THE PHOTOGRAPHIC EYE

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Film Developing — Photography Choose the most correct answer. 1. The type of developer we use is A. Dektol B. Microdol-X C.Microdol-X(l:3) D. Photo-flo 2. The best temperature for the developer is A. 55" B. 68" C. 75" D. 100" 3. At this temperature, film should remain in the developer for A. 1 minute. B. 5 minutes. C. 15 minutes D. 30 minutes. 4. After pouring developer into the processing tank, you should A. agitate the tank continuously for the entire developing time. B. set the tank on a flat surface without shaking it and leave it there for the entire developing time. C. agitate the tank for 5 seconds at 30-second intervals. D. agitate the tank occasionally for what feels like the "right" amount of time. 5. At the end of the developing time, you should A. open the developing tank and check to be sure the film has been developed correctly. B. pour the developer back into its container. C. leave the developer in the tank and pour in a small amount of stop bath. D. pour the developer down the drain. 6. Film should remain in the stop bath for A. 5 minutes. B. 30 seconds. C. I minute. D. between 1 and 5 minutes, depending on the type of film. 7. After completing the stop bath, film should be A. washed for 30 minutes, then fixed. B. fixed for 30 minutes, then washed. C. fixed for 5 minutes, then washed. D. washed for 5 minutes (fixing is optional, but not necessary).
Film Developing — Photography 8. To focus the negative in an enlarger, you should A. use the largest aperture. B. use the smallest aperature. C. use whatever aperture looks best. 9. The correct exposure for printing a negative is A. 5 seconds at f8. B. 10 seconds at f4.5. C. determined by making a test strip. D. determined by trail and error. 10. To develop the print normally, you should A. allow the paper to sit in the tray with no agitation for the entire developing time. B. agitate the paper occasionally while it is developing. C. turn the paper over at 30-second intervals while continually agitating the tray. D. agitate continually and remove the print as soon as it looks right. E. agitate continually and remove the print when it looks slightly underexposed. 11. The best way to increase the contrast of a print is to A. use a large aperture and then remove the print from the developer as soon as it looks right. B. use a small aperture and develop the print for at least 15 minutes. C. use higher-contrast paper. D. agitate the paper continually while it is developing. E. rub the paper with your hands while it is developing. 12. After the print has been properly developed, you should: A. place it in the stop bath for 15-30 seconds. B. place it in the stop bath for 5 minutes. C. rinse it off in the stop bath and place it in the fixer. D. rinse it with running water. 13. The print should remain in the fixer for A. I minute with continual agitation. B. 5 minutes with agitation for 5 seconds at 1 -minute intervals. C. 10 minutes with agitation for 5 seconds at 30-second intervals. D. 10 minutes with no agitation. 14. After fixing, the print should be A. washed for 1 minute B. washed for 10 minutes C. washed for 20 minutes D. returned to the stop bath for 1 minute, then washed for 5 minutes. Answers: 1, 2, 3, 13, 14: Answers to these questions will depend on your own procedures. 4:C, 5:D. 6: B. 7: C, 8: B, 9: C, 10: C, 11:C, 12: A
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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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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
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
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: Quiz for Chapter 2 — Tools — An
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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THE PHOTOGRAPHIC EYE

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