THE PHOTOGRAPHIC EYE

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you'll have many focal lengths to choose from. But you will probably have at least one less f-stop than a plain 28mm or 80mm lens would give you. That's not a huge sacrifice under most conditions, but it is something to be aware of. (This is the reason we previously suggested that you should have at least one fixed-focal-length lens. You never know when you'll need to shoot something at f/2.8.) Every lens involves a similar tradeoff. They are all good for some kinds of shots and not good for others. A wide-angle, for example, would be a poor choice for shooting a football game. You might get some nice images of the stadium, but the action of the game would be utterly lost. DIFFERENT WAYS OF SEEING With a 50mm lens, as we've mentioned, things appear much as they do through a human eye. Receding objects will generally appear quite normal. With a wide angle lens, the lines of perspective will be exaggerated, so a building will seem taller or longer as it recedes from you. The lens does not actually change those lines. It only seems to because of the wide angle of view. What effect do you get if you shoot the same building, from the same position, with both a wide angle and a telephoto lens? The wide angle shot will seem to distort the image to emphasize depth, so objects will seem farther away. The telephoto will seem to distort it in the other direction, so objects seem flatter and closer than they actually are. The important word here is seem. If you crop out of the wide-angle photograph the portion of the entire scene that fit into 142 The Photographic Eye A zoom lens not only offers the benefits of several lenses in one, it \vill also make some interesting special effects possible. This shot was made by zooming the lens during a long exposure. (Student photograph by Charles Cibbs.) the telephoto shot, you would have two virtually identical photographs. But what about the way a wideangle lens bends people's faces at the edges of the frame? This is also just an apparent distortion. The lens is accurately recording an image from a certain perspective. The best way to test this is to look at a large wide angle print with your face as close as possible to it. The nearer you come to matching the original viewing position for the scene, the more normal the photograph will look. When you stand back from a wide-angle print, you are simply compressing a broad viewing angle into a smaller space, so things look weird.
The combination of height and distance enhance the perspective of this photograph. Notice how other lines in the photograph reinforce it. (Student photograph by Lynne Mattielli.) Perspective 143
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REVISED EDITION THE PHOTOGRAPHIC EY
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Student photograph by Gregory Conra
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Part 3 People, Places & Things: Exe
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part 1 Getting Started Student phot
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chapter 1 S urprisingly few new art
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light, producing a positive image o
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Mathew Brady, Magazine in Battery R
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Peter Henry Emerson, Gunner Working
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Alfred Stieglitz, The 'Flat Iron',
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chestra. His first photographic job
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1959 Development of first zoom lens
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Minor White, Moon and Wall Encrusta
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Fortunately, however, commercial ph
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1904-71 Margaret Bourke-White, Airs
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Variations Mixed in with these gene
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Student photograph. 34 The Photogra
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violin money can buy, but a blues s
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Each kind of lens has its own chara
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Additional Tools Once you've select
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whether the camera is in manual or
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motor-drives, see Appendix 4.) In t
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• Film-Advance Sprocket Just to t
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EXERCISE Testing the Shutter & Aper
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Is a plastic hose interesting? It i
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Attention to detail is the primary
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54 The Photographic Eye Weighting t
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still seem to be interestingly dist
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FOCAL POINT: Composition Tips As yo
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An unusual kind of balance is produ
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Two kinds of dynamics are at work i
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EXERCISE Mat Frame Turn to the back
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Student photograph by Jay Le Claire
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produced. Skill is the key ingredie
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Another "rule breaker"—this time
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Placing everything in sharp focus h
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focused. Use a focusing aid (see Ap
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EXERCISE Sample Crit Describe the d
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The value of this photograph is res
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How would you evaluate this photogr
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Used correctly, the "point of depar
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Student photograph by Linda Raymond
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There are three basic line effects
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How many basic line effects are in
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Notice the soft-focus lines behind
Page 90 and 91: EXERCISE Pattern Your assignment is
Page 92 and 93: Can you distinguish line from textu
Page 94 and 95: Student photograph by Man- McCoy. 9
Page 96 and 97: photograph, your attention may also
Page 98 and 99: EXERCISE Leaves Your next assignmen
Page 100 and 101: A series of similar curves, an inte
Page 102 and 103: In this high-contrast print, shape
Page 104 and 105: 106 The Photographic Eye
Page 106 and 107: As with line and texture, a photogr
Page 108 and 109: EXERCISE Circles & Ovals Use at lea
Page 110 and 111: Student photograph by Bruce Cakebre
Page 112 and 113: Bright sunlight is best suited to c
Page 114 and 115: An unlighted subject against a ligh
Page 116 and 117: Low-light tends to be very somber,
Page 118 and 119: FOCAL POINT: Light Meters If your c
Page 120 and 121: couch. The average light in the sce
Page 122 and 123: promote rhythm. Alternating bands o
Page 124 and 125: long, or "wide," depth of field, th
Page 126 and 127: A skillfully handled blurred motion
Page 128 and 129: A fast shutter speed (or flash) wil
Page 130 and 131: Panning will at least slow down a m
Page 132 and 133: EXERCISE - Blurred Movement Assignm
Page 134 and 135: Converging lines and an appropriate
Page 136 and 137: For now, let's stick with the liter
Page 138 and 139: feet, making distant objects appear
Page 142 and 143: Student photograph by Russell Wells
Page 144 and 145: EXERCISE Point of View Assignment:
Page 146 and 147: part 3 People, Places & Things: Exe
Page 148 and 149: chapter 12 Things y now, you should
Page 150 and 151: 1886-1958 Edward Weston, Pepper, 19
Page 152 and 153: Student photograph by Charles Stuar
Page 154 and 155: Student photograph by Han June Bae.
