photomedia by yan tree

F5*1tr.BEF

?."

T/In tro to Color f'ho tography

Readipe list

\r,

Gassan, Arnold, Ihe Color Print Book, Light Impresslons Corp.,

1981

Life Library of, Photography, Co1or,. Time/life Books, iglO, 1985 xUpton and Uptcn, Ihotography, I,ittle, Browir and Co., 1985, ch. 1O. ZakLa, F.icliarC and Todd, Ho11is, Color Primer f & II, Mor65an and Fl6rEEn;Ig-f4.'

Albers, Joseph, Interaction of Co1or, Yale University Press, 1971. Itten, Johannes, 'Ihe Elements of Col-or, Van Nostrand Reinhold Co.1 g

T970.-

!*Eaucl-aire

, SalIy, lhe New Col-or p]E-to.g-aphX, Abbeville Press, Earrclaire, Sa1ly, another book canrt remember tltle, 1985, Janj-s, Eugenia Parry, "A Still I_,ife InsLlnc'tr', One 0f A KlnJj ,

1981 .

Godlne,1973.

Kozloff, Plax,

rrThe Coming of Age of ColorrrandrfWarm Truths and Cool- Dee ei ts r' , -@-lggaphy and f'ascina tlon, Addlson House , 1979.

Mil"nowski r Stephen, rrThe Biases Against Color in Pho tographyrr , Positive #J, 19e2r or in Exposure 23.2, 1985. So1o.n,cn-Godeau,

Abigail,

rrA Sense of Order"., Print Colleetorrs NewsIe tter, Itlay-June 1982.

Squiers, Caiol, rrColor Photography: The l'/alker Evans Legacy The Commerc iaI Tradl tlonrf ,

and

monographs on cal-fahan, christenberry, cosindas, Eggteston, Faucon, Frchter, Haas, Heinecl<en, IIockney, Levl tt, Markl-l{eyerowrlz, outerbridge, Parker, Pfahl, samaras, sherman, shore, wegman, ete.

',1

OTHER READINGS IN PHOTOGRAPHY

Anthologies and Historles

of photoEnaphy:

Newhall, Beaumont and N.aney, llasteEe of thotoqraphv (1969) Newhal1, Beaumont, The Hist'orv of photoqraqhv ( 19G4) Gernshelm, Helmut and A1i son, Th.e Htstorv of pJrotoqraphv ,168s-1e11 ( 1e5e ) coke, van Deren, The pal-nter and the photograph (1964)

Siarkowski, John, Ihe photoflrapherrs Eve

Perlodlcals of General Interest: Aperturg C

amer a

Creative Camera

Ar ts

ace

Artweek

Artf ortlm Camera 35 Pho toqr aph American Photoqrapher Latent Imaoe

Afterlmage Popular Pboto, Modern Pho1l.o. Photo World

AIso Recoumended: -rvins, wl111am. Frlnts and Visuar cornrnunlcatlog Lyons, Nathanred., photoqraphers on photoqraphy

o COLOR PHOTOGMPHY

I. 2.

A BasLc Text ln Color Photoqraphy, ,Jason ,fones H3t'rory

Color ln Focua, Lewirrst<l, Clarls

ree'tl-es, theory and Eonie teehnlque -:EfifrfdfTl=li-ffi'f'o anrbitLotre, hut wlth many 1:roblerrrs

Color Dataqu.tde teehnical contalns eeandard negatLve, grey eard a eolor patelrea.

I(odak

STROSIGLY SUGGESIED

Vlsu4 Theory a 4es-the.t1_es l\:nhelnr, P.udolf , 4r!_&_YlEqaI Pereeptlon, paber & Faber, 1954. .

vlsuafEEIEIfIiiilTEE-?:TA5;r, lerc. Ba:.in, turdre, llhzrt, ls Clnenra, Vol. 1, Unlv. CallfornLa press, 1971

tsarthes, P.. llf_t{olqg_lee, Jonathan Cape, 1972. ifilIIffGEree zero

of }rt, O:rford UnLv. .Pre6s, lgCg. 1!)enbrleh, E.8., Art a flluslon, PhaLdon preBu, 1959. Gombr1eh, IIoclrbergiiB1aek,ArtPere@,J.HopklnsU.P.L972 I'a1raux, Andre, Pf,1rcholog1t of Art, Vol. 1r "[,luseum ?Ilthout ?Ialldrn Coodtoun,

