yana james
matt
http://www.firstyeardesign.com
Roland Barthes
Spencer Platt, Young Lebanese drive through devastated neighbourhood of South Beirut, 15 August 2006 Winning picture of The World Press Photo Competition 2006
Human interest newspaper pic
Family Album pic
Mobile phone pic
Harry pic
Advertising pic
Wedding pic
Documentary pic
Susan Meiselas, Mistresses Solitaire and Delilah II, The Dressing Room, Pandora's Box, 1995
Traditional fine art landscape pic
Traditional fine art still life pic
Contemporary fine art pics
John Hilliard, Cause of Death, black and white photographs, c. 1970
Workbook
Workbook • Proofsheets (b&w laser prints) • Test prints (b&w laser prints for design & small pro prints to test colour) • Evidence of reviewing inspirational work (photocopies, print-outs, written notes documenting your thoughts and impressions)
• Statement (approx 200 words) to accompany each project • Handed in with each project to support your work • Held for marking so need two > one for Projects 1 & 3 > one for Project 2 N.B. These details are listed on the course website
research
research
contact sheet
contact sheet
development
development
Cameras • Do not have to have your own • School loans out cameras • May be better to loan camera than use your own
ASSESSMENT CRITERIA NOTE- FIVE is better than FOUR – these numbers are indicative only. Ability to imaginatively explore photographic vision 1
2
3
4
5
3
4
5
Quality and coherence in your concepts 1
2
Effective and appropriate presentation technique 1
2
3
4
5
2
3
4
5
Effective technical control 1
Evidence of research and successful understanding of visual precedents 1
2
3
4
5
Evidence of documentation of and reflection upon project’s progress 1
2
3
4
5
3
4
5
High level of craft and attention to detail 1
2
How to Get an A+ • • • •
A visually stunning series of photographs Technically perfect Presented well (mounting Pro 2) Workbook > development of project > research and reflection on the work of other photographers, designers, artists, etc.
• Always bring camera to class with you and its instruction manual! • Always bring workbook • Always bring the work that you shot inbetween classes
Digital submissions on Flickr Need Yahoo email account Flickr - lastname_firstname You will need to join a group called DSDN144_2010.1 • Mark DSDN144_yana as a contact, also your tutor • • • •
PROJECTS
Project One Place
John Riddy
Project One Place • Exploring the nature of place • Composing a photograph • Camera Control
John Riddy
Project Two Transform
Paul Caponigro
Project Two Transform • Transforming objects through photography • Understanding light • Studio workshop • Digital darkroom • Quality prints Paul Caponigro
Project 3 Merge
Patricia Piccinini
Project 3 Merge • Creating our own versions of “reality” • Digital manipulation
Patricia Piccinini
Test 1 Camera as Tool • Exposure • Using light • Camera Resolution • Depth of Field • MULTI-CHOICE QUESTIONNAIRE
Test 2 Digital Darkroom • Digital basics • Photoshop basics • Tonal control • Resolution • MULTI-CHOICE QUESTIONNAIRE
Project One Place
Wendy Burton
Project 1 - Place Investigating the nature of seeing photographically in order to capture a sense of place. Using your camera to explore How can one evoke a sense of place? How does one define a sense of place?
Project 1 - Place • private or public • sacred or sacrilegious • safe or hazardous • affluent places or impoverished • recreation spaces or work places • institutional or commercial spaces • full of people or dark and unvisited
Project 1 - Place • rural • urban • suburban • industrial • remote • themed • marginalised
Project 1 - Place • where the past and the present collide • historically significant • haunted • cultured space • gendered space
Andrew Ross, Kitchen, 262 Riddiford St, silver gelatin print, 1996
Massimo Vitali, Pic-Nic-Alee, colour photograph, 2000
Phillip Toledano, from the series Bankrupt,
Lars Tunbjรถrk, from the series Home
Milos Keller, from the series Alp Transit, 2003-2005
Rut Blees Luxembourg, Liebleslied, colour photograph, 1997
Project 1 - Place Choose a location Don’t be too vague! Decide on the concept - how you intend to approach it Need frequent access
Project 1 - Place • • • • • •
Final work - a series of 5 to 10 images Visual narrative Images working together to tell a story Avoid repetition Try and stay with one format Define your area
This week’s exercise preview – Seeing Photographically Experiment with close up and distant shots and take a photograph for each of the following:
1. 2. 3. 4. 5. 6. 7. 8.