Page 156 and 157: Student photograph by William Roche
Page 158 and 159: Student photograph by Lynne Mattiel
Page 160 and 161: ,- Student photograph by Lynne Matt
Page 162 and 163: EXERCISE Old Things Assignment: Pho
Page 164 and 165: chapter 13 Places s you progress fr
Page 166 and 167: 1902-1984 Places 169
Page 168 and 169: Student photograph by Al Webb. Stud
Page 170 and 171: Student photograph by Mark Crew. St
Page 172 and 173: Student photograph by Gerald Allen
Page 174 and 175: The placement of the cat, combined
Page 176 and 177: EXERCISE Construction Sites Assignm
Page 178 and 179: chapter 14 People oving from photog
Page 180 and 181: is especially useful on location, i
Page 182 and 183: People 185
Page 184 and 185: EXERCISE Elders Assignment: Do a se
Page 186 and 187: Student photograph. Student photogr
Page 188 and 189: EXERCISE Side-Lit Portrait Assignme
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Student photograph by Michael Cothr
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EXERCISE Mood Portrait Assignment:
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chapter 15 Putting It All Together
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1908- During World War II he served
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Student photograph by Amy Walsh. Pu
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EXERCISE Rain Assignment: Do a seri
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Student photograph by Vinnie Rodzie
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Student photograph by Karen Demuth.
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chapter 16 Breaking the Rules hroug
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Diane Arbus, Identical Twins, 1966.
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Student photograph by John Dean. St
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Student photograph by Dave Hornback
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Student photograph by Lynne Mattiel
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As this photograph demonstrates, gr
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EXERCISE Photo-Copy Photos Assignme
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Variations: Shoot a sequence at dif
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In this example, an excerpt from a
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appendix 1 Processing PROCESSING FI
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perience. Start by loading your pra
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influences, such as incorrect expos
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The enlarge: can be raised or lower
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6. Place the negative file over the
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The easiest way to identify the emu
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that amount of time. Then cover the
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camera or are being careless during
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appendix 2 Color t's a good idea to
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Complicated Imagery The first thing
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of white mat board) or flash fill (
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TECHNICAL CONSIDERATIONS In additio
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more important consideration: cropp
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appendix 3 Manipulation & Presentat
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5. Use an 8" strip of masking tape
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7. Expose 2 more 2x3" sheets. 8. De
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just called opaque), a sticky red g
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Student photograph by Ray Shaw. 4.
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Retouching Even if you are extraord
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appendix 4 Advanced Techniques TOOL
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image area. Special effects filters
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amount of control over everyday lig
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and some black dots in the white ar
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Mat frame. Trace this frame, cut it
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The Museum of Modern Art (of New Yo
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Glossary Aperture Ring The ring on
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Index Adams, Ansel, 23, 152, 168, 1
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fixed lens, 36 fixer, 228-229, 231,
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ain (exercise), 203 range of light,
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Acknowledgments The authors wish to
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ESSENTIAL ELEMENTS The following is
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Copyright 1445 Da\ is Publications.
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Introduction TECHNIQUE vs. CREATIVE
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port 1 Teaching with The Photograph
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Similarly, a teacher who has darkro
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work of your students in a rotating
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a wealth of old photographs of inte
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PREPARING THE CLASSROOM slide show
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A well-equipped (and carefully desi
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Film drying closet rows, creating a
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2. One full array of developing tra
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part 2 Planning the Course Naturall
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Crit sessions offer an opportunity
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STUDENT PORTFOLIO Our recommended g
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RESEARCH PROJECTS You may want to m
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• the moral and ethical implicati
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TEXT PAGE p. 100, 101 p.l 10, 111 p
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RETEACHING OPTIONS AND PRODUCTIVE P
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far enough away from each other to
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Chemicals A student examines a newl
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Photo Processes to be Avoided in th
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WEEK? WEEKS WEEK 9 44 Topic: Light
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WEEK 3 46 Goal: Begin taking and pr
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WEEK 21 WEEK 22 WEEK 23 48 Topic: P
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ADDITIONAL SOURCES Films 50 Write t
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Books Davis, Phil. Photography. Dub
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54 lines. A reasonable amount of le
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Photograph Evaluation Name Assignme
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Early Photography — Reading Works
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Early Photography — Reading Works
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Early Photography — Photography R
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Quiz for Chapter 2 — Tools 9. Wha
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Quiz for Chapter 2 — Tools — An
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Film Developing — Photography 8.
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70 Contents Chapter 1: From Blurs t
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72 Contents Chapter 12: Things Chap
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THE PHOTOGRAPHIC EYE

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