#Blurring the Color Line documentary

[kooffeecup]

POCKETS OF STARLIGHT

valentine special!

Your soft boyfriend bakes amazing fortune cookies with love notes inside.

genre : fluff fluffff

Pairing : soft baby boy jk! x reader.

Very short and cute

banner by me @kooffeecup

—

The scent of rosemary and burnt crust greeted You as you stepped into the apartment, your keys jingling softly in the quiet. The lights were dimmed, replaced by the flicker of tea candles scattered across the kitchen counter and there, in the center of it all, stood Jungkook.

He was wearing the apron you’d bought him as a joke last Christmas bright pink with “Kiss the Chef” embroidered in looping cursive his sleeves rolled up to reveal faint flour smudges along his forearms. A lasagna sat half-sliced on the stove, its edges charred but the center oozing cheese.

“You… cooked?” You breathed, unable to hide your grin.

Jungkook’s ears reddened. “Tried to,” he mumbled, twisting a dishcloth between his hands. “The recipe said it was ‘foolproof,’ but I think I—oh.”

You crossed the room before he could finish, cupping his face and pressing a lingering kiss to the corner of his mouth. He stilled, then leaned into your touch, his shoulders relaxing.

“It’s perfect,” you said, thumbing away a smudge of tomato sauce on his cheek.

“Liar,” he whispered, but his eyes crinkled, pleased.

Dinner was eaten cross-legged on the living room floor, where Jungkook had built a makeshift fortress of blankets and fairy lights. The lasagna was, objectively, a disaster undercooked in some layers, volcanic in others but You devoured every bite, laughing as Jungkook sheepishly picked blackened noodles off his plate.

“I have dessert,” he announced suddenly, scrambling to his feet. He returned with a lumpy mason jar clutched in his hands, filled with what looked like…

“Fortunes?” You tilted her head.

“Fortunate cookies,” he corrected, cheeks puffing. “I wrote notes inside. For you.” His voice softened. “Just… things I’ve wanted to say but… couldn’t figure out how.”

Your chest tightened. Carefully, you cracked open a cookie. The slip inside read: “Your laugh on rainy days > all my playlists.”

Another, “I stole your shampoo last week. Smells like home.”

Another, “Wish I could paint the way you look when you sleep. But I’d need more colors.”

By the fifth note, your vision blurred. Jungkook watched you, knees drawn to his chest, gnawing his thumbnail until you reached for his hand.

“Baby,” youbwhispered, “this is the sweetest thing anyone’s ever....”

“There’s more,” he interjected, suddenly urgent. From beneath the couch, he pulled a small wooden box, its surface sanded smooth and stained the deep blue of twilight. Inside lay a cluster of folded paper stars.

“Open one,” he urged, voice shaky.

You unfolded a star to find a date scribbled inside: 10/22. First time we danced in the kitchen. You were barefoot. I stepped on your toes twice. You said it didn’t hurt. It did. I saw you limp.

Another, 3/14. You cried during that dog documentary. I wanted to hug you but didn’t. Regret it every day.

The last star, Today. I love you. I love you. I love you.

When you looked up, Jungkook’s eyes were glistening, his lips pressed into a wobbly line. Without a word, you tugged him into your lap, his back against your chest, and wrapped your arms around him. He shuddered, melting into your embrace, his fingers interlacing with yours.

“Why the stars?” you asked, nose buried in his hair.

“So you’d always have constellations,” he murmured. “Even on nights the sky’s too dark to see them.”

You stayed like that for hours, trading stories mapped by paper and ink, until the candles burned low. When You finally fetched your gift a hand-bound book of poems she’d written, each one a vignette of their quietest moments Jungkook traced the words with reverent fingers, pausing at the entry titled “Him, in the Half-Light.”

“You see me,” he said quietly.

“Always,” you replied.

Later, as they lay tangled in blankets, Jungkook’s head resting over your heartbeat, You realized he’d slipped something into your palm a final fortune, unfurled to reveal a single request:

“Let me be yours forever?”

Your answer was a kiss, slow and syrup-sweet, and the way his shy hands finally, finally learned the shape of your without trembling.

[oddygaul]

Tekkonkinkreet

Tekkonkinkreet is a turbulent but ultimately heartwarming story about two kids who don’t take fall damage.

This is another movie I first watched back in my post-high school anime renaissance and forgot everything about, other than distinct memories of the city. Having watched it again, I honestly get why - Tekkonkinkreet’s narrative is anything but straightforward, and leaves a lot up to the viewer to interpret… and it also gets pretty out there by the end. In the first half of the movie, we’re introduced to our major characters, as well as Treasure Town itself - by all accounts the real star of the show - and while a plot is clearly stewing, mostly we’re just getting a measure of day-to-day life in the setting. In the back half, all of the conflicts come to a head fast - and with some of those conflicts consisting of internal anguish that blurs the line between reality and fiction, it’s all one can do just to keep up.

Accordingly, both halves of the movie feel pretty distinct from one another. The beginning is bright, bubbly, and colorful, filled with lively character movement and unceasingly frenetic, documentary-style camerawork. Once the brothers have broken up, our view of the world itself changes: the color palette becomes darker, and the movie employs more slow pans & lingering shots as its characters hesitate and brood. Perhaps this is just another nod to Tekkonkinkreet’s themes of yin and yang, as embodied by Kuro and Shiro.

The theme that resonated the most with me was the difficulty of accepting change, and the difficulty of trying to keep your place in a world that’s changing around you. We watch as Treasure Town undergoes rapid development, its familiar side streets and seedy local haunts turned into a gaudy, unrecognizable tourist attraction, and much of the movie’s tension is in seeing how each of the lead characters deals with that change.

Suzuki, who probably ended up being my favorite character in the movie, is sad to see it go - he sees decades of memories in every storefront and back alley - but is old enough to understand that this is the way of things, and has resigned to pass things on to the next generation with no regrets.

Kimura seems to keep the town at arm’s length, staying at home with his wife, visibly enclosed from the world, and only going out when he needs to, with the intention of leaving as soon as he’s able - trying to abandon his town before it can abandon him.

Shiro and Kuro, though, who against all odds have found a niche for themselves here, can’t seem to imagine a world without Treasure Town. They fight back at every change with tooth and claw, refusing to grow up, willing the clock to stop ticking. While they eventually realize the bond between the two of them will outlast their surroundings, their jealous possessiveness of Treasure Town nearly leads the two of them to ruin.

As the old man says: “Watch what you say with the ‘my town’ talk. It’s a bad habit. This isn’t anybody’s town.”

The gag of all the yakuza being super into their horoscopes was very charming. “S-sorry, boss, no can do, Mercury is rising today, you get it, right?”

I wonder if the translation added the western astrology terms we’d recognize, like Scorpio, and East Asian cultures actually use something based on the Chinese Zodiac - Suzuki’s ‘Rat’ moniker would really fall into place.

“White hates winter. Makes him cry. Reminds him of that story. The ant and the grasshopper… he hates it. He says the grasshopper didn’t do anything wrong. That makes him cry.”

As should be obvious by this point, Tekkonkinkreet is drop-dead gorgeous, start to finish. Treasure Town is an remarkably well-realized setting, and that’s even with it changing drastically as the story goes on. The character designs and the subtle, emotive character acting they allow for are top tier. The thing that consistently blew me away here, though, is the absolutely insane CG and compositing work. Seriously, the type of shots and camerawork they’re pulling off here are insanely ambitious for 2D animation, and not only are they used to great effect, they’re integrated so well with the character animation and painted backgrounds as to be fully seamless. I struggle to think of another primarily 2D work that pulls the compositing off this well - I consider Trigger the current masters of this, but even with Promare you can see the cracks now and then.

