Mastering The Cinematic Image with MFA Student Gregory Beams

Text and images by Gregory Beams.

Narrative Photographs

Narrative photographs are those that invoke a story for the viewer. Unlike books or movies, a photograph doesn’t convey the entire story, but rather, it invites the viewer to develop a story based on the scene and content presented within the photograph. Viewers bring their life experiences, including the books, movies, television, etc., they have read or seen, into their relationship with the photograph.

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Movies & the Photograph

When people go to movies, they willingly set aside the reality of the world in which they live and enter a cinematic reality. This new reality is unique to each movie and defined by the story being presented on the screen. Movie goers don’t judge that cinematic world based on their life experience, but rather, they judge it for consistency within itself and what it portends to represent. Viewers develop a highly sophisticated understanding of the visual cues used by cinematographers to convey the story being presented by the movie. Attributes such as color, light& tonality, composition, etc., inform the viewer about the scene and its emotional meaning.

Photographers can access that narrative power by adopting a more cinematic aesthetic. This allows viewers to see cinematic photographs as frames from within a larger story. Viewers are then willing to look for the narrative being presented and willingly search for visual clues to understand what is happening within the image.

Whereas movies are presented on a timeline established by the movie itself and so viewers can’t stop to inspect scenes and content more closely, photographs are meant to be explored on a timeline established by the viewer. This allows viewers to examine a scene and consider the meaning of the characters and other content within the photograph. As a natural part of viewing a narrative photograph, viewers will consider what happened to the characters and content before the scene was frozen into the photograph and what will happen next. This becomes a key part of how the story is developed by the viewer.

Cinematic Images

Photographers can use the movie-goers’ visual sophistication in creating their narrative photographs by developing a more cinematic aesthetic. When viewers see a cinematic photograph, they inherently understand that there is a story for them to find and they willingly participate in developing that narrative.

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In using a cinematic aesthetic, photographers provide visual cues that cause viewers to see the photograph as being from a larger narrative. The three main cues include composition, light and color.

Composition: Cinematographers use certain compositions such as close-ups, medium and long shots and variations of these compositions in order to provide context for viewers.  Wide shots set the scene and inform viewers about the setting within which the characters are portrayed. Medium shots portray action and activity between a limited number of characters and content. Close-ups involve emotion and intimacy between the viewer and the character.

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Light: Light establishes the visual importance of the characters and content within the scene and it conveys the mood or emotion associated with the scene. Viewers are drawn to brightness and contrast and so those are important attributes for informing the viewer about where to look for the important aspects of the image. The overall lighting and tonality sets the viewer’s emotional expectations about the overall scene and so will impact the type of story they develop. The overall lighting defines whether the scene is one of bright happiness, hope and triumph versus dark mystery, intrigue and despair. If the lighting is inconsistent with the intended emotional mood, then viewers will be visually confused and may misunderstand the photograph’s message or intent.

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Color: Color is critical to creating cinematic photographs because movies use a consistent color palette that viewers are accustomed to. While cinematographers can and do deviate from these colors, these are artistic exceptions. Cyan, blues and greens are most often used for dark scenes with characters given a slight orange hue. Daylight scenes bring more color variety but are oftentimes given a bluer tone for dramatic movies and an orange or yellower tone for more romantic movies. Photographs that have a dominant hue across an entire image are also seen as cinematic and can create tension and drama.

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Bringing consistency across all of the photographic attributers so that the composition, lighting and coloring work together to inform viewers about the emotion of a scene is important in their ability to understand what they are seeing and to engage them in developing a story about the photograph.

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Cinematic photography lets photographers use the visual sophistication that viewers have developed through their movie-going experience to invoke a narrative within their photographs. Viewers see the image as a scene from a larger story and they willingly create a narrative not only of what they believe is happening within the photograph, but what has happened leading up to the photograph and what will happen next.

Only My Two Cents,

Gregory Beams

Editor's Note: Gregory Beams' work will be on display at AAU's 625 Sutter Gallery during the month of October.

Photos Not to Take

by AAU MFA Student Katie del Vecchio

Are we photographing too much? Technology has made it very simple to record every moment of our lives, the good, the bad and the ugly. This statement may sound a bit contradictory, since I was a photography student in Italy for eight weeks. Sometimes I was a tourist, and sometimes I was a photographer. There is certainly a gray area between the two. Walking around Florence any day of the week is like playing a game of Frogger, trying to avoid tour groups and being hit by cameras and large umbrellas being used to block out the sun. There is nothing wrong with taking “touristy photos,” but at what point do you put the camera down and just enjoy the moment? You want to take a photo because something drew you in, you might figure out what that something is before you click your shutter.

