule of closure

5) A closu-up with appropriate headroom

6) A long shot with appropriate headroom

7) A balanced image obeying the rule of thirds, balancing the subject with the weight of his or her gaze

https://soundcloud.com/user-408948387-169552115/tracks

My machine is a simple weekly pill basket filled with coins, the pennies and dimes on one side and the nickels and quarters on the other to offset the weights on each side, causing different sounds when I shake it is different ways.