As it turns out, there’s a pretty interesting story behind that. Despite being based on a Japanese manga and produced by Studio 4°C, a Japanese animation studio, Tekkonkinkreet was directed by Michael Arias, an LA-born American man. Apparently, after a fairly successful career start in Hollywood effects work, he went on to singlehandedly create Toon Shaders, a rendering software / workflow pipeline that to this day is one of the standards for integrating 2D animation with CGI - and by standard, I mean like, he worked directly with Studio Ghibli while developing the software so they could use it to make Princess Mononoke, and it was then subsequently used on movies like The Prince of Egypt and Spirited Away.

Arias next went on to produce The Animatrix, a historical confluence of top anime directing talent which is also full of groundbreaking 2D / CG animation integration, before linking back up with some of those same folks to direct Tekkonkinkreet. I have to imagine this was partially Arias looking for his chance to use his technology to the fullest and show people how well 2D and 3D could truly be integrated in service of good storytelling, and well… he did the shit out of that.

Damn, what a cool story. Not me about to go rewatch all the Animatrix featurettes to see if he shows up there…

[emerald-chaos]

Well, you see—I was left to my own devices and that included listening to sad music and watching sad edits. So really, it’s not my fault that I wrote this. Just know that I am deeply sorry in advance if this hurts you like it hurt me to write.

pairing: suguru geto x gn!reader

warnings: angst, cursing, alcohol mention, not really with the canon timeline—suguru deflects a few years later in this story

divider by: @/cafekitsune 🤍

Not beta’d, all mistakes are my own

The sound of alcohol being poured into the glass is vaguely acknowledged by your brain—but it’s like everything else in the room is a blur. The entirety of your body just feels…numb.

“Hmm, okay. The next one is: where do you see yourself in five years?” You read the words from the paper—potential interview questions, Suguru had told you.

The raven haired man snorts before he answers.

“Really? You picked that one?”

“You’re the one who printed off the list!” You giggle, choosing to ignore the way he rolls his eyes at you.

“Besides…color me intrigued.”

Suguru looks at you for a moment, the neutral line of his lips slowly curving into a smile as he looks at your face. His hand comes up, finger extending so that he can drag it along the shape of your jaw.

“Where do I see myself in five years…hmmm…” He pretends to think hard about the question, his eyes never once leaving his finger as it stops at the center of your chin.

“I think I see myself,” eyes finally fluttering upward to meet your own as his grin grows just that much bigger, “with you.”

Mind completely spaced out, the last few drops from the bottle fill the glass almost to the top—luckily not enough contents to make a mess over the freshly cleaned countertops.

A buzzing noise brings you back to reality—blinking your eyes a few times before you look down to see your phone lit up.

one new message

shoko🤍: just let me know when you’re ready to be picked up, okay?

Turning your phone over, you grab your glass and head back into the living room of the apartment. The liquid burns as it makes your way down your throat, but you can’t find it in yourself to even make a grimace. The edges of your vision have started to blur a little and there’s a kind of weightlessness to your body that makes it feel just a little bit odd—but none of that really matters.

The room surrounding you is empty. The entire apartment surrounding you is empty.

No one wall bares the images of the life you lived, no furniture is placed delicately in its perfect position—all that remains are the scuffs and pin point holes.

You let your body slump onto the floor, spilling a bit of your liquor as you do, sitting criss cross in the dead center of the room.

Although it’s all gone, you still see it so clearly. Every party hosted, every fight had, every moment where you couldn’t quite get each others clothes off fast enough—it was all still there. Burned into the space that inhabited the apartment.

It was haunted.

“Are you sure there’s nothing you want to talk about?” You speak softly, rubbing your hand up his forearm as you sit facing one another on the couch.

There’s a smile on his face, but it doesn’t reach his eyes.

Suguru’s smiles always reach his eyes.

“Positive. Wanna watch that documentary now?”

More burning in the back of your throat as you toss back another swig from your glass. You’ve never been a smoker, but fuck—you could really go for a cigarette right now.

Slowly, your eyes closed as you took a deep breath—willing your brain to shut off for at least a moment. The silence is there to welcome you, but not for long.

A quiet gasp tumbles from your lips, the warm feeling of his on your neck as it trails down.

“There won’t ever be anyone on this earth like you.”

“Hmmm, sounds sweet but also vaguely threatening—you plan on getting rid of me sometime soon?”

The man behind you chuckles before gently reaching around you grab your chin—directing your face toward his.

“Never.”

You aren’t even aware of the fact that you’re crying until you feel the warm drops that slide down your hands. Then comes the sensation of your shoulders shaking, followed by the sob that comes from your chest.

How could he?

How is it possible for someone so good to suddenly become so evil?

This man was not Suguru Geto. This man was not the one you loved.

It was like someone else had possessed him—locked his truth deep down inside and instead put forth something so sickeningly despicable—like the plot of one of those ridiculous horror movies he used to make you watch in this very apartment.

Leaning forward, you placed your hands on the floor in order to keep you upright as you continued to sob. The feeling in your chest one you’d never felt before. This was a hurt like you’d never experienced—like it manifested itself in your fucking bones.

Suddenly it felt like you had no control over your body—your hand reaching out to grasp around the glass, only to throw it as hard as you could against the wall and watch as it shattered.

The sobs wracked through your body—your throat beginning to hurt from the forcefulness. Your body wanted to give up, to break down, so you allowed yourself to collapse onto the floor.

“W-what?” Your voice was meek, like it wasn’t even your own.

“We both know you heard what I said.”

You stared at him for a moment, blinking slowly while your mind raced to put together the pieces of what he’d just told you.

“But it just…Suguru this doesn’t even sound like you. Y-you said yourself to Satoru that day, we exist to protect non-sor—“

“Well, I was full of shit then.” His words are harsh and cold—nothing like the way he usually spoke to you.

“Don’t you understand?” He leaned forward, looking at you with eyes that did not belong to him, “Why should we protect those who despise us? Who couldn’t care less what happens to us and who are too damn weak to do anything for themselves?!”

Your breathing was shaky, heart thumping rapidly in your chest as you looked at him.

For the first time ever, you were afraid of him.

“You’re either with me, or you’re against me. That choice is yours.”

You’re unsure exactly when you stopped crying.

When your eyes opened again, your body was curled into the fetal position on the floor—eyes burning from tears and bones aching from the hard wood beneath you.

You knew you should get up and call Shoko. That you should gather up your things and leave this apartment for the last time.

But the second you walked through that threshold and shut that door—you were closing the door on him as well.

So, maybe you’d lay there…if just a little bit longer.

[xtrablak674]

Finding Your Tribe

Initially I had come across the image during my morning Tumblr'ing, and as I was wont to do I was doing a reverse image search to find a higher quality version of the image. I mean if I am going to download smut, better have a good-looking version of said smut. During my search I had come across the young man's Twitter account and prayed to my goddess that I wouldn't have to scroll long to get to the image I was looking for.

The thing about scrolling through someone's social media is you get a sense of the person, even if it's a highly curated and polished version. Its the version that they would like the world to see. One thing that became immediately apparent to me is that this curly-haired light-eyed sort of middling looking young man had found his tribe.

His "friends", because I am not sure what the kids are calling them these days, especially when the lines between plutonic and sexual were so clearly blurred, were clearly of the same tribe. Young people and others who had similar sexual interest and also loved documenting their merry-making in photographs, gifs and videos. Celebrating their lust and loves in a very public fashion. It had me very curious what these misfits did for work, because clearly they didn't care that their faces with dick in mouth were on very open display for all to see.