On the other side of this subject is photographing the ugly and terrifying moments that seem to be happening every other week somewhere in the world. What comes to mind most recently is the Attack in Nice, France. The media overloaded us with footage, and I can’t help wonder how appropriate it is to be filming and photographing instead of helping. I was visiting a friend this past weekend in Nice, and as we walked through the memorial, teddy bears lined the walkway with handwritten messages to loved ones. I couldn't read the language but the feeling in the air said it all. I felt if I had taken my camera out, I would have been disrespecting every life lost. I know there are photographers who can capture a moment with respect, but I felt I would not do it justice. I am sure there are journalists who have put the camera down to help a person in need.

I remember being in 7th grade when the Twin Towers were hit, and I watched the smoke filled television and then looked out the window of my New Jersey home to see thick clouds of black smoke. I don’t know what was worse, watching it on TV or in real life. From that moment I always wondered where the line for depicting tragedy was. It’s extremely sensitive, and it might all come down to respect.

While photographing anywhere, whether you are traveling, watching a concert or simply observing the world as it unfolds, you should photograph with respect for the subject and the people around you. Don’t be that guy at the concert with his phone up the whole time, barely enjoying the live show in front of him. Don’t be that person who sees a cry for help but needs to take a photo first. Take a step back and live in the moment.

MFA Student Russie Sanders Joins GR4CF For Cystic Fibrosis

On August 20, 2016, the Rosie Grace Foundation (RGF, #GR4CF) organized a fashion show at CBS Studios Back Lot to benefit the Cystic Fibrosis Foundation, a non-profit organization dedicated to finding a cure for Cystic Fibrosis (CF). CF is a genetic disease that causes the body to build up mucus in the lungs and pancreas, and there is no cure. The life expectancy for these patients is 37 years.

The fashion show featured designs by 13-year-old RGF founder Grace Rose Bauer and a pop-up exhibition by Art Healing Artists. Russie Sanders is a member of Art Healing Artists, a small organization in southern California that brings people together and allows young artists to share their stories as patients who have embraced the creative process while fighting life-altering disorders.

Says Sanders, "As artists, it is important to remember why we have decided to take this road in life. Within each medium, landscape, portrait, fine art or fashion, there is one thing every successful body of work has in common: educating the audience. And this is what each of these young artists is striving for."

For more information, visit:

Grace Rose Foundation

Cystic Fibrosis Foundation

Art Healing Artists

Portfolio Flash: Sasha SchumacHer, AAU AA Student

Sasha's Schumacher's subjects are present and not present, merged with either their natural or urban environment, often to the point of suggested erosion.

In her composites, Schumacher explores psychology of place; how we come to know it, how we'll leave it behind.

Says Schumacher, We are all of organic matter that eventually goes back inside the earth -- when the blood stops flowing or the water runs out; we begin to disappear into something timeless, unlike our existence.

Goodbye, Summer . . .

School of Photography MFA Graduate Stephen Parsons next to his 2016 Spring Show entry, "Bonneville Salt Flats."

It seems just yesterday we mounted an incredible Spring Show 2016, with the usual impressive caliber of award-winning student work. Photography's industry guests included newcomers Eirik Johnson, Jonathan Blaustein, and Alyssa Coppelman. We were grateful for their insightful reviews of selected student portfolios.

August 11, 2016. Several students from PH493/903 Italy Study Abroad at our culminating exhibition, hosted bySanta Reparata International School of Art, Florence, Italy.

During the summer semester, Academy students from more than five departments -- photography included -- studied drawing, painting, photography, art history and architecture in Florence, Italy. Students outlasted the Tuscan heat and pulled off a stunning final show -- stay tuned for a second exhibition of participating students' work at 688 Sutter Gallery, coming in late November.

Meanwhile, Academy of Art joins the photographic community in saying goodby to Brooks Institute, which announced this month it will shut its doors for good. A number of Brooks students have been granted the opportunity to complete their Brooks degree here at the Academy. Let's make them feel welcome.

As Fall Semester 2016 commences, we'll profile the summer's events in detail with an eye towards the future fun. For all the latest news and insights, subscribe to AAU Lens now.

