Last week’s exercise
1a. Far distance sharply in focus and as much as possible before it: f8, 1/80
1b. Mid ground sharply in focus, but as little else as possible: f7.1, 1/125
1c. Immediate foreground is sharp and as much of the rest of the scene as possible: f22, 1/10
1d. Foreground is in focus, but little else in the scene is: f5.6, 1/125
2a. Freezing movement f4, 1/200
2b. Little blur: f9, 1/40
2c. Lots of blur: f29, 0.6sec
session1
Adams Badger Beale Bull Callus Cowdell-Murray Crow Frances Frontin-Rollet Gilbertson Guerin Harvey Hawkins Hogg
Rangi Jesse Desiree Katelin Christopher Sara Jennifer Maurizio Grace Liam Francis Anna Annabel Rebecca
Chris
Hughes Hunt Jennings Jephson Law Lee Manhire Meredith Mondares Mowat Neate Northcott Oakes Pexton
Olivia Eleanor Gregory Sinead Bridget Alice Cameron Larissa Jan Nicholas Daisy Courtney Lauren Benjamin
Elle Nick Ben
Read Reilly Shapcott Sommer Stoss Teekawong Thomson Tran Wallace Whitehead Woon Yang Yang de Friez
Zoe Sean Joshua Hanna Alexander Arnon Kelsey Son Taryn Hayden Shan Shan Qiaoqiao Xixi Tobias
Alex Cici Toby
Technical Considerations
Correctly exposed image
Detail in the shadow and highlight areas
Exposure Combining the Shutter and Aperture: controls how much light will affect the image sensor. 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.
Exposure The combinations below 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.
ISO [INTERNATIONAL ORGANISATION FOR STANDARDISATION]
– Sensitivity to light/film speed – Below 200 ISO - slow – Over 200 ISO – fast – Slow is good for studio photography – Fast is good for low light situations – Grain is silver halide emulsion particles
200 ISO
1600 ISO
Exposure Control
M = Manual
18% greycard
White cat in snow
Exposure
White cat in snow Bracketing
Black dog
Black dog
Exposure Bracketing
Middle image exposed to what camera considers best Left image over exposed one stop Right image under exposed one stop
Assignment One Place
Anne Noble
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
Locating Leisure
Xavier Ribas
Massimo Vitali, Pic-Nic-Alee, colour photograph, 2000
Massimo Vitali, Rosignano Solvay Sea 1, colour photograph, 1998
Massimo Vitali, Piombino Jump, colour photograph, 1999
Xavier Ribas, Untitled, from the series Barcelona, colour photograph, 1996
Xavier Ribas, Untitled, from the series Barcelona, colour photograph, 1995
Xavier Ribas, Untitled, from the series Barcelona, colour photograph, 1996
Xavier Ribas, Untitled, from the series Barcelona, colour photograph, 1996
J. Bennetts Fitts, Arroyo Seco Driving Range #1 from the series Golf, colour photograph, 2003-04
J. Bennetts Fitts, Verdugo Hills #10 from the series Golf, colour photograph, 2003-04
J. Bennetts Fitts, Arroyo Seco #8 from the series Golf, colour photograph, 2003-04
J. Bennetts Fitts, Arroyo Seco #1 from the series Golf, colour photograph, 2003-04
J. Bennetts Fitts, Arroyo Seco #6 from the series Golf, colour photograph, 2003-04
J. Bennetts Fitts, Long Beach Driving Range #1 from the series Golf, colour photograph, 2003-04
J. Bennetts Fitts, Victorville from the series No Life Guard on Duty, colour photograph, 2003
J. Bennetts Fitts, North Shore from the series No Life Guard on Duty, colour photograph, 2003
J. Bennetts Fitts, Huntingdon from the series No Life Guard on Duty, colour photograph, 2003
J. Bennetts Fitts, Panama City Beach from the series No Life Guard on Duty, colour photograph, 2003
Organised Space
Wout Berger
Lynne Cohen, Laboratory, 1999
Lynne Cohen, Spa
Lynne Cohen, Military Installation
Jacqueline Hassink, Mr Robert H. Benmosche, 2000
Jacqueline Hassink, The Meeting Table of the Executive Board of Barclays Bank, London, England, 5 September 1996
Jacqueline Hassink, The Meeting Table of the Board of Directors of NESTLÉ, Vevey, Switzerland 6 December 1994
Doug Hall, Galapagos Tortoise Storage, colour photograph, 1997
Doug Hall, Mammal and Bird Cold Storage, colour photograph, 1997
J. Bennetts Fitts, Single Sapling from the series Industrial Landscape(ing), 2003
J. Bennetts Fitts, Tree with Two Benches from the series Industrial Landscape(ing), 2003
J. Bennetts Fitts, Three Red Trees from the series Industrial Landscape(ing), 2003
J. Bennetts Fitts, Yellow Tree from the series Industrial Landscape(ing), 2003