I could map the similar aesthetic between them, artsy but alternative, definitely not the main-stream gays that colour places like Chelsea but the on-the-edge queers who would exist in places like Bushwick barely boarding on being hipsters but divergent enough to be their own sub-genre of gay. Whereas a Manhattan gay may brag about wearing Prada and Louis Vuitton these ones would thrive in a new piece thrifted at L Train Vintage, never caring for those luxury brands but finding solace in their grandfather's old boots or jacket, paired with their grandma's pearls.

After watching the twelfth episode of Tracker last night where Colter finally met up with his wayward and possibly murderous older brother Russell, this made me think of the last time I had a tribe to speak of. And it would be back when my mom was still alive and I lived with my two younger siblings. It was the only time in my life I had a true connection to someone else around me, and albeit after her passing and our separation I would never truly find anything remotely the same.

In college I had a "crew" of sort largely based around the terraces where I lived my freshman year at this private college in upstate New York. They were gay, like I was at the time, some were lower-class like I thought I was, and would only later find out I was actually middle-class. None were of color, which then made me a novelty of sorts. I recall quite often being quizzed about how to use the language these upper-class queers had just learned from Jennie Livingston's infamous documentary Paris is Burning.

Ms. Trevor how do I say FIERCE? And what exactly is shade? Girl, teach me how to vogue! I mean I did my best to hobble together bits an pieces from my short-lived foray in the queer culture of New York City, which I had only really begin to explore the peaks of in my last two years in high school right in the middle of Manhattan. But this didn't feel exactly like my tribe, I seemed to be torn between allegiance to the HEOP Black kids on campus and the LGBT queer kids, not totally fitting in with either because of either class, orientation, how I preformed gender or how I performed race.

Post-college I continued the activism I had started moving into HIV/AIDS education through GMHC. Joining their youth program which was made up of primarily of other post-college kids but unlike upstate was more diverse having more woman, Black and people of color in its ranks. I can say I felt a connection to these young people as we tried our best to educate others our age and younger about how to navigate the complexities of trying to stay safe while being a young queer.

I have always had very mixed feelings about work relationships and albeit there are some people I met at my first advertising agency job that I would connect with an be friends with years after I left that company. I am not sure any of those relationship had a tribal feel to them.

My next significant connections would be to small or micro-business owners I had associated with through a non-profit that was out to help us with micro-loans. I was never really interested in the loans having long had an aversion to debt, but I did like the fellowship with the mostly Black business owners and using my own brand design business to help these folks out, at least with the visual aspects of their own brands.

But like all things that passed too.

The last fifteen years I have been a loner, most of my friendships drifting a part for one reason or another. I even stopped dating and then sexual relations too. It is a popular platitude to say to young people that you will find your tribe, I just haven't found that to be true. It has felt like all throughout my life I have had to partition pieces of myself to be accepted in certain areas. Even my fifteen year stay on Flickr seemed to be primarily based on folks sexual desires towards me, not really seeing me as a whole but just parts of a whole.

At this point I have let it all go, and find solace and comfort in my own company or in having parasocial relationships with the characters in my comics, books or television shows. If a tribe is a thing, its a thing that has always eluded me, maybe my not being able to compromise my values to 'group think' and allow folks to make me feel less than I am has not allowed me to assimilate into a group dynamic. Maybe my strong sense of self and moral aptitude and not ever being one to succumb to peer pressure or other ill-conceived notions has left me adrift. I am not sure I will ever understand how to be a part of a group.

My nephew was talking to me last week about this group chat, and I thought I have never been in anyone group anything. Even my attempts to start them have failed, like the group I created on Facebook for my fellow grand jury members. I thought we had an amazing eighteen month together, but I think afterwards we became the strangers that we were before. This has been the rhythm of my life since my mom died and I truly don't think it will ever change, and curiously I am okay with that.

Albeit our society loves to preach about how important relationships with others are I have found I think the most important relationship you can have is one with yourself, one unbound by pretense, pretensions and falsehoods. One unencumbered by expectations, animosity and aggression. One that lies in seeing who you are and appreciating all aspect of whom that person is and what they bring to the table never asking them to select which pieces are the most suitable for acceptance. But embracing, loving and encouraging them to come as they are and be welcomed.

[Photo by Brown Estate]

[basiltonpitch]

26, 28, 57, 74, and 77!!!

oooh thank u ayla!!!

26. Is your current hair color your natural hair color? nope, i dye my hair pretty regularly and almost never have my natural color showing lol. rn i have arctic fox ritual over my natural brown so it's like a burgundy color but its fading a bit so i need to touch it up!!

28. What was the last thing that made you laugh? a tiktok sketch thing of a guy pretending to be an old redneck whos selling a van on facebook marketplace. it was very accurate and also very funny that man deserves to win an oscar for that performance

57. Do you believe in ghosts? i don't believe in them but like. i don't not believe in them. i don't know if that makes sense. like when presented with a story about ghosts or a documentary or whatever i'm 100% a skeptic like "that shit isn't real" but the second i'm in spooky situation im like. there's ghosts there's got to be ghosts i am being haunted

74. What is your favorite book? ooooh actually i don't know?? i love so many books so picking a fave is so hard omg BUT i will say the 3 books i read in the past year that i absolutely loved were the final girl support group, the lost apothecary, & cemetery boys!!!

77. Ever been in love? yeah but it was like. the codependent toxic high school girl best-friendship where at times the lines between platonic and romantic blurred so much that you didn't even really know what you were feeling until you reflect back on it years after the fact and then decide to write a whole bunch of poetry about that particular friendship to get those feelings out bc u will never feel them otherwise and sometimes u still check her instagram just to see how she's doing and u think about messaging her and u type out exactly what u wanna say in ur notes app and end up deleting it bc it doesn't matter anyways bc she moved on and she never loved you like you loved her and it's been seven years since you were even friends anyways and you don't know who she is anymore and she doesn't know who u are and at the end of the day it's better to just. try to forget about the love u felt for her when u were sixteen bc ur about to turn 24 and so is she. and the love isn't even really there anymore well it is but it changed shape it's a bittersweet nostalgic kind of love not that all-consuming kind of love u felt back then. but u still feel it and it still hurts and u dont know if it will ever stop

i went a little off the rails with that last one sorry but thank u <3

ask game

[mi4017nimnakaperies]

First Essay Draft of Black Swan Essay

Black Swan (2010) is a psychological drama film directed by Darren Aronofsky that follows the psychological struggles of Nina, an aspiring ballerina. The final ten minutes of the film deliver a visually and emotionally intense finale as the protagonist performs the lead in a play while descending into complete psychological disintegration. The cinematography plays a central role in conveying Nina’s transformation and psychotic state, utilizing a combination of handheld camera movements, lighting, color, and visual effects to blur the lines between reality and hallucination and depict her ultimate transcendence through destruction.

Camera Work and Movement

Throughout Black Swan, Aronofsky frequently employs handheld cameras and close tracking shots to place the viewer in Nina’s headspace. In the final performance sequence, this approach intensifies. As Nina prepares to take the stage for her transformation into the Black Swan, the camera tracks her from behind, mimicking the feel of a documentary-style or first-person point of view. This tracking shot is pivotal—it not only sustains continuity but also creates a sense of immediacy and immersion, forcing viewers to experience her mounting anxiety in real time.

Once Nina begins her Black Swan performance, the camera shifts to more fluid and elegant movements. The earlier jittery handheld motions give way to sweeping dolly and crane shots that mirror the grace of her dancing. However, this elegance is unsettlingly juxtaposed with sudden subjective insert shots—close-ups of Nina’s face and her hallucinated physical transformation. As her arms morph into feathers and her eyes turn red, the camera becomes almost complicit in her delusion, suggesting that the transformation is not just imagined but viscerally real within her mind.

This interplay between smooth motion and abrupt subjective inserts heightens the viewer's disorientation, inviting a deeper identification with Nina while signaling her psychological fracture. The cinematography thus operates as a visual language for madness, charting her descent from control to chaos.

