[proof] palo alto high school spring 2015
[proof] spring 2015
Cover photo by Ana Sofia Amieva-Wang Artwork by Yerem Istanboulian
about Published twice a year, [proof] is Palo Alto High Schoo’s fine arts magazine. Our production covers all aspects and mediums of art, featuring local, national and international artists. Our mission is to showcase student talent and promote free-thinking in the minds of the students.
editors-in-chief Ana Sofia Amieva-Wang Margaret Li Emma Low George Lu
editors
Arts: Danielle Bisbee Gallery: Rebecca Segars Spotlight: Nicole Berry Text: Siggi Bengston
staff Tara Madhav Aidan Maese-Czeropski Izzy Min Serina Nguyen Ellen Shuan Simon Wood Flora Yu
advisor Margo Wixsom Photography Instructor Palo Alto High School mwixsom@pausd.org
from the editors Hello, readers! Thank you for supprting [proof] Magazine’s second issue of the 2014-2015 school year. This issue, the culmination of [proof]’s progress over the years, is more than twice as long as our previous one. We have incorporated articles relating to the many different forms of art in the Palo Alto community. Read about both professional and student artists, Paly performing arts, art and photography software, and parks and museums across the Bay Area. In addition, the gallery showcases submissions from your fellow classmates. We hope you enjoy the magazine and continue to follow our future publication releases. Sincerely, the Editors-in-Chief
where to submit Email your art and writing to proof.paly@ gmail.com. We welcome all mediums of art!
thank you We would like to acknowledge the Paly ASB and various other organizations around campus for their ongoing support. Thank you to the students and faculty for their thoughtful contributions to our magazine and to the journalism department, as well as all contributors to the Media Arts Center. Lastly, this publication would not exist without the guidance of Margo Wixsom; thank you for everything! Photograph by Johanna Ehrensvard
[table of contents] spotlight
8
Youth Speaks Out Marshall Davis Jones Andrew Lu Jason Burton Ken Shin Publication Photographers Vivian Wu
10 12 15 16 18 20 22
the arts Concert Photography Typography Glass Blowing California Parks Frank Lloyd Wright Photo Editing Apps Art Software Photoshop Tutorial Street Photography
gallery Scholastic Winners Student Artwork
24 26 28 29 30 32 34 36 40 42
44 46 48
Photograph by Zoe Yencken
[XX]
[spotlight]
photography by name name name Photograph byname Emma Cockerell [XX]
SPOTLIGHT
YOUTH SPEAKS OUT Siggi Bengston
Youth Speaks Out, created by parent and artist Carolyn Digovich, is an organization that gives Gunn and Paly students a platform to express themselves through any art medium. The organization hosts an annual exhibition to showcase student work with live performances by PAUSD students. In addition, the event hosts speakers including superintendent Dr. Max McGee, Gunn and Paly teachers, and students. On March 20th, 2015 the Palo Alto community came together at the Palo Alto Art Center to appreciate Paly and Gunn student artwork displayed at the Youth Speaks Out opening exhibition night. Supportive parents, PAUSD Administration, siblings and students sympathized with the complexities of living as a teenager in the 21st century. After viewing the exhibit, attendees visited the Gunn Henna Club set up outside in the courtyard, accompanied by live Chinese String music performed by Gunn High School student Lily Liu. The event permeated a sense of unity and compassion from the moving speakers, and the awe-inspiring art left a lasting impression on everyone who attended.
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photography by Siggi Bengston
YSO
Yerem Istanboulian
Danielle Bisbee
Maddy Atawater
Emma Cockerell
Viv Bhatia
Ashley Crichton
Caitlin Drover
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SPOTLIGHT
MARSHALL “SOULFUL” DAVIS JONES Siggi Bengston
It was a dark Friday night in 2006 when Marshall Davis Jones, a “World Bridger,” found himself staring at the tranquil water of the East River. As he walked aimlessly across the Brooklyn Bridge, he remembered a poetry venue open on Friday nights. Marshall made his way to East Village in New York City where he spent his last ten dollars for one ticket to see five spoken word poets at world famous Nuyorican Poets Café. “If it wasn’t for five poets then I don’t know where I’d be.” From just ten dollars and five spoken word poets, Marshall Davis Jones found his passion.Since this Friday, he has been a National Slam team finalist and champion. He has spoken at a multitude of universities, high schools, and distinguished companies. His mission now is to build bridges between all worlds to ensure everyone makes it across.
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JONES
Q: What has been your experience talking/performing at Gunn and Paly? A: Between both schools, the connections that I made with the students and the teachers brought me to that point. It is always an emotional experience because the work requires that I don’t communicate in static ideas. In this particular case, with the purpose of [Youth Speaks Out] and the feelings that permeate the student body, my experience here was unique and really close to home. I desired to bring something of value and leave it here. As always, I hope I have. Q: What inspired you to begin writing poetry? A: I remember when I was inspired to write poetry as an alternative to my homework in English class. I always wanted to find some way of expressing myself creatively, and not every subject in school allows you to do that. English, however, was always a place I could flex my my imagination. Poetry would be a way that I would interpret homework assignments/ class assignments if the work allowed. Luckily, I had an English teacher that respected that part of my creativity and in fact encouraged it. Q: What does your philosophy of bridging people, worlds, and ideas with poetry mean? A: I believe that poetry or just artistry in and of itself is a gateway between things. It allows you to discover hidden meanings, multiple meanings, multiple pathways. Each of these leads us in connecting. I’ve always had to find a way to connect quickly, and imagery somehow does that. It crosses chasms so quickly that it also crosses language barriers. Now poetry does require that we share a common language, but I do believe that there’s a certain transcendent power that happens to [people] who believe in what they are saying. And perhaps that speaks toeveryone, no matter where they are from. Q: How does poetry bring people together? A: Poetry is a way to discuss ideas from a detached perspective, but the metaphor and imagery also allows us to dive deeper into our ideas. Imagery brings people together. Taking words, which sort of unfold over time, and transferring them into powerful imagery is a form of synthesis—synthesis that brings ideas together. And these ideas bring people together.
