This photograph includes a usage of a telephoto lens seen from the clearness of the element in focus and the blurry background. However, this bluriness is also a consequence of the fact that the photographer took this photo while in movement, capturing the particular motion.

 

    All of these photos expose a wide angle lens, seen from the sharpness of the space and of the actual figural motifs. There are many elements captured, still having sharp contours, positioned in the narrow background and its expanding impression.  In the first one, the diaphram is probably more opened than in the second one. There is also deformation of the figures on the left side, which is another proof for the usage of a wide angle lens.

This picture was taken by photographer Elliott Erwitt. The title that he chose to give this photograph is "thanksgiving", You do not really understand why this title has given to this work, most likely because the road was passing a procession to celebrate this important day. From what we can see in the picture we now see a clear line, vertical divides us exactly half the work, perhaps the author's intention was precisely to divide the picture at two different times. The photo was taken in 1988 in New York City more specifically the Upper West Side. Facing the window of the house two children watching the parade of concerned Thanksgiving.

 

                                                                                                                                                                                                              Giuseppe Monini

 

PAR116905.jpg 36K   View   Download

Dennis Stock

USA. California. 1968. "The California Trip". San Diego Coastline.

 

I chose this picture because of the illusion it gives the viewer. We are looking at a photo of the Sandiego Coast line and the first thing we see is the cars on the road in the foreground. We see a horizonline along the middle of the picture where the road seems to end. What is a little confusing about the photo is that there is a scene of a far away beach where there should be a sky, it almost seems like two different pictures put together in one. Somewhere the road curves to the left and it can be seen that it is along side the ocean. The photo also shows some interesting shapes and lines alond the road, with shadows and the waves made by the ocean.

 

- Allison

I really like the exposure of this image. The photographer reveals the inside of the room, where there seems to be a large gathering a people coming together, eating and socializing, as one. But at the same time, he has let just enough light in to outline the young girl and baby excluded from the room, having a moment alone. The striking contrast in exposure between the two scenes gives the impression that girl is alone in her efforts, that she is excluded from the gathering, or maybe is just having a peaceful moment with her child. Either way, the lighting of the photograph communicates two very different scenes taking place simultaneously in the same image.

Julia O'Brien

Ferdinando Scianna

The above image is of French writer and semiologist Roland Barthes taken in 1977. The composition is very simple - a single figure with a right hand justification. The scale of is body is about equal with the blank areas of the canvas. He creates a vertical line while the placement of his hand on his mouth creates a slight diagonal leading up to the top right hand corner. The photo is in low contrast with the exception of an illuminated background against the figures clothing. 


I really liked how dark the canvas was because it expressed a lot of emotion. The figure has a contemplative look on his face and the dark shadows above his eyes make his expression hard to read which helps to captivate the viewer. More so, I liked the simplicity of the canvas because it highlighted the writer as the central figure without any distractions. 


Mara Schlanger

Richard Kalvar

 

As soon as I saw this photo, it made me smile. Its description is, ' Woman looking at herself in store window'. It was taken in 1969 in New York City. Although, I feel as if she may be looking inside of the store at something she really likes. It looks like she is so comfortable against the glass that she either looks at what is inside often, or sees something that she really wishes to have that will make her or someone else happy. the photo is really clear and you cannot see the photographer in the reflection. Your eyese are immediately drawn to the real women, and then they slide over to see her reflection.The angle at which this photo is taken allows you to see the other side of the street that is further up. It gives the illusion that both women are real, and they are standing stomach to stomach. It is only when you take a look and see the lines from the light and the news paper inside the window that you realize they are not real. There is a vertical line in the middle of the photograph. This line seperates the real world from the 'other' world which the women is gazing into. It is almost completely opposite of each other except for a few minor details.There area also lines from the side walk that run horizontally, and lines on her dress aw well. These concrete lines that are in this photo give it structure, and at the same time you have to let your mind wander beyond this and let your imagination run free.

