Bus Terminal, New York

I am obsessed with portraiture. I find that Photography's true beauty is found in it's ability to perfectly capture a moment. This photo from the National Geographic archives is truly incredible in it's ability to capture a moment of several different peoples lives. Whether in the foreground or the background each person has their own story and their own unique lives that shines through. Photography can capture a persons whole being, or  just a small, fleeting moment of their life. This is why I love photography.

http://photography.nationalgeographic.com/photography/photo-of-the-day/bus-terminal-new-york-pod/

Dennis Stock

 

In this photograph, Dennis Stock captures a young woman as the focus of this shot with her back facing the viewer. I found this a very interesting choice by Stock because the subject of the photograph was put in dialogue with her audience on the beach, rather than us, the viewers. This apprasial of this women by both the members on the beach and the viewers, put her in an immediate position of power and strength in the photo. The womans body acts as the dominant vertical line in this scene and is complimented by sea of beach goers that provide the hazy, horizontal focus.

 

-Nick

Ian Berry

 

This photograph was taken in South Africa in 1994. The photo depicts a meeting at the Zion Christian Church, where members are holding debate right before the election of leaders. The focus of this image is very unique. In the foreground a person stands mouth open and hands raised, energized in oration. The orators face is highly in focus while the rest of his body, including his waved hands and baton are out of focus. This technique helps highlight the animation of the orator. A strong vertical line in the left third of the image is created by the orator's back. Two diagonal lines, one in the middle third of the image and one in the right third of the image, are created by the out of focus depiction of the man's hand and baton. These lines help to create a frame in the foreground of the image. Outside of this frame, in the background of the image, people sit in rows intently focused on the man in the foreground. The difference of focus between the man in the foreground and the people in the background allows the viewer of this image to feel the electricity of the meeting.

-Jason

David Alan Harvey

This interesting picture was taken in Chile in 1987 and it's of a boy in San Pedro de Atacama. This picture is interesting because it contains numerous shadows, which create vertical and horizontal lines all across the photo. The shadows are so dominant in this picture that they conceal the boy's face and make the boy look like a dark figure in the center of the picture. It also makes one wonder where exactly this boy is standing. Due to all of the thin lines of shadows, he could be standing in a straw hut that has a tree with a long branch in front of it. Or the branch could be a part of the structure of the hut. Overall, I like this picture a lot because of the shadowy dimension.

Meera

Martine Franck

NEPAL. Bodnath. Shechen Monastery. Tulku KHENTRUL LODRO RABSEL (12 years old) with his tutor LHAGYEL.

 

This photograph provides the story of a child becoming a monk, showing an intimate encounter between the kid and his tutor. The two figures are placed in the middle, as the central characters of the photo, sitting in their specific pose and experiencing a cherished relationship. The tutor has a calm facial expression that reveals his wisdom, wild the child’s smiling face reflects his innocence. Additionally, the bird on the tutor’s head imposes a certain affectionate impulse, entailing warmth in the actual bond between the “student” and the “teacher”. The background is mostly plain, including just a detail of a bed and a window. The focus is on the figures and their mutual understanding, within the limits of knowledge and affiliation.

Kirila

 

 

Alex Webb USA. Mississippi. Mound Bayou. 1976. Members of the community on their front porch.

The above is an image of two females sitting on their porch. Both women are behind a screen looking away from the camera. The photographer creates a sense of depth through the placement of the girl directly behind a slit in the screen - the contrast between the figure inside of the cut region and outside of the cut region show the distinct pattern that the fence makes which emphasizes its placement as a element of the foreground.

The two bodies that are vertically dominant are mirrored by the post of the fence that creates a third vertical line. The color of the post is similar in appearance to the color of the right female's shirt which draws the two elements together. The figure on the left it wearing a patterned shirt that blends into the canvas - however the vertical cut in the screen allows her to not get lost in the composition.

I really liked how the image seemed to capture an everyday scene. The figures look peaceful and candid in a believable setting.