photography by Siggi Bengston
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SPOTLIGHT
Touchscreen By Marshall Davis Jones Introducing the new Apple iPerson complete with multitouch and volume control doesn’t it feel good to touch? doesn’t it feel good to touch? doesn’t it feel good to touch? my world is so digital that I have forgotten what that feels like it used to be hard to connect when friends formed cliques but it’s even more difficult to connect now that clicks form friends But who am I to judge? I face Facebook more than books face me hoping to book face-to-faces I update my status 420 spaces to prove that I am still breathing failure to do this daily means my whole web wide world will forget that I exist but with 3,000 friends online only five I can count in real life why wouldn’t I spend more time in a world where there are more people that ‘like’ me Wouldn’t you? Here, it doesn’t matter if I’m an amateur person as long as I have a ‘pro’ file my smile is 50% genuine and 50% genuine HD You would need blu-rays to see the white on my teeth but I’m not that focused ten tabs open hopin’ my problems can be resolved with a 1600 by 1700 resolution this is a problem with this evolution doubled over we used to sit in tree tops till we swung down and stood upright then someone slipped a disc now we are doubled over at desktops from the Garden of Eden to the branches of Macintosh apple picking has always come at a great cost iPod iMac iPhone iChat I can do all of these things without making eye contact We used to sprint to pick and store blackberries Now we run to the Sprint Store to pick Blackberries
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it’s scary I can’t hear the sound of mother nature speaking over all this tweeting and along with it is our ability to feel as it’s fleeting you would think these headphone jacks inject in the flesh the way we connect to disconnect power on but we are powerless they got us love drugged Like e-pills so we E*TRADE email e-motion like e-commerce because now money can buy love for $9.95 a month click to proceed the checkout click to x out where our hearts once where click I’ve uploaded this hug I hope she gets it click I’m making love to my wife I hope she’s logged in click I’m holding my daughter over a Skype conference call while she’s crying in the crib in the next room click so when my phone goes off in my hip iTouch and iTouch and iTouch because in a world where there are voices that are only read and laughter is never heard or I’m so desperate to feel that I hope the Technologic can reverse the universe so the screen can touch me back and maybe it will When our technology is advanced enough… to make us human again
photography by Siggi Bengston
JONES/LU
ANDREW LU Serina Nguyen
“There is a video of myself, around the age of four, standing on a chair and using a chopstick to conduct my 6 year old brother, who is playing the violin,” Andrew Lu (‘15) recalls. As a flutist, conductor, and composer at Palo Alto High School, Lu can be seen at many of the school rallies conducting the band, in the orchestra pit during some of the Paly musical theatre performances, and across the street assistant-conducting the Stanford Savoyards. Growing up in a family of music enthusiasts, Lu has been exposed to music nearly his entire life. His mother is a piano teacher, his brother practiced the violin and the clarinet and his father listens to a variety of music genres. Lu’s music career began early on at the age of four when he learned to play the piano. He then picked up the flute at the age of nine and his first opportunity conducting was back in eighth grade, when he and his friend put together a version of Bohemian Rhapsody for a group of ten players. Additionally, since his freshman year of high school, Lu has been taking classes with Eric Kujawski, music director at the Redwood Symphony and has found opportunities to conduct at the Paly band and theatre and outside of school for the Stanford Savoyards. When Lu conducted for the “Stinky Cheese Man”, the director Tony Kienitz offered him the chance to write alongside Emil Ernstrom and direct music for a “‘Twas Brillig”, a musical to be performed at Theatre Near U in Mountain View in June. “There are not a lot of opportunities out there. They do not come to you; you have to go and get them,” Lu explains. Furthering his music career, Lu looks forward to pursuing music in college as a flute performance major as well as a music performance major.
photography by Serina Nguyen
Visit his website for more information and upcoming perfomances: www.bronard.com [15]
SPOTLIGHT
JASON BURTON Margaret Li
Jason Burton is a professional free-lance photographer based in Los Angeles. His current and past projects include music video production, as well as commercial photo and video work with Intel, HTC, Microsoft, and Discovery Channel.
photo courtesy of Jason Burton
Q: What is your background in photography? A: I did not actually start designing shoots until about three years ago, which in photography years is very new. I’ve been a filmmaker for about 15 years—that’s what I studied in school. I also paint and have been drawing since I could hold a crayon. So I’ve always been a visual artist and a storyteller. There is not an artist medium that I have tried that I do not like. As long as I’m allowed to express myself visually I am happy, not matter what tool I’m using. To call me a photographer only paints a small picture of what I intend to do artistically. The same reads true for most artists I surround myself with. Q: What genre of photography do you focus on? A: I’ve explored shooting almost everything, but what I keep coming back to is people. I find faces— eyes specifically—interesting. Faces and people tell stories.
Q: How would you describe your style of photography? A: My style of photography has been mistaken for High Dynamic Range (HDR) before. I never shoot HDR because most of my images have motion involved. However, I am very interested in HDR for film work; that will be the future of motion pictures. Cinematic-painteresque would best describe my style. I developed this style by shooting a lot, doing countless experiments, making lots of mistakes and not looking at other people’s work. My style will always be changing because I am always learning, building and gathering new tools to apply to my craft. In addition, technology is always evolving. I prefer to use new technology because with it, I’m given a new chance to bring something original into the world. Q: What camera/software would you recommend for a beginner? A: If you’re on a budget but want a good camera, get a Canon 7D or a 5D Mark 2. They’re getting old now and the prices have dropped drastically, but they are still great cameras. The other huge component on getting the look you want is not going cheap on the lenses. I’m using the Canon “L” series lenses. They’re not cheap—they’ll probably be more expensive than your camera body—but the quality will show. And the lenses will stay with you as you gradually upgrade your camera bodies. Q: What is it like to be a professional photographer, in terms of schedule and activities? A: My schedule can get very demanding with traveling. For instance, I currently live in Los Angeles but spent ten days on a commercial shoot in San Francisco. I came back for two days and was called out to shoot in Tijuana, Mexico for Discovery Channel. I work 5 am to 10 pm days. But it’s so much fun. Every trip is an adventure. Q: How many photos do you take during a photo-shoot? A: It depends on the job. I feel I shoot quite a bit—on average 500 to 2000 photos per shoot. The first 200 are usually warm-ups. Q: If you ever hit a creative block, what do you do? A: I embrace it. I never get down on myself or start to worry. I just do other things to keep myself busy: cook, watch movies, be with family and friends, etc. And know it will pass. Do all the things you don’t have time for when you are under an ultra creative spell. Q: What is the backstory of your favorite photo? A: Every image is completely unique in inspiration and production. For example, the image titled “Alone” was originally supposed to be a shoot with a model at a junkyard in Berkeley, CA. I had just arrived at the airport from a prior shoot in Washington, D.C. However, my model called telling me she was sick and could not make the shoot. Instead of accepting defeat, I starting exploring the junk yard, finding different pieces of mannequins scattered around and an area with a bunch of old sinks. I gathered and set them up by myself and started shooting.. The printed image has now sold multiple times and has been featured in several galleries.
