Photographing School Task:
In this task, the class was set out to photograph the school site. Particular shot styles were also set out for us, with a focus on the empty skeletal frame of the school being the main focus, whilst also making sure to keep a close eye out for patterns, perspective and textures that give a new viewpoint to the school.
We first started shooting in North Wing, going to empty classrooms during lesson time. Other locations that led to us photographing a less familiar side of the school were locations like the North Wing carpark, the staffroom and the back end of the DT part of the North Wing site, where old projects and machinery lay baron in the cold
After photographing, North Wing, the class headed to South Wing, to photograph it with the same themes and ideas still in mind. In South Wing I found it much easier to capture from a wide range of angles and locations, I feel this is due to South Wing having much more space outside and lots of different areas like the RS rooms and the science block.
Overall I felt this task went well, as I achieved the vast majority of the initial classes set for myself and the class. I feel like I managed to find and capture some locations that are new to me despite being a Y13 internal student. The mixture of architecture and the vast size of the schools overall site gave me and the class lots of locations to shoot to how we like.
WWW: found some new locations, captured patterns, textures and different perspectives of the school site
EBI: we could have reached higher parts of the school to get some looking down shots, better weather would have perhaps supplied us with some more dramatic lighting and shadows that could have accentuated any features of my images
We first started shooting in North Wing, going to empty classrooms during lesson time. Other locations that led to us photographing a less familiar side of the school were locations like the North Wing carpark, the staffroom and the back end of the DT part of the North Wing site, where old projects and machinery lay baron in the cold
After photographing, North Wing, the class headed to South Wing, to photograph it with the same themes and ideas still in mind. In South Wing I found it much easier to capture from a wide range of angles and locations, I feel this is due to South Wing having much more space outside and lots of different areas like the RS rooms and the science block.
Overall I felt this task went well, as I achieved the vast majority of the initial classes set for myself and the class. I feel like I managed to find and capture some locations that are new to me despite being a Y13 internal student. The mixture of architecture and the vast size of the schools overall site gave me and the class lots of locations to shoot to how we like.
WWW: found some new locations, captured patterns, textures and different perspectives of the school site
EBI: we could have reached higher parts of the school to get some looking down shots, better weather would have perhaps supplied us with some more dramatic lighting and shadows that could have accentuated any features of my images
North Wing
South Wing/PE
Editing Tasks
Adding Lines/Shapes
Nikki Graziano
Nikki Grazino is a photographer born in 1988, currently a resident in New York City. The child of an engineer and a photographer, it is easy to spot some early infleunces on not only her career choices, but the pieces of work she has produced.
On her site, Graziano quotes American historian Paul Lockhart, who said 'there is nothing as dreamy and poetic, nothing as radical, subversive, and psychedelic, as mathematics'. With this, and the careers of her parents, the stylistic features of her work have some very clear and understanding influences.
In her work, Graziano takes very natural, pure photographs of nature and layers a mathematic equation on top of it, a mathematically correct one as well. By placing mathematical equations on to free from, natural scenes, Graziano adds some artificial elements to a scene normally clear of all scientific or mathematical correctness.
I feel this is due to the influences she has had in her life. The gift of a photographic eye from her mother, and the mathematical knowledge from her father have helped her create such unique and stylish work.
On her site, Graziano quotes American historian Paul Lockhart, who said 'there is nothing as dreamy and poetic, nothing as radical, subversive, and psychedelic, as mathematics'. With this, and the careers of her parents, the stylistic features of her work have some very clear and understanding influences.
In her work, Graziano takes very natural, pure photographs of nature and layers a mathematic equation on top of it, a mathematically correct one as well. By placing mathematical equations on to free from, natural scenes, Graziano adds some artificial elements to a scene normally clear of all scientific or mathematical correctness.
I feel this is due to the influences she has had in her life. The gift of a photographic eye from her mother, and the mathematical knowledge from her father have helped her create such unique and stylish work.
