Photo Posts: Week 13

 This bright red pot caught my eye, and I took a picture to cotrast its red, rounded shape with the cool grays and harder edged shapes around it. 

I liked the lines and blocks of blue in the windows, nd the lines on the ceiling contrasted with the curved lines in the light fixture, and the white light of the bulbs.

A nice sunset, I tried to get some cool rooflines and the weathervane to stand out against the sky

Same sunset here, this time trying to fous more on the sky.

I liked the color and shape contrast between the food and the overn. 

Photo Posts: Week 12

Aother mornng with cool ice crytals on my car. This time I backed up to capture the larger pattern of the crystals. I liked the subtle color variation. 

I wanted to capture this beam of light falling on my baby nephew's face.

This kind of happened by accident. There was a tree covered with white frost, and when I went to take a high-contrast black and white photo the sky beame totally black and I loved it. 

My niece is just cute. Not much else to say about this photo.

I took this one morning because I wanted to capture the simple beauty of the dark mountains against the early morning sky. 

Photo Posts: Week 11

I liked these strong ines and rectangles and the textures and tonal variation so I took a simple, straight on photo. 

There were some ice crystals on my car in the morning, and I thught that the color and the shape, along with the color of the glass and the orange lines that cross it, created a striking image. I got nice and close to capture as much texue and detail as I could.

I liked the different sizes, colors, and hapes of these bottles on the whte tablecloth, with the blocks of light on the table. 

There are line created by the banister, and the stripes on my baby nephew's outfit. I also liked the bright blue blanket on my sister-in-law's shoulder, and the stripes of light.

Lots of cool lines and planes and subtle color variations going on here. 

Photo Posts: Sense Of Movement

I thought maybe I could create implied movement by opening the doors in such a way that, if you scan the image from left-to right, you might feel like there is just one door opening.

I was at the dump in Payson and there was so much going on that I thought for sure a photo would capture some sort of movement, I think the seagulls give the illusion of movement to this photo.

The strong converging lines create a sort of sense of movement, like you are moving towards the point of convergence.

Photo Posts: Week 10

I saw this very interesting cloud shape, and I decided to take a black and white photo to capture the interesting tonal variations. I composed the photo so that there would be a darker segement at the bottom, a bright strip thrugh the center, and a mor middle gray in the top third. 

I found this pretzel in my car, and set it on this blue background to create a comedic compostition. 

Some textbook depth cues going on here.  I like the blue and the green with the chunk of gray jutting in from the side. Besides that, this isnt a very exciting photo.

I was at an ice cream parlor with my niece,  and I liked the way the light was spilling in through the window behind her so I thought I would take a black and white photo to make the light the principal focus of the composition. 

I decided to mess around with the table and chairs in my apartment again. This time I upped the contrast and placed a glass vase on the table to create an accent and make the composition  more interesting. 

Photo Posts: Rhythm

This stairwell has a very chaotic rhythm The frame is divided into angular, oblique sections by the light, the contrasting tones, and the sharp lines and planes.

I took this picture in the Tanner Building. Isn't it fitting? I wanted to create a harsh, simplistic, utilitarian rhythm.

I noticed that these two crossing jet streams divided the sky into four unequal quadrants. 

3 pillars framed so that they recede into the distance.

3 dryers with circular doors. I like boring rhythms sometimes.

Photo Posts: Line and Shape

I tried to eliminate all but a very few horizontal lines in this composition. I like the way it flattens and constricts the space.

Some minimalism of line here. A few vertical, a few horizontal, and a few diagonal.

I liked the way the power lines criss-crossed the image, with the stark antennae jutting skyward.

Some chaotic natural lines, anchored by the strong vertical thrust of the trunk.

I liked the hard lines of the building and the sweeping lines of the street lights.

Photo Posts: Color

I decided to go back to the laundry room and tint it bright green. I can't get enough of how gross this place is.

