Matt WG 3.02 Tuesday 23pm
James WG 3.02 Friday 3-4pm
Yana WG2.02 Tuesday 45pm
Best of exercise 1
pattern
shape
form
line
Contrasting colour
Similar colour
Pale tones
Dark tones
High angle
Low angle
landscape
portrait
Extreme close up
Front lit
Back lit
In shade
Assignment One Place Defining Location
Anne Noble
1st Shoot Feedback •
Slow down
•
WHAT ARE YOU TRYING TO SHOW?
•
Carefully consider framing
•
Think about light
•
Not just details - need a sense of space
•
Keep horizons straight
•
Keep camera angles consistent and relevant
•
No setting up/manipulation of space
•
No Photoshopping
•
Edit to eliminate repetition
• Alleyways are hard
Technical Considerations
Ways to Control Exposure • Sensitivity (ISO rating) • Intensity of light (time of day, etc) • Amount of light allowed in (size of opening = aperture / f:stop) • Duration (shutter speed)
Correctly exposed image
Detail in the shadow and highlight areas
Exposure Shutter Device which opens and closes, controlling the amount of time the camera chip is exposed to the in-coming light. Shutter speeds are fractions of a second and usually have a range of: 1 sec 1/2
1
/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000
Exposure Aperture Diaphragm inside the lens, made up of a series of metal blades that can be adjusted to vary the size of the hole.
Exposure Aperture On the aperture are a series of set points known as f:stops.
Exposure Combining the Shutter and Aperture: controls how much light will affect the film or image sensor (the focal plane). Both the f:stops and shutter speed can be interchanged, but the changes to one must be compensated by changes to the other, to maintain balance, i.e. result in a correct exposure.
Exposure These combinations below will produce the same exposure. f:1.7
f:2.8
f:4
f:5.6
f:8
f:11
f:16
1/500
1/250
1/125
1/60
1/30
1/15
1/8
If you reduce the aperture to half its original size (stop down) then you must double your shutter speed to obtain the same amount of light.
Creating an Image
Anything with a small hole can cast an image – a lens isn’t required.
Creating an Image
The smaller the hole, the smaller the overlapping circles and therefore the sharper the image.
Creating an Image
But nothing is truly sharply focused. However, with very small holes, our eyes perceive it to be.
Circles of Confusion photo
Depth of Field
Depth of Field Range of acceptable sharpness Always 1/3 in front and 2/3 behind the critical plane of focus
Depth of Field
f:3.2
f:4.0
f:5.0
f:6.4
f:9.0
Depth of Field
f:3.2
f:9.0
Depth of Field
f:3.2
f:9.0
Small Depth of Field Aperture is large Only point that is focused on appears sharp
small depth of field
Large Depth of Field Aperture is small Large area is acceptably sharp
large depth of field
Freezing or Blurring Movement Slow shutter speed blurs movement e.g. 1/4 , 1 sec
Fast shutter speed freezes movement e.g. 1/1000
N.B. speed of subject also factor
Exposure Choose the best combination for your situation. Do you want: • more of your image in focus? • to freeze a moving subject? f:1.7
f:2.8
f:4
f:5.6
f:8
f:11
f:16
1/500
1/250
1/125
1/60
1/30
1/15
1/8
All these combinations let through a small amount of light
Camera Shake Difficult to hold camera steady when using slow shutter speeds 1. Avoid shutter speeds slower than 1/60 sec 2. Use a tripod
USE A TRIPOD!!!
This Week’s Exercise Using Shutter Priority and Aperture Priority Modes Experiment with depth of field and subject movement
TV = Shutter Priority Mode (“T probably stands for “time” and “V” for “value”)
AV = Aperture Priority Mode
This Week’s Exercise Camera Settings Image quality - small or low ISO 100 White Balance – Daylight or cloudy for outside;
This Week’s Exercise Aperture Priority Mode experimenting with depth of field. Shutter Priority Mode experimenting with freezing or blurring movement.
