Half way through my Masters, I had a life changing injury on my knee which required surgery. Yoga helped me go through the recovery period, both physically and psychologically. This event influenced my masters greatly, leading me to turn into yoga and photography for the final piece. The topic had always evolved around women and strength and the social status of women in sports.
The following question is verticals versus horizontals. Which pose embraces the architectural characteristics while showing contrast but symmetry.
In the first two visuals, we can observe the difference of mood/setting between a horizontal and a vertical replica of the architecture. The columns hold a harsh straight and a straight body would enhance that harshness which is not what I am trying to portray. The second option of a horizontal pose assists the columns while showing contrast in setting.
In the third and the fourth visuals, one yoga pose attempts to follow the V of the bridge while the second yoga pose mirrors it. Are we representing replication or harmony? Can contrast and harmony subsist? After more research, I came to the conclusion that harmony and contrast do coexist which is the true representation of this final piece. We are yoga, yoga is amongst us, it is everywhere because it is inside us. Our surroundings will adapt to our mental and physical state during yoga.
“We could say that meditation doesn’t have a reason or doesn’t have a purpose. In this respect it’s unlike almost all other things we do except perhaps making music and dancing. When we make music we don’t do it in order to reach a certain point, such as the end of the composition. If that were the purpose of music then obviously the fastest players would be the best. Also, when we are dancing we are not aiming to arrive at a particular place on the floor as in a journey. When we dance, the journey itself is the point, as when we play music the playing itself is the point. And exactly the same thing is true in meditation. Meditation is the discovery that the point of life is always arrived at in the immediate moment.” –Alan Watts
When it comes to editing, is less more or is more less! It would depend on the mood or which particular section of the photograph needing focus. It can also set the mood, on the left side the light is more prominent, showing more details of the architecture. However is the focus merely on the architecture and not the yoga pose?
On the right side, the mood has changed, the architecture/environment is perceived as rough, darker, more brutal. The vertical lines are enhanced which give more focus on the contrast between the elegance of yoga and the roughness of the surroundings.
The question I am now asking myself is the following: which edit is more adequate for what I would like to express?
Working on the yoga poses rather than the environment, tried to capture the movement. Realized that the environment is just as important, if not more than the yogawear design of each yoga practice chosen. This realization brought another angle to the final project and I had to organize a new photoshoot where the architecture would replicate the yoga poses and the various yoga practices.
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the ‘light touch’ and the notion of solidarity and honesty very present in this article. Inspiring for the potential final outcome of this project. Simplicity is sometimes more powerful. A representation of the power and beauty of women without the stereotypes. Social input
I have asked pro Skateboarder Stefani Nurding what ” the board sport industry means to her, if it has changed her life and why”. I realized after watching the footage that I formulated the question in a complete wrong way. What I originally meant to ask Stef was what skateboarding meant to her from a personal point of view. She then quotes to me ” It just means fun, friends, exercise and injuries haha” well that’s the response I was looking for. Honest and personal. I realized that if I were to go along with the ‘light touch’ method of interviewing I needed to be very careful in the way I formulated the unique question I am genuinely interested in finding out the response. Keeping it short and concise is more effective to avoid confusion in the person being interviewed.
1. Ask about the person’s actions.
“It depends on the person, but usually I ask them about their specific habits and practices,” says Jeff Goins. “I’m less interested in what they would write in a book and more interested in how they try to apply the ideals they write or speak about.”
Jeff is trying to get under a person’s rhetoric to see the routines they’ve cultivated to be successful. If you can get people to describe their actions rather than their beliefs about themselves, you’ll see a clearer picture of them, one unmarred by slogans.
2. Ask “forward” questions.
“Never ask, ‘What keeps you up at night?’ Ask ‘What’s going to keep you up tonight after this interview?’” says Porter.
“The past, unless your interviewee is relatively unknown, is research-able. Keep in mind that as much as we all may like our laurels, resting on them is never as interesting as diving off them into a new pool. The reminiscence interview is never as cool as it sounds.”
“The ‘What’s the best part of the next thing you’re doing?’ question will engage your subject’s current, forward-looking energy. You get a more excited interviewee, who wants to tell you what she or he is into.”
3. Ask open-ended questions.
Morgan’s goal is to get athletes and coaches talking.
“I try to ask open-ended questions that can’t be answered with a simple ‘yes’ or ‘no,’” he says. “I also ask people to explain to me certain aspects. Such as, ‘describe how this team came together this season.’”
“I also say ‘how’ a lot. For example, ‘How was your first-ever varsity start at quarterback?’”
What a cool idea: to get them talking, just write the word “HOW” in bold letters at the top of your list of questions. Every time you look at it, ask, “How?”
“How do you do that? How do you feel about that? How did it go?”
4. Ask dumb questions.
“Dumb questions are my favorite,” says Marissa Villa. “Today, I asked someone, ‘Um, what does that mean?’ when he used an abbreviation. You can’t be afraid to ask dumb questions.”
If you’re confused, don’t move along to the next question. Ask for clarification, even if you sound stupid. You don’t want to start writing your article and then realize you don’t know what you’re talking about because you were confused during the interview.
“It also strokes people’s egos when you tell them they’re the expert and you want to learn from them,” says Marissa.
5. Ask pointed questions and light-hearted questions.
Try to mix up the tone of your questions. “I try to ask a few pointed questions that contrarians might ask,” says Jeff. It’s always good to poke a little, as long as you don’t go too far. “And throw in the occasional light-hearted question for fun,” he says.
This is a good way to tailor your interview to your audience.
6. Ask short questions and then follow up.
Don’t try to pack all your questions into one super-mega question. “Instead of asking a long-winded question,” says Morgan, “split it up into two parts. Follow-up questions can be key.”
How about you? What kinds of questions do you ask?
more into on: http://thewritepractice.com/six-ways-to-ask-better-questions-in-interviews/