Lighting and Color Palette

Lighting and color are equally vital in constructing the film’s final emotional arc. The mise-en-scène during the performance is starkly contrasted: the white light of the stage versus the shadowy darkness of the backstage and Nina’s imagination. When Nina dances as the White Swan, the lighting is soft and high key, with a white and pale blue color palette that signifies vulnerability and fragility. As she transitions into the Black Swan, the stage becomes darker, bathed in crimson and black hues that evoke intensity, sexuality, and power.

The use of chiaroscuro—strong contrasts between light and dark—reflects Nina’s internal duality. This is especially evident in the dressing room confrontation with her hallucinated doppelgänger, Lily (Mila Kunis). The lighting is harsh and directional, casting deep shadows across Nina’s face and emphasizing the fractured sense of self. This stylistic choice recalls the aesthetic of German Expressionism, where distorted lighting and shadows serve to manifest psychological unease.

The climax of the performance—the Black Swan’s solo—is drenched in deep blacks and lit by a spotlight that isolates Nina on stage. As she spins and metaphorically “becomes” the swan, the camera captures her in tight, low-angle shots surrounded by darkness, creating an almost mythic transformation. The feathers on her back, enhanced through CGI, catch the stage light subtly, further enhancing the illusion that her metamorphosis is complete. The lighting here serves not merely aesthetic function, but a psychological one—it externalizes her feeling of transcendence and her perceived perfection.

Mirrors and Fragmentation

Mirrors are a recurring motif throughout Black Swan and are used heavily in the final sequence to represent Nina’s fractured identity. In the climactic confrontation where she believes she kills Lily (a hallucinated version of herself), the scene unfolds in a dressing room filled with mirrors, each reflecting slightly different angles of Nina. The breaking of the mirror signifies the rupture of her personality, and the camera lingers on the broken shards, reflecting fragmented images of Nina’s face—a visual metaphor for her psychological shattering.

Later, during her final moments on stage as the White Swan, Nina jumps off the set’s precipice in a choreographed suicide. The audience sees her fall as an act of sacrifice, but Aronofsky cuts to a medium close-up of Nina lying backstage, bleeding from a wound she inflicted on herself. The film's final shot lingers on her face as she whispers “I was perfect,” fading to white. This fade is crucial—the film typically fades to black, but here, the whiteout suggests transcendence, martyrdom, or death.

Throughout these moments, cinematography does not act as a passive observer but becomes an active participant in Nina’s delusions. aligning with Nina’s deteriorating grasp on reality.

The final ten minutes of Black Swan are a tour de force of cinematographic storytelling. Matthew Libatique’s camera work, in tandem with Aronofsky’s direction, dissolves the barrier between the viewer and Nina’s psyche, transforming the screen into a mirror of her fractured mind. The interplay of movement, lighting, color, and symbolic visuals—particularly mirrors—constructs a subjective reality where fantasy and delusion are indistinguishable. In doing so, the cinematography elevates the narrative beyond psychological drama into a tragic ballet of perfection, obsession, and self-destruction. The result is a haunting visual requiem that captures both the ecstasy and horror of artistic transcendence.

This was mostly chatgpt's work ;-;

I struggled with trying to write a winding essay based on my points because I wasn't sure of how I was structuring my sentences, paragraphs and sentences in general. So I got this out to get an idea of how it should look. It's alright, but the tutors mentioned not to go into other topics like the concept of how they use mirrors in the movie, as it deviates from the main point. This is something I kept in mind while writing my final essay, which I ensured only talks about camera work, lighting and color.

[minghs]

      #8docu, part 1.

1   does your muse give good advice? on what subjects? the reality is he's nearly as unexperienced as the next person; he thinks of his actual experiences and sips tea, contemplates on how to cater it to a specific person (whether it'd be beneficial), and then offers the advice, if asked. so, to volley back to the question— does he give good advice? and on what subjects?

he gives incredible advice— pulling from worldly ideals, his own morals, and expanding his mind to offer a whole lecture on what someone should do and what someone could do and what someone doesn't have to do. he'll give all sorts of options, will pay attention to the person themselves, and try to give them different paths but also he has a tendency to seep his own views, his own morals, into the conversation. what's right— to him? and what's wrong— to him? sometimes he can toe the line, blur it even, but it's never with any ill intent.

when it comes to subjects, anything goes with him; his favorite subject to give advice on is particularly romance problems. he loves love and loves to help others when things go wrong in cupid's country.

2   what bores your muse? what are they like when bored? it's hard to pinpoint what exactly bores him since he likes everything he comes across (at least once); yet, it's truly just the thing that loses it's spark that bores him. either that, or historical movies that have zero plot and zero action to keep him awake. he's a strange creature, truly— he doesn't mind nature, historical, and murder documentaries but they need to move him and it needs to keep his brain active.

when he's bored, it's obvious, as mentioned. he zones out quicker, his eyes go unfocused, and his fingers will flex just minutely— he'll either tap them against one another or he'll drum them against whatever he's leaning against/sitting on. a otherworldly sort of softness will spread on his face, something similar to a dreamy state of mind, and he'll seem not entirely there and yet entirely there. he'll listen to you and yet not be able to comprehend things.

when he's bored, his languages tend to get mixed up because of how he zones— someone may be talking to him in korean but he'll be briefly confused because he's thinking in chinese. he may even slip in an accent when he responds, the slow blink and twitch of his lips evident of his boredom.

3   what colors does your muse like to wear? he prefers to wear colors that suit his mood, truthfully— it also depends on what suits him best that morning or night. he's extremely meticulous on his outfitting— so much so to the point of not really allowing the stylists to have the final say on what he should be wearing. if anything, he'll always alter his outfits to what he wants to convey or how he wants to look— whether it be by literally cutting a jersey tee in half or adding a multitude of accessories to his fingers, hair, neck.

though, generally, he really likes monochromatic colors to wear. the diva inside of him believes that monochromatic colors can go with anything, honestly, and that he can pair any bold shoe with a black shirt or a bold bandana with a white shirt and he'll still be able to rock it. after all, he is who he is and the confidence with which that drives him skyrockets on a daily basis.

4  does your muse drive? how are they behind the wheel? when they need to drive their own cars to camping grounds or to a resort where they'll be resting, the members will try to override his desire to drive. it's a bit offensive to him, he feels, but he understands why they do so.

after all, although he drives and he drives well, he also drives like he's in F1 or as if he's casted in fast and furious. without much regard to speed limit signs or speed bumps, he typically puts his foot down on the gas pedal and careens through the nightlife of south korea— windows down, hood retracted, and wind pushing roughly through his hair just to feel a bit of risk.

he gets it though, when his members try to get their hands on the wheel instead of him; maybe he should invest in getting a motorcycle instead.

             lumonresources.

[theworldthroughart]

Ai Weiwei: Changing the World Through Art

Artists always have a drive. Whether it be sharing their experiences, provoking social change, or solely pleasing the human gaze, artists always have a reason for why they create art. Introduced to me several times throughout my secondary education was 67-year-old artist, Ai Weiwei (pronounced Eye-Way-Way), a Chinese contemporary artist with a passion for uncovering the mystique of Chinese censorship. Ai Weiwei is not only an artist in the traditional sense, but he also shares his voice through his degree in film as a documentarian and as a political activist. 

For background, Ai Weiwei grew up under oppressively harsh conditions in northwest China due to the circumstance of his father’s exile during the Anti-Rightist Movement in the Cultural Revolution. Speaking out through his documentaries and his art, Ai Weiwei aimed to criticise the Chinese government for their stance on democracy and human rights. As a result, Ai Weiwei was exiled in 2015 and the Chinese government confiscated his passport to ensure he never legally returned. Despite exile, he remains creating art at his studio in Portugal, continuing to be an activist against the Chinese Communist Party through his highly controversial art piece. Following, is my opinion of Ai Weiwei’s most popular pieces from the perspective of an artist.