Sincerely,

Katty Hoover, AAU School of Photography Online Faculty

Common Misconceptions about Networking in Photography

by McKenna Duffy (AAU MFA Student)

You’ve probably heard it before, “You’ve just got to start networking.” It’s a phrase on the tips of every professional’s tongue, but rarely do they ever divulge any further information. What is networking? How do I do that? Don’t you just come across like a sleazy salesman? How do I not come across as a sleazy salesman?

Maybe it’s the paranoid anti-capitalist punk in me, but I can’t help but think that those in “the know” retain information to stifle competition and maintain rank. I’m sure many of you have had similar thoughts. Right? Or am I alone, here? … Bueller?

The truth is, there are a lot of common misconceptions about networking, particularly in the photography industry. I’m here today to tackle a few of them for you, because I like sharing.

1.     “Just show up, shake hands, and hand out business cards.”

That sentence makes you a little nauseous, doesn’t it? Well, you’re not alone, plus it’s just not true. This is the main thing that makes people react with the “sleazy salesman” insecurities. When someone shakes your hand and hands you a business card, how long do you remember their name? What happens to those business cards?

If you replied “five seconds” and “the trash or the bottom of my purse,” you know everyone else’s answer, too.

This may leave you wondering, if I don’t shake hands and hand out business cards, then how do I make a memorable impression? Well…

2. “It’s strictly business, keep your work and personal life separate.”

Most people will sneer in disgust at me putting this on a list of misconceptions, but it’s a huge one. Networking is essentially making friends. Industry friends. If you go to a networking event, there won’t be a ton of employers looking to hire, just wandering around looking for a person of your talents. There will be, instead, a ton of photographers like you, wandering around looking for someone to hire them. They will have their hand sanitizer and business cards readily available on the quick-draw.

The largest way to network and get work is to be a friend. Be willing to meet people, get to know them, and help them out. I mean, these may not be the same people you go get smashed with on NYE (but if you do, no hate!), but if you want someone to remember your name when they or someone they know needs a snazzy pet photographer, you’ve got to be memorable. Sometimes, this means doing some minor work for free, to help a friend out. Perhaps volunteering for a night to help that organization they work for. Maybe doing a quick one-off headshot for this grant they need.

I know it sounds bad, but the most amazing part of this - they will help you out, too. You need a new logo? They can whip one up for free or on the cheap. They’ll volunteer at one of YOUR organizations. You will prove to each other just how good you are at what you do.

Then… the real magic…

Your new industry friend’s boss needs a staff photographer. Your new industry friend? He thinks of you, instantly. Suggests you to his boss, and BAM! You’ve got an interview. Isn’t that fantastic? Well, this is how true networking works… and it’s pretty universal, be it snazzy pet photography, or snagging the eye of a local gallery curator.

Then, last but not least…

3. “For only $99, register to come to our exclusive networking event!”

Please don’t waste your money. Please. Do you remember in number two, when I talked about numerous job-hungry photographers with the hand sanitizer and business cards on the quick-draw? This is where you will find them. And that will mostly be it. There may be one or two employers there, which I’m sure this event promoter will name-drop on the invitations and marketing . . . but not nearly enough for hundreds of freelance photographers.

You won’t be able to make friends here. Remember, that’s what networking is - making industry friends. You’ll only be able to make really large wads of business cards, or maybe a few cents from recycling all the empty bottles of hand sanitizer.

Instead, make your way to events of other industry friends. Some of them will work in theater, for non-profits, have gallery shows, you-name-it, and there will be events. Use these events to make more industry friends. If you don’t have any industry friends yet, go get involved in something! For example, a local magazine was having a release party, so I went. I enjoyed the wine, the spoken word, the imagery, and I made friends. Now, I’m glad to say I’ve been published in that magazine. And the bonus? I didn’t have to spend $99 to get in.

So, when networking, please keep these misconceptions in mind. And remember, the best way to stand out in the crowd is not to be in it.

Portfolio Flash: Ian Gwinn

Influenced by Dutch masters' Vanitas paintings, AAU BFA student Ian Gwinn recently completed Remains.

Says Gwinn:

I am interested in the temporal state and Vanitas art seeks to look and consider that transient state of things and earthly possessions. I am intrigued by the changing temporal state of organic elements in nature and the elements forged by humankind in the pursuit of permanence. While many look for the ideal beauty in the perfected state of nature, I see in the remains an enduring beauty of the cyclical nature of life.

More of Gwinn's work can be viewed here.