D'lelson, LanguaEes

r,'rarbGli-fiir$--

Seeker

lihorf , 8.L., Lanquaoe, Thouqht, , Re.alltJr H. L ,f . 19 55 . ?llttgensteln i L. , Remarl<s on Color. :IIollhelm, R., Art & Its OFJects, Penguln Booka, 1968. OT1IER READINGS

' color e Photg.qTaphlc

of Color, Yale UnLv. Press, lho Prtllg.!nl_eg_e.41!

A1bere, Joseph, InE,eractlort Chevrerrl,

H.E . ,

Eelenge 1963

N.Y.I

1957

T/Intro to Col-or f'ho tography

,Reagl+g ].,ist

\+,

Gassan, Arnold, The color Print Book, light rmpresslons corp.,

1981

r,if e r-,ibrary of Pho tography, color, Time/rif e Books , j97o , 1995 *upton and Upton, lhotography, I,ittle, Browir and co., 1ge5, ch. 1o. zakia, Richard and Todd, Ho11is, color primer r & rr, Mor65an and

F{6ftEnJTI4

Afbers, Joseph, rnteraction of color, yal-e university press, j971. Itten, Johannes, The Efements of Col-or, fan Nostrand Reinhold Co.,

Ty70;--

*Eauclaj-re, saI1y, The lilew col-or Photography, Abbeville press, Eauclaire, SaIly, another book cantt remember title, 1985,

Janis, Eugenia Parry, "A still

Life rnstlnc'Lrr, ong 0f A Klnjj

Godlne, 19lB

198.1 .

Kozj-off, l,lax, rrrhe coming of Age of cororr and rwarm Truths and Cool- Deceltsrr, .P!o'loggaph.v a.nd Fasclnatlon, Addlson House , 1979. MiJ-anowski, stephen, rrThe Biases Against color in pho tographyr, posi tive #J r 1982 r or in Exposure 2l.z r- 1985. Solorncn-God eau, Abigail, "A Sense of ordertr., print coll_ec torts NewsIe t ter , l'lay-June lgBZ . Squiers, Ca-co1, I'CoIor Pho tography: The lValker Evans legacy and The Commerc ial Tradl tlonrr ,

monographs on cal-Iahan,

christenberry, cosindas, rggleston,

Faueon, Fichtg.,. Haas, Heinecl<en, IIockney, ' Levl tt, t'tarkl"Mey..oit tr, outerbridge, Farker, pfahl, samaras, sheiman, shore, wegmanl ete. -

'tl

- -,i, - I

J',

CORE COURSE

- 1991

TECHNOLOGIES OF

SEEING

SUGGESTED BOOKLIST

mix introductory books with a few more specialized ones. There are many others, and they are mainly to be found in the Clarence Piace Library between 77O and 791.

These bibliographies

PHOTOGRAPHY:

John Szarkowski: HarolC Evans: Aaron Scarf: Vicki Go Idberg: Susan Sontag:

Fred Ritchen:

Naomi Rosenblum:

Lookinq at Photoqraphs

NY, 1g7e)iD O2o3+ \ (Heinemann, Lg78)}At L3Z @cf)

(MOMA,

(Penguin, 1968) (New York, 7981) ?fu. ._*(Penguin, 1977 ) .lac. i sr:rs ort !_b_9!_ggrepbr (Aperture, 1990)?b, In Our Own ImagTe of Photoqraphv A WorId History (Abbevi I I e, 1 ge1J q?o'9 zts

Art and Photography Photographv in Print

FILM:

Mast and Cohen: James Yonaco:

John El I is

(

Pam Cook: V. F, Perkins:

David Bordwel 1 & Kristin Thompson: Geraid Mast:

Fi 1m th_eqry__Cnd Criticism (Oxf ord, 1979) (Oxf ord, 19'7'7) How to Read a.Film (Routi edge , 7982) Visibie Fictions (BFI, 1985) Book The Cinema (Penguin,1972) as Fi Im Fi lm

Film Art: An Introduction

(Knopf, 1986) (Oxford,

1985)

TELEVISION.