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View more of Jason’s work at http://www.jchbgallery.com
BURTON
photography by Jason Burton
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SPOTLIGHT
KEN SHIN George Lu
Ken Shin is a senior at Palo Alto High School. His photographs have been nationally recognized in the Scholastic Art & Writing Awards and printed in various news publications.
Q: When did you start taking photos? A: I liked messing around with Dad's old Olympus pointand-shoot since about junior high, but I only got serious about it during my sophomore year. I bought a cheap Soviet rangefinder so I could be a little Henri Cartier-Bresson poser. Q: What started you on the path to photography? A: My family situation wasn't very good, and sometimes I needed an excuse to get out of the house. Then I'd walk around for hours with that camera and take hundreds of pictures of nothing. I know I have it lying around in a drawer somewhere, I should put a roll through that thing. It was pretty relaxing, because taking snapshots in general is really repetitive, and it's a nice feeling to know you're making something. Walking around for a while feels good too. Also, it's fun, and fun things are fun. Q: How do you get the person, place or thing that is in front of the camera onto the film, chip or paper in just the way you want? A: I just point the camera at stuff, or where I think something's going to happen. If I don't have the angle I want, I move to where I can get it. Simple as that. Get wide, get low, get close. I usually shoot with a 28mm lens, and I'm used to the field of view so I generally know what's going to be in the frame even if I'm not looking through the viewfinder. There are lots of framing rules like the rule of thirds, the golden mean, fibonacci spirals and all that stupid bull****. In the beginning it was hard to keep all that stuff running around in my head, but after a while those techniques got reflexive, and I don't really have to think much about which to use or whether I should just ignore them entirely. If I get the shot, I got it. If I miss the shot, oh well. That moment's never coming back. Better take another picture.
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Q: Which photographers influenced you, and how did they influence your thinking, photographing, and career path? A: I guess I'm going through a Daido phase right now, but I can't help it. That gritty contrast-up-the-a**-black-and-
SHIN white look with the golf ball sized grain is f***ing sexy, man. Maybe I'll grow out of it soon. I'm a big fan of Garry Winogrand and William Klein's Moscow stuff. I also like Peter van Agtmael's work, and I highly recommend his book 'Disco Night Sept. 11," even if you're not that into photography. Q: Exactly what it is you want to say with your photographs, and how do you actually get your photographs to do that? A: It's not really deep and preachy stuff. It's usually a little visual joke or just a simple "Hey, look at that. Look at it." I just want to show the beautiful and the ugly in the ordinary. Q: What technology/software/camera gear do you use to keep focused on what you do best, as you photograph? A: I used to shoot Portra 400 and Tri-X pushed to 3200, but that really hits the wallet hard. Tunraround times are slow too, which is a no-no for jobs. Now I mainly shoot with a digital Ricoh GR because it handles pretty well, and an old Canon 40D if I need to use a longer lens. I really don't think the camera matters in this day and age. Some people might tell you otherwise, but they're probably pizza-faced turbo nerds who couldn't take a good picture to save their life. It doesn't matter if someone's using a Nikon D4s or a 0.8 megapixel flip phone, what matters is the person holding it. Q: How do people react when you take their photo? A: Most people are cool with it or they just ignore me. I've had the cops called on me a few times, though. Wierdest one's got to be getting chased by a sandwich cart guy in Ho Chi Minh City. Q: What do you plan on doing in the future (in photography)? A: Pulitzer, or die trying. Q: Any advice to future photographers? A: Start with books, then take pictures for yourself. Don't worry about the equipent. Once you know the basics, everything comes easy. Don't worry about mistakes and have fun.
photography by Ken Shin
To see more of Shin’s work, scan the QR code or visit his blog: http://muhmegapickels.tumblr.com/
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SPOTLIGHT
THE BEAUTY BEHIND PALY JOURNALISM Tara Madhav
Magazines and newspapers are not just packets of text distributed to the public; a mulitude of design, art and photography goes into the product to make sure it is as aesthetically pleasing as possible. Below, five of Paly’s art-related publication editors share their visual experiences during editorship in art, design and photography.
Design by Claire Priestley and Ryan Reed
Claire Priestley (‘15), Design Editor, Verde “My title is design editor, and that entails doing a lot of things. The first thing is giving the new students an overview of how to use InDesign, because a lot of them lack in that proficiency. So I try to help them and give them a few ways to use that skill and build on it. Building on that, I also work with our managing editors. We are in charge of anything the editors need. I also have to make sure that every single design follows Verde’s standards. So I have created an element board, from which they can take different captions, bylines, decks, and typical fonts. For me, it is important to make sure the aesthetic of the magazine is not too horrible...In Beginning Journalism, I didn’t use many of my photography skills [from Beginning Photography and other classes] but I did learn a bit of the basics of InDesign. I have always had an aesthetic eye for what is pleasing and what goes well together, but it wasn’t until I became more comfortable junior year with InDesign that I was able to come into my own. I think at Verde, design is something that we really want to be good...first of all, we do our own art and photography. We don’t use [Creative Commons] at all. Verde is known for its really long productions, but that extra time allows us to expand our design...One of the highlights is having a say on what the entirety of the magazine looks like. I really appreciate being included in so many managing decisions, because as a staff writer, you miss out on those things. Coming into an editor position, it is really fun to work with all of the managerial team, and I absolutely love how we democratically come together and decide on covers. We are able to easily talk about what we find appealing and what we don’t.”
Clara de Martel (‘16), Design Editor, C Magazine “Since we’re a newer publication, we have a lot more freedom with the actual layouts for our pages. So my job consists mostly of helping other people with their pages and having a general sense of what the whole magazine is going to look like. I am also in charge of certain layouts we have to follow throughout the whole magazine. Since Cmag is relatively small and we are always changing, my job isn’t exactly set in stone but mainly it is about making sure everything looks good and cohesive. I joined Cmag when I was a second-semester sophomore. Actually before that, I was never really into art, and I was initially afraid of InDesign. I managed to get the hang of it pretty fast, and it was something that I started to enjoy despite not having much experience. I think it proves that anybody can do it; you don’t need previous experience and you can learn it along the way. Cmag is printed on nice, glossy paper. What is really nice is that you design your own page, and the design of your page becomes a part of your story. [The page] is not only about the content but also about what [the page] looks like. Above all, I really like using InDesign and designing pages. More specific highlights are seeing the improvement of the editions throughout the course of the year. I am really proud of [the February edition]. I think we have managed to make something that is really nice, and that feels really rewarding.”