- Mara S

Johnny Cash's Boyhood Home

Alec Soth USA. Dyess, Arkansas. 2002. Johnny Cash's boyhood home.
The title of the photo explains exactly what the photographer is showing us. This photo is extremely simple however it tells the viewer a lot. In the center of the photo is a small house, and the main subject of the photo. A strong horizontal line lies where the land meets the sky, or the horizon line of the landscape. The tall tree standing in front of the house helps to give the illusion of a vertical line. A "v" shape can also be seen, starting at the top of the tree and two lines coming  out towards the horizon line. The one on the right reaches the top of the small tree on the right, whereas the line on the left leads the veiwer's eyes to a smaller house in the distance before reaching the horizon line. Another horizontal line can also be seen where the clouds meet the sky.


Allison

Cristina Garcia RoderoGEORGIA. Tbilissi. 1995.

This photo was taken by Cristina Garcia Rodero in 1995. It caught my attention immediately because of the black shape in the front of the photo. The black shape is in fact a sheet and it is noticeable by where the light hits and where it bulges, that underneath the sheet is a person.  You do not know whether the person is male or female, but you do know that their head is probably facing forward as well as their knees. The sheet makes two triangular shapes one upside down from the head to the top of the knee and down that is light. And the other one the top is the knee and goes from the bottom of the body and is darker because it is blocked by the light. Once you move your eye to the middle of the light triangle, you notice a horizontal line that goes to the top of the window. Then once you follow that line to the window you realize that there is another man on a bed in the background in almost the exact position as the person with the sheet over them. The bottom of his bed is making a vertical line as well as his head to his knee are making another vertical line.

 Jessica

How to develop B/W films (Guide)