My Interpretation
In my interpretation,
Dissect
Patrick Cornillet
Patrick Cornillet is a French 'architectural painter' born in 1968. Cornillet lives and works in Nantes, France. His work incorporates everyday, urban scenes. However, Cornillet's work is unique with the dissection process he uses in his paintings. Cornillet only paints one part of a scene, leaving the rest blank and up to the viewer for interpretation. By doing this, Cornillet turns an everyday sight in an urban city into a concrete form that can be studied and appreciated far more than before. This dissection process allows viewers to pay more attention to the raw materials used in these urban structures, and start to appreciate the design and purpose of it more.
I find this process very smart as it can make one see a seemingly mundane part of an urban city and appreciate it in the same way you would with a new high rise skyscraper. Another reason why this process is effective as it can be used in every urban city, and still serve the same purpose. Painted on wooden caissons, Corniellet says that his work " subvert the canvas by granting it a value of object treated as a threshold". Another perspective from Cornillet himself that I feel perfectly embodies his pieces is one in which his work " in its forms expresses the unspeakable."
I find this process very smart as it can make one see a seemingly mundane part of an urban city and appreciate it in the same way you would with a new high rise skyscraper. Another reason why this process is effective as it can be used in every urban city, and still serve the same purpose. Painted on wooden caissons, Corniellet says that his work " subvert the canvas by granting it a value of object treated as a threshold". Another perspective from Cornillet himself that I feel perfectly embodies his pieces is one in which his work " in its forms expresses the unspeakable."
My Interpretation
With my interpretation I decided to chose urban structures that have obscure shapes and forms. I did this because of Patrick Cornillet using parts of an urban setting that start to be appreciated more when separated from its surroundings. This process that Cornillet uses removes parts of context from an image, shifting viewers attention to the buildings feature e.g. symmetry. This technique can also lead viewers to pay closer attention to the materials used to make buildings.
Threshold/High Contrast
Keld Helmer-Petersen
Keld Helmer-Peterson was a Danish photographer who was born on 20 August 1920, Copenhagen, Denmark. His work is known for incorporating a consistent presence of high contrast images. He is best known for capturing buildings and structures and patterns seen in a whole range of cities. His photohraphy career began in the early 1930's, however his 1948 project '122 Colour Photographs' projected him to fame. At the time, a set of colour photographs was hard to come by, let alone a set consisting of intuitive shots of urban structures.
Throughout the 1960's, Helmer-Petersen's photography was mainly focused on the architecture of buildings around him.
Throughout the 1960's, Helmer-Petersen's photography was mainly focused on the architecture of buildings around him.
My Interpretation
Step 1: Select your image and import it into photoshop
Step 2: From the adjustments list, select threshold
Step 3: Move the pointer to decide your desired level of threshold
General Shots
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Perspective
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People in the Environment
For this task me and my friends visited central London, areas like London Bridge, Waterloo/Southbank. I had this idea initially due to the tight concentration of nice looking areas in Southbank. I also know the area very well and it allowed me and my subjects to veer between spots with ease. I wanted to keep a focus the surroundings of my subjects, as I felt like the background of the image can determine the look of the image in more ways than the subjects can themselves. One other thing I wanted for this observation was a voyeuristic approach. I stayed behind my subjects throughout the shoot, allowing them to move through the scene as they please.
WWW: I chose good locations to shoot in, allowing me to capture some picturesque scenes. I also chose a good day for shooting as the white overcast clouds matched the industrial setting. The weather later formed some nice sunsets which coincided with me and the subjects being high up at vantage point.
EBI: I could have perhaps experimented with staged and posed shots. I feel like by doing so I could have incorporated things like humour into my photographs.
WWW: I chose good locations to shoot in, allowing me to capture some picturesque scenes. I also chose a good day for shooting as the white overcast clouds matched the industrial setting. The weather later formed some nice sunsets which coincided with me and the subjects being high up at vantage point.
EBI: I could have perhaps experimented with staged and posed shots. I feel like by doing so I could have incorporated things like humour into my photographs.
Fake Landscape
For this task, printed out images were given to us to try and compose into another form. The pictures were a mixture of blurry textures and objects, which made it hard to distinguish any clear structures that could mirror a real life landscape. By layering the photos and photographing them with very specific angles and depths of field it made forming a fake landscape easier.