J. Bennetts Fitts, Line up of Pine Trees from the series Industrial Landscape(ing), 2003
Traces
Wendy Burton
Martina Mullaney, Untitleds from Turn In, colour photographs, 2002
Martina Mullaney, Untitleds from Turn In, colour photographs, 2002
Martina Mullaney, Untitleds from Turn In, colour photographs, 2002
Natalie Czech, Untitled from Anderswo (Elsewhere), colour photograph, 1999
Natalie Czech, Untitled from Anderswo (Elsewhere), colour photograph, 1999
Natalie Czech, Untitled from Anderswo (Elsewhere), colour photograph, 2001
Alec Soth, Future City II from the series Sleeping by the Mississippi c-print, 2000
Alec Soth, Dallas City IL from the series Sleeping by the Mississippi c-print, 2000
Alec Soth, Dallas City II from the series Sleeping by the Mississippi c-print, 2000
Alec Soth, New Orleans IA from the series Sleeping by the Mississippi c-print, 2000
Mary Farmilant, from the series Chicago Hospital, colour photograph, 1999
Mary Farmilant, from the series Chicago Hospital, colour photograph, 1999
Private Space
Mitch Epstein
Mitch Epstein, from the series Family Business, c-print, 2000
Mitch Epstein, from the series Family Business, c-print, 2000
Mitch Epstein, from the series Family Business, c-print, 2000
Mitch Epstein, from the series Family Business, c-print, 2000
Gareth McConnell, Untitled from the series My Grandfather’s House, colour photograph 2002
Gareth McConnell, Untitled from the series My Grandfather’s House, colour photograph 2002
Gareth McConnell, Untitled from the series My Grandfather’s House, colour photograph 2002
Martin Parr, Untitled, from the series Sign of the Times, c-print, 1991
Martin Parr, Untitled, from the series Sign of the Times, c-print, 1991
Martin Parr, Untitled, from the series Sign of the Times, c-print, 1991
Poetic Space
Adam Holtzman
the camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.
Walter Benjamin The Work of Art in the Age of Mechanical Reproduction, 1936
Annie Hogan, Untitled 1 from the series Big Silence, c-print, 1997
Annie Hogan, Gray Road, c-print, 1998
Annie Hogan, Silence, c-print, 1998
Elisa Sighicelli, Untitled, lightbox, 2003
Elisa Sighicelli, Untitled (Iron chairs), lightbox, 2003
Michael Keena, Hilltop Trees, Teshikaga, Hokkaido, Japan, 2003
Michael Keena, Ratcliffe Power Station Study 31, Nottinghamshire, England, 1987
Michael Keena, Ten and a Half Trees, Peterhof, Russia, 2000
Michael Keena, Hillside Fence Study 2, Teshikaga, Hokkaido, Japan, 2002
Surveyed Space
Scott Fortino
Thomas Ruff, Nacht 4 III, c-print, 1992
Thomas Ruff, Nacht 9 II, c-print, 1992
Thomas Ruff, Nacht 14 II, c-print, 1994
Jono Rotman, from the series Chambers, colour photograph, 2003
Jono Rotman, from the series Chambers, colour photograph, 2003
Jono Rotman, from the series Chambers, colour photograph, 2003
Maxe Fisher from the series There is Always Something Between Us and It, 2008
Maxe Fisher from the series There is Always Something Between Us and It, 2008
Maxe Fisher from the series There is Always Something Between Us and It, 2008
Maxe Fisher from the series There is Always Something Between Us and It, 2008
Fabricated Places
Michael Schnabel
Sarah Pickering, Semi Detached from the series Public Order, colour photograph, 2003
Sarah Pickering, Farrance Street from the series Public Order, colour photograph, 2005
Sarah Pickering, Behind the Flicks Nightclub from the series Public Order, colour photograph, 2004
Bridget Smith, Glamour Studio (Chaise Lounge), 1999
Bridget Smith, Glamour Studio (Locker Room), 1999
Hiroshi Sugimoto, Lion from the series Diorama, 1994
Hiroshi Sugimoto, Antelope from the series Diorama, 1994
Andrea Robbins and Max Becher, Entrance from Global Village 2003 – 2005
Andrea Robbins and Max Becher, Shanty Store from Global Village 2003 – 2005
Andrea Robbins and Max Becher, Wall Shelf from Global Village 2003 – 2005
Andrea Robbins and Max Becher, Church from Global Village 2003 – 2005
Andrea Robbins and Max Becher, Knapsack and Plastic Bag from Global Village 2003 – 2005
Project 1 Final Hand-in – next week • Series of 5 to 10 images • Visual narrative > images working together to tell a story • Visually coherent as a series • Avoid repetition • Remember statement and workbook • Submit on Flickr and R:drive