“Dropping a Han Dynasty Urn” - Smashing Chinese Culture

In 1995, as a major rebellion against traditional Chinese cultural norms, Ai Weiwei documented himself dropping a valuable ancient urn from the Han Dynasty. In my opinion, this is easily one of the most drastic and direct things Ai Weiwei has done. His face being depicted with such nonchalance and his hand remaining spread wide apart to show that he intentionally dropped this valuable piece of Chinese culture is an ultimate show of power. I see this piece as Ai Weiwei giving a massive middle finger towards the Chinese government, telling them that he doesn’t care about a culture that they built and have maintained as oppressive and egregiously censored. This piece is also a direct representation of Ai Weiwei telling the government that they can try, but despite all odds stacked against him, China will never be able to censor him from the world. As a whole, this artistic rebellion is something so drastic and straightforward that it cannot be ignored.

“Colored Vases” - Contemporary Isn’t Negative

In 2006, Ai Weiwei collected a plethora of antique Chinese vases, and to prove that contemporary thinking wasn’t bad, he dunked these vases in vibrantly colored paints. Not only is this his way of destroying an emblem of Chinese historic culture, but it also is his way of sending a very simple, yet powerful message: it’s time to blur the lines between modernity and tradition. It’s fascinating how Ai Weiwei not only felt comfortable, but fearless enough to repel the ideas that China is built on and turn historical artifacts into something that many people in China would be repulsed by. He has single-handedly destroyed a piece of his culture's history to prove that the modern world and contemporary thought is taking over the world and maybe it’s time for China to follow that trail alongside other world leaders. This piece is even more powerful as you can still see parts of these vases between the splashes of raging colors, putting an emphasis on the idea that history is always going to exist even as modernization takes hold. Overall, this collection of vividly transformed vases pays tribute to China’s culture while simultaneously showing how change can make something so much brighter and “electric.”

“Snake Ceiling” - From Activism to Remembrance

Following the 2008 Sichuan earthquake, Ai Weiwei chose to briefly shift from his traditional artistic activism to artistic remembrance. The Sichuan earthquake was responsible for taking the lives of roughly 69,000 people, many of those people being schoolchildren. As a tribute, Ai Weiwei took several hundreds of backpacks, securing them together and suspending them from the ceiling in the form of a larger-than-life snake. This is such a powerful piece because not only does it contain backpacks alluding to the hundreds of children who have been killed due to the Sichuan earthquake, but the size of this sculpture is something just as powerful. I’m sure that the simple act of standing under this ceiling would give one chills as seeing the sheer amount of space that this snake takes up gives an impactful reference to the size of these children’s memory. Another thing to note about this piece is the meaning behind the snake. Snakes have notoriously been symbolic of resilience and remembrance, so Ai Weiwei’s choice to build this memorial tribute is filled with heart-wrenching symbolism. This piece as a whole and especially as a concept is a beautiful way to foster hope and emotion after such an earth-altering tragedy.

These are not the only artistic expressions that have come from the hands and heart of artist Ai Weiwei. After being introduced to his art in my 9th-grade class, “World History after 1945,” and again throughout every art and history class I’ve taken since, he has prevailed as one of my favorite artists. Not only through his art itself, but through the intention behind his art. He has given up everything from his childhood and his home country of China to be able to speak out against the things he doesn’t agree with. Ai Weiwei is the definition of an activist. He is the embodiment of fearlessness. And above all, Ai Weiwei is the epitome of courage and bravery. Ai Weiwei is my inspiration.

[g-dvalle]

LAST DAYS OF AUGUST from FOUR THIRTY-THREE PICTURES on Vimeo.

“A meditation on those forgotten by modern globalization, this film doesn't simply capture what's on screen, but also what isn't. Each shot in this portrait of a changing Nebraskan towns is constructed with precision and wonder, tapping into the true power of film as a visual medium."Grand Jury Honorable Mention for Best Short Film, Dallas International Film Festival, 2022.

Best Short of the Fest, Sun Valley Film Festival, 2022 Cinema Eye Honors 2023 Short Docs Nomination Academy-Award Qualified

Synopsis: Using the photo book aesthetic, the film explores some nearly abandoned prairie towns of Nebraska. It meditates on the blurred lines between still photography and cinema, offering a compassionate and poignant portrait of American towns drained of dreams and left for dead by our internet-commerce epoch.

Directors Rodrigo Ojeda-Beck and Robert Machoian Screenwriters Robert Machoian and Rodrigo Ojeda-Beck Producers Laura Heberton, Rodrigo Ojeda-Beck and Robert Machoian Cinematographer Robert Machoian Editor Rodrigo Ojeda-Beck Sound Design Rodrigo Ojeda-Beck Sound Mixer Dave Barber Color J. Cody Baker

Cast John Lundgren (self) Jim O’Brien (self) Tammy Vanderberg (self) Chuck Villabeal (self) Ezra Graham (self) Jonah Graham (self)

Directors’ Bios:

Robert Machoian has been taking photographs his whole life and making films for over a decade. In his career, he and his frequent collaborator, Rodrigo Ojeda-Beck, has had his films premiere at the Sundance, SXSW, LA and Tribeca Festivals. His feature The Killing of Two Lovers premiered at Sundance and was released by NEON (2021). The universally critically-acclaimed film stars Clayne Crawford and features sound design by Peter Albrechtsen.

Rodrigo Ojeda-Beck is an award-winning filmmaker, who’s work spans across the narrative and documentary spectrum. His films have screened at Sundance, SXSW, Tribeca, Locarno and CPH:DOX. He currently teaches film at California State University Monterey Bay. Most recently he co-directed The Field Trip, which premiered at Sundance 2021 and was picked up as a NYTimes Op-Doc.

Instagram: @robertmachoian; @lastdaysofaugustdoc; @laura.heberton

Festivals:

Big Sky Documentary Film Festival 2022 True/False Film Festival 2022 Oxford Film Festival 2022 Docuwest Film Festival 2022 Filmfort 2022 Sun Valley Film Festival 2022, Winner Best Short of the Festival Atlanta Film Festival 2022 RiverRun Film Festival 2022 IFFBoston Film Festival 2022 Free State Film Festival 2022 MountainFilm 2022 Palm Springs Shorts Fest 2022 BAMCinemafest 2022 Wyoming International Film Festival 2022 Indy Shorts 2022 Flickers Rhode Island Film Festival 2022 Sidewalk Film Festival 2022 Charlotte Film Festival 2022 Tallahasee Film Festival, 2022 Buffalo Film Festival 2022 Hamptons Film Festival 2022 Dallas International Film Festival, Grand Jury Honorable Mention for Best Short Film Montclair Film Festival 2022 Denver Film Festival 2022 American Film Festival, Poland 2022 Saint Louis Film Festival 2022 Cucalorus Film Festival 2022 New Hampshire Film Festival 2022

[chimetv]

Blurring the Color Line – Stories That Bring Us Together | Chime TV

Join Chime TV to experience powerful stories that highlight cultural unity and resilience, breaking barriers and shaping a more inclusive future for all. Watch Now!

[gabrielgek]

Enhancing More Than Just Videos: Navigating the Quirky Quagmire of Media Evolution with iFoto's AI Enhance Video

Alright, gather 'round, my curious comrades of the cyber world. Today, we're diving into a pool of pixels andPermission to publish and distribute this is granted for personal and non-commercial use only. legal loops, all thanks to the wonders of iFoto's AI Enhance Video. Now, before you scroll away assuming this is a tech manual, hold up! We're in this together for a wild ride through the legal labyrinth, with a touch of humor and heaps of fun.