Messing with saturation and brightness outside my door. I wanted to capture and accentuate the orange light of a sunset entering through the window.

In this picture I wanted to downplay the saturation and contrast and give everything a slightly pinkish hue. 

I liked the chunks of color, with the blue, the gray mountain and road, and the swaths of natural fall colors.

I love the way the sunset turns the mountains orange against the blue sky.

Shot For Shot Analyses

(Scenes are not in the order that they appear in the film. They are in the order I plan on shooting them.)

Shot 1 - Dolly in on Patrick and Lewis as they speak. A man passes behind them. This is the establishing shot. Patrick’s arm is stretched out in a power pose, and his hand is curled into an aggressive fist.

Shot 2 - Here, Patrick’s fist is emphasized even more, suggesting the rage and aggression that’s boiling just below the surface. Paul Allen walks into this space, asserting his dominance.

Shot 3 - This close-up is a psychological shot. We hear Patrick’s narration, we are in his head.

Shot 4 - Paul stands higher than Patrick, and walks into the space previously occupied by Patrick’s angry fist.

He does an obnoxious little dance as he backs up.

Triumphant exit.

Shot 5 - In this closer shot, Paul really looks like he’s leaning into Patrick’s space, and his higher position in the frame makes him appear quite condescending. Seeing so much ceiling above his head makes him seem quite important.

The shot becomes editorial as it follows the card across the room in a dramatic pan. The story is now about the card.

Shot 6 - This shot is in the psychological voice, we see what Patrick see’s. He’s looking at Marcus and comparing himself to him.

Shot 7 - Some of Patrick’s other coworkers enter. This shot is mainly a narrative shot, but it’s shot from near Patrick so that we are still sort of watching what he is seeing.

At the mention of Dorsia, everyone takes notice.

Here, Bryce and Van Patten sheepishly put their cards away. Baxter takes a dramatic drag, and Patrick removes his glasses. Everyone is bracing themselves for something amazing

Shot 8 - This shot shows that Bryce is impressed/jealous that Allen could get a reservation at Dorsia on a Friday night.

Shot 9 - Here, Van Patten smugly one-ups Patrick with his business card. This shot shows his confidence and smugness. It’s another shot that looks almost like we are seeing what Patrick is seeing, but it’s close, getting into Patrick’s space.

Shot 10 - Another shot that feels like we are close to looking through Patrick’s eyes. It’s pretty close to Bryce’s face, we feel Patrick’s rising discomfort.

Shot 11 - This shot fetishizes the card and the card-case.

Shot 12 - Paul Allen pulled out a card, here Patrick wants to challenge him. He doesn’t like that his co-workers are impressed with Paul. He wants them to admire him. We are seeing this shot from near Van-Patten. He’s probably about to compare Patrick’s card to his own.

Shot 13 - Patrick’s little moment of triumph, his arm goes back up onto the chair. Paul Allen’s intrusion is forgotten, he’s back in power.

Shot 14 - After seeing that Bryce likes Van Patten’s card more than his, Patrick pulls his angry fist up to his face. His aggression comes closer to the surface.

Shot 15 - Patrick’s dominance is challenged once again. We are right up in his face. This is deeply personal to him.

We are 100% in Patrick’s head here. He is anguishing over the beauty of this card. He is beaten.

Shot 16 - Patrick can’t take this defeat. He has lost control.

Shot 17 - Editorial shot about the card, and it fetishizes it.

Shot 12 - Probably the most important psychological shot in the whole scene, this is Patrick Bateman's POV as he sees Paul Allen's card. It's absurdly dramatic. The depth if field is very shallow, and the card is enormous in the frame. These two things emphasize the huge importance Patrick is placing on this business card.

Shot 13 - These editorial close-ups on the cards make them as important to us as they are to the men in the room.

Shot 14 - Another intrusion on Patrick’s space. This card slides in right next to his.

Shot 15 - This shot is even tighter than the shot of Van Patten’s card. A more powerful blow to Patrick’s ego.