WWW: I think I chose my images well and thoroughly tried many angles to try and get the most accurate look
EBI: Perhaps could have used some colour images to make the task a bit more challenging for myself
WWW: I think I chose my images well and thoroughly tried many angles to try and get the most accurate look
EBI: Perhaps could have used some colour images to make the task a bit more challenging for myself
Tight Spaces
For this task, we had to take photographs of other students posing in cramped, tight spaces.
Tate Modern: The Radical Eye Exhibition
Class Task: Irving Penn Corner Portraits
Irving Penn
Irving Penn was an American photographer who specialised in taking portraits, often of hugely famous entertainers. Some of the faces which he has photographed include Salvador Dali, Al Pacino and Audrey Hepburn. One stylistic feature of his are his 'corner portraits'. The portraits are not taken in the usual manner, with the subject posing in front of a cornered off white background. This differs from the usual approach of having a flat white background, which really helped set Irving Penn apart from other photographers at the time. The corner portraits help capture the subjects in a unique way, with the picture perfect aesthetic that would be normally seen being scrapped for a more rough and down to earth representation of the subjects. The outgoing lines of the corner subtly direct viewers eyes to the lines meeting point, often blocked by the subject. By doing so he cleverly makes viewers keep their eyes on the subject, to analyse them through their expression and posture.
My interpretation:
With my interpretation, I photographed the subjects in a number of poses. The cornered off background served the same purpose as it did with Irving Penn, with viewers eyes being directed towards the subject in between the two sides. This was important for me to capture as it is one of the main allures of Irving Penn's timeless work. In the editing process, I decided to take steps to make the comparison to Irving Penn's photos even clearer. To do so, I overlaid scratches and markings onto my images, to try draw a likeness to the slight imperfections viewers can see in photography from the time, with Penn having to use large format analog camera's, which were the best the industry had to offer at the time.
Nomadic Gardens - Shoreditch
I visited the Nomadic Gardens in Shoreditch with the intention of capturing the urban aggressiveness that was dripping off the graffiti ridden walls. The Nomadic Garden is an open space near Brick Lane, in charities and companies bury plants into the soil and use their plot as a creative space, to spray graffiti murals and display statues. Most of the people at the garden are Nomad's and they bring possesions an supplies with them to their plot.
Newcastle
Over the easter holidays, I visited Newcastle which is the city where my Dad grew up. The city has a whole range of architecture on show, with its standout sights being the Tyne Bridge, High Level Bridge and also Gateshead Millennium Bridge. These bridges give Newcastle its famous skyline over the river that has become easily recognisable throughout the UK. The Tyne Bridge was designed by Mott, Hay and Anderson - who used a similar approach when designing the even more well known Sydney Harbour Bridge in Australia.
When photographing in Newcastle, I wanted to take advantage of the concrete structures and the layout of the city. There are many streets in Newcastle that stretch for very long, this allows light to seep through many nooks and crannies across the city. This, combined with the concrete structures allowed me to take some photos that have very clear and natural contrast. Many of these concrete structures are office blocks or residential estates, with some being unused for years or nearing plans for demolition.
When photographing in Newcastle, I wanted to take advantage of the concrete structures and the layout of the city. There are many streets in Newcastle that stretch for very long, this allows light to seep through many nooks and crannies across the city. This, combined with the concrete structures allowed me to take some photos that have very clear and natural contrast. Many of these concrete structures are office blocks or residential estates, with some being unused for years or nearing plans for demolition.
Strand 1: -POV Day in the Life Movie
For my first strand, I wanted to create a POV, day in the life type movie. I want to make it have a fast paced feel, with the urban aggressiveness of London adding to this. I also want to try and avoid any cliche shots, which I feel I can restrict by making the film unique to me. For the narrative of the film, I want it to be journey themed and include myself travelling to some of my favourite spots in London. I intend to have sound as an enhanced aspect, with the short clips providing a soundtrack to a day in the life of myself.