Imagine this: You're watching an old family video, the one where your dad accidentally sets off the sprinkler during your sister's graduation. The video is grainy, the colors are fading faster than your mom's memory of what she wore that day. You want to improve it, make it pop, bring back the joy in high definition. Enter stage left: iFoto's AI Enhance Video. It's like a digital wizard, turning your pixelated memories into 4K magic without the quality going MIA.

But hold your horses, sparky! It's not all about the warm fuzzies and upgraded resolution. There's a whole hornet's nest of legal issues buzzing around this tech wizardry. Let's unravel this ball of yarn, shall we?

First off, consider the source. We're not just upscaling videos here; we're potentially delving into the murky waters of copyright and intellectual property rights. What if that video of your dad's epic fail is, in fact, a snippet from a copyrighted movie? Suddenly, your heartwarming family moment is a potential lawsuit just waiting to happen. Fun, right?

Now, iFoto's AI Enhance Video does come with a user-friendly interface, but it doesn't come with a lawyer on retainer. So, while you're busy making your vacation footage look like a high-budget movie, you might want to keep one eye on the legal fine print. After all, no one wants a cease-and-desist letter to be the cherry on top of their enhancement sundae.

But let's not paint this tech in all doom and gloom. AI Enhance Video is opening doors we didn't even know were locked. Old documentaries are getting a facelift, historical footage is clearer than ever, and your cousin's cat videos are now almost as life-like as the feline itself. The world is getting an upgrade, one pixel at a time.

Now, picture this: You've got your low-quality video of a rare event, maybe the Loch Ness Monster finally decides to photobomb your picnic. With iFoto's magic touch, you improve it, blow it up, and suddenly, you've got a clearer image than any of the eyewitness accounts. But here's the kicker—can you prove it's not Photoshopped? Because the moment you share it, you're in the deep end of the authenticity pool, and the sharks are circling.

The beauty of AI Enhance Video is that it's pushing the boundaries of what we thought possible. But it's also forcing a rethink of media regulation and intellectual property rights. We're playing a game where the rules are still being written, and the field is changing faster than you can say "artificial intelligence.

So, while iFoto's AI Enhance Video is busy making your videos look slicker than a seal in a slip 'n slide, remember that it's not just about the visuals. It's about navigating a new terrain where the lines between innovation and legalities are as blurred as your old home movies.

In the end, is it worth it? Absolutely. Because every time you watch that enhanced video of your sister's graduation and see dad's epic sprinkler fail in stunning 4K, you'll know that you're part of a digital revolution. You'll also know to brush up on your copyright laws before you hit that 'improve' button, but hey, that's a small price to pay for progress.

So here's to iFoto's AI Enhance Video, for giving us the gift of better pixels and a whole lot of food for thought. Just remember to enjoy the show with a side of legal awareness. After all, no one wants their family reunion to turn into a court case. Now, who's ready to improve their memories and their legal knowledge? Let's get to it!

[jbojorquez9]

Research Post #2: David Maisel

Background of The Artist

David Maisel was born in New York City in 1961. He is an artist whose work includes photography, painting, and video. His photographs, multi-media projects, and public installations have been exhibited internationally and are included in many public collections, including the Metropolitan Museum of Art, New York; the Los Angeles County Museum of Art; the Victoria & Albert Museum, London, etc. For over thirty years, Maisel has produced aerial photographs of compromised landscapes in a multi-chaptered series titled Black Maps, revealing the physical impact of activities such as mining, logging, urban sprawl, and military testing.

Education

Princeton University (BA)

California College of the Arts (MFA)

Studied at Havard University Graduate School of Design

Photographic Style

Maisel's style has 4 major consistencies: Aerial Perspectives, Environmental and Geographical Themes, Abstracted Landscapes, and Use of Color and Contrast. Aerial Perspectives is to capture expansive landscapes from above. This viewpoint allows him to convey a sense of vastness and scale, often revealing the patterns and structures that emerge from both natural and man-made environments. Environmental and Geographical Themes in his work often address themes of environmental degradation, human impact on the earth, and the transformation of the natural world. Abstracted Landscapes are shown often by blurring the distinction between representation and abstraction, where shapes, lines, and colors create compositions that may resemble abstract paintings rather than traditional landscape photography. Color and Contrast in his work by using vibrant hues, and contrast of light and dark create a sense of mystery

Tailings Pond 14, Vicinity of Pedro de Valdivia, Atacama, Chile, 2018 Archival Pigment Print | 48 by 48 inches, edition of 6 + 2AP | 29 by 29 inches, edition of 6 + 2AP

Desolation Desert, David Maisel brings his focus to the massive mining operations in the vast territory of Chile’s Atacama Desert. Maisel’s aerial images of these sites are abstract, graphic, and painterly offering viewers detailed, open-ended information that operates on a metaphorical level as much as a documentary one.

Awards

Some of the Awards received by David Maisel include the following:

2018 Recipient of Fellowships from the Guggenheim Foundation

recipient of Fellowships from the Guggenheim Foundation

2011 Investing in Artists Grant from the Center for Cultural Innovation

2008 Artist in Residence at the Headlands Center for the Arts; a 2007 Scholar in Residence at the Getty Research Institute

1990 Individual Artists Grant from the National Endowment for the Arts

1984 Francis LeMoyne Page Award in the Visual Arts from Princeton University

References:

[dhruvanand07]

Film Review: Night and Fog (1956)

Alain Resnais’s Night and Fog (Nuit et Brouillard) is a visceral and haunting documentary that delves into the horrors of the Holocaust, confronting viewers with the stark realities of human cruelty. Though only 32 minutes long, it is one of the most powerful and essential films ever made, unflinchingly exposing the atrocities of Nazi concentration camps while forcing audiences to reflect on memory, complicity, and the fragility of humanity.

Narrative and Structure

The film juxtaposes tranquil, contemporary (1955) images of abandoned concentration camps with harrowing archival footage and photographs from the Holocaust. This deliberate contrast between the serene present and the nightmarish past underscores the lasting scars of these atrocities and the deceptive peace that lingers over the sites of such immense suffering.

Narrated by Michel Bouquet, with a script by poet and Holocaust survivor Jean Cayrol, the documentary navigates the systematic machinery of death orchestrated by the Nazis. It begins with the camps’ construction, moves through the horrifying reality of their operation, and ends with a solemn warning about humanity’s potential to repeat such crimes if vigilance falters.

Themes

At its core, Night and Fog is a meditation on collective memory and moral responsibility. Resnais examines not only the actions of the perpetrators but also the roles of bystanders, collaborators, and institutions that enabled the Holocaust. The film compels viewers to confront uncomfortable truths about human complicity and the consequences of indifference.

The title itself, derived from the Nazi euphemism for the disappearance of political prisoners (“Nacht und Nebel”), reflects the film’s preoccupation with erasure—of lives, histories, and even accountability. It asks, pointedly: who will remember, and how will we prevent history from repeating itself?

Visual and Cinematic Style

Resnais employs a stark, visual dichotomy: modern-day color footage of the camps contrasts with black-and-white archival imagery. The decaying barracks, empty fields, and rusting barbed wire in the present evoke a sense of eerie calm, while the historical footage—of emaciated prisoners, mass graves, and piles of discarded belongings—is an unrelenting reminder of the atrocities committed.

This interplay of past and present emphasizes the continuity of memory, or lack thereof. By anchoring the horror in real, tangible locations, Resnais blurs the line between history and the present, making the events feel both immediate and universal.

Sound and Music

The score by Hanns Eisler is haunting and melancholic, amplifying the emotional weight of the visuals without overshadowing them. Michel Bouquet’s restrained narration is deliberate and somber, allowing the images to speak for themselves. This measured approach enhances the documentary’s impact, refusing to exploit the horror but also refusing to let viewers turn away from it.

