THE PHOTOGRAPHIC EYE

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Contents Introduction 5 Technique vs. Creative Expression 5 Part 1 Teaching with The Photographic Eye 7 Editorial Philosophy and Structure Special Features Application Community Resources 9 Preparing the Classroom 15 Basic Set-Up 15 The Darkroom 18 Defraying Expenses 22 Part 2 Planning the Course 24 Student Role 24 Critiquing 24 Teacher Evaluation 26 Student Portfolio 27 Class Variations 28 Research Projects 28 Exercise Variations 34 Reteaching Options and Productive Play 35 Part 3 Useful Information 39 Health and Safety Guidelines 39 Tools and Equipment 39 Chemicals 40 18-Week Curriculum 43 36-Week Curriculum 45 Additional Sources 50 Evaluation and Study Aids 53 Critique Form (for use by students) 55 Photograph Evaluation Form 56 Reading Worksheet for Chapter 1 57 Quiz for Chapter 2 63 Quiz on Film Developing (Appendix 1) 67 Final Examination Study Sheet 69 Correlations to Essential Elements and TAAS 70 3
Introduction TECHNIQUE vs. CREATIVE EXPRESSION Like any form of art or craft, photography employs technical skills to facilitate creative expression. Because it requires the use of a sophisticated machine (rather than brushes and paint or other simple tools), the technical aspect of photography is especially important. However, once the basic mechanics have been mastered, photographers are exceptionally free to explore the creative potential of their craft, because the camera does much of the work that painters, for example, must continually strive to refine. Ultimately, these two concerns — technique and creative expression — are complementary. Each enhances the other. In practice, however, anyone who teaches photography must make some choices about which approach will be given primary attention, take precedence as a criterion for grading purposes and promote the most productive learning experience. Successful development of technical skills will enable students to produce photographs that are well composed, exposed and printed. For students who already possess a clear sense of visual acuity, this approach may also result in creative discovery and the depth of expression which genuine art requires. In addition, acquiring precise and systematic work habits are potentially beneficial in other kinds of endeavors. On the other hand, technique can readily become too dominant, producing results that are precise but sterile, "correct" but uninspired and flawlessly dull. An emphasis on creative expression may result in photographs that are technically less than perfect, but it has one distinct advantage: a capacity to foster deep and lasting enthusiasm for the joy of looking, seeing and creating.
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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
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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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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
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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
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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: Copyright 1445 Da\ is Publications.
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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Page 299 and 300: PREPARING THE CLASSROOM slide show
Page 301 and 302: A well-equipped (and carefully desi
Page 303 and 304: Film drying closet rows, creating a
Page 305 and 306: 2. One full array of developing tra
Page 307 and 308: part 2 Planning the Course Naturall
Page 309 and 310: Crit sessions offer an opportunity
Page 311 and 312: STUDENT PORTFOLIO Our recommended g
Page 313 and 314: RESEARCH PROJECTS You may want to m
Page 315 and 316: • the moral and ethical implicati
Page 317 and 318: TEXT PAGE p. 100, 101 p.l 10, 111 p
Page 319 and 320: RETEACHING OPTIONS AND PRODUCTIVE P
Page 321 and 322: far enough away from each other to
Page 323 and 324: Chemicals A student examines a newl
Page 325 and 326: Photo Processes to be Avoided in th
Page 327 and 328: WEEK? WEEKS WEEK 9 44 Topic: Light
Page 329 and 330: WEEK 3 46 Goal: Begin taking and pr
Page 331 and 332: WEEK 21 WEEK 22 WEEK 23 48 Topic: P
Page 333 and 334: ADDITIONAL SOURCES Films 50 Write t
Page 335 and 336: Books Davis, Phil. Photography. Dub
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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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