 

Jessica

This photograph is taken by Eve Arnold, in China, showing horse training for the militia. The figures (woman and horse) are placed in the foreground, spread out and occupying the whole lower part of the photo. Their colors match and create a harmonious focus of the composition. The background is plain and vast, continuously expanding and emphasizing the characters’ significance. The horizon line is smooth, revealing the extensiveness of the field space. Moreover, this photo exposes a caring relationship between the woman and the horse, regarding their poses and closeness to each other.

Kirila

Give a look at this LINK, please

Here you can find a lot of different photo galleries

http://www.boston.com/bigpicture/2011/02/libya_unrest_and_uncertainty.html

Hyperfocal

Hyperfocal distance is the closest distance at which a lens can be focused and have everything in sight be sharp. In other words, the hyperfocal indicates the distance with the largest depth of field that will remain in focus.  When a lens is focused at this distance, all of the objects at distances from half of the hyperfocal distance to infinity will be sharp.

Here is an example:

Phoebe

Josef Koudelka; Czechoslovakia 1963

A young gypsy accused of murdering his wife walks through the streets of Czechoslovakia in handcuffs. This photo looks like it was taken in a panoramic view, as the wide background behind the subject is in focus as well as the "murderer". Also, the camera angle is from up above, looking down on the subject, creating a visual turn of hierarchy. The accused creates a strong vertical center line, and his dark clothing create even more of a contrast making him stand out. There is a diagonal line made by a heavy truck or tank running parallel with his shadow in the picture. As well, it seems the people are maybe staring at him, and by the look on his face he can feel the judgement being passed on him by his fellow countrymen.

Sarah

Joseph Koudelka biography

Joseph Koudelka, born in 1938, grew up in Moravia and started taking photos of his family and environment at a young age-- with a 6X6 Bakelite camera. He earned a technical degree and started a career in aeronautical engineering, all the while photographing plays, ballets, and other theatre productions.
The first photos that won him fame, were his captured moments of the Soviet army's invasion into Prague in 1968. At the time he was forced to leave his country, but these particular photographs eventually won him the Robert Cappa Gold medal and set the pace for the next several years of his life.
He became somewhat of a nomad, while traveling and photographing Europe. His most well known collection is of the gypsies in the Czech republic. In one photograph, he actually captures a gypsy with his head down, talking to his horse and it looks like the horse is nodding. He sustained his travels solely on grants from several European countries, and concentrated on social and cultural rituals. Like many photojournalists, he became a gypsy himself; his photographs a mirror of his life. He has won many awards and prizes for his photos, and is compared to the greats like Henri Cartier-Bresson. Now he resides in France, but continues to work documenting European landscapes with panoramic views.

Sarah

Kirila Cvetkovska

Ferdinando Scianna

Ferdinando Scianna is an Italian photographer from Sicily. The photo depicted is of Argentinean writer Jorge Luis Borges. The focal point of the image is that portrait of Borges, an elderly man with frayed gray hair. Borges is staring off in the distance seemingly focused on some significant sight. Above Borges sits a very dark ominous cloud.  The cloud, which starts in the upper left corner of the image, is curling down towards the lower right portion of the image, directly above Borges. The cloud provides a very surreal feeling to the image. It suggests to the viewer that Borges gaze is focused on something even more ominous in the distance. However, what it is that Borges is focused on is up to the viewer.ù

Jason

Moises Saman

KUWAIT. Kuwait City. June 23, 2010. The girl is standing behind the curtain in order to protect her identity. I found this very interesting how the photographer who wanted to take a photo of a girl came up with a different way of capturing the subject. The lighting and the eerie feel to this photo is what make this picture very intriguing. The ghost-like silhouette draws in the viewer. The most obvious geometric shapes that are seen is the rectangle of the window and a horizontal line running along the bottom of the window. Vertical lines formed by the curtains are also apparent.