Such films that have inspired my thought process behind this strand include 'Point of View' by Doug Smith and 'Colors of New Zealand' by Thomas Schweighofer. 'Point of View' by Doug Smith is the classic sort of POV movie with many cliche but effective scenes, however with my take I would want shorter clips and an overall faster pace to my film. 'Colors of New Zealand' by Thomas Schweighofer influenced my decision based off of how it has both POV shots and other visual shots not in POV. This idea gives a better idea of the environment and covers more ground, whilst also providing the viewer with multiple viewpoints.
Such films that have inspired my thought process behind this strand include 'Point of View' by Doug Smith and 'Colors of New Zealand' by Thomas Schweighofer. 'Point of View' by Doug Smith is the classic sort of POV movie with many cliche but effective scenes, however with my take I would want shorter clips and an overall faster pace to my film. 'Colors of New Zealand' by Thomas Schweighofer influenced my decision based off of how it has both POV shots and other visual shots not in POV. This idea gives a better idea of the environment and covers more ground, whilst also providing the viewer with multiple viewpoints.
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Artist and Me - Casey Neistat and Ben Brown
First Interpretation
In this observation I had a weekend trip up to Newcastle. It was essentially like visiting a brand new city as I had not been there for around 10-11 years. I wanted to try and make a POV movie about the journey to Newcastle, without many carefully set up visual shots. I had this intention to give the film a rough and raw appearance, to put the viewer in my point of view, seeing what I was seeing. Being in a city that I am not very familiar with, finding the right spots to visit was a challenge. I experienced some problems with my equipment also, having to spend some time walking through the city to find a replacement camera battery as mine suddenly refused to charge.
WWW: It was refreshing filming in a city other than London. I also feel like I did well in reaching my initial goal of showing the process of a journey.
EBI: Filming in a new city proved tough. As well as this, I didn't have a lot of control over where I visited there, which restricted the possibility of me travelling to find the right shots. Some technical problems also arose, which took a chunk out of my time there, stopping me from getting a large collection of coherent footage.
WWW: It was refreshing filming in a city other than London. I also feel like I did well in reaching my initial goal of showing the process of a journey.
EBI: Filming in a new city proved tough. As well as this, I didn't have a lot of control over where I visited there, which restricted the possibility of me travelling to find the right shots. Some technical problems also arose, which took a chunk out of my time there, stopping me from getting a large collection of coherent footage.
Second Interpretation
For my second interpretation from my POV strand, I went on a day out to London. Being in a city that I know very well, it made making this interpretation a lot easier and it also made it more enjoyable for me to compose my shots. I initially had the idea of my interpretation being shot from a fast paced POV perspective, edited in alongside some visual shots of areas e.g time lapses. The first location I headed to was a bar & kitchen called 'Coq D'Argent' near Bank station. The bar has a great rooftop area which has a great view of the business district of London, and all the vast skyscrapers e.g The Leadenhall Building.
Another place I visited was the One New Change building near St Pauls Cathedral.
Whilst I moved between my locations, I wanted to carry on filming and document the changing landscape as I manoeuvred through the city streets. I found these in-between stages the hardest to shoot in because of how my shooting style has to adapt. To keep the film looking nice visually, I'd have to film small parts of the inner city life whilst going from place to place. I tended to shoot persons of interest on their daily commute or at work, as well as nice buildings both new and old. By capturing little details of the city I feel it brings many advantages to the film, as it reflects the ways I myself look at the city. It can also give viewers who are not familiar with life in London a better grasp over what its like to live in London, as both big and small elements of the city are captured - from the ever changing skyline to the citizens on the ground.
Another place I visited was the One New Change building near St Pauls Cathedral.
Whilst I moved between my locations, I wanted to carry on filming and document the changing landscape as I manoeuvred through the city streets. I found these in-between stages the hardest to shoot in because of how my shooting style has to adapt. To keep the film looking nice visually, I'd have to film small parts of the inner city life whilst going from place to place. I tended to shoot persons of interest on their daily commute or at work, as well as nice buildings both new and old. By capturing little details of the city I feel it brings many advantages to the film, as it reflects the ways I myself look at the city. It can also give viewers who are not familiar with life in London a better grasp over what its like to live in London, as both big and small elements of the city are captured - from the ever changing skyline to the citizens on the ground.