E!!is:

'A!S!!-n. Video-Methren. 1984. John Fiske: Television Culture. Methuen. 1988 Raymond Williams: Television. Technology and Cultural Form. Fontana. 1974. David Morley. Family Television: Cultural Power and Domestic Leisure. Comedia. 1986. Glasgow University Media Group. Bad ttlews (Routledge 1976). More Bad News.(Routledge 1986). Really Bad News. (Writers and Readers 1982). Helen Baehr and Gillian Dyer. Boxed ln: Women On and ln Television. Pandora. 1987. lahn

VIDEO There will be specific references to videro in some of the above books but see specifically: Geoffrey Battcock. Ed. New Artists Vidr;o Dutton, 1978. Sean Cubitt. Time Shift: on video Cultule. Comedia/Routledge 1991. CO[/PUTER.

Stewaft Brand. The Media Lab: lnventing the Future at MlT. Penguin 1987. Richard Mark Friedhoff. Harry. N. Abrams. 1989. Granada. Sherry

Turkle.

984. Hans Moravec. 1

intellioence. Harvard University Press. London 1988.

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Calculating and setting exposure o

First you must knowhowmuch light there is falling on the subject IJse an exposure

meter.rr

The exposure

meter Needle read ing transferred to

Many modern ca'ileras

calculating scale

.have built-in meters which

are totally coupled

the shutter and f/number. To get the correct ..exposure the

shutter speed' or llnumber is aliered until the needle in the viewf inder reaches a certain pornt. These meters can be very aC'curate and some indicate the exposure being given in the viewfinder itself. Separate exposure meters are versatile and very accurate. The light measurement taken with them is translated into a range of shutter speeds and f/numbers on a scale which is part of .the meter. lt is at this point that

Ways of using exposure meters

Film speed

number or aperture scal=

Shutter speed scale

Back of meter

you must select the

rnost

suitable combinatron. ls it the shutter speed that is

most

importa

nt or

Light sensitive cell

the

amount of the subject that is sharp

include too much sky in the reading.) Built-in meters take this sort of reading.

e.g. not a heavt, shadq,ffr bright higt-,1;951

Ref lected ! i g ht (close-u p) Take a reading off the most important part of your sub-

(usually a semi-hemisphere

lncident light Using a specia attachment

of white plastic) the light falling on the subject can be measured Accurate method for use with colour transpa re n cies.

lntegrated reading This is a general reading of the light reflected off the whole subject and is good for normal subjects. (Do not 48

lect,

Take it

ace or

person. off an average tone,

e.g.

, on using exposure

-ers

lf the subject is too far :wo| to read off directly read off a nearby equiva-

lent, e.g. your own hand or a building Take care that

the tones are similar and that the lighting is the same.

b) When taking close-;c readings do rici tet \/cur

shadow fall on tne subject. This would alter the reading c) Do not include too much of the sky in the reading as

this influences the

meter pointed slightly down.

up one stop on the indicated exposure if your camera allows this. e) Colour fi m, especially tra nsparetcrr,,materia l, needs to be exposec more accurately than monochrome f) Be careful when using automatic exposure srngle

This is particularly true for built in meters when photographing groups or landscapes. Try pointing the camera down slightly to take the reading then reframe to expose. This may be impossible with auto-

lens reflex cameras that

matics.

d) When shooting

directly

lig

into the sun ("backlighting" or "against the light"), open

Allthese combinations give similar exposures Average subject

Sharpness

Ll30 t76

Ll60

frI

Speed

rl25o

1/125 t/a

For more depth of f ield (overal I su bject sharpness) choose these

Judging your resutts Once your prinis,cr irans-

parencies are proaessii,,,cu should check ti^er- r;, see f you are regularly over or I

and upset the

meter

and gives a wrong (underexposed) result. Keep the

;im: x'.'ii [';,

ht does not enter the

viewf inder reading

x",,1,,,1 iE

Colour prints are more difficult to ludge than colour transparencies since automatic machines or printers compensate for exposure errors. lr ii-ls has h.appened the prints will Iook rather flat and of bad quality Overexposed pictures will have

5.6

rl5oo 1/1000 f4 f2.e

To stop moving subjects choose these combi nations.

pensated for, overexposed pictures will look contrasty vr,,ith no highlight detarl and

underexposed pictures will look grey with no details in the shadows.