-Allison

B&W Portrait

I've tried to post this before, so i'll try again.

Photograph by Standard Oil (New Jersey) collection, Photographic Archives, University of Louisville

The photographer has clearly used a small aperture to gain an extended field of depth. A small aperture is useful in landscape photos when you want as much as possible, in both the foreground and background, to be in crisp focus. In this image, having the two main subjects, consumed by a sharp, vivid, natural scenery emphasizes the vastness of the land around them.

Julia O'Brien

This photograph by Kevin Carter won him the Pulitzer Prize in 1993.  The photograph is artfully executed and unbelievably horrifying.  There is a vertical line created by the near-by horizon, which is blurred by the photographer who used a wider aperture to focus solely on the photo's two figures.  The ground itself is pale, relatively unobtrusive, so as to further draw the eye towards the starving child and the vulture.  The child himself (or herself - they are starving to the point where we cannot tell) is in a position of complete vulnerability.  His bent-over position makes him parallel to the ground and accentuates the fact that he is no longer a fully capable human; he has become prey.  The vulture lurks in the background, shoulders raised and head attentive, waiting to for the right moment to attack.  He is also slightly out of focus so as to create a visual line between the vulture and the child.  The distance between them makes it all the more horrifying as the viewer realizes what is about to happen.  This change in roles - with the human as the victim and the vulture as the stalker - is what makes this photograph so striking.

George Cardon

Ferdinando Scianna

This picture uses light to highlight the lines of the shadows and the woman.  The photographer creates his own setting by the use of light through the trees adn behind then men to cast the shadows on the wall.  Upon first looking at this picture, you have to adjust your eyes to see what is a 3 dimensional figure and what is 2 dimensional.  He uses light to highlight only part of her face, thus mixing the dimensions.

Erich Lessing

This picture was taken by photographer Erich Lessing. It was taken at the Geneva Summit in 1955. It shows the Soviet Prime Minister, US President, French Prime Minister and British Prime Mister as they pose for the press. I like this photo because it is very candid of all four men. It catches all of them in what appears to be a moment of happiness and peace, but they are all showing it in unique ways. The men are clearly the main focus of the photo, but the trees in the background and the windows provide very strong vertical contrast to the horizontal row of men.

Anna

Steve McCurry: Cambodia

This photograph was taken by Steve McCurry in Cambodia. I think that it is very visually pleasing because of all of the imitations between the background and foreground. The three figures in the center of the foreground mimic the three towers in the center of the background. They create a vertical line that connects each figure to its corresponding tower. Even the figure off to the left has a smaller tower that it corresponds with as well. The road is a strong vertical line that urges the eye from the figures in the foreground to the towers in the background, enhancing this feeling of unity that is already present. The picture is very balanced because each object or figure is tied to something else in the picture. Also, the main focus is in the center, and the objects on the sides enhance this balance because they are very simple and act almost as a mirror from one side to the other. For example, the structures on either side of the road in the background look very similar, and the road is line with grass and a few trees on both sides. The shadows of the figure create another twin image, making the strong triangular shape occur three times in the photograph. This is interesting because the eye is drawn to "threes", so the viewer gets a feeling of satisfaction, balance, and harmony when looking at the picture. McCurry must have used a wide-angle lense to create this much depth in the photograph.

Kelsey

Alex Majoli

EGYPT. Cairo. February 11, 2011. Anti-government demonstrators celebrate following the announcement that President Mubarak had stepped down from office.

 

This photo was taken ten days ago, so it is relevant to everyone today. I was immediately drawn to this photography because of the black silhouette of a man that is standing in the middle on top of something that raises him above everyone else in the crowd. You cannot make out him or the other features but your eyes are drawn to the middle of the photography and then back towards the light. These lights give the photograph a lot of depth and the street that the Egyptian people are standing in seems to go on forever. It shows how many people are demonstrating against their government and even thought you cannot make out what each subject looks like, you notice by their body language that they are making a point about something.  No subject is standing in the same line, which is how we learned to take a good photograph in class. Also, there are many vertical lines that go up from the street lamps and the main subject in the middle. There is also one main horizontal line underneath the subject standing. This photo captured lots of crisp detail. I like how the smoke looks against the dark sky and silhouette.