http://reviews.ebay.com/Black-amp-White-Film-
Developing-Guide_W0QQugidZ10000000003726995
The first thing to remember when learning to develop film successfully is to stick to one film, one developer, and one method of development. It is the only good way to learn a sound technique and to fully explore and maximize the potential of the film and ultimately your print.
Keep in mind that the only purpose of developing film is to make the best prints you can make. It doesn't matter how the negatives look to your eyes as long as they produce the results in the prints that you originally wanted.
What films and developers to use? That is a question I get a lot. Any of the available ones will give you acceptable results, and you can't really go wrong. It also depends on what results you're after. Remember that there are no silver bullets when it comes to film or chemistry. They can help you get the results you're after, but the main factor is technique in exposing the film, developing it, and ultimately printing it. The work of the artist is by far more important than the materials used, so try to focus on repeatable results, and please remember to print your images often, only then can you truly know if your negatives are developed well or not.
Important factors:
1. Temperature. Some developers work fine in a temperature range between 65*F and 80*F, others don't. It's safest to keep the temperature you choose to develop at constant, at least in the beginning, and since so many recommended developing times are recommended at 68*F (or 20*C) I stick to that temperature religiously.
2. Time. Consistency requires exact timing, and the best way to achieve that consistency is to make sure the procedure for developing your film is the same every time. Don't change a thing.
3. Persistance. Don't give up if you don't get results immediately.
Basics:
When developing negative black and white film, the image is of course a negative of what your print will look like. That means the areas with the lowest density of developed silver will be the darkest in the print, and the areas with the highest density of developed silver will become the highlights. The dark tones in the print, or the 'thin' parts of the negative develop slowly, because they receive less light at the time of exposure. How much detail you get in this area of your negative depends on how you exposed it in the camera. Overexposed negatives will generally produce very generous detail in the print shadow areas, while underexposed (too little light) will invariably produce blocked up shadow areas without any detail at all. When you develop your film, the density of the developed silver in those areas is practically unaffected by developing the film longer.
The dense areas of your negative, or the highlights of your print, is a different story. This portion of your negative is determined solely by development. Several factors affects the results, mainly developer concentration, developing time, how you agitate your tank, as well as chemistry temperature. This is the reason why it's so important to be accurate in your methods of developing film.
My method of developing film:
The following method works great for me. You may wish to adopt it and do as I do, or you may find that some other method works better for you. We all have individual needs and desire different looks in the finished print.
1. Presoak the film in plain water. I do this for 3 minutes in water that is the same temperature as the developing chemistry. There are some developers that specifically shouldn't be used with a presoak, but 95% of them benefit from it. (The film emulsion is embedded in gelatin, and it swells. Presoaking makes sure the gelatin is properly swelled up by the time the developer is poured in and ensures more even development).
2. Developer. 20*C or 68*F, I mix one shot 'single use' batches of developer just minutes prior to developing the film. After pouring the presoak out, I immediately pour the developer into the tank. When it's all in the tank I start a timer that displays seconds and minutes, counting backwards from my predetermined developing time. I agitate for the entire first minute by inverting my tank with a lid tightly capped onto it. After about 50-55 seconds have passed, I very firmly rap the tank on the counter space six or seven times. This helps air bubbles that can get trapped on the film to dislodge and come to the top. The air bubbles will adversely affect your film development and turn up as marks, usually round and along the edge of the film strip.
3. Agitation. I completely invert the tank every minute a couple of times, and before setting the tank back down, I rap the tank on the counter top to, once again, dislodge those harmful air bubbles. The inversion ensures that the mixed developer acts evenly on the film surface.
4. Stop bath. 15 seconds prior to the film developing time being up, I start pouring the developer out. Then right as the development time ends, I pour pure water into the tank (at 20*C or 68*F, same as the developer). I do NOT use a stop bath since it is known to sometimes be the source of 'pinholes' in the film emulsion, showing up as dark spots on your prints. Developer is alkaline, stop bath is acid. The very large difference between developer and stop bath pH causes this phenomena to happen. You can use a stop bath if you like, but water stops development almost as well, and you run much less risk of pinholes. I change the water a couple of times for a total rinse of about 1-1.5 minutes.
5. Fixing. This is a critical stage of developing your film. It is extremely important to use fresh fixer, because it removes the unexposed silver in the emulsion that the developer didn't develop. If your fixer isn't fresh, or is spent, it will loose its ability to remove that unwanted silver. I always test my fixer before I use it by putting an undeveloped piece of film into the solution. The film strip should clear within the time the manufacturer recommends to use the fixer. I double the time it takes.
The fixer I use is alkaline. You can use acid fixer if you like. They are OK, but alkaline fixers wash out of the emulsion faster and easier. Do not use an alkaline fixer after using an acid stop bath.
I agitate constantly for the entire duration of the fixing. My fixer takes one minute to clear the unexposed silver when it's fresh, so I fix for two minutes. Then I pour the fixer back into its container and continue to use it until it's spent (when the clearing time exceeds the manufacturer's recommended fixing time, or preferably before that point, it should be discarded).
6. Washing. I use the Ilford-method of washing my film. After pouring the fixer out, I rinse with fresh water and a couple of inversions. Then I dump water. Pour in fresh water, invert tank five times. Dump water. Pour in fresh water, invert tank ten times. Dump water. Pour in fresh water, invert tank twenty times. Dump water. Rinse in fresh water for about five minutes, and finally do a rinse in distilled water to avoid drying marks on the film to the largest possible extent.
7. Wash aid. Some people like to use wash aids such as Kodak Hypo-clearing agent. With the alkaline fixer and the Ilford washing method there is no need. The purpose of washing film is to wash out unwanted chemicals. The hypo-clearing agent itself must be washed out for archival washing, so you're back to square one. With acid fixers, it may be necessary to use, however.
8. Rinse aid. Kodak Photo-flo (one among many similar products, Kodak is the best known), is a good tool to help the water to run off from the emulsion surface. Use distilled water and follow the instructions.
9. Drying. I hang my film from a nylon line with weights on the end. No air movement to minimize dust sticking to the film emulsion. Drying time varies with Relative Humidity level.
This method has been bullet proof for me. Which materials to use is related to personal taste and you will get as many suggestions as people you ask which film or developer is best.
Good luck, and remember to stick to selections that are the same every time, at least until you master those materials and explore them fully. Then you may venture off and try something else on an experiment level. Until then, keep it simple!
- Thomas

Shutter speed-diaphram

Pontoon of the Carlton Hotel, 1980

 

The image above was taken by Guy Le Querrec at the Cannes Film Festival in May 1980.  It depicts the preparation of the reception for the movie "The Man With Bogart's Face" in the French Riviera.