Examples of exposures on transparencies.

Y tle-one stop

over

f fl11norma

Y t/taone stop u nder

no highlight detail and

nderexposed p ct,- res will be greyrsh with no shadow u

detail Errors of exposure in black and white can also be com_ 49

The colrect e{posure is arrived .-t by choosing the right combination of aperftrE and snrutter speed for the

kind of pictrres

You wartt-

Aperttre

to the A oictue which aims to be sharp from irumediately in front of the camera of field' is defined as those t"i;!f,;il;"4;-66i; " rot ofl'deptrr oineta". "Depthoff-o* or beyond-the point areas of the suUjelt nearer to tUe ..il"." tfraqtU""point i" focus. "Pept!-of field'inrreases as the of focus u,5.ich *" "f""l"""pt"Eiy -stopped a*^', tt at ir made srrall6r (fl6 being a srraller 3P"rtrE9 aoertrre is to Iz) urrr"rIfi" rioflJ """v uri*tt rlis will prolably mean yor will hare is of freld" short "depth ;il;rrgrrh;["t#$!LJ "I."t1, tt.. OU"ioutiy, if aviry ;qdr"d-tt tU" apertrre must be set to awider stop e.g. f2

rffi

b. Shutter speed action will need to have a fast shutt-er speed A picttre wtrich aims to stop ('freeze") .'r"ry uhEqlthis.wrll.prob"P.tf ry:=vou wiII ha,e to L.{';;;;";:-u"G; til" lgr't't L fal Obn io6ly, iT'freezing:.the action is not importapt r" *? ".S. "p"rt " til-r.,bject stationary, theil" slower sti.rtter speed can be selected e.g' is b"||d

1/oo

sec.

In Britain, where light levels are frequently low,_the ideal combination ofatertde ana shutter speed is rarely obdinable, so the choice for docrurrentary photographers working in availalle-tight is:invariably a compromlse,

NOTES ON EYPCS--?:

a= r:it{

Exposure bas-::__,- ie:ermines the detail and to an extent the tonal sca:= :: -_:te :egative. If you underexpose, detail from the shacc-..,- a:=as',v_l_i be Iost and midtone values wil-l be d.arker in the c:':--.

'\-

oi-::=:::,: =":: wrrr make shadow detai-l-s aopear lighter in the p:-.-: tend to compress the ':cnd r rang:e of the scene =.- ;:rwrll -,r:_-_: -_i:= ghlights becomlng lighter c.zerarl and lacking in -='.btre::2. Flare is al_so increased. i';::=:: a co:recr lv exposed negative is give:: normar d.everopment, --:-= s::.aic-,u iecaif wlii apcear more or less f :liy harfway througn .ie devel opment *.i;ne anc thereafter wirl_ un:e:jo litil_; chang6. The midtones and hignJ-ighis however will- conc,-n.e to increase in density during the rest of the deveropmen-- ci:r,e and the final contrast can be greatly vari ei by under or over deveropment. The generar rule is therefore: expose fc: the shadows and you can vary ieveropment to suit a develop for the highlights. particul-ar subiect by as much as hal-f r-rormai development time to four tj-mes normal, with quite printabie resuits. with regards to 'pushing, films in deveropment to obtain a hiE'her ASA rating, it is true that a sliqht increase in film speeci, usually no more than one f-stop, may be obtained by overdevelooment but this will al-so cause a great increase in conr-:asi- which frequently makes a negative very difficult to prr:lr. r-- r-s also unfortunateJ-y r,rue that the ci rcumstances where .re needs a higher film speed are usually conditions with inhere:t--i.z hlgrh contrast anyway. where a prcture has a low contrast however one can usefulry slighr--i-,' underexpose and overd.evelop to obtain a broader tonal scale i':t-a:t ma1/ render a more satisfactory print. Generaii'; sEea<i ng, a 'normarly, exposed and deveroped neg:ative wrll- recorcj. tne br:ghtest and darkeJt d.etail up to a tonat range :f seven or eight stops; a contrast of 1-12g or 1-156. (Thele :atios mean thai if a deep shadow area refrected on unit of iight, the brightest highright woul-d reflect t2B or 256 such units; remember each f-stop is double or harf its neighbour so the scale wou]-i be L, 2,4, 8, 16, 32, 64, t2B, 256.) Most rneters are caircrated on the assumpti-on that pictures contain equal quant r-c:-e s of alr the tones within such a range and. '30nsequentry crcvide readings to give a correct exposure to the 1r,'erage mid-gr=-.', K:lown as 1B% ref l-ectance (Kodak, i Grey Lnfortunatery r.,-:r.n ctrnsidering avaiiabie right work, ifcard) the c:iteria were a !rii:-- that crosery represented the origr inar s*c_rect, a high !::!l::r on of piciures (scenes) exceed this c.r..rast range. ri add to this possibre equipment I'cu r-=^-r.--^.i^^ one 's wcrKi-ng ratj_tude is reduced and very often --,:--urdcres, .

