THE PHOTOGRAPHIC EYE

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TECHNICAL CONSIDERATIONS In addition to all the various aesthetic decisions that color photography requires, there are some technical ones as well. As is usually the case, these technical decisions have aesthetic implications. Prints or Slides? The first decision you'll need to make is whether to use film that produces color prints or transparencies (slides). Both kinds can produce prints of roughly equal quality, but you cannot easily produce good transparencies from negative film. Transparency film (technically called color reversal, since the negative is chemically "reversed" to produce a transparent positive image) offers one distinct advantage: After it is developed, you can look at what you've got before making prints. With color negatives, you pretty well have to have prints made of an entire roll before you can choose the ones you like. Transparencies are also virtually required if you hope to have your color photographs published. On the other hand, if you know that you will always want just prints, then print film is what you should use. This is especially true if you plan to do your own developing and printing. To get a print from a transparency, you'll probably need to make an interneg (by copying it onto another film) to use in the enlarger. If you have no use for the original transparency, then this merely adds an unnecessary step. Finally, transparencies impose one Don't forget to look for photographs in unlikely places. This reflection of a neon sign is almost certainly more interesting than a straight shot of the sign would have been. Also notice how the deep "saturated" colors add impact. With color slide film, this effect is achieved by slightly underexposing. With print film, color saturation can be controlled during exposure or printing. Student photograph by Jeff Frye. Color 249
250 The Photographic Eye High-speed films (some rated as high as ISO 3200), can be used in very low light. Though they are grainer than slower films, most produce quite good results. Many photographers even find the grain of high-speed films to be an asset, since it conveys a soft, moody quality. Photograph by Michael F. O'Brien.
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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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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
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
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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
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 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
Page 258 and 259: Student photograph by Ray Shaw. 4.
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
Page 266 and 267: amount of control over everyday lig
Page 268 and 269: and some black dots in the white ar
Page 270 and 271: Mat frame. Trace this frame, cut it
Page 272 and 273: The Museum of Modern Art (of New Yo
Page 274 and 275: Glossary Aperture Ring The ring on
Page 276 and 277: Index Adams, Ansel, 23, 152, 168, 1
Page 278 and 279: fixed lens, 36 fixer, 228-229, 231,
Page 280 and 281: ain (exercise), 203 range of light,
Page 282: Acknowledgments The authors wish to
Page 285 and 286: ESSENTIAL ELEMENTS The following is
Page 287 and 288: Copyright 1445 Da\ is Publications.
Page 289 and 290: Introduction TECHNIQUE vs. CREATIVE
Page 291 and 292: port 1 Teaching with The Photograph
Page 293 and 294: Similarly, a teacher who has darkro
Page 295 and 296: 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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