The slats of wood that make up the pontoon give it the most striking appearance against the water because of the vertical lines.  The rail attached to the pontoon brings the vertical lines up to the center of the photograph.  In the background, the boats break up the horizon.  In the foreground, the table echos and emphasizes the vertical lines further. 

The most beautful part of the photo is the intersection of the solid vertical lines of the dock and the less rigid horizontal line of the waves hitting the shore.  The shoreline brings softness to the rigidity of the main point of the photo.

 

Mary

Josef Koudelka; Brittany, France: 1973

This photograph, made in 1973 by Josef Koudelka incorporates several strong lines, using figures and natural landscape. The contrast in color of the sky and ground create an upper horizontal line, while the gravel road engraves a slightly lower horizontal line. The depth of field is present in noticing the sprawled length of the closest body centered in the frame compared to the small outline of a horse standing in the upper left corner. Also, the position of the bodies allow for an interesting combination of angles. The gypsy on the far left dressed in a suit throws the ball up creating a straight line with his elbow pointing at the man across from him, who seems to be leaning in. His leaning body creates an arrow toward the ball in the air. The body on the ground is peaceful, while the other two add movement to the scene. Overall, this picture has many lines, angles, and a general sense of contrasting still versus movement.

Sarah

Cornell Capa

This is a photo By Cornell Capa. It appears to be a child who has jumped into the bucket of water, meant for bathing. There are very strong horizontal lines between the dark of the bricks, and lighter of the upper wall. There are several vertical lines as well, created by the window panes and carried throughout the image in the reflection. The legs create a very strong vertical line as well. I really liked this image because I feel it really captured the moment at its climax, with the great splash of water but before it was able to disturb the stillness of the reflection.

Anna

rawabi

"Be aware that due to the way they operate, CMOS sensors are inherently "noisier" than CCD sensors, but if the individual pixel size can be increased by making the whole sensor larger or better layout on the sensor chip, then at a certain point, and with better mathematical fiddling, the CMOS chip can be made to be almost as good as an identically sized CCD chip. The advantages of the CMOS chip are easier manufacture, more logical elements can be installed on the same substrate (thus making possible one-chip cameras), and lower power consumption. For really critical low noise applications like astronomy then the CCD device will probably still be used.
CCD = Charge Coupled Device
CMOS = Complementary Metal Oxide Semiconductor, don't worry, it's just the description of the basic chip construction method."

http://homepages.tig.com.au/~parsog/photo/sensors1.html

Nikos Economopoulos

Browsing through Nikos Economopoulos' photos I noticed that majority of the focal points are placed in the center of the pictures. I personally liked this picture because of how Nikos manipulated the lighting and also because of how interesting the picture is. Looking at it I want to know more about it.

Andi

Thomas Hoepker

This is a photograph by Thomas Hoepker. There is a division down the center of the photograph, a thick cement wall separating the two halves of the frame. On the left lies a man dying. On the right lies a cow. The frail, malnutritioned body of the dying man creates rigid shapes. He lies with both knees up, and his elbow bent at an angle to his right. The sharp structure of the man's body seems to mimic the bony and rigid structure of the cow, who also sleeps with bent legs. In the lower righthand corner, we see a body of water that reflects the image of the cow. This suggests that the relationship between the man and the cow is also to be one of reflection, a mirror image, a possible commentary on the treatment of man like animals. 

