THE PHOTOGRAPHIC EYE

More documents

Recommendations

Info

Used correctly, the "point of departure" setting will produce consistently good results in bright sunlight. (Student photograph.) 82 The Photographic Eye
chapter 5 Point of Departure (f/16 at 1/125) N o\v that you are familiar with your camera, and have begun to evaluate composition, it's time to start putting your knowledge to work —by actually taking some photographs. In order to help you begin taking good photographs immediately, technical concerns will initially be kept to a minimum. At first, you will be doing little more than aiming your camera, focusing and shooting. As you proceed through the various exercises, however, you will gradually add on new techniques, learning new ways to express your own vision. By the time you reach the end of this book, you will have a solid foundation of skill and the beginnings of a personal style. Later, as you continue to progress on your own, you'll be able to push your skill and style to the limit. But for now, we'll stick to the basics. STARTING SIMPLY Your first assignments will be based on a "point of departure" that will enable you to produce technically successful photographs without getting bogged down in details. You will be using a standard aperture and shutter-speed setting: f/16 at 1/125 of a second. By using one standard setting, you'll be able to concentrate on learning how to "see" with a camera. In addition, starting with this setting will help you learn how the camera works. This, in turn, will provide a basis for all your future photography. Once you've had some experience with the standard setting, you'll be able to make informed decisions about how to handle a variety of other lighting situations. You will be using black-and-white film with an ISO of 125, such as Kodak's Plus-X. Your shutter will be set at 1/125 of a second, fast enough to "freeze" most action. Your aperture will be small —f/16 —so almost everything will be in focus. After loading the film, you'll adjust your camera controls to these settings — and leave them there. You may find yourself tempted to change the settings if your light meter disagrees with them. (After all, that's what the light meter is for, right?) But for now, just pretend the light meter isn't there. There are several good reasons not to rely on your light meter at the beginning. First, if you learn to shoot without it, you'll be better equipped to do so when necessary —such as when your batteries die on you, 100 miles from the nearest camera shop. (Many cameras can be used manually without batteries, though some modern ones cannot.) A second good reason is that your light meter is not always accurate. Light meters assume you want the average value in your photograph to be gray. Usually you do. But when you don't, or when unusual lighting conditions "confuse" the light meter, then it's vital that you know how to work without it. When you start shooting your first assignments, you will need to pay attention to only one technical concern: make sure your subject is well lit. This means that you will need to shoot outdoors in sunny weather. A day with some clouds is okay, but a heavily overcast or rainy day is not. It also means that you will generally want the sun to be behind you —so it is shining on your subject, not in your lens. So long as your subject is well lit, and you stick to f/16 at 125, you will produce correctly exposed photographs. That's a promise. Try it. DOING IT RIGHT The need for good light brings up another important point: Don't wait till the last minute. For each of your assignments, take the time to locate interesting subjects and to shoot them well. Keep an eye on the weather, and be ready to make use of it when it's good. (Bear in mind that overcast skies, rain and snow can be "good," 83
Page 1:
REVISED EDITION THE PHOTOGRAPHIC EY
Page 4 and 5:
Student photograph by Gregory Conra
Page 6 and 7:
Part 3 People, Places & Things: Exe
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
Page 56 and 57: FOCAL POINT: Composition Tips As yo
Page 58 and 59: An unusual kind of balance is produ
Page 60 and 61: Two kinds of dynamics are at work i
Page 62 and 63: EXERCISE Mat Frame Turn to the back
Page 64 and 65: Student photograph by Jay Le Claire
Page 66 and 67: produced. Skill is the key ingredie
Page 68 and 69: Another "rule breaker"—this time
Page 70 and 71: Placing everything in sharp focus h
Page 72 and 73: focused. Use a focusing aid (see Ap
Page 74 and 75: EXERCISE Sample Crit Describe the d
Page 76 and 77: The value of this photograph is res
Page 78 and 79: How would you evaluate this photogr
Page 82 and 83: Student photograph by Linda Raymond
Page 84 and 85: There are three basic line effects
Page 86 and 87: How many basic line effects are in
Page 88 and 89: Notice the soft-focus lines behind
Page 90 and 91: EXERCISE Pattern Your assignment is
Page 92 and 93: Can you distinguish line from textu
Page 94 and 95: Student photograph by Man- McCoy. 9
Page 96 and 97: photograph, your attention may also
Page 98 and 99: EXERCISE Leaves Your next assignmen
Page 100 and 101: A series of similar curves, an inte
Page 102 and 103: In this high-contrast print, shape
Page 104 and 105: 106 The Photographic Eye
Page 106 and 107: As with line and texture, a photogr
Page 108 and 109: EXERCISE Circles & Ovals Use at lea
Page 110 and 111: Student photograph by Bruce Cakebre
Page 112 and 113: Bright sunlight is best suited to c
Page 114 and 115: An unlighted subject against a ligh
Page 116 and 117: Low-light tends to be very somber,
Page 118 and 119: FOCAL POINT: Light Meters If your c
Page 120 and 121: couch. The average light in the sce
Page 122 and 123: promote rhythm. Alternating bands o
Page 124 and 125: long, or "wide," depth of field, th
Page 126 and 127: A skillfully handled blurred motion
Page 128 and 129: A fast shutter speed (or flash) wil
Page 130 and 131:
Panning will at least slow down a m
Page 132 and 133:
EXERCISE - Blurred Movement Assignm
Page 134 and 135:
Converging lines and an appropriate
Page 136 and 137:
For now, let's stick with the liter
Page 138 and 139:
feet, making distant objects appear
Page 140 and 141:
you'll have many focal lengths to c
Page 142 and 143:
Student photograph by Russell Wells
Page 144 and 145:
EXERCISE Point of View Assignment:
Page 146 and 147:
part 3 People, Places & Things: Exe
Page 148 and 149:
chapter 12 Things y now, you should
Page 150 and 151:
1886-1958 Edward Weston, Pepper, 19
Page 152 and 153:
Student photograph by Charles Stuar
Page 154 and 155:
Student photograph by Han June Bae.
Page 156 and 157:
Student photograph by William Roche
Page 158 and 159:
Student photograph by Lynne Mattiel
Page 160 and 161:
,- Student photograph by Lynne Matt
Page 162 and 163:
EXERCISE Old Things Assignment: Pho
Page 164 and 165:
chapter 13 Places s you progress fr
Page 166 and 167:
1902-1984 Places 169
Page 168 and 169:
Student photograph by Al Webb. Stud
Page 170 and 171:
Student photograph by Mark Crew. St
Page 172 and 173:
Student photograph by Gerald Allen
Page 174 and 175:
The placement of the cat, combined
Page 176 and 177:
EXERCISE Construction Sites Assignm
Page 178 and 179:
chapter 14 People oving from photog
Page 180 and 181:
is especially useful on location, i
Page 182 and 183:
People 185
Page 184 and 185:
EXERCISE Elders Assignment: Do a se
Page 186 and 187:
Student photograph. Student photogr
Page 188 and 189:
EXERCISE Side-Lit Portrait Assignme
Page 190 and 191:
Student photograph by Michael Cothr
Page 192 and 193:
EXERCISE Mood Portrait Assignment:
Page 194 and 195:
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
Page 202 and 203:
Student photograph by Vinnie Rodzie
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 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
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
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 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 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
show all

THE PHOTOGRAPHIC EYE

Create successful ePaper yourself

Delete template?

Save as template?