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Design by Clara de Martel and Kallee Bareket-Shavit
PUBLICATION PHOTOGRAPHERS Olivia Scola (‘15), Co-Photo Editor, Viking Magazine “I am co photo editor with Katie Foug for The Viking sports magazine. During my junior year I was a staff writer for the magazine, and began taking photos at games. After a year of photographing every sport at Paly and getting a few zooms in the magazine, I ran for photo editor. Our magazine is unique because we are filled with colored photographs, including 3-4 full two-page photographs, that are zoomed in to show facial expressions as well as the athlete mid-action. A highlight of being an editor is being able to work with Katie and the other editors. The Viking is filled with incredibly talented people, and I love producing a magazine with them. It is always a great feeling when the magazine comes out and everyone gets to see and appreciate the finished product. I love feeling proud and confident of my work.”
Art by Anthony Liu
Anthony Liu (‘15), Art Director, Verde “I am the art director for Verde Magazine, which means I make sure that all of the art that goes into the magazine is completed by either me or the other illustrator Karina, or one of the external assistant artists. I also work with Karina [Chan] to assign art at the beginning of each issue, and make sure that all the art that goes onto the magazine is up to quality. Prior to becoming art director, I had been enrolled in AP Studio Art with a traditional art focus. I also had traditional art training for 9-10 years at an outside studio where I was taught various mediums, from graphite and charcoal to acrylic and oil. Early in my junior year, I picked up digital art and taught myself how to use photoshop as well as various 3-D modeling softwares like Zbrush and Autodesk. I think that the uniqueness of the art in Verde is the amount of time that is put into the thought process and planning for every story. Each piece of art that we create is carefully tailored to the story with the intention of enhancing the meaning of the story. Verde benefits from the wide range of extremely talented artists, which I think makes Verde stand out among the other publications. The thing that I enjoy the most from being art director is that the final product which we create each cycle is really something to be proud of.“
Photo by Olivia Scola Connor Harden (‘15), Photo Editor, Campanile “As photo editor, I assign photos, take new photos and I do a lot of layout design. There isn’t a title for creative director, but I consider some of the stuff I do as [part of that position]: figuring out layouts and working with students who don’t know how to figure out some of the things on PhotoShop, as well as helping them with design sometimes. Last year as a junior, I did AP Photography and freshman year I did Advanced Photo. But it is different being a photographer for Campanile, being in a journalism or news position, because the pictures you take aren’t as artsy. They are more general, but you still use the skills that you had and skills that you gain from AP Photo. You still want to catch the viewer’s eye when they look at a picture in the Campanile. It was very helpful to take those classes before and many of the photographers in Campanile have also taken AP Photo. As a newspaper, when we talk about global issues, we can’t always take the photos ourselves. We sometimes have to use Creative Commons to find the image. We incorporate using both internet sources and using local sources like our photographers. If you are not really interested in writing stories but you love the news that’s produced, you can still be a big part of it by taking pictures for the stories. Being Photo Editor, ihave a great role of responsibility. The first thing anyone does when they open up Campanile is they look at the photos and they look at the headlines subconciously. [I’m] responsible for the main point of entertainment in Campanile, or the initial point of entertainment.“
Photo by Connor Harden
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SPOTLIGHT
BEHIND THE LENS WITH VIVIAN WU
Flora Yu
It is easy to be discouraged from photography when it often seems that only high quality, expensive cameras can produce photos of equal caliber. Vivian Wu, sophomore and an aspiring photographer, proves the mindset wrong through her high definition closeup shots that capture beautiful moments in nature.
Q: When did you begin photography? A: I started taking photos with a disposable Kodak camera at around the age of nine. Q: Why did you choose nature as your main focus? A: Nature is all around us; we are exposed to it so often that we sometimes ignore its beauty . School work and what modern society deems “important to success” often dominates our schedule, leading us to think nature as valueless. My photography shares the fulfilling simplicity of nature in our lives. Growing up, I spent a lot of alone time outside the house, and that was when the scenes and colors of nature amazed me. Over time, I developed a different way of seeing nature, having felt more connection and care towards it. Nature photography is a great stress reliever as it focuses on one’s inner peace and stability.
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WU
“Photography is not about cameras, gadgets and gizmos. Photography is about photographers. A camera didn’t make a great picture any more than a typewriter wrote a great novel.” - Peter Adams
Q: Who or what is your main inspiration? A: Nothing specific inspires me, but the thought of being able to keep this memorable moment in nature, to be able to review the shot at any time later is what I enjoy in taking the photos.
photography by Vivian Wu
Q: Do you find your equipment limiting? What do you do to maximize its potential? A: I do not think one needs to have fancy and expensive gear to take great photos. Photography is not revolved around the camera itself, but rather the person using the camera. Q: Do you have any advice to offer to beginner photographers? A: Find a subject that is meaningful to you. I first considered my appreciation for life, and branching off of that, I found nature to play the biggest part in that meaning. You can ask yourself: What do you want to emphasize to the world? Photography is more complex than a simple explanation. Different people view it differently, and each have their own way to discover their passion in photography.
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[the arts]
Photograph by Claire Kokontis
THE ARTS
CONCERT PHOTOGRAPHY TIPS Danielle Bisbee
Concert photography is both challenging and incredibly rewarding. Capturing the energy and movement of a concert can be difficult if you do not have the greatest vantage point of the stage—but with the following tips, you can make the most of your seat location. The next time you have tickets to see your favorite band, bring along your DSLR.
Danielle Bisbee
Lens: Unless you have a press pass and know you will be stageside or in front, use a telephoto lens, with a 55200mm or 55-300 mm range. If you do happen to be close to the stage, a 18-55mm or macro lens will work.
Flash: The lighting at every show is different. If you are several sections back or above the stage, flash will harm more than help, so spare the people sitting around you and turn it off. It is best to have an underexposed photo and increase the brightness in post-processing to avoid losing detail.