Julia

35 mm camera

35 mm film is the basic film gauge most commonly used for chemical still photography (see 135 film) and motion pictures, and remains relatively unchanged since its introduction in 1892 by William Dickson and Thomas Edison, using film stock supplied by George Eastman. The photographic film is cut into strips 35 millimeters (about 1 3/8 inches) wide—hence the name.^[1][2] The standard negative pulldown for movies ("single-frame" format) is four perforations per frame along both edges, which makes for exactly 16 frames per foot^[3] (for stills, the standard frame is eight perforations).
A wide variety of largely proprietary gauges were used by the numerous camera and projection systems invented independently in the late 19th century and early 20th century, ranging from 13 mm to 75 mm (0.51–2.95 in).^[4] 35 mm was eventually recognized as the international standard gauge in 1909,^[5] and has remained by far the dominant film gauge for image origination and projection despite challenges from smaller and larger gauges, and from novel formats, because its size allows for a relatively good tradeoff between the cost of the film stock and the quality of the images captured. The ubiquity of 35 mm movie projectors in commercial movie theaters makes it the only motion picture format, film or video, that can be played in almost any cinema in the world.
The gauge is remarkably versatile in application. In the past one hundred years, it has been modified to include sound, redesigned to create a safer film base, formulated to capture color, has accommodated a bevy of widescreen formats, and has incorporated digital sound data into nearly all of its non-frame areas. Since the beginning of the 21st century, Eastman Kodak and Fujifilm have held a duopoly in the manufacture of 35 mm motion picture film.

T-Time

Elliot Erwitt

Here is another photo I like from Magnum. It is by a French photographer named Elliot Erwitt. The photograph has a short depth of field therefore the main objects are in the foreground. The 2 pairs of legs and the small dog create three vertical lines dividing the frame. Behind them the background is out of focus. There is a high contrast between the objects in focus and the out of focus background. The photographer has gotten on the same eye level as the small dog for this low perspective. We are looking at the scene as if we were another dog confronting this woman and her pets on a walk. There is a nice rhythm across the frame as you look from lef to right with space on either side of the subjects and an even seperation between them.

Phoebe

Eli Reed

This photograph was taken by Eli Reed in a barbershop in South Carolina. The eye is immediately drawn to the center of the picture. This is where the most visible vertical line is, starting with the boy and drawing upwards to the two most prominent people in the barbershop. There are vertical lines on either side of the window or mirror as well, which help to frame the center of the picture. Horizontal lines are noticeable in the line on the wall behind the boy as well as from the hooks on the left to the hooks on the right. This photograph plays a lot with depth. The barbershop appears to be a reflection in a mirror, although it could possibly be a view through a hazy window. The wall is so solid and sets a firm foundation for the viewer, but as the eye passes the barbershop window or mirror, we are forced to look deeper into the picture to understand its true depth. Light is also a factor, drawing the eye central once again as it shines through the shop windows. The sharpness of the lines and colors are contrasted by the blurry barbershop reflection. The darkness and triangular shape of the floor in the bottom right corner is mimicked in the bottom left corner with the shape and color of the shelf. This repetition adds the the balance of the photograph and once again leads the eye to the other darkest colors in the photograph - the center of the frame. 


Kelsey

Antoine D'Agata

This Photograph was taken by Antoine D'Agata in Puerto San Jose, Guatemala. Antoine D'Agata is a french photographer who began working in the early 90s and remains active today. The photo depicts a person laying their head on a table as the focal point of the image. In the background of the photographer an empty bottle can be seen.  At first glance, the viewer implies from the images in the photo that the person depicted is drunk and passed out.  However, a second inference can be made that the person is ill and the empty bottle is some form of medicine. The photo is particularly intriguing to the eye because of the diagonal line, starting in lower left portion of the picture and rising to the upper right portion, that the table creates. This diagonal line projects a sense of imbalance  to the viewer. In turn this leads the viewer to believe the main character in the image is intoxicated, while also feeling the same sense of intoxication. The image is particularly strong because of its ability to allow the viewer to learn and feel the story displayed. 