Strand 2: Steel Wool/Light Painting - Angela Andrieux
Light Balls empty streets - bottom of AP, Car park near boats
Angela Andrieux is an American photographer, who lives in Chesapeake, VA with her US Navy husband and their cat Pumpkin. Andrieux speaks of how she would photograph just about 'anything', but she says her passion for travel photography 'tops it all'. Chesapeke is far from the only place Angela has lived, as she has spoken of her 'fortunate' time spent living in places like California and Sicily.
The work of Andrieux that I most admire and wish to try emulate is her long exposures, particularly the ones in which she has used steel wool to create fiery light paintings. Having seen steel wool photography as a project i'd always like to try myself, Angela's shots set a very impressive tone that I will try to make my own. The things I like most about her shots is not only the vibrant colourisation that comes from the burning wool, but also the location choice she has. For example the shots below feature the steel wool and its orange glow reflecting off of the brutal concrete legs underneath one of LA's piers.
With the work of Angela Andrieux in mind, many ideas come to mind as to how I can replicate her work with my own twist. Firstly, I'd be very happy if I could capture such long exposures in range of locations, with the wild light trails illuminating its immediate surroundings. I like the idea of these wonderful light trails changing the appearance of concrete, industrial structures like Andrieux, however I would also like to see how the light can effect the appearance of a natural, pure location.
Angela Andrieux is an American photographer, who lives in Chesapeake, VA with her US Navy husband and their cat Pumpkin. Andrieux speaks of how she would photograph just about 'anything', but she says her passion for travel photography 'tops it all'. Chesapeke is far from the only place Angela has lived, as she has spoken of her 'fortunate' time spent living in places like California and Sicily.
The work of Andrieux that I most admire and wish to try emulate is her long exposures, particularly the ones in which she has used steel wool to create fiery light paintings. Having seen steel wool photography as a project i'd always like to try myself, Angela's shots set a very impressive tone that I will try to make my own. The things I like most about her shots is not only the vibrant colourisation that comes from the burning wool, but also the location choice she has. For example the shots below feature the steel wool and its orange glow reflecting off of the brutal concrete legs underneath one of LA's piers.
With the work of Angela Andrieux in mind, many ideas come to mind as to how I can replicate her work with my own twist. Firstly, I'd be very happy if I could capture such long exposures in range of locations, with the wild light trails illuminating its immediate surroundings. I like the idea of these wonderful light trails changing the appearance of concrete, industrial structures like Andrieux, however I would also like to see how the light can effect the appearance of a natural, pure location.
My Interpretation
For my first interpretation of steel wool photography, I visited the Parkland Walk in Muswell Hill. I had 3 small balls of steel wool to shoot with so I had to find a way to spin them round to create sparks when lit. I started by puling apart the steel wool to increase air flow for the sparks, I then tied plastic wire around the wool and attached a length of string to spin it with. With my props made I needed to choose a location. With safety in mind I wanted to go to a quiet area late at night where no passers by would be around. With it being pitch black I had to set up a light to help me focus the shots as trying to focus on a pitch black subject is near impossible.
I took three exposures in total for my 3 balls of wool. I also took these photographs in three different locations to give my observation some variation. I noticed that a nice looking picture of the steel wool would have a wide distribution of sparks, without any concentrated areas. To get the brightest and furthest reaching sparks, a lot of air needs to pass through the wool, meaning spinning it very fast is essential. It is very important to spin the wool in a big circle pointing away from yourself or any dry plants, with precautions like these saving yourself from lots of pain and some fines from your local council after you burn down your local park.
WWW: Got the nice orange glow I wanted from the wool, and it bounced off of its surrounding's how I wanted it to. As well as this, I managed to get the maximum amount of images from how much wool I had at the time. The paths of movement the lit wool takes was also key to capture for me, which I felt I succeeded in here
EBI: I could have purchased some more wool giving me more materials to experiment with. I also could have chosen a less crowded area, as I had to very carefully swing the lit wool to avoid it flying into any residential properties.