Legacy

Night and Fog is widely regarded as one of the greatest documentaries ever made, not only for its artistic achievements but also for its enduring relevance. Its influence is evident in countless films and documentaries that grapple with genocide, memory, and human rights. Resnais’s film was among the first to confront the Holocaust on screen, setting a precedent for how cinema could engage with such monumental trauma.

Final Thoughts

Alain Resnais’s Night and Fog is not an easy watch, but it is an essential one. It transcends its role as a documentary to become a profound moral statement, reminding us of the capacity for both unimaginable cruelty and willful forgetfulness. By presenting its narrative with unflinching honesty and artistic precision, the film ensures that the horrors of the past are neither sanitized nor forgotten.

Rating: ★★★★★

Night and Fog is more than a film—it is a testament, a warning, and a call to remember.

[zoearthuruni]

Final Images and Statement:

For this assignment, I knew that I wanted to build off my previous work by using architecture at the forefront of the manipulations. My original plan was to look at feelings of isolation through architecture and landscape, however, after some test manipulations I found that the work was not developing how I wanted it to, and I was not feeling excited about what I was making. This caused a change of plans, where I went back to my previous assignment and found that I liked how certain colours and types of buildings have connotations that when presented together, tell a specific story, or generate certain feelings, therefore, finding myself more drawn to warm lighting, and the emotional nostalgic response I got from it.

I have a deep appreciation for old architecture, and I often find myself imagining what life was like at the time of these buildings’ creation. This inspired me to explore the idea of nostalgia through architecture and landscape. Old photographs often have a sepia tone that people can recognise as being vintage, so I decided to create my own versions of vintage photographs by manipulating my images using a warm sepia/brown colour palette, alongside photographs of old houses and churches.

Within these 3 images, I have explored how specific lighting, combined with landscape and architecture, can generate a nostalgic emotional response. I cut out parts of my own photographs and merged them into 3 separate images that work within a set, exhibiting different perspectives and scenery. While manipulating these images, I thought about Jonas Bendiksen’s The Book of Veles, in which he manipulated fake photographs to trick the photographic community by playing into stereotypes of a drug-ridden European city. This was due to multiple cases of fake news and hacking coming out of Russia, causing him to fear that it would not be long until documentary photography could no longer be based in reality, but instead, fantasy from powerful digital tools. This interested me as I realised in some way, this is what I was doing. I was creating imaginary compositions and trying to make them look as though they were from hundreds of years ago.

These manipulations are intended to be seen in a book but if they were to be seen without context, would viewers believe that they were actually REAL vintage photographs? This made me work hard to try and get my photographs to feel as nostalgic and old, through the sepia tones and subject matter, as possible. To help myself achieve this, I researched other photographers who had taken and edited their photos to be sepia-toned or to showcase warm lighting such as Rick Keller, Daniel X. O’Neil, and Peter Fodor.

The ideas presented in Bendiksen’s Book of Veles were instrumental to my overall direction with my idea of nostalgia. My 3 image manipulations use vintage stereotypes and cliches of sepia tones, combined with photographs of old churches and houses, for the purpose of presenting them in a book as if they were real photographs. This reminded me of the important ethics surrounding photography and manipulation as the lines between what’s real and what’s fake slowly start to blur. I believe this project was beneficial to me through how creating my own manipulations taught me to always consider what is real and what is fake.

REFERENCES:

Miller, Jessica. Fake News: how Jonas Bendiksen hoodwinked the photographic community with The Book of Veles. 14 February 2022. https://amateurphotographer.com/book_reviews/fake-news-how-jonas-bendiksen-hoodwinked-the-photographic-community-with-the-book-of-veles/.

Sante, Luc. Colors/Sepia: Picturing Nostalgia. 2004. https://www.cabinetmagazine.org/issues/14/sante.php#:~:text=Viewed%20in%20this%20light%2C%20sepia,had%20become%20objects%20of%20nostalgia.

[daniellemunfordardn632]

In response to the second part:

In the second part of Catlin Langford’s essay, "A Brief History of Photography and Truth," the focus shifts to how photography's blurred line between truth and lie has evolved from the late 19th to the mid-20th century. The release of the Kodak No. 1 camera in 1888, as well as the Kodak Brownie in 1900, made photography a lot more accessible to the public. This enabled broader use, such as children, which lead into things like the Cottingley fairies photos of 1917. These photos were initially believed to be genuine ,but later these fairy images were found to be fakes, which exposed the idea that photography can be manipulated, even before digital technologies.

Another point that was mentioned was the idea that snapshot photography is seen as authentic but they are actually carefully curated and edited, which Patricia Holland terms "deceptive innocence." This mirrors contemporary practices on social media like Instagram, where editing and manipulating changes the reality.

Color photography was introduced commercially with the Lumière Autochrome in 1907 and was considered a break through in realism, and over time, black and white photos sparked debate about historical truth vs enhanced realism.

It is reiterated that even in documentary photography which is often considered a truthful representation of reality, also involves manipulation. For example, Dorothea Lange’s "Migrant Mother" was edited to add to its impact, and that raises questions about the balance between truth and message.

It is also mentioned that in political photography there is some manipulation to add to the propaganda and to fit the narrative.

Overall it concludes by emphasizing that photography's idea of truth is complex, and is influenced by our interpretations. The release of Adobe Photoshop in 1990 had a huge effect on photo manipulation, making it easier and challenging the long history that photography is truthful.

After reading this essay and taking in the points that were emphasized, it made me compare to my own experiences with manipulation which is more common than i realise. I see it everyday when im on social media on celebrities pages and they edit them to look better.

[hrraja]

What Are the Latest Trends in Photography Services?

Photography is an ever-evolving art form, continuously influenced by technological advancements, cultural shifts, and creative innovations. For both professional photographers and enthusiasts, staying updated with the latest trends is essential to keep their work fresh and engaging. Here’s a look at the latest trends in photography services that are shaping the industry:

1. Drone Photography

Drone photography has soared in popularity, offering stunning aerial perspectives that were once impossible to capture without a helicopter. Drones provide unique vantage points for landscapes, real estate, weddings, and events. Their ability to capture high-quality images and videos from the sky adds a dynamic and dramatic element to any photography project.

2. Documentary-Style Wedding Photography

Couples are increasingly opting for documentary-style wedding photography, which focuses on candid, unposed moments rather than traditional, posed shots. This approach captures the genuine emotions and interactions throughout the day, creating a more authentic and personal wedding album that tells the true story of the event.

3. Minimalist Aesthetic

The minimalist aesthetic has gained traction, characterized by clean lines, simple compositions, and a focus on negative space. This trend emphasizes the beauty of simplicity, often highlighting a single subject or a sparse setting. It’s popular in various genres, including fashion, product, and lifestyle photography.

4. Bold Colors and High Contrast

While minimalism is on the rise, the opposite trend of using bold colors and high contrast is also making waves. Vibrant, saturated colors and striking contrasts create eye-catching images that stand out on social media and in marketing campaigns. This trend is particularly popular in commercial and editorial photography.

5. Fine Art Photography

Fine art photography blurs the line between photography and art, with photographers creating images that are meant to be appreciated for their artistic value. This trend involves a high degree of creativity and often incorporates unique concepts, meticulous planning, and post-processing techniques to achieve a distinctive, gallery-worthy look.

6. Environmental Portraits

Environmental portraits are gaining popularity, where subjects are photographed in their natural surroundings rather than in a studio. This approach provides context to the images, making them more relatable and telling a richer story about the subject’s life, work, or interests.

