THE PHOTOGRAPHIC EYE

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The placement of the cat, combined with light spilling in through the window, makes this photograph more than a portrait of a particular cat. It evokes a mood, conveys a sense of place and time, artel si irs our memories — even though we have never experienced this particular scene. (Student photograph by Lynn Miller.) Student photograph by David Krumlauf. Places 111
EXERCISE Store Windows Assignment: As you photograph store windows, look for two things: merchandise on display and reflections in the glass. Be careful to keep yourself out of the photograph as much as possible. It is not acceptable for you to be clcarlv visible. Goal: Try to catch something unusual, especially something humorous. Don't just show a window with things in it. Make sure your photographs say something about those things. Tips: Look for patterns and interesting juxtapositions (or combinations) of objects. Notice how the reflection interacts with what's inside the window. Watch for signs (inside the window or reflected in it). Keep an eye out for interesting mannequins, or displays being rearranged. Consider getting two windows together in one photograph. Be conscious of your cropping. As a general rule, only the window should in the photograph, not the rest of the building. But if the building relates to what's in the window, then include both. Pay particular attention to converging lines caused by perspective. Make sure they work with the composition, not against it. Several tricks will help keep you out of the photograph. Stand at an angle to the window so it isn't reflecting things from your direction. Or get down low, so the reflection passes over you. Position yourself so that you line up with the frame of the window. Or stand so your reflection is in a dark part of the window. This can be achieved by standing so some- 178 The Photographic Eye thing dark (a shadow, for example, or a building) is behind you, or by lining yourself up with some dark object inside the window. Experiment with these techniques and they'll soon become automatic. (Note: It is acceptable, and often unavoidable, for part of you to be visible. Just try not to produce a photograph that looks like a self-portrait in a window.) It is perfectly acceptable for other people to be visible, either inside the window or reflected in it. Student photograph by John Pretty man.
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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
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EXERCISE Pattern Your assignment is
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Can you distinguish line from textu
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Student photograph by Man- McCoy. 9
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photograph, your attention may also
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EXERCISE Leaves Your next assignmen
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A series of similar curves, an inte
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In this high-contrast print, shape
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106 The Photographic Eye
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As with line and texture, a photogr
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EXERCISE Circles & Ovals Use at lea
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Student photograph by Bruce Cakebre
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Bright sunlight is best suited to c
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An unlighted subject against a ligh
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Low-light tends to be very somber,
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FOCAL POINT: Light Meters If your c
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couch. The average light in the sce
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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 140 and 141: you'll have many focal lengths to c
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 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
Page 190 and 191: Student photograph by Michael Cothr
Page 192 and 193: EXERCISE Mood Portrait Assignment:
Page 194 and 195: chapter 15 Putting It All Together
Page 196 and 197: 1908- During World War II he served
Page 198 and 199: Student photograph by Amy Walsh. Pu
Page 200 and 201: EXERCISE Rain Assignment: Do a seri
Page 202 and 203: Student photograph by Vinnie Rodzie
Page 204 and 205: Student photograph by Karen Demuth.
Page 206 and 207: chapter 16 Breaking the Rules hroug
Page 208 and 209: Diane Arbus, Identical Twins, 1966.
Page 210 and 211: Student photograph by John Dean. St
Page 212 and 213: Student photograph by Dave Hornback
Page 214 and 215: Student photograph by Lynne Mattiel
Page 216 and 217: As this photograph demonstrates, gr
Page 218 and 219: EXERCISE Photo-Copy Photos Assignme
Page 220 and 221: Variations: Shoot a sequence at dif
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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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