I took three exposures in total for my 3 balls of wool. I also took these photographs in three different locations to give my observation some variation. I noticed that a nice looking picture of the steel wool would have a wide distribution of sparks, without any concentrated areas. To get the brightest and furthest reaching sparks, a lot of air needs to pass through the wool, meaning spinning it very fast is essential. It is very important to spin the wool in a big circle pointing away from yourself or any dry plants, with precautions like these saving yourself from lots of pain and some fines from your local council after you burn down your local park.
WWW: Got the nice orange glow I wanted from the wool, and it bounced off of its surrounding's how I wanted it to. As well as this, I managed to get the maximum amount of images from how much wool I had at the time. The paths of movement the lit wool takes was also key to capture for me, which I felt I succeeded in here
EBI: I could have purchased some more wool giving me more materials to experiment with. I also could have chosen a less crowded area, as I had to very carefully swing the lit wool to avoid it flying into any residential properties.
2nd Interpretation
For my second interpretation, I wanted to shoot in a big empty space. To do so, I went to Coldfall Field late at night with my tripod and balls of steel wool. Immediately I found this shoot harder than last time. The main reason for this is because of the constant wind, which was stopping me from getting the ball of steel wool to set alight. Once it was lit I didn't encounter many issues and the air flow through the wool produced some great sparks to capture. One reason for choosing to shoot at coldfall field was because of the goalposts. I wanted to have the orange glow from the sparks reflect off of them and illuminate the center of an image. I feel I completed this objective of mine well and it looks like I had hoped
WWW: Got the type of shot I wanted, light refelcting off the goalposts
EBI: Could have gone on a less windy night, as I would not waste steel wool as I did here
WWW: Got the type of shot I wanted, light refelcting off the goalposts
EBI: Could have gone on a less windy night, as I would not waste steel wool as I did here
3rd Interpretation
For this interpretation, I decided to shoot in an old abandoned garage with large concrete walls. On the walls, there is lots of graffiti and grime, I felt that this urban, drab aesthetic would contrast well to the light I paint and their colours. The incandescent light emitting from the streetlights gave my pictures a nice colour range and casted some shadows on the garage's concrete frame. I found that a 20 second exposure worked well in this shoot as my camera needed a longer time to capture the minimal light in the garage. To make the process as easy as possible I used a self timer to give me time to position myself and get the lights ready. For the lights I used, I had to compromise slightly. By using a normal flashlight I used bottle caps which I attached to the torch to give the white light some colour. I did this to contrast to the monotone surroundings and materials elsewhere in the garage spaces.
WWW: Chose the right time to shoot as the light paintings were complimented by the warm glow coming from the streetlights. I also chose a good location for this strand as the garage acted like a canvas for me to splash light paintings over. My camera setting/set up also worked really well and I captured the light how I intended.
EBI: Could have got myself some more advanced sources of light, perhaps experimenting with strobes or coloured light strips. Another technique that I could have touched upon would be outlining objects with light streaks to accentuate their shape and form
WWW: Chose the right time to shoot as the light paintings were complimented by the warm glow coming from the streetlights. I also chose a good location for this strand as the garage acted like a canvas for me to splash light paintings over. My camera setting/set up also worked really well and I captured the light how I intended.
EBI: Could have got myself some more advanced sources of light, perhaps experimenting with strobes or coloured light strips. Another technique that I could have touched upon would be outlining objects with light streaks to accentuate their shape and form
Strand 3: Lewis Khan Style Biopic
https://vimeo.com/99681489
Steve Edge
Steve Edge, or the 'Lord Shoreditch' is a Designer, Artist, Jockey, Animal Trainer and overall a jack of all trades. Born in 1958, Edge was raised in a very unique and bizarre household in Brixton. With his Father being a part time animal trainer, Steve grew up around many animals, snakes and lizards to name a few. However one of the family pets that stands out was his pet chimp named Primo. After getting the chimp at the age of 13, Edge grew up alongside it, with the primate eating dinner at the table with the Edge's family. However Steve does mention the instance when Primo had one too many sips of his Dad's beer, causing him to throw roof tiles at passers by.