Mode: Shooting in manual is ideal because it allows you to quickly change your ISO, shutter speed and aperture as you need to. Automatic mode does not take into account that the stage is far away and it will likely come up dark.
Processing: To eliminate noise that gives photos a grainy appearance in darker areas of a photo, lower your ISO while you are shooting. Noise can also be eliminated later in either Photoshop or iPhoto. Additionally, changing the photo to black and white helps to eliminate noise and emphasizes the spotlights.
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CONCERT PHOTOGRAPHY
Danielle Bisbee
Danielle Bisbee
FOR INDOOR CONCERTS ISO: 1600 if it is well lit, increase the ISO depending on how dark it is Aperture: f/1.8 Shutter Speed: 1/200
FOR OUTDOOR CONCERTS ISO: 400, increase as it gets darker Aperture: f/1.4 or f/1.8 Shutter Speed: 1/100
Clockwise from above: Colbie Caillat, Maroon 5, Bastille, Ed Sheeran & Christina Perri, Trian
Nicole Berry
Danielle Bisbee
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THE ARTS
TYPEOGRAPHY Ana Sofia Amieva-Wang
Sans, meaning without in French, refers to the lack of edge marks on fonts. For instance, Code Pro provides a modern edge to its traditional counterparts, such as the commonly used type font Futura. The simplicity of Sans-serif fonts makes them both visually appealing and easy to use in a variety of contexts. The advantage to CODE Pro lies in its soft texture and bold presence on the page. Not only does it stand out, but it also does so without calling too much attention to itself.
by Fontfabric fontfabric.com/code-pro/
Given modern applications of typeography in advertisment and branding, it can be useful to have a more lighthearted font on hand. Sunday in particular is a handrawn font which serves almost as an illustration as well as a form of typography. This playful font evokes the easy and relaxed feel of a Sunday. The chidlike curvature of the letters is a great detail in any font. With its modern play on the Serif font, it is quirky yet legible—two characteristics that are often difficult to combine.
by fontfabric
fontfabric.com/sunday-font/
The Serif font is characterized by the small marks at the ends of each character, cleanly separating each letter. Fanwood preserves the clean organization of such a font but also includes a modern twist. This take on the original Serif font provides a more whimsical feel. Instead of the traditional harsh lines of a typical Serif font, each letter leans a little bit, giving it the illusion of movement .
By The League of Moveable Type theleagueofmoveabletype.com/fanwood
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TYPOGRAPHY/GLASS
PALY GLASS BLOWING Aidan Maese-Czeropski
A rush of heat bursts from a molten furnace as sophomore Julia Lauer stretches a lengthy pipe through its blazing doors. Armored in safety goggles and gloves, Lauer gathers a ball of honey-like glass—measuring 2,200 degrees—and scoops it onto the edge of the pipe. She removes the fiery orange molten glass from the oven and places it upon a table for shaping. Lauer then blows through the pipe’s mouthpiece, enlarging the glass and sending sparks flying through the air. As she shapes the glass with a set of tweezers and scissors, the glowing glass begins to fade. It is once again placed into the flaming oven. For the next half hour, Lauer repeats these steps, changing the object’s shape with the assistance of gravity and an assortment of tools. By the end of the period, Lauer has crafted an elegant fish statuette.
Paly’s glass blowing opportunity exists in only four high schools nationwide. Introduced approximately fifteen years ago, the program allows more than one hundred students each year to experiment with this art form and create a variety of usable objects. Goblets, paperweights and even owls are all potential items for creation.
photography by Aidan MaeseCzeropski
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THE ARTS
CALIFORNIA PARKS Aidan Maese-Czeropski
In a world overrun with various forms of technology, a high schooler’s version of entertainment may be refreshing Twitter feeds or uploading selfies to Facebook. However, more fulfilling activities lie right outside your window. California boasts more than 100 State and National Parks, many of which are located in the Bay Area. Each provides countless activities—from hiking to river rafting—and are sure to please any social media addict. Castle Rock Deep in the Santa Cruz Mountains, Castle Rock State Park offers over thirty miles of hiking trails among a mossy forest environment. Known for its unusual rock formations, Castle Rock attracts both families and professional rock climbers. Rivers and waterfalls flow freely through the area, and the park houses several activities including horseback riding, biking and camping. Bedwell Bayfront Bedwell Bayfront Park offers several miles of paths and pleasant views of the San Francisco Bay. Located in Menlo Park, the park is a popular local destination for jogging, biking, bird-watching and kite flying. The park is also a haven for wildlife, including jackrabbits and various bird species.
Mori Point Mori Point in Pacifica offers stunning views of the Pacific. The 110 acre park is an important part of the Golden Gate National Recreation Area and serves as a habitat for several threatened species. In addition to its importance, Mori Point offers several trails of varying difficulty which guide visitors past wetlands and immense vistas overlooking the Pacific Ocean. The area is a prime location for viewing the sunset, as well as for viewing Point Reyes and the Farallon Islands on clear days. Wildflowers bloom every spring and transform the landscape into a mosaic of green, red and blue.
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PARKS
Pinnacles Established in 1908, Pinnacles National Park boasts stunning desert views and wildlife. Located two hours south of Palo Alto, Pinnacles is a prime tourist destination for rock-climbers and hikers. Although the park boasts miles of hiking trails as well as camping opportunities, the main attractions are the vast caves and cliffs located in the heart of the parkland. The caves’ rugged pathways and massive boulders will bring out anyone’s inner climber, and those who ascend the rocks will be rewarded with spectacular views of the landscape.
Big Bason Redwoods Big Basin Redwoods State Park is California’s first state park as well as a California Historical Landmark. The most popular activity at Big Basin is hiking, as the park offers over eighty miles of trails through lush forest. Trail lengths range from 0.5 to more than 12 miles and are sure to please people of all ages. Visitors can spot a large variety of wildlife, including deer and bobcats as well as an abundance of birdlife. Rivers and streams zigzag throughout the park and cascading waterfalls dot the woodland landscape. Fishing, swimming and windsurfing are also popular activities for visitors.
photography by Aidan Maese-Czeropski [31]
THE ARTS
FRANK LLOYD WRIGHT Tara Madhav
While a regular citizen might not realize readily, architecture is a constant presence in our lives—it decides where we live, what we live in and the design of our environment. One famous architect was Frank Lloyd Wright, who is considered to be one of the greatest American architects of all time. Wright was famous for his idea of organic architecture—building to the ways and needs of the land—and the Usonian style, which was inherently American. Wright’s belief in catering to indigenous environments influenced Joseph Eichler, the famous Palo Alto developer. Highlighted below are three of Wright’s creations situated in the western United States.
