THE PHOTOGRAPHIC EYE

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As this photograph demonstrates, grain can be a highly effective tool for conveying certain kinds of emotions or moods. How would you describe the mood in this image? (Student photograph by Amy Shafer.) Breaking the Rules 219
EXERCISE Double Exposure Assignment: Combine two images into a single photograph either by double-exposing a single frame of film or by using two separate negatives to produce one print. Goal: Strive for a unified effect. The trick to a double-exposed photograph is to achieve visual coherence — an image that makes sense to the viewer. This does not mean that the image needs to be entirely clear, but it should be more than a chaotic jumble of lines, light and shadow (unless, of course, that's the effect you want). Tips: If you are creating your image in the camera, the simplest way to proceed is to shoot one frame as usual, making a mental note or, preferably, a rough sketch of the image, noting light and dark areas. If your camera has a double-exposure feature, use it. Otherwise, hold in the film-release button while you cock the shutter (i.e., wind the film as usual, though it shouldn't actually move). Experiment with various exposure combinations. If your second image is in a very dark area of your first image, you may get a good result by using a normal exposure for both. Otherwise, try under-exposing both by one stop (or doubling the ISO number). As always, bracketing is the safest way to ensure a successful result. After completing one double-exposure, wind the film forward as usual and try another. To produce a double exposure in the darkroom, you may either sandwich two negatives together in the 220 The Photographic Eye The ghostly figure in this photograph is one of the intriguing effects possible with double-exposure. (Student photograph by Anne Nowak.) negative holder or print them separately. Again, you will have to experiment to get the right exposure combination. With the second approach, you must remember that any white areas of the first negative will print black and nothing from the second negative can be printed in those areas. Variations: It is also possible to use a piece of black mat to cover half of the lens while making your first exposure, and then cover the other half for your second shot — but skill and practice are required to blend the two images successfully. (This works better on larger format cameras.) A "ghost" effect can be produced by setting the camera on a tripod, shooting one shot of a model (or other subject) at half the normal exposure, and then removing the model and shooting a second image (at the same exposure).
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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
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long, or "wide," depth of field, th
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A skillfully handled blurred motion
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A fast shutter speed (or flash) wil
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Panning will at least slow down a m
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EXERCISE - Blurred Movement Assignm
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Converging lines and an appropriate
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For now, let's stick with the liter
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feet, making distant objects appear
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you'll have many focal lengths to c
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Student photograph by Russell Wells
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EXERCISE Point of View Assignment:
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part 3 People, Places & Things: Exe
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chapter 12 Things y now, you should
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1886-1958 Edward Weston, Pepper, 19
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Student photograph by Charles Stuar
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Student photograph by Han June Bae.
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Student photograph by William Roche
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Student photograph by Lynne Mattiel
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,- Student photograph by Lynne Matt
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EXERCISE Old Things Assignment: Pho
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chapter 13 Places s you progress fr
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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
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 218 and 219: EXERCISE Photo-Copy Photos Assignme
Page 220 and 221: Variations: Shoot a sequence at dif
Page 222 and 223: In this example, an excerpt from a
Page 224 and 225: appendix 1 Processing PROCESSING FI
Page 226 and 227: perience. Start by loading your pra
Page 228 and 229: influences, such as incorrect expos
Page 230 and 231: The enlarge: can be raised or lower
Page 232 and 233: 6. Place the negative file over the
Page 234 and 235: The easiest way to identify the emu
Page 236 and 237: that amount of time. Then cover the
Page 238 and 239: camera or are being careless during
Page 240 and 241: appendix 2 Color t's a good idea to
Page 242 and 243: Complicated Imagery The first thing
Page 244 and 245: of white mat board) or flash fill (
Page 246 and 247: TECHNICAL CONSIDERATIONS In additio
Page 248 and 249: more important consideration: cropp
Page 250 and 251: appendix 3 Manipulation & Presentat
Page 252 and 253: 5. Use an 8" strip of masking tape
Page 254 and 255: 7. Expose 2 more 2x3" sheets. 8. De
Page 256 and 257: just called opaque), a sticky red g
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Page 260 and 261: Retouching Even if you are extraord
Page 262 and 263: appendix 4 Advanced Techniques TOOL
Page 264 and 265: 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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