From the age of 5, Edge was told he was told that he was 'unteachable'. We know now that this is because of his dyslexia, which caused Steve to be entirely self educated. By the age of 15, Steve won a nationwide design competition for 'Best Young Artist' - garnering the attention of many big firms from across the world. Always an animal lover, Edge purchased a horse for £60 at Spitalfields market. He continued to ride this horse to work with no saddle, before parking it outside next to snazzy Jaguar automobiles.
One key part of Steve Edge's life is his involvement with the Hollywood film industry. At one his first employers, a young Director named George Lucas needed some set design for a very small film series called 'Star Wars'. Not knowing who George Lucas is, an apprehensive Steve worked with the director, unaware of the cultural significance Lucas' film would have in the near future.
From his involvement with George Lucas, a man called Steven Spielberg became acquainted with Edge. From there, Steve got his faher to supply many of the animals for 'Indiana Jones : Raiders of the Lost Ark', including his pet chimp Primo. On set, Karen Allen who played 'Marion' had a huge fear of snakes. So, in the famous snake scene, Steve was asked by Spielberg to put on a summer dress and have the snakes writhe around on his newly shaven legs. Steve obliged, and the legs you see in that very scene belong to Steve Edge.
From the age of 5, Edge was told he was told that he was 'unteachable'. We know now that this is because of his dyslexia, which caused Steve to be entirely self educated. By the age of 15, Steve won a nationwide design competition for 'Best Young Artist' - garnering the attention of many big firms from across the world. Always an animal lover, Edge purchased a horse for £60 at Spitalfields market. He continued to ride this horse to work with no saddle, before parking it outside next to snazzy Jaguar automobiles.
One key part of Steve Edge's life is his involvement with the Hollywood film industry. At one his first employers, a young Director named George Lucas needed some set design for a very small film series called 'Star Wars'. Not knowing who George Lucas is, an apprehensive Steve worked with the director, unaware of the cultural significance Lucas' film would have in the near future.
From his involvement with George Lucas, a man called Steven Spielberg became acquainted with Edge. From there, Steve got his faher to supply many of the animals for 'Indiana Jones : Raiders of the Lost Ark', including his pet chimp Primo. On set, Karen Allen who played 'Marion' had a huge fear of snakes. So, in the famous snake scene, Steve was asked by Spielberg to put on a summer dress and have the snakes writhe around on his newly shaven legs. Steve obliged, and the legs you see in that very scene belong to Steve Edge.
Ian Drummond
Ian Drummond is the co-owner of Indoor Garden Design, a well established planting company based in North London. From winning gold at Chelsea Flower Show to working with the Elton John Foundation, Ian and his company have seen a huge range of success.
Born and bred in Kentish Town, Ian is a North London boy through and through. His career choice may have seemed alien at first, but Indoor Garden Design are one of the driving forces behind the increased popularity of indoor plants and gardens. Ian has a book with Kara O'Reilly called 'At Home With Plants' in which he goes in depth about the many benefits that arise from having indoor plants.
I spent a morning down at his warehouse/office in Highgate, to try and capture the preparation he and his team have been engulfed in as Chelsea Flower Show comes closer. With my research I asked him some questions about himself, his company and his future plans.
Born and bred in Kentish Town, Ian is a North London boy through and through. His career choice may have seemed alien at first, but Indoor Garden Design are one of the driving forces behind the increased popularity of indoor plants and gardens. Ian has a book with Kara O'Reilly called 'At Home With Plants' in which he goes in depth about the many benefits that arise from having indoor plants.
I spent a morning down at his warehouse/office in Highgate, to try and capture the preparation he and his team have been engulfed in as Chelsea Flower Show comes closer. With my research I asked him some questions about himself, his company and his future plans.
To get the typewriter text in the movie, I had to use Keynote to make the animation. Once I assemble the rolling text animation, I have to convert it into a Quicktime Player file. I can then import it into my iMovie project and use the green screen feature to have to text rolling along my own media.
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