Jessica

David Seymour

The above image is a picture of a Parisian suburb in 1936. The figures appear to be dancing on an open street and the provided information explains that their movement is in reference to a national strike demanding a 40 hour work week with paid holidays and collective agreements. The image is heavily concentrated with figures in the back that disperse towards the foreground. There is a circular movement made by the fluid figures (notably all men in similar dress.) Additional horizontal lines are created through the cobblestone street that is mirrored by the arrangement of the figures on the left hand side. 

I was instantly drawn to this photo because of its strong contrast between focused and unfocused figures. The men in the front are blurry - perhaps because they are moving - while those in the back are very sharp and clear. I also appreciated the use of darks and lights in the the clothing to create emphasis. Without the additional information I would have no idea what the gathering was referencing and I like how the photo leaves the general message up for interpretation by the viewer. 

Mara Schlanger

Alin Ciortea: Basement Child

I love this picture because of the level that this picture is taken from and also the depth of field that this picture displays. The photographer was at the same level of the child when taking this picture, thus making it easier to focus in on the main subject of the picture. Most parts of the picture are not in focus due to the fact that the aperture setting was probably low enough to solely focus on the little boy. Also, the picture displays what seems to be an endless sidewalk, making the viewer feel like he or she can almost jump into the picture. Also, there exists a distinct diagonal line created by the wall of the building on the right side above the boy's head. The lines on the sidewalk that are in focus eventually fade to a blur, making the sidewalk look very smooth in the distance.

Meera

Raymond Depardon

This is a picture of a man standing on a corner near Time Square in New York City in 1984. The man, though the apparent subject of the photo, becomes difficult to find for the viewer as everything around him is in sharp focus, emphasizing the energy and chaos of such a large city during this time. Depardon uses a small aperture to gain an extended depth of field, thus maintaining a very sharp zone of focus.

Julia O'Brien

Andrew Ang: Buffalo, Indonesia

This picture is of a buffalo cooling down in muddy water on one of the Komodo islands in Indonesia. One can tell that the photographer made good use of the aperture or diaphragm settings. The photographer focused directly in on the eyes of the buffalo, leaving everything in the background, including part of the buffalo's horn blurry, as it protrudes further into the picture. Therefore, one can tell that the aperture was relatively small, like 4 or 2.8. However, considering this is a close up photo of the buffalo, there is still dimension to this image, displayed by the buffalo's horn extending far back into the picture. This picture is great because of the smart use of aperture settings to get the focus on the main part of the image, which is the buffalo.

Meera

Bruno Barbey

This photograph is really interesting because of all the horizontal and vertical lines present. The background is filled with a strong horizonal line where the windows begin, and about a 1/3 of the way up the photo as well. Two strong vertical lines are present on either side of the window frame. In between the strongest lines mentioned above, the background is filled with vertical and horizontal grids. The gates on both the right and left side of the background enhance the rigidness as well. The figure in front creates a strong, dark vertical as well. The umbrella softens the picture with it's rounded top, and this motion is mimicked in the floor pattern. The colors are all from a similar hue, which allows the eye to focus on the dark and light variations throughout the picture. Barbey created a long depth of film, since the picture creates a lot of space and the background is still fairly clear.

Kelsey

Robert and Cornell Capa

Brothers Robert and Cornell Capa were both very famous Hungarian-American photographers. Robert, the older of the two has been called 'The Greatest War Photographer in the World'. He covered 5 different wars before being killed in 1954 in the First Indochina War after stepping on a land mine. Robert was one of the co-founders of Magnum Photos. Cornell moved to Paris in 1936, where his brother was working, to pursue his own interest in photography. Cornell had a more diverse collection of photographs than his brother. After his brothers death Cornell joined Magnum Photos. 

