THE PHOTOGRAPHIC EYE

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TEXT PAGE p. 170, 171 p. 172, 173 p. 174, 175 p. 176, 177 p. 178 p. 179 p. 186 p. 187 p. 190 p. 191 p. 192 p. 194 p. 195 EXERCISE Landscape Architecture & Environment Neighborhoods Zoo/Farm Store Windows Construction Sites Hands Elders Soft-Light and Side-Lit Portrait Prop Portrait Detail Portrait Mood Portrait <strong>THE</strong>ME natural environs publicspaces sense of place non-human subjects insights into common sights random sources of line and pattern "body parts" qualities of specific groups of people effect of lighting in portraiture use of objects to evoke personality portraits without faces varieties of expression *Topics in "quotes" indicate either specific techniques or exercise titles that are intended to provoke interpretation. 34 VARIATIONS mountains, stream, "wasteland," "oasis" "ruins," miracle mile, "commons" (as in parks and town greens) backyard, main street, "room with a view," home, bus depot birds (w/zoom lens), "comparative dogs and cats" cars, stairs, doors "curves," "square and circle," etc. — all in public spaces feet, noses, lips, eyes farmers, pedestrians, families, parents, brothers and sisters low-light portrait, over-exposure portrait, light and shadow portrait "object portrait": use objects only (no person) to convey subject, shoes, hats, car and driver (see "Hands" above), legs in motion, gestures, backs "1 subject. 1 roll": shoot an entire roll of 1 person in a single session, curiosity, joy, waiting, "oops"
RETEACHING OPTIONS AND PRODUCTIVE PLAY For those students who encounter difficulties with any aspect of photography, you may find it helpful to consider alternate approaches to teaching the requisite skills. One way to start is to look beneath the surface and strive to locate any underlying causes which may not be immediately apparent. For example, one potential problem area that all photographers must confront to some degree is a high level of interaction with others (often total strangers) which can be extremely uncomfortable and — until identified — may be the source of an otherwise inexplicable inability to capture effective "people pictures." Creating a safe environment, such as encouraging the use of friends and family members for "set-up" shots, may be all that is necessary to solve this dilemma. Extensive use of self-portraiture may be another useful approach to try, especially for highly introspective students who may lack effective social skills. Others may have a hard time grasping the core concepts of composition. In this case, you might try some special exercises in which you work with the student (or class if this is a generalized obstacle), experimenting with a collection of visually interesting objects (an assortment of fruit, blocks of wood or odds and ends gathered in the classroom). Using a combination of addition, subtraction and rearrangement, discuss the way each change affects the "image" (which may be viewed through the mat frame explained in chapter 3), as you seek to draw out the student's responses. With creativity and patience, this process can often stimulate an exciting "click" of recognition, when a student suddenly sees how composition works. If the use of threedimensional objects proves unproductive, try the same approach using cutout shapes of black paper (with a bit of Spray Mount on the back of each) to produce various compositional effects on a white mat board. (For best results, enclose the image area in some kind of frame.) For a more dynamic approach, consider creating a "virtual camera," consisting of a cardboard box set on its side on a table, with the top and bottom removed to produce a limited field of vision (approximating the frame of a viewfinder or print). One or more students may be asked to arrange objects within this frame, then step behind it and observe the results. Alternatively, students could take turns being the "photographer" with the "camera" aimed at three or more other students who act as models by moving, standing and sitting as instructed. Or you might begin with a random grouping and then ask a student to change the position of only one of the subjects. The next student in turn might then be called upon to make one more change, and so on until an effective composition has been achieved. Yet another alternative 35
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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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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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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
Page 297 and 298: a wealth of old photographs of inte
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: TEXT PAGE p. 100, 101 p.l 10, 111 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
Page 337 and 338: 54 lines. A reasonable amount of le
Page 339 and 340: Photograph Evaluation Name Assignme
Page 341 and 342: Early Photography — Reading Works
Page 343 and 344: Early Photography — Reading Works
Page 345 and 346: Early Photography — Photography R
Page 347 and 348: Quiz for Chapter 2 — Tools 9. Wha
Page 349 and 350: Quiz for Chapter 2 — Tools — An
Page 351 and 352: Film Developing — Photography 8.
Page 353 and 354: 70 Contents Chapter 1: From Blurs t
Page 355 and 356: 72 Contents Chapter 12: Things Chap
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