Taliesin West Scottsdale, Arizona Taliesin West is a testimony to Wright’s belief in building in harmony with the landscape. Built at the foot of the McDowell Mountains, the scorching sun and Sonoran desert have as much impact on the building as Wright himself. The buildings are made out of earthy, red colored stone and gray concrete. The Frank Lloyd Wright School of Architecture, once Wright’s architecture laboratory and part of the Taliesin West complex, offers masters to currently 21 graduate students. Another notable characteristic of the structure is that all the buildings are flat; there are no double story structures. This Usonian style of architecture, cultivated by Wright, was his response to European and Asian influence on American construction. While he welcomed this diversity, he also felt that America should have a unique design philosophy and he created the Usonian idea, which would fashion structures malleable to inherently American landscapes, like the rolling plains. Taliesin West is rectangular and spread out, to reflect the flatness and expansion of the desert.
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How Wright Influenced Joseph Eichler Just like Wright is an inherently American architect, Joseph Eichler is characterized by his Californian roots. More importantly, he is an iconic developer in Palo Alto. Eichler moved into a house designed by Wright in Hillsborough, CA in 1942. While his custom home never got built, Eichler decided to build a low-cost tract of homes - a tract is a collection of homes that look the same - based on the fact that his own custom house was costing over $100,000 to build. Eichler then reinvented himself as a builder/contractor at the age of 47. Eichler was driven by a desire to build low income homes for middle class America, much like Wright was inclined to create organic and affordable structures. Wright deviated more from this path once he became a star architect, but Eichler remained true to his home. They also brought integrated innovation into their designs, for example incorporating radiant heating and large windows into their homes. They both wanted to bring unique homes to the average American, and that made them two of a kind. Despite the fact that Wright has been dead for decades, his influence can be felt everywhere - in a desert in Arizona, a beautiful hillside in Marin County and our own beautiful Palo Alto, California.
WRIGHT Marin County Civic Center San Rafael, California The Marin County Civic Center sticks out vividly - one, it is huge, and two, it has a tall gold spire sticking out of one end of the building. This is not exactly typical architecture for the sleepy hills of Marin County. But inside, one can see that the spire is nwot the only thing that makes these offices unique. This building is composed of laid-out, breezy hallways - however, there are multiple stories, a great difference from the sprawl of Taliesin West. Wright’s concept of organic architecture is also evident throughout the building; there are sunken pods of greenery and flora, reflecting the rolling hills outside.The Usonian style is also very present in the landscape hugging “wing span of the building’s structure. Large skylights let in sunlight, casting the hallways in a collection of shadows. Wright creates a beautiful contrast between the industrial and the natural, building a great workspace for the employees there. “It’s a privilege to come to work [here]. It’s so fresh and beautiful. You don’t have to go outside to enjoy the nice atmosphere of Marin County, because it is all in here,” one woman said.
photography by Tara Madhav
Hanna-Honeycomb House Stanford, California The Hanna-Honeycomb House is one of Stanford’s uniquest pieces of architecture, and part of the Historical House Association of America and the National Registry of Historic Places. It is Hanna House is unique among Wright’s other buildings in that it is a residential property. The Hanna House was built for Paul and Jean Hanna, both professors at Stanford, in the mid-1930s. They were looking for a utilitarian yet pleasing home that, as Paul Hanna told Wright, ‘would change with them.’ Indeed, the house adjusted to the busy and variant lives of the Hannas. One example is the expansive dining room. The carpeted enclosure was a playroom for the Hanna’s kids early on, but once they grew old and moved out, Paul Hanna it into a sophisticated dining room, and it was possible because of Wright’s flexible design. The rooms are small, but the large windows and horizontal layout make the living environment seem much bigger than it actually is. The house is a shaded, 1950s style property that exudes comfortable and stylish living - in short, the perfect home for an intellectual and sophisticated family like the Hannas.
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THE ARTS
PHOTO EDITING APPS Serina Nguyen
Afterlight - $0.99 70+ filters 70+ textures 120+ frames Basic adjustments: vignette, contrast, saturation, highlight/ midtone/ shadow, grain, lighting, exposure, temperature, sharpening In-app purchases: additional filters
Siggi Bengston
VSCO Cam - FREE Subtle vintage filters Online community that shares photos Basic adjustments Compatible with Photoshop and Lightroom In-app purchases: filter sets
Nicole Berry
Studio Design - FREE Add overlays Add writing Use filters and designs made by online community
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Tara Madhav
PHOTO EDITING APPS
Snapseed - FREE Basic adjustments Add frames Frames, tilt-shift blur, vintage filters Selectively adjust certain parts of photo
Serina Nguyen
Enlight - $3.99 Vintage filters Black-and-white Paint effects Masking Tilt-shift Frames Bloat and distort Add text
Margaret Li
Tangent - $1.99 Add shapes, patterns, and overlays 350 combinations of blends and colors In-app purchases for more shapes and styles
Margaret Li
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THE ARTS
PHOTO EDITING SOFTWARE Flora Yu Lightroom Produced by popular software company Adobe Systems, Lightroom is one of the most widely used photoediting programs due to its simple interface and functions, allowing people of all skill levels to use it with ease. Costing $150 by itself, it is also commonly bundled with other Adobe software and runs on both Windows and Mac OS. Lightroom contains standard editing functions that tweak coloring and powerful healing tools that can remove wrinkles, blemishes, and more. Properties, such as brightness and contrast, are altered using sliders in the sidebars. Edits are only added when the image is exported, and the image is also duplicated to ensure that the original stays intact. All edited photos are stored in Lightroom’s database, allowing for a neat and organized workspace. As Lightroom is designated solely for photos, more complex functions will require other programs like Photoshop.
Photoshop Like Lightroom, Photoshop is also produced by Adobe Systems and can be bought in a bundle of other Creative Cloud programs, or individually for $239.88. Running on both Windows and Mac OS, Photoshop is one of the most well-known software with a huge variety of functions from simple photoediting to advanced photo-manipulation. Photoshop offers almost every feature that one could possibly want. It allows editing down to individual pixels in the picture and contains layers, which Lightroom lacks. With layers, it becomes possible to edit features independently from one another, and add texture and color gradients to the photo. Presets are available, with pre-made filters, sharpening, blurring, and more. Photoshop opens up endless possibilities to editing and manipulation, making it well worth the price. But like all other programs, Photoshop contains disadvantages. With so many complicated functions, it requires a large amount of time to learn and should be reserved only for advanced editing rather than just tweaking colors. Photoshop does not have a managing system for photos, which can potentially cause a messy workspace.