The photo above was taken by Robert Capa. It is the first wave of American troops arriving at Omaha Beach in Normandy. I liked this photo because it is so blurry, which I feel reflects the mood and conditions while the photo was taken. The clearest thing in the image in the soldiers face in the foreground, and the rest behind him is such a blur. The sharp contrast of the white of the water, and black of the soldiers lends an even stronger impact to the picture.

Anna

This photograph was taken by Christopher Anderson in Pakistan (2001), capturing two Afghan refugees- a father and a grandson. The portraits are in the focus of the photo, dwelling in the whole space and reflecting an expression of fear and despair. The contrast between the old and the young face increases the mystery and the controversies beyond the refugee issue. However, the two characters have a same facial expression- the one revealing anguish and dismay. The background is plain, with a blurry face appearing behind the child. The old man’s white beard also imposes a strong contrast between the tones of the picture, increasing its effect on the viewer. Even though this photograph depicts figures of different age, it illustrates their mutual concern and a wish for peaceful life.

Kirila

Dennis Stock - USA. San Francisco, California. 1958. Earl HINES, American piano player and band leader. Jimmy ARCHEY, American trombone player. Francis Joseph "Muggsy" SPANIER, American cornet player and band leader. Earl WATKINS, American drummer.

The above is a photo taken by photographer Dennis Stock that features four jazz musicians. There is a strong contrast between darks and lights that highlight not only the musicians but also the individual instruments that they are playing. The position of each musician creates a variation of lines and shapes that offers a unique dynamic flow. The trombone player in the center creates a strong vertical line while the piano player directly to his left creates a C-shape. The spotlight in the top left hand corner draws the eye in a diagonal line down to the bottom right which highlights all of the figures and their accompanying tools.

I really liked the emotion that the figures brought to the canvas. Each has a strong expression that emphasizes not only their passion for the moment but also for the music they are playing. The varying size of each figure also draws the viewer in and forces them to closely examine the composition to decipher each instrument and player.

Mara Schlanger

The Diaphram

Depth of Field
Wide Angle

35 mm Cameras - the size of the frame

Shutter Speed

Lens

How Does the Camera Produce Photographs?

The Camera

Malik Sidibé _ African Photographer

http://www.repubblica.it/persone/2011/02/07/foto/malick_sidib-12153547/1/

Give a look to this gallery

Cornell Capa

I was drawn to this photo by Cornell Capa taken in Moscow at The Bolshoi Ballet School. The photo captures the three dancers poise and focus while their environment also mimics their organization. Each dancer is at a window, lined up perfectly at the barre all in the same pose. The whole scene is shown in the mirror in front of the room. There is balance not only in the subject but also in the composition. 

Phoebe 

Andrea Ruggeri

Tomorrow february 9th

the italian photographer Andrea Ruggeri is going to talk about his photograpy work from 2:15 to 3:15 pm
In class_Via del Mattonato.

Alec Soth

This photograph taken by Alec Soth is titled "Sleeping by the Mississippi". The busyness of the image creates a particular contrast to the title. While sleeping typically resembles something calm, in this image the colors and patterns create an energized sensation. At the center of the photograph is a single bed. Surrounding this bed are a number of colorful fabrics and ornaments sitting on different layers. The multiple levels of the decorative fabrics work to create perspective in the image as to portray that the bed is down a long hallway. The image is full of geometric lines and shapes. The bottom of the bed draws a horizontal line across the bottom fourth of the image, while the top of the bed draws another parallel horizontal line across the middle of the image. The two sides of the bed work to draw parallel vertical lines on the left and right third of the picture. This intersection of these four lines creates a box within the center of the photo, enhancing the long hallway feel that the decorative fabrics create.