Beck Deadweight
There’s No Place Like Home
Alec Soth
Eugene Atget, Staircase Hotel de Brivilliers, rue de Charles V albumen print, 1900
Andrew Ross, Kitchen, 262 Riddiford St, silver gelatin print, 1996
Andrew Ross, Where Alice Kavalous Lived, Rintoul St, silver gelatin print, 1999
Consumerism and Place
Edward Burtynsky
Lars Tunbjรถrk, Civic Administration, Toyko, 1996
Lars Tunbjรถrk, Car manufacturer, Goteburg, 1997
Lars Tunbjörk, Lawyer’s Office, New York, 1997
Phillip Toledano, from the series Bankrupt
Phillip Toledano, from the series Bankrupt
Phillip Toledano, from the series Bankrupt
Tim Davis, Shell 3, from the Retail series, 2001
Tim Davis, McDonalds, from the Retail series, 2001
Miles Coolidge, Police Station, Toys-R-Us, McDonalds, from Safetyville series, 1994
Miles Coolidge, Industrial Buildings from Safetyville series, 1994
On the Edge
Steven Smith
Glenn Sloggett, Love Me from series Lost Man, 2003
Glenn Sloggett, Toys on Sticks from series Lost Man, 2003
Dan Holdsworth, Untitled from series A Machine for Living, 1999
Dan Holdsworth, Untitled from series A Machine for Living, 2000
Toshio Shibata, Onakami Village, Gunma Prefecture, 1994
Toshio Shibata, Morrow Point Dam, Gunnison County, CO, 2000
Toshio Shibata, Kikuchi City, Kumamoto Prefecture, 1999
Significant Sites
Laurenz Berges
Joel Sternfeld Taylor Hall Parking Lot, Kent State University, Kent, Ohio, May 1994 from the book On this Site
Joel Sternfeld from the book On this Site
Joel Sternfeld from the book On this Site
Joel Sternfeld from the book On this Site
Joel Sternfeld from the book On this Site
Shao Yinong and Mu Chen, Shanchuan from series Assembly Hall, 2002
Shao Yinong and Mu Chen, The Charitable Temple from series Assembly Hall, 2002
Laurenz Berges, Altenberg, 1992
Laurenz Berges, Potsdam V, 1994
Cindy Bernard, Vertigo (1958/1990)from the series Ask the Dust, 1990
Andrea Robbins, Max Becher, Dachau Doorway to Gaschamber, series Dachau, 1994
Andrea Robbins, Max Becher, Dachau Drain in Crematorium Complex, series Dachau, 1994
Andrea Robbins, Max Becher, Dachau East Wall of Gas Chamber, series Dachau, 1994
Andrea Robbins, Max Becher, Dachau This Gas Chamber WAS Used, series Dachau, 1994
Ordered Space
Michael Schnabel
Neil Pardington, Postmortem Room #4 from series The Clinic, 2004
Neil Pardington, Dissection Room #2 from series The Clinic, 2005
Sites of Power
Jono Rotman
Lucinda Devlin, Electric Chair, Greensville Correctional Facility from series The Omega Suites, 1991
Lucinda Devlin, Lethal Injection Chamber, Texas State Prison, from series The Omega Suites, 1992
Lucinda Devlin, Witness Room, Broad River Correctional Facility S.C., from series The Omega Suites, 1991
Jason Oddy, Untitled, Pentagon, Arlington, Virginia, 2001
Jason Oddy, Untitled, The United Nations, Building, New York,2001
Jason Oddy, Untitled, The United Nations, Building, New York, 2003
Transitory Space
Adam Bartos
Martha Rosler, Public Passage from the series In the Place of the Public: Airport Services, 1980 to present
Martha Rosler, Munich from the series In the Place of the Public: Airport Services, 1999
Martha Rosler, Untitled (J.F.K.), 1990, from the series In the Place of the Public: Airport Services, 1980 to present
Martha Rosler, Untitled (O’Hare, Chicago), 1989, from the series In the Place of the Public: Airport Services, 1980 to present
Doug Hall, X Corridor, 1989
Doug Hall, Non-place, California #10, 1991
Doug Hall, Non-place, California #31, 1991
Psychological Space
Mihai Manguilea
Panos Kokkinias, Alikos, 2007
Luisa Lambri, Untitled from series The Blind Room, 2002
Luisa Lambri, Untitled from series The Blind Room, 2002
Rut Blees Luxembourg, Caliban Towers I, 1997
Rut Blees Luxembourg, Liebleslied, 1997
blog
For next week • Work for interim presentation (20% of the project grade) • Don’t forget workbook with research, etc • Answer questions to readings and be prepared to discuss them in class