-Jason

Carl De Keyzer

This photograph was taken in New Delhi, India in 1986 at Jantar Mantar, which is an astronomy complex. This particular photo is of the gigantic sun dial that resides there. The photograph illustrates  some distinct geometric shapes, such as the trapezoidal shape of the main platform next to the Indian man and the rectangular columns that are towering over the man and the girl. The cylindrical shape of the center column is recognizable as well. There are many diagonal and vertical lines that run through this picture, primarily the diagonal lines of the main platform to the left of the man and the vertical lines of the center cylindrical column. One can perceive a lot of depth in this picture as well. It seems that the man is standing in between two of the many thin platforms right in front of the photographer and the size of the girl in the background makes you wonder how far she actually is  from the man. The platforms seem to really reach far into the picture and it also makes one question how far the man is from the center cylindrical column. Overall, this picture is very creative and definitely incorporates a lot of depth perception.

ScarletPhotoGirl

Chris Steele-Perkins

This picture is in the courtyard of the mental hospital run by the Edhi Foundation in 1997.

I found this picture to be extremely interesting for a few different reasons. The color, the geometric shapes, and the mysterious views. The black and white in this photo is extreme. It makes the room or gated area seem extremely deep as well. The geometric shapes consume the entire photo. The geometric shapes also make the virtical and horizontal lines very distinct. It seems that they are in crossed patterned throughout the whole photograph. Also, when looking at the photo the viewers wonder what is happening on the inside from looking from the outside and what they are seeing from inside looking out. I wonder what the photographer was thinking when he took this photo and why he took it. I am curious by the positions of everyone's bodies. They are lying down, sitting and standing... but you cannot ever see an entire body to even read their body language.

Rhody12

This photo reflects a particular motion and an observation of the little girls' dance. The young ballerinas are positioned diagonally, so that a certain direction is achieved, maintained by the firm pose of the teachers. There is an audience in the back, watching carefully the small figures and their glowing act.  The wide space is interrupted by the actual arrangement of the characters, placed one behind another. There is a black and white contrast between their clothing, which increases the dynamics of the photograph. Eventually, the whole setting brings in a clear narrative, encompassing variety of figures and poses.

Magnus     

Donovan Wylie, County Fermanagh. Enniskillen. RUC (Royal Ultser Constabulatory) officers' locker. 1999.

The following is an image of an officer's locker containing elements of a standard uniform. The locker shelf creates a strong horizontal division across the canvas. The two elements of the division are filled with separate accessories ranging from hats to jackets. The jacket in the foreground contains a pin with an identical seal to the adornment on the hats. The matching design elements links the foreground and the background together. The color palette is relatively simple and contains mostly earth tones and blacks with the exception of the red seal.

I was drawn to the photograph because of the strong contrasting colors and interesting play on space. I like how the photographer used the jacket in the front to create emphasize the depth of the locker. I'm interested in the owner of the uniform and what meaning it has to the photographer.

MGoBlue

Eli Reed (Eau Claire, South Carolina) 1999

Can you feel the energy of this room? Coming from the South, I can't count the number of times I've seen versions of this very picture. A ladies church group gather in the reverend's house for a bible study. The somber expressions, the hopeful yet expectant glances of what message is to come. All while "dressed to the nines" in their Sunday best and hands neatly placed. Their uprightness in the straight back chairs exemplify the strictness of the religion, and the lines from the bottom of the window sills give a nice horizontal frame. The posture of the women, the lamp, and the vertical windows allow for an erect line position, which may be interpreted also as an assertion of worship towards the heavens.

Sarah 

Leonard Freed

Leonard Freed ISRAEL. Jerusalem. 1967. Religious Jews at home in Mea Shearim.

This picture stuck out to me mostly because of its depth. A great sense of perspective can be seen in a line going from the baby on the table towards the viewer to who we can assume is the father's hat. Another line that is easily noticed is one that lays vertically along the corner of the room at the right side of the picture. A horizontal line can also be seen towards the bottom of the photo running through the mans shoulders, the corner of the table, above the second child's head and trough the woman's arm.These two lines can also be seen in other photographs taken by Leonard Freed. I also like how the picture easily told a story about family and love.


Afaye

Exhibiion (not far from JCU)

http://espresso.repubblica.it/multimedia/fotogalleria/27864553

give a lolo to this link!