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PHOTO SOFTWARE Pixelmator A lesser known program, Pixelmator, was created by two brothers Saulius and Aidas Dailide for the OS X operating system and iPads and can be bought for $29.99. It was given the Apple Design Award 2011 in recognition of its outstanding design and performance, as well as smooth integration into the OS X operating system. Pixelmator contains all the basic tools found in most programs: repair, raw image support, color adjustments, etc. The standout feature lies in its integration with the OS X operating system; the program includes familiar icons and features on OS X, such as AutoSave, iCloud drive and Retina display, allowing Mac users to adapt quickly and easily to the program. Additionally, it can directly open files from iPhoto and Aperture libraries, making it ideal for any Mac users to use in comparison to Photoshop or Lightroom. While its clever integration with OS X is both impressive and convenient, these features are not available for Windows users.
photography by Margaret Li [37]
THE ARTS
DIGITAL ART SOFTWARE Flora Yu Paint Tool SAI As one of the most popular digital art software, Paint Tool SAI was created by Systemax and can be obtained for 5400 yen, with version 2 currently in development. It is a great program to start off for beginners due to its minimalistic interface. Built to be fast and powerful, it only takes up 14MB of space and can run with just 64MB, a huge contrast with the minimum of 1GB needed to run Photoshop. Due to its small size, the program hardly lags or experiences crashing, and is incredibly quick to learn and operate. The interface, brushes, and other presets can be easily customized to the user’s preferences. Lines produced are neat and smooth, creating a neat look found often in certain digital art styles, and colors blend smoothly.
Flora Yu
Unfortunately, the program is limited to only Windows users. Because it is only meant for art, it also cannot produce more advanced effects or textures, such as text and proper formatting.
Photoshop While its main function is photomanipulation, Photoshop is commonly used for digital art as well. It has far more functions and features compared to Paint Tool SAI, such as text, formatting, and filters. There are a larger range of textures and brushes available compared to Paint Tool SAI, making it another advantage when it comes to coloring and realistic textures found in traditional art. Photoshop fails at where Paint Tool SAI excels; it is a much larger and power-consuming program to run, and cannot produce lines as smooth or neat as SAI. The amount of functions available may also become overwhelming to those who are new to the software, which results in a lot more time spent learning how to use Photoshop.
Margaret Li
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DIGITAL ART SOFTWARE Sketchbook Pro Produced by Autodesk, Sketchbook Pro is a sketching and painting software available on both Mac and Windows computers for $65. Like Paint Tool SAI, the interface of the software is clean and straightforward without an overwhelming amount of tools or functionalities. Drawing lines in Sketchbook Pro is remarkably similar to using real pencil on paper, and other brushes do an effective job in creating authentic and realistic effects. This program is ideal for sketching and mimicking traditional art on computer. In terms of producing clean lines and coloring, Sketchbook Pro becomes limiting, and has a very small range of pressure sensitivity. It does not possess any advanced functions found in Photoshop, either; it is only recommended for those who draw casually and want to do quick sketches.
Flora Yu
Illustrator Another popular software produced by Adobe, Illustrator is a top choice for graphic and logo designing due to its vectoring, and is able to run on both Windows and Mac operating systems. It can be bought individually for $239.88 or as a package along with Photoshop, Lightroom, and others. Illustrator keeps all objects created as vector objects; no matter how much it is resized or altered, the resolution stays constant. Components can be easily reused and reshaped for as many times as necessary. It becomes advantageous in terms of graphic design due to its ability to create clean images which can be saved and reused without quality loss. Because Illustrator is mainly intended for graphic design, using it for digital art can be limiting as it cannot produce as much detail or texture as other programs, so it is strongly recommended for the user to only use Illustrator for design-oriented purposes.
Margaret Li
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THE ARTS
PHOTOSHOP TUTORIAL
Flora Yu
To many, using Adobe Photoshop may seem a daunting task due to its overwhelming amount of different features and options. However, you can create beautiful designs and effects with just a few simple techniques. The following beginner tutorial utilizes basic tools such as the text box and opacity. Disclaimer: Any photos used as texture or base are licensed under Creative Commons Zero (can copy, modify, distribute and use the photos for free, including commercial purposes, without asking permission from or providing attribution to the photographer or website distributing the photos). The photo used in the tutorial is from Unsplash. 1. Change the coloring of the photo if necessary; there are multiple adjustments in Photoshop that can create an assortment of effects, located in the “Adjustments” box.
3. Add a Gaussian Blur to the copied layer by clicking Filter -> Blur -> Gaussian Blur and dragging the slider.
4. Find an image with noise on Google Images. Download the file and drop it into Photoshop, making sure that it covers the entire image. Set the layer of noise to Overlay. Change the noise’s opacity to 10-25%. Combined with the blur, this creates a vintage, grainy effect.
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2. Duplicate the image layer by right-clicking or Ctrl-clicking on it. Lower the opacity.
PHOTOSHOP TUTORIAL 5. Click on the text box to add the desired text. The bar at the top gives all possible options of formatting the text alignment, font, size, and color.
6. Using the rectangle tool, draw a box around the text; make sure that there is no stroke and the fill is set as white. Then change the opacity to 25 - 30%.
7. Duplicate the rectangle using the aforementioned right-click method, but this time change the settings so that there is stroke but no fill. Change the opacity to 100%. This creates a border around the box.
8. Finished!
photography by Flora Yu [41]
THE ARTS
STREET PHOTOGRAPHY William Dougall I will never forget my experience in Mindo, Ecuador when I spent my entire day taking pictures of children having the best of times at a park that people in America would call “run down”. Capturing these moments are the reason why I love street photography as much as I do. Street photography is one of the most unique and diverse forms of photography. Sine it relies solely on everyday interactions, street photography is easy to practice almost anywhere. Unlike Macro photography, street photography does not require a special lens, or advanced gadgets, and can be easily practiced with something as simple as a phone with camera. Some people refer street photography as “advanced people watching”, but to most photographers it goes farther than a surface glance. Street photography is about capturing interactions as they happen; incorporating raw emotion, and often dealing with people when they are at their most vulnerable moments. It is part of telling a larger story about humanity as a whole or what it means to make up an isolated instance. Tips to Consider: 1. When shooting, pick an interesting subject. Taking generic crowd pictures does nothing but take up storage space on your camera. Try to focus on a certain person of interest. Focus on the details: on the freckles, wrinkles, questionable fashion choices or crazy hair that made you notice them in the first place.
