THE PHOTOGRAPHIC EYE

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1959 Development of first zoom lens, the Zoomar 36-82. 1966 Konica introduces first professional quality automatic exposure camera. 1972 Polaroid adds color toils instant cameras. 1985 Minolta introduces the first professional quality automatic focus camera, the Maxxum. Yousef Karsh, Ethiopian Bride, 1963. Courtesy Woodfin Camp and Associates. cepted as an art in its own right. Photojournalists were a major source of information and insight for the general public (a role that has since been largely taken over by television reporters). Advertising had begun using photography to catch attention or communicate a message. Portable cameras had made snapshots a national hobby. Where Now? The list of technical advances in photography continues to get longer and longer (see the photographic time line), and the ranks of great photographers has expanded steadily as well. Edward Steichen, Minor White, Sebastiao Salgado, Edward Weston, Ansel Adams, Diane Arbus, Ernst Haas, Eugene Richards...the list is long and subject to fierce debate. Photography is still a young art. Painting, sculpture, writing, dance, acting and music have all been around for thousands of years. Even they continue to change at an often alarming rate. This is all the more true of photography, which has 1987 Canon debuts first "Commercial Still Video" system. 1991 Kodak launches Photo CD system and digital camera. From Blurs to Big Business 23
FOCAL POINT: Manuel Alvarez Bravo, 1902- Throughout the world, photographers have used the camera to observe, interpret and record their own cultures and environments. In the process, some have also achieved unique styles that are particularly appropriate to specific times and places. Manuel Alvarez Bravo is among a select group of photographers who have gone a step further —discovering a way of seeing that seems to express the spirit of an entire culture. Great works of art are rarely created in a vacuum. Instead, even the most gifted artist draws on a lifetime of experiences and impressions. The work of other artists is almost always an important influence. Additional influences may include one's level of wealth or poverty; the personalities and values of friends and family; the climate, colors, sounds and rituals that are part of daily life. By combining a variety of local and international influences, some artists are able to create art that breaks through cultural barriers without losing a sense of cultural roots. Bravo is one photographer who has done this. In his case, the culture is that of Mexico. He was born in Mexico City, and has continued to be based there throughout his life. His father and grandfather were both artists, one a painter and the other a photographer. Before becoming interested in photography, Bravo studied literature, music and painting, beginning in 1917. In 1922, he began experimenting with photography. By 1926, he was using a camera to produce abstract images of folded paper. By the early 1930's he was among the 24 The Photographic Eye Manuel Alvarez Bravo, Retrato de lo Eterno (Portrait of the Eternal), 1935. Courtesy The Witkin Gallery, New York. leaders of a creative surge in Mexican art. His first solo exhibit was held in Mexico City in 1932. Soon after, he became acquainted with Paul Strand, Henri Carder-Bresson, Walker Evans and other photographers who were gaining international attention. Bravo also met Andre Breton, who is credited with creating the Surrealist style of painting. Surrealism, which employs the symbols and imagery of dreams, became a major influence on Bravo's photographic style. In his best work, Bravo combines the technical skill and confidence of photographers like Strand and Evans; the ability to capture a "decisive moment" that is characteristic of Carder-Bresson; and the often disturbing dreamlike qualities of Surrealist paintings. To this mix of artistic influences, he adds a deep and proud understanding of Mexican culture and a keen awareness of light and mood. The result is a vision that is both highly private and universally accessible.
Page 1: REVISED EDITION THE PHOTOGRAPHIC EY
Page 4 and 5: Student photograph by Gregory Conra
Page 6 and 7: Part 3 People, Places & Things: Exe
Page 8 and 9: part 1 Getting Started Student phot
Page 10 and 11: chapter 1 S urprisingly few new art
Page 12 and 13: light, producing a positive image o
Page 14 and 15: Mathew Brady, Magazine in Battery R
Page 16 and 17: Peter Henry Emerson, Gunner Working
Page 18 and 19: Alfred Stieglitz, The 'Flat Iron',
Page 20 and 21: chestra. His first photographic job
Page 24 and 25: Minor White, Moon and Wall Encrusta
Page 26 and 27: Fortunately, however, commercial ph
Page 28 and 29: 1904-71 Margaret Bourke-White, Airs
Page 30 and 31: Variations Mixed in with these gene
Page 32 and 33: Student photograph. 34 The Photogra
Page 34 and 35: violin money can buy, but a blues s
Page 36 and 37: Each kind of lens has its own chara
Page 38 and 39: Additional Tools Once you've select
Page 40 and 41: whether the camera is in manual or
Page 42 and 43: motor-drives, see Appendix 4.) In t
Page 44 and 45: • Film-Advance Sprocket Just to t
Page 46 and 47: EXERCISE Testing the Shutter & Aper
Page 48 and 49: Is a plastic hose interesting? It i
Page 50 and 51: Attention to detail is the primary
Page 52 and 53: 54 The Photographic Eye Weighting t
Page 54 and 55: still seem to be interestingly dist
Page 56 and 57: FOCAL POINT: Composition Tips As yo
Page 58 and 59: An unusual kind of balance is produ
Page 60 and 61: Two kinds of dynamics are at work i
Page 62 and 63: EXERCISE Mat Frame Turn to the back
Page 64 and 65: Student photograph by Jay Le Claire
Page 66 and 67: produced. Skill is the key ingredie
Page 68 and 69: Another "rule breaker"—this time
Page 70 and 71: 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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1902-1984 Places 169
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Student photograph by Al Webb. Stud
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Student photograph by Mark Crew. St
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Student photograph by Gerald Allen
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The placement of the cat, combined
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EXERCISE Construction Sites Assignm
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chapter 14 People oving from photog
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is especially useful on location, i
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People 185
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EXERCISE Elders Assignment: Do a se
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Student photograph. Student photogr
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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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