Un'amicizia che ha cambiato la fotografia del XX secolo. Quella tra Paul Strand e Walter Rosenblum, rispettivamente maestro e allievo, è una storia durata 25 anni. Il confronto tra due dei più grandi autori degli anni '50 viaggiava tra Parigi e New York e non si limitava alla tecnica fotografica e ai materiali, ma viveva soprattutto delle impressioni sulla vita, terreno d'esperienza e d'ispirazione profonda. Il loro percorso creativo, documentato da oltre cento lettere originali, ha ispirato la mostra "Corrispondenze elettive", che inaugura il 21 January Museum di "Roma in Trastevere". Up to March the 20th e, oltre a parte dello scambio epistolare, include alcune delle più importanti immagini fotografiche di entrambi gli artisti, numerosi documenti, libri e una brochure con un saggio di Strand scritto per la mostra di Rosenblum al Brooklyn Museum -
di Adele Sarno

Gui Le Querrec

Afrique de l'Ouest. Mali. Gao, Hôtel Atlantide. 20ème jour du "Raid 88 - Renault 19 / Conakry - Cap Nord". Mercredi 21 septembre 1988

This photo is by Gui Le Querrec and is an interior of a bare room with and a window looking to the street. There is a curtain blowing in the wind creating a diagonal line across the composition. It brings the viewer's eye from the darker top right corner into the middle of the frame where the window is. The contrast between the light window and dark room becomes a focal point. There are 2 horizon lines: one inside the room and one outside through the window, both leaning to the same focal point out the window. The shadows, door frame, window, curtain and corner of the room create geometrical shapes leading viewer's eye around. I like how the geometrical elements flattened the space into shapes, yet there is still depth.

phoebe

This photograph was taken by Werner Bischof. It is of a woman in Zurich, Switzerland in 1942, and is entitled "Zebra Woman." Though you cannot actually see the ground, the placement woman's foot and behind create a strict almost horizontal line, and give the photo a firm, structured foundation. The angle of her bent knee provides a triangular shape, also a sharp structured figure, but these lines are offset by the curve of her back and the curve of the shadow. We are not quite sure where the woman is, but the shadow of what looks like bars give the impression that she is caged in, trapped in some way. The lines of the bar shadows start at the bottom of the photo as horizontal lines, but transform with the curve of her back into vertical lines. It seems as though she is naked and we cannot see her face, so she becomes a universal figure, a representation. There seems to be a combination of structured concreteness, but also ambiguity and uncertainty.

~PeaNutButt4LIfe

Film Information

If you want to purchase film, go to Sabatini Fotografia, located at:

Via Germanico, 168, 00192 Rome, Italy
+39 06 3600 3966

See Google Maps link here:

http://maps.google.com/maps?hl=en&sugexp=gsih&xhr=t&q=sabatini+roma+fotografia&cp=24&qe=c2FiYXRpbmkgcm9tYSBmb3RvZ3JhZmlh&qesig=Bzaq_mAyNLYdfo7bEK7ReQ&pkc=AFgZ2tl3S1-S95f7BAb9QmIZloEFu0506kEgWfu7q-n4XbmvmwBH4tVI6maaLCT2J0y9ai78ib8RSO147UwT8UhBBMDXXsjw3Q&client=firefox-a&hs=bpr&rls=org.mozilla:en-GB:official&um=1&ie=UTF-8&sa=N&tab=wl

Purchase HP5 IL FORD 135 or TMY KODAK 135

Or try: De Bernardis at:
Piazza Della Cancelleria, 63
00186 Roma

Ggoirish

Steve McCurry 1996 INDIA. Bombay. Red Boy during Holi festival.