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STREET PHOTOGRAPHY
2. Because of the nature of street photography to capture the essence of an individual in a very casual state, it involves being tactful when dealing with your subject. Approaching people when wanting to take their picture is a tricky operation. Often times, depending on the situation, one might consider taking the picture before asking questions in order to preserve the reality of the scene. By approaching your subject before taking their picture you risk losing the natural look of the scene and often times the subjects awareness of the camera causes the feeling or mood of the interaction to change. . On the other hand, you can also experiment with asking your subject to pose for you. 3. At times, there might be a language barrier between you and your subject, in which case, the most important thing to keep in mind is your facial expression. Approaching your subject with a positive facial expression is a crucial part to maintaining their sense of ease. Visual happiness and lots of hand gestures that break the barrier between your camera and the subject tend to be a sure fire way to get your subject to allow you to take their picture.
photography by William Dougall [43]
[gallery]
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Photograph by Siggi Bengston [XX]
GALLERY
SCHOLASTIC GALLERY Izzy Min
One of the goals of an artist or writer is to have his or her work recognized, published and exhibited. As the largest art contest for middle to high school students, the Scholastic Art and Writing Awards is an outlet for teen artists and writers to showcase their talent. Every year, more than 255,000 submissions, ranging from painting to short stories to websites, are judged for originality, technical skill and expression of personal voice. To encourage students to pursue careers in art, Scholastic awards scholarships and exhibits the best submissions at galleries across the country.
Photo by Izzy Min Freshman Cassandra Chum shows [proof] her award winning submission, pictured below.
Student submissions go through a two-step process. First, contestants submit their work to their regional office. Awards are then given out on the regional or state level: Gold Key, Silver Key, and Honorable Mention. Gold key-winning works are then considered for national-level recognition, where exceptional works receive national Gold and Silver Medals. Less than one percent of all submissions earn national medals. However those that do receive several benefits; they are invited to Carnegie Hall for a ceremony hosted by powerful figures in the arts or entertainment industry, and Gold medalist works are displayed at the Parson’s New School for Design. This past year, Nick Cannon, host of American Idol, honored medalists at Carnegie Hall.
Zahara Muzaffar
Cassandra Chum
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Samantha McBride
SCHOLASTIC GALLERY
Nicole Berry those buzzkill teenage years Julia Lauer we were happy once back when we were but small children, giggling at the minute moments innocent, but ignorant not yet unaccustomed to the word depression how sweet it was, to be unaware we were young then still having our mothers arrange our playdates and oh, we were so excited for our futures we imagined merry teenagers gabbing in a park with hushed voices and high pitched chortles doing things that we ourselves swore to never, ever do we longed for the knowledge of our fate, not yet knowing of what awaited us what a shame, what a shame (that all dreams must die someday) we are those teenagers now with somber eyes hidden by a perfectly mastered smile we have our moments, but that naive elation is gone we are no longer anticipating our futures with inextinguishable passion we are simply too busy trying to stay alive beneath the stacks of duties and responsibilities and society’s expectations, that yes, of course we can do this of course we can juggle so many things at once while initiating combat against our fragmented minds day by loathsome day if we live to have children, we will look at them and wish for them to never grow old because with age comes knowledge
which in turn, comes hand in hand with great tragedy we hope they will never know the real definition of sad the empty pit gnawing at us deep inside the lack of dopamine, the loss of the ability to feel we hope they will never have to learn the skill to tell your mind to shut up to keep on living when your body aches, when you question everything from the nature of your existence, to whether it is even worth it at all (we want to live, we just have no idea how) now we complete our homework with empty monotony feeling no emotion (we are hollow with exhaustion) silly child, grades will always be more important than your sanity sometimes our eyes gleam with hope that one day, it will get better, we will finally be happy for now, we wait in our bedrooms, our minds pounding trying not to think think think about anything beyond our assignments, anything that can trigger us to truly want to pick up daddy’s big ol’ gun and pull that trigger (we wish we were children again, unafflicted by life) we are the kids of carmine hues this is our secret, no one must know for the only thing worse then a failed test is a shrink (what the fuck is wrong with you, freak?) we are the teenagers terrified of our own minds with coping strategies that our parents never taught us they still view us as children, you know they still view us from the time when we were happy once
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GALLERY
Karni Beth
Aris Azarmsa
Rachel Berry
Dasha Forden
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Melinda Wang
STUDENT ARTWORK
Johanna Ehrensvard
Nikolas Lillios
Claire Lin
Sophia Muys
Nate Cook
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GALLERY
Isabel Nicholson
Heather Shaw
Stephanie Yu [50]
STUDENT ARTWORK
Bella Triolo
Alice Wang
Brian Sotnick
Jessica Jensen
Johanna Ehrensvard
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GALLERY
Stefan Quach
Heather Shaw
Claire Kokontsis Zoe Yencken [52]
STUDENT ARTWORK
Katherine Shan
Thomas Chapman
Rachel Berry Matt O’Reilly
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GALLERY
Brynn Sullivan
Patel Ajay
Clare Kemmerer
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Thomas Chapman
Keenan Laurence
STUDENT ARTWORK
Nicole Chen Chloe Iglehart
Melissa Cheng
Dylan Griffith
Jake Doughman [55]
GALLERY
Alisha Kumar
Johanna Ehrensvard
Alexander Lucci
Yvette Wu
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Nicole Cox
STUDENT ARTWORK
Gloria Guzman
Flora Liu
Chloe Strachan
Karni Beth
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GALLERY
Joseph Reynolds
Simone Shaw
Marie Davis [58]
Yerem Istanboulian
STUDENT ARTWORK
Albert Leng
Yvette Wu
Umbher Khooner
Olivia d’Arezzo
Ariana Tindall
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GALLERY
Viv Bhatia
Cassandra Fong
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Portia Barrientos
Emma Chen
STUDENT ARTWORK
Jonathan Stoschek Stephanie Yu
Albert Leng
Zoe Yencken
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[proof] spring 2015
Photograph by Danielle Bisbee