1. Explain why Austin takes close-up pictures of whales and displays them in life-size? 2. Describe the event that occurred between Austin and two whales that inspired him to begin the project.

3. Discuss why Austin initially had difficulties reproducing his photographs to scale.

4. What is the “ten-foot barrier” and what does Austin do when he hits this?

5. Where did Austin choose to first display his project and why?

6. Based on what you have learned about photographing animals, what unique challenges do you think Austin faced while capturing the image?

Nature. Beauty. Gratitude. <- second lab link

1. You have learned that macro photography has to do with photographing things up close, specifically small items or small parts of larger items. Schwartzberg talks about time-lapse photography; would this type of photography fit into the macro category based on what you know?

2. Explain what Schwartzberg says about time-lapse photography and why it never gets old for him.

3. Describe the project Schwartzberg is working on. What lesson is the elderly man trying to teach?

everybody they have a little secret something

that they don't wanna tell anybody

because it's shakin'

yeah yeah

like when your hearts racing

from having stage-fright

listen up

say okay i-i understand you but

you don't ever have to hide

no no

just look it in the eye

don't be afraid of letting go!

if you don't try you'll never know

and whoa whoa

if you really wanna win

you gotta dive in

come on now you know it's time

you never know what you may find

and whoa whoa

if you really wanna win

you gotta dive in

yeah yeah yeah yeah

hey!

time to stand up

don't have pretend

and if you mess up

just go and try again

no don't worry

you're surrounded by your friends

yeah yeah yeah yeah

don't have to hide out

don't need to fear the worst

nothing's scary

as they seem at first

hey you're a monster

you can do it that's for sure

come on come on

don't be afraid of letting go!

if you don't try you'll never know

and whoa whoa

if you really wanna win win win win

you gotta dive in

come on now you know it's time

you never know what you may find

and whoa whoa

if you really wanna win

you gotta dive in

yeah yeah yeah

you gotta face your fears

yeah yeah yeah

and they will disappear

yeah yeah yeah

what are you waiting for

yeah yeah yeah

come on

don't be afraid of letting go

if you don't try you'll never know

and whoa whoa

if you really wanna win

you gotta dive in

come on now you know it's time

you never know what you may find

and whoa whoa

if you really wanna win

you gotta dive in

sorry. my computer broke down and i had about 3 doctor's appointments. i'm just catching up now after reinstalling a router.

i think you best answer to this is d. some film directors were very picky about roles and lighting and and which side of the face the camera should catch. they were also picky about sound and background noise and chatter and music and all sorts of what we would consider trivial things. a stage director has to have all this ironed out before the curtain goes up. if he doesn't he better do it soon. if he doesn't notice, critics soon will, and they are not a very nice bunch.

e: both have the power to ask for rewrites. theater directors are always yammering about act 2.

c is true. both can ask for any number of things during rehearsals. the reason i wouldn't pick c is because a film director can make changes anytime during shooting, including when he thinks they ought to be done shooting.

b i didn't know what blocking was and i can't find a good description. if you have one and think b is true, go for it.

a a film director quite frequency chooses the leading lady or man. he may not have the final word, but he chooses. sometimes a theater director has no choice. a is generally not true.