7. Mobile Photography

With the continuous improvement of smartphone cameras, mobile photography has become a legitimate and powerful trend. High-resolution sensors, advanced camera features, and mobile editing apps allow photographers to capture and edit professional-quality images on the go. This trend has democratized photography, making it accessible to a broader audience.

8. Virtual and Augmented Reality

Virtual reality (VR) and augmented reality (AR) are pushing the boundaries of traditional photography. VR allows viewers to immerse themselves in a 360-degree photographic experience, while AR can overlay digital elements onto real-world scenes. These technologies are being used in real estate, tourism, and advertising to create interactive and engaging visual content.

9. Sustainable and Ethical Photography

There is a growing emphasis on sustainability and ethical practices in photography. Photographers are becoming more conscious of their environmental impact and are adopting eco-friendly practices, such as using sustainable materials for prints and albums, reducing waste, and supporting ethical brands. Additionally, there is a focus on promoting diversity and inclusivity in photography, ensuring that all subjects are represented fairly and respectfully.

10. Personal Branding Photography

With the rise of social media and the gig economy, personal branding photography has become essential for entrepreneurs, influencers, and professionals. This trend involves creating a cohesive visual identity through professional photos that reflect an individual’s personality, values, and brand. These images are used across websites, social media, and marketing materials to build a strong personal brand.

Where Can I Find Photography Workshops in Dubai?

Dubai, a city known for its breathtaking skyline, vibrant culture, and diverse landscapes, is a paradise for photographers. Whether you are a beginner looking to learn the basics or a professional seeking to refine your skills, Dubai offers a plethora of photography workshops to suit your needs. Here’s a guide to finding photography workshops in this dynamic city:

1. Photography Institutes and Schools

Dubai is home to several reputable photography institutes and schools that offer a range of workshops and courses:

Gulf Photo Plus (GPP): One of the most renowned photography organizations in the region, GPP offers workshops for all skill levels. Their courses cover various genres, including portrait, street, landscape, and studio photography. GPP also hosts the annual Gulf Photo Plus Week, featuring workshops and talks by world-renowned photographers.

The Photography Institute: This institute provides comprehensive online photography courses with mentorship from professional photographers. It’s an excellent option if you prefer flexible, self-paced learning.

Dubai International Art Centre (DIAC): DIAC offers photography classes and workshops in various styles and techniques, taught by experienced instructors. The center provides a creative environment for learning and networking with other photography enthusiasts.

2. Local Photography Studios

Many professional photography studios in Dubai offer workshops and training sessions:

Shutter Bugs Creative Studio: This studio offers workshops that cover various aspects of photography, from basic camera handling to advanced lighting techniques. They also provide one-on-one coaching for personalized learning.

Barefoot Dubai: Known for family and lifestyle photography, Barefoot Dubai occasionally offers workshops focusing on capturing natural, candid moments. These workshops are perfect for those interested in family or portrait photography.

3. Photography Clubs and Communities

Joining a photography club or community can provide access to workshops and networking opportunities:

Dubai Photographers: This community organizes regular meetups, photo walks, and workshops. It’s a great way to connect with fellow photographers, share knowledge, and participate in group learning experiences.

Photowalk Dubai: This group organizes photowalks and workshops around the city, offering hands-on learning in real-world settings. Participants can explore different parts of Dubai while honing their photography skills.

4. Art and Cultural Centers

Dubai’s art and cultural centers often host photography workshops and events:

Tashkeel: An art and design center that offers workshops in various creative disciplines, including photography. Tashkeel provides a platform for both emerging and established photographers to learn and experiment.

Alserkal Avenue: A cultural district in Dubai that frequently hosts photography exhibitions, talks, and workshops. It’s a hub for creative minds and a great place to stay updated on upcoming photography events.

5. Online Platforms and Marketplaces

Several online platforms and marketplaces list photography workshops available in Dubai:

Eventbrite: This event platform lists various photography workshops and classes happening in Dubai. You can search by date, location, and type of workshop to find one that suits your schedule and interests.

Meetup: Similar to Eventbrite, Meetup allows you to find and join local photography groups and attend their workshops and events. It’s an excellent way to meet like-minded individuals and learn new skills.

Skillshare and Udemy: These online learning platforms offer numerous photography courses and tutorials that you can take at your own pace. Some courses are led by Dubai-based photographers who also offer in-person workshops.

When is the Best Time to Book Dubai Photography Services?

Dubai, with its stunning skyline, beautiful deserts, and pristine beaches, is a dream destination for photographers and those looking to capture unforgettable moments. Whether you’re planning a wedding, a corporate event, or a personal photo shoot, timing your booking can significantly impact the quality and cost of the photography services you receive. Here’s a guide to help you determine the best time to book photography services in Dubai:

1. Consider the Weather

Dubai's climate plays a crucial role in photography, as it can affect lighting, comfort, and the overall experience of the shoot.

Winter Months (November to March): This is the best time to book photography services in Dubai. The weather is cooler and more pleasant, making outdoor shoots comfortable. The natural light during these months is also softer, providing ideal conditions for photography. Additionally, popular tourist spots and outdoor locations are more accessible without the intense heat.

Summer Months (June to August): The scorching heat can make outdoor photography challenging. If you need to book during these months, consider early morning or late afternoon sessions to avoid the midday sun. Indoor venues with air conditioning are preferable for shoots during this period.

2. Peak Tourist Seasons

Dubai experiences peak tourist seasons during the cooler months, especially around the holiday season in December and January. During these times, demand for photography services can be high, leading to higher prices and limited availability.

Book in Advance: If your event or shoot falls during peak tourist season, it’s wise to book your photography services well in advance, ideally 6 to 12 months ahead. This ensures you secure your preferred photographer and avoid last-minute price surges.

3. Special Events and Festivals

Dubai hosts numerous events and festivals throughout the year, such as the Dubai Shopping Festival, Dubai International Film Festival, and New Year's Eve celebrations. These events attract a lot of visitors and can lead to increased demand for photography services.

Avoid Major Events: If possible, avoid scheduling your shoot or event during major festivals and events unless you plan to incorporate these celebrations into your photography. This can help you avoid higher costs and ensure better availability of photographers.

4. Weekdays vs. Weekends

In Dubai, weekends (Friday and Saturday) are typically busier for photographers due to weddings, corporate events, and social gatherings.

Opt for Weekdays: If you have flexibility, consider booking your photography session on a weekday. Photographers are often more available, and you might even benefit from lower rates compared to the weekend prices.

5. Golden Hour

For those seeking the best natural light for their photos, the golden hour—shortly after sunrise and before sunset—provides the most flattering light.

Plan for Golden Hour: Discuss with your photographer the best times for your shoot to take advantage of the golden hour. Booking your session around these times can result in breathtaking images with soft, warm lighting.

6. Advance Booking for Major Events

If you’re planning a significant event like a wedding or a large corporate function, booking your photographer well in advance is crucial.

6 to 12 Months Ahead: For major events, aim to book your photographer 6 to 12 months in advance. This gives you ample time to plan the shoot, discuss details with the photographer, and ensure that all your requirements are met.

7. Promotional Offers and Discounts

Photographers sometimes offer promotional deals and discounts during off-peak seasons or when launching new services.

Keep an Eye on Promotions: Follow photographers on social media, subscribe to their newsletters, or check their websites for any special offers. Booking during these promotional periods can provide excellent value for money.

Dubai Photography Services is a leading photography company in Dubai, specializing in capturing stunning and timeless images for weddings, events, family portraits, commercial projects, and personal branding. Our team of experienced photographers uses the latest equipment and creative techniques to deliver high-quality photos that tell your unique story. With a commitment to excellence and customer satisfaction, we offer customized packages to meet your specific needs and budget. Choose Dubai Photography Services for professional and personalized photography solutions that make your moments unforgettable.