This photograph by Steve McCurry is visually striking both because of its off-putting, odd portraiture figure and its visual techniques.  The photograph has several vertical lines, with the two most prominent lines establishing the titular "Red Boy" in the center-left section of the frame.  The boy himself has his head turned down and away from the camera, but his piercing eyes stare straight out, creating a visual contortion that catches the viewer off-guard.  The vividness of his bright eyes against his red skin and the dark shadows around him emphasize a strong horizontal line through the middle of the photograph.  The figure in the back ground is blurry and out of focus, a technique that draws the viewer even further into the eyes of the "Red Boy"

GoIrish

Henri Cartier-Bresson 1932 FRANCE. Marseille. 1932.

There are two human figures laying on the ground. The front person appears to be lower class and the back person appears to be upper class. The composition has multiple lines, there are triangles and "s" shapes. The knee of the man in the front creates a triangle. The people are laying on a grass field. The man in the front's arms, clothing, and legs create an "m"

- Mgoblue

syllabus traditional

JOHN CABOT UNIVERSITY COURSE CODE: "AS 199-1" COURSE NAME: "Basic Photography (Traditional Film Photography)" SEMESTER & YEAR: Spring Semester 2011

SYLLABUS INSTRUCTOR: Amato Serafino HOURS: M 14:15-17:00 TOTAL NO. OF CONTACT HOURS: 45 CREDITS: 3 PREREQUISITES: OFFICE HOURS:

COURSE AIMS: Time, space, light, infinity, and human sensibility. For the last century and a half, photography has been following changes in humankindâ?Ts external and internal environments. The core idea of this course is that photography is related more closely to philosophical, literary, and narrative ideas than to art history and the visual arts. The specific aim of the course is to help students evaluate different types of photographic images and to find the genres and types of images closest to their own sensibilities.

SUMMARY OF COURSE CONTENT: The theoretical objective of this course is to find techniques to re-create any sort of place and space, whether it be exterior or interior. Students use manual film cameras. The teacher will follow them step by step as they produce an original portfolio. Various genres of photography, in both color and black and white, will be analyzed: Portrait Landscape Reportage Reproduction Close up Still life Theatre and arts (artists at work) Fine art.

LEARNING OUTCOMES: The objective of the course is for students to achieve a technical knowledge sufficient to realize images in different contexts. These skills will develop in controlled environments, in order to be verifiable technically and conceptually. Early in the course, a working context will be proposed. This context, or contexts, will be the environments of the theater, of architecture, and also of the studios of visual artists. Among the problems proposed is to photograph actors as they prepare a theatrical performance.

TEXTBOOK: NONE

REQUIRED RESERVED READING: NONE RECOMMENDED RESERVED READING: NONE

GRADING POLICY -ASSESSMENT METHODS: A group project will involve documenting museums or classical sites offered throughout Rome. Students will organize their own photography projects under the supervision of the professor. -ASSESSMENT CRITERIA: Assessment Guidelines for assigning main letter grades: A, B, C,D, and F. A:  Work of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensiveknowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course. B:  This is highly competent level of performance and directly addresses the question or problem raised. There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments. C:  This is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings. D:  This level of performances demonstrates that the student lacks a coherent grasp of the material. Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail. F: This work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant. -ATTENDANCE REQUIREMENTS:  Please refer to the university catalog for the attendance and absence policy.

Please refer to the university catalog for the attendance and absence policy.

ACADEMIC HONESTY As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.

STUDENTS WITH LEARNING OR OTHER DISABILITIES John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

1. Introduction to terms used in photography, both technical and theoretical. 2. Detailed examination and review of the camera and all its mechanisms. 3. Discussion of optical principles, in particular with regard photographic lenses: focal lengths, apertures, etc. 4. Introduction to black and white film, color film, and negatives. Film speed (Iso/Asa). 5. Techniques of film developing 6. Techniques of photographic printing, including the varieties of special papers available. (Carte polietinate e baritate.) 7. Ways of editing and displaying photographic images; presentation in the context of a photographic exhibition. The single image, the series, the essay, etc. 8. The photographic genres 9. Natural and artificial lighting in photography. 10. The course will focus on the relationships and advantages offered by ne tchnologies for traditional film photography. 11. It is highly recommended that students come prepared  to class with a traditonal film camera and, if possibile, a laptop.