that is based on pattern that is based on shape that is based on form that is based on line that is based on contrasting colour that is based on tones of similar colour that has mainly pale tones that has mainly dark tones
Today’s Exercise – Seeing Photographically 9. using a high angle (bird’s eye view) 10. using a low angle (worm’s eye view) 11. using a horizontal (landscape) format 12. using a vertical (portrait) format 13. an extreme close-up 14. a portrait where the subject is front lit 15. a portrait where the subject is back lit 16. a portrait where the subject is in the shade N.B. All your proofsheets and test prints from this exercise must be placed in your workbook.
Shape
Doug Hall, Estadio do Maracana, 2002
Lee Friedlander, New York, 1966
Leung Chi Wo, Park-East 28, 1999
Jaroslave Rossler, Paris, 1924
Form
Bob Thall, Chicago (near O’Hare), 1991
Lynne Cohen, Spa, 1991
Andrew Ross, Wallpaper, 252 Riddiford St, 1998
Colour
Sam Appleby, Hell’s Kitchen, Mid-town Manhattan, NYC, 2000
Naoya Hatakeyama, from the River-Series, 1993-96
Edward Burtynsky, Manufacturing #17, Deda Chicken Processing Plant, Dehui City, Jilin Province, China, 2005
Jono Rotman, from the series Chambers, 2003
Mona Breede, Distance II, 2005
Josef Schulz, Ytong
Simon Norfolk, from the series The Super Computers, 2000
Line
Lewis Baltz, Industrial Structure During Painting,1974
Wout Berger, Celoisa, 2000
Josef Schulz , Halle Rot
Candida Hรถfer, Trinity College Library, Dublin I, 2004
Anne Noble, Goalpost, Antarctica, 2002
Neil Pardington, from the series The Clinic, 2005
Lee Friedlander, Factory Valleys #13, 1980
Pattern
Michael Wolf, Architecture of Destiny #8, 2004
Jason Oddy, Untitled, The United Nations Building, New York, 2003
Edward Burtynsky, Oxford Tyre Pile #5, California, 1999
Andre Kertesz, Chairs of Paris, 1927
Andrea Robbins, Max Becher, Global Village, Wall shelf
Brian Ulrich, Kenosha, Wisconsin, 2003
Viewpoint
Laszlo Moholy-Nagy, Bauhaus Balconies, 1926
Stefan Exler, Untitled, 1994
William Eggleston, shoes under bed, 1970s
Naoya Hatakeyama, from the River-Series, 1993-96
Maxe Fisher, Was Kissing Someone Else
Focus
Steven Smith, Home Sites, Las Vegas, Nevada, 1996
Laura Larson, Teeter, from the series Domestic Interiors,1996
Norbert Enker, from the series Football, 2001
Alec Soth, Dallas City, Illinois, 2002
Light
Carolyn Brown, Latino Cultural Center, 2003
Mary Farmilant, Columbus Hospital, Series 2, 2005
Annie Hogan, Silence, 1999
Jeff Brouws, Phillips 66, 1992
Jeff Brouws, Coffee Shop, 1991
Brassai, Brouillard, Avenue de l’Observatoire, 1934
Frame
Andrew Moore, Room 348, Hermitage Museum, St Petersburg, 2000-04
Andre Kertesz, Meudon, Paris, 1928
Susan Carr, Guest Bedroom, Mildred McNease, Jackson, Mississippi, 2000
Robert Frank, Parade, Hoboken, New Jersey, 1955
Technical Considerations
This week’s exercise – Seeing Photographically You will set your camera to automatic exposure, select the smallest size image and set the compression to fine.
Controlling focus Autofocus focuses on what is in the middle of frame. Unhelpful when your subject is near the frame’s edge. You can overcome this problem by doing the following: 1. Frame your scene so your subject is now in the middle of the frame. 2. Press the shutter button down halfway, this will lock the focus 3. Still holding the shutter button down at its halfway point, recompose your image 4. Fully press down on the button to take your photo