THE PHOTOGRAPHIC EYE

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Part 3 People, Places & Things: Exercises & Examples 151 Chapter 12 Things Exercises: Bicycle • Hubcaps & Taillights • Eggs • Object & Its Shadow • Bottles & Classes • Water • Old Things 167 Chapter 13 Places Exercises: Landscape • Architecture & Environment • Neighborhoods • Zoo/Farm • Store Windows * Construction Sites 181 Chapter 14 People Exercises: Hands • Elders • Children • Soft-Light Portrait • Side-Lit Portrait • Prop Portrait • Detail Portrait • Mood Portrait 197 Chapter 15 Putting It All Together Exercises: Fairs • Open Markets • Rain • Playgrounds • Sports Events 209 Chapter 16 Breaking the Rules Exercises: Night • Monotone • Silhouettes • Grain and Diffusion • Double Exposure • Photo-Copy Photos • Panel Panorama • Text and Image Appendixes 227 Appendix 1 Processing Processing Film • Printing • Manipulation 243 Appendix 2 Color From B&W to Color • Technical Considerations 253 Appendix 3 Manipulation & Presentation Presentation * Manipulation 265 Appendix 4 Advanced Techniques Tools 272 Mat Frame (template) 273 Cropping L's (template) 275 Bibliography 279 Glossary 281 Index 287 Acknowledgments 6 The Photographic Eye
P hotography is both an art and a science. As an art, it expresses a personal vision. As a science, it relies on technology. This double nature is not unique to photography. Every kind of creative expression —such as music, dance or painting —has both a purely artistic side and a more scientific or techological side as well. For example, paints are a kind of technology, and using them well involves a considrable amount of technical skill. The main difference between photogaphy and more traditional visual arts, such as painting, is the complexity of its technology. In any of the arts, the first step toward excellence is mastering techique — learning to use a specific techology skillfully and effectively. In photography, this means that you must learn to control the camera and darkroom equipment, rather than letting them control you. No artist, however creative, can produce a masterpiece without a sound basis in technique. On the other hand, no amount of technical skill can make up for a lack of artistic vision. Both are essential. The goal of any artist is to use good technique creatively. Simply speaking, a camera is a machine that produces a twodimensional (flat) copy of a three- dimensional scene. The process by which this is done may seem like magic. (In fact, when cameras were first introduced, many people all over the world thought that they were magic.) Fundamentally, however, there's no magic in the camera. It's just a box with a hole in it. You supply the magic. When you, the photographer, use a camera creatively, it changes from a simple, mechanical machine into an artist's tool. Instead of making random copies of things, it begins to say something about them. Here are some of the technical questions a photographer must answer for every photograph: How will the lighting affect the clarity and mood of the photograph? How fast should the shutter speed be? How large a lens opening should be used? What should be in focus? What belongs in the frame, and what doesn't? What lens should be used? All these factors influence each other, and they all affect the final photograph. A photograph is "successful"—in the technical sense — when these factors all work well together and are combined with correct darkroom procedures. When a creative composition is added, the photograph becomes aesthetically successfully as well. Eventually, you will learn how to Introduction control each of these factors to achieve the effect you want. But it will take time. As you may already know, it's often hard to keep all of them in mind every time you take a picture. Fortunately, it is possible to begin more simply. This book is designed to help you do that. It begins with a brief summary of photography's past, present and future, including a discussion of photography careers. This is followed by an introduction to the camera itself. Chapters 3 and 4 provide a set of guidelines for composing and evaluating photographs. Chapter 5 explains a simple way to start producing correctly exposed photographs. As soon as you get that basic background behind you, you will begin your first photograph assignments. Chapters 6 through 11 deal with specific "elements" of photography. At the end of these chapters are exercises that will help you learn to recognize and use each element discussed. The remainder of the book is composed of additional exercises (with examples) and an Appendix, covering most of the technical information (including a section on color photography). Finally, there's a glossary to clarify any confusing terminology and a bibliography to help you locate more detailed information. 7
Page 1: REVISED EDITION THE PHOTOGRAPHIC EY
Page 4 and 5: Student photograph by Gregory Conra
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 22 and 23: 1959 Development of first zoom lens
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
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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
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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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