-Jason

Bruce Gilden

This picture is interesting in the way it segments its subjects. There are two strong vertical lines, portioning the picture into three segments. Only one subject is facing the camera, the other two are in their own world. The lighting in this photo I found extremely intriguing, with the checkered light on the man to the left. The woman is positioned farther back in the photo, providing the image with some depth.  It is a very simple picture, but something about it jumps out at the viewer. The shadows and checkers somewhat enclose the subjects, yet their attitudes seem carefree, so its an interesting dichotomy. The background of the image is somewhat overexposed, a lot more light is present than in the foreground.

Julia

Kodachrome Film

Kodachrome is the trademarked brand name of a type of color reversal film that was manufactured by Eastman Kodak from 1935 to 2009. Kodachrome was the first successfully mass-marketed color still film using a subtractive method, in contrast to earlier additive "screenplate" methods such as Autochrome and Dufaycolor, and remained the oldest brand of color film.
Unlike transparency and negative color films with dye couplers incorporated into the emulsion layers, Kodachrome had none. The dyes were formed during processing. Without couplers, the emulsion layers were thinner, causing less light scattering and allowing the film to record a sharper image. A Kodachrome slide is discernible by an easily-visible relief image on the emulsion side of the film. Kodachrome has a dynamic range of around 8 stops, or 3.6-3.8D.


Complex process of developing:

First, the antihalation backing was removed with an alkaline solution and wash. The film was developed using a developer containing phenidone and hydroquinone, which formed three superimposed negative images, one for each primary color.

After washing out the first developer, the film underwent re-exposure and redevelopment stages. Re-exposure exposed the silver halides that were not developed in the first developer, effectively fogging them. A color developer then developed the fogged image, and exhaustion products formed a dye in the color complementary to the layer's sensitivity. The red-sensitive layer was re-exposed through the base of the film with red light, and then redeveloped forming cyan dye. The blue-sensitive layer was re-exposed through the emulsion side of the film with blue light, and then redeveloped with a developer to form yellow dye. The green-sensitive layer was redeveloped with a developer that chemically fogged it and formed magenta dye. The two light re-exposures had to be carefully controlled so as not to cause re-exposure of the green-sensitive layer.

Following color development, the metallic silver was converted back to silver halide using a bleach solution. The film was then fixed, making these silver halides soluble and leaving only the final dye image. The film was finally washed to remove residual chemicals which might have caused deterioration of the dye image, dried and cut.

- Nicole

Mark Power

Mark Power

FRANCE. Paris. Palais Garnier. Stage curtain. February 2004.

 

This photograph is extremely dark and is mostly made up of black space. However, the way Power took the picture allows the viewer to create an idea of what the photo is of. The light shines through the negative space between the "objects" creating a strong enough outline for the viewer to tell that there is a curtain present and it is hanging above what we assume is a stage. Two strong lines in the picture are seen vertically down the center of the photograph and horizontally along the golden light outlining the bottom of the curtain. The picture gives a sense of wonder, leaving the veiwer thinking "What exactly is behind the curtain?"

 

Allison

Alex Webb

This is a picture of members of the Mississippi community on their porch in the Mound Bayou in 1976. There exist a lot of contrast elements in this image. For example, the young girl and old woman are facing away from each other, creating a distinction between youth and the elderly. The mesh screen in front of the young girl and the old woman is in contrast with the small slit in the screen, which ultimately exposes the softness of the young girl's image. If one looks closely, one can view the wavy lines that the mesh screen consists of. This is in contrast to the distinct vertical line that the main column (right side of the image) creates.  Overall, I liked this image because of its composition and contrast elements.

-Meera

jessica

This photograph caught my attention because of the depth of the photo. The girl in the background is in the left corner and because there is a window to the side of her it is very bright and light. The man up front is a dark and contrasting figure. He is making a triangle with his arm when he is drinking out of his alcohol bottle. The photo gives the impression that he is getting drunk and the women in the back is either already drunk and passed out, or sleeping and because she is light and the man is dark she is unaware about the man’s actions.  The man creates a diagonal line from the corner of the photo, to his elbow to the tip of the square where the woman is sleeping. The woman also creates a horizontal line across the photograph and there is a vertical line from the top, to her knees and down.

This photograph was taken by David Seymour in North France, showing two innocent, young miners. These two characters are in the focus of the photo, whereas the background is blurred, revealing a landscape and a silhouette walking. The portraits of the children reflect a drained look, yet with glimpses of vitality and determination. They are placed in the foreground and appear as coming in the way of the viewer.  Eventually, the fact that this is a black and white photo adds mystical qualities to the whole subject matter and the conventions beyond it.  

Kirila

John Vink Mesa Grande (San Marcos). 08/06/88. Refugees from Salvador. Child in a kindergarden.

The first thing that draws my attention to this photograph is the juxtaposition of textures. The prominent net creates a frame for the sole figure on the canvas. There is a strong vertical line in the center of the page that is created by the framing of the net. Because it is the only vertical the eye is instantly drawn there where it is met by a portrait of a young child. At first glance, the child looks peaceful and the viewer is left wondering what the photo is trying to express. There are many different interpretations for the seemingly-expressionless child however the title of the photo - Refugees from Salvador - transform the image into an combination of hope and anguish.

I really liked the way that the net masked the face of the figure - much like the meaning of the image would be masked without the inclusion of a title.  - Mara Schlanger

David Hurn

This picture takes place in the Soho district in London. The most blatant examples of lines are the vertical bars in the foreground and background and the horizontal lines of the brick walls in the middle- and background.  There is a lot of movement captured in between the barriers of the hard lines.  The children bring life to the otherwise hard environment and soften the image.  They create alternate vertical lines to balance the rigidity of the photo.

The Flying Korean

This photograph, "The Flying Korean," was taken by Chien-Chi Chang in 2008. I love it because it is so ambiguous. The viewer is pulled into the frame because of all the unanswered questions that arise at a glance of the photograph. The background is so dark and the figure of a person is so white, creating tension in the picture, as well as drawing the eye directly to the object. The haziness of the entire picture makes me wonder exactly what is happening - where is this? Why did the photographer decided to take this shot? The figure creates a strong diagnol line that cuts the picture in half. The hazy gray in the bottom of the background helps to continue this line downward and towards the bottom right corner. As far as developing goes, Chien-Chi Chang must have made the diaphragm very open in order to let in a lot of light, as well as do a very slow shutterspeed. This made the picture blurry because lots of light was let in to create the brightness of the figure, and the blurriness comes from the very slow shutterspeed. I think it probably takes a lot of practice to create the perfect timing to get a good solid shape (for example you can tell it's a human) yet still the blurriness and ambiguous nature of the photograph.

Kelsey

Gregory Crewdson at Gagosian Gallery

Last night I went to Gregory Crewdson's opening at the Gagosian Gallery. His show is called "Sanctuary" and is a series of photographs taken at the Cinecitta studios located just outside of Rome. They are beautiful black and white landscape's of the sets of Ancient Rome at the film studio. He is an American photographer and this is his 1st show at the Gagosian Gallery in Rome. It seems fitting to have this series of photos of an artificial Rome on display in the city real of Rome. The images are large and the architectural elements of the sets create bold geometric lines guiding the viewers eye around the page. Every inch is in focus, which allows the viewer to more easily enter into the frame and participate in the environment. The images are all overcast leaving viewers with a mysterious feeling, appropriate for the subject. I recommend that everyone go see the exhibit, which is up through March 5th.

http://www.gagosian.com/exhibitions/2011-02-03_gregory-crewdson/

-Phoebe

This is a picture of the volcano Vesuvius , which is located in Napoli,Italy. It was taken from an airplane .

Dareen

JCU PHOTO CONTEST