I.L^.t1 e.,-:

rlan{-

rf ar ar/'erage readinq we:e used anything from four or more stops darke: would be undere:<cosed and rost from the neg.ative while -1-

a.\

ect areas f our or more stops brighter would begin i-,f 'burn out ' unl-ess development were reduced to control this . 3=,::'-.rse of this, average readings are unsar-is f actory f or aII bi' I 'f w It is generall-y better to take a iignt contrast sub jects. area to cieternine the exposure needei an.i a shadow read.ing from whether th= tc establish highlights meter the then to A highlignrcontrast. ccn-ur3I to be altered should development b1' determined exposure tne to alter not be used should reading the alter deliberately is tc aim the reading unless the shadow tonal scale of the subject for expressive reasons' Sub j

ft should be noted that if a scene is overall rather light, the meter will- still assume it to be mid-grey (given that an average meter read.ing is used) and wilt therefore underexpose the whole picture. The reverse wil-I apply to a picture that is generally where over exposure wiII be the result. dark

L<â&#x201A;ŹDS-

ntrr Rp'PD A cca;l t{- ffi) 2o qb SI^J P<rr{-f

-2-

(!( 6tnNri-

-i_ !,

BASIC PRINCIPLTS I]T FILTERING

llte essettce o['cololtr prirrtirrq is tlre lrrjc of Liqlrt fi]ters t.o conLro-l tlre overal I tlalarlcre of- eolottr, atrd oF exposrtre tjnte l.o rlet orrnine t-tre I lglrLrress or darl<ttess o['your print. t'losb fi,Ilering mntltods worl< orr Llre SUt]IRACIIVE prirrciJrle of liqht: yotr gire one exposure, Lxring cornbinatiorrs oF cJif-ferent strettgttr yeJ. Iovt, maqenLa, and cyan filters Lo corrtrol colour ba.l ance. SUt] IAU] IVt I']LIIIA

I IUN

llre f-ilters tltab you wj11 trse most of-Een in eolorrr prirrI irrq arr: Ilre l'lrron

cornJrlenrerrLaries:

f-i I t er wi 1l corr t ro I ULUE t subtract s tll UE Frorn tlre wlrit-e enlarqer liglrt, GRIf-N (=YELL0W) to pass unaffected YELL UW

btrL a-Ilows tlt D and

NIA f i lter will cont-ro1 GRLEN It subtracts GREEN f rom tlte whit-e errlarr;er l igtrt, but BLUE (=MAUENIA) to pass unaft'ected

tIAGt

a11ows tlLD arrd

of YELLUW arrd I'lAtlENTA (=REt)) will crrrrIrol CyAN Ihey subtracL ecltral amor.rrrts of BL.tJE anr:l GtltFN (=CyAN) f'rorn t_lre wlrit.e errlarger liqht, but allow RED to pBss unaf fer_-t_ecl

Eclr:aJ amotrrrt.s

Wlrerever two t--omplemelrLar.y-r-.rrlorrred ti l ters ovel'l al.)r a prinlary'c-.olortr a[)[]ears. Wltere a l1 t-lrree {-i l Lers ove r la[), yorr w i I I r()rrrr)v(-. c'r;traJ :rrrrotrrrt-s ol primary eolours, so Llre area will look qray or lr Lack (rlepencl j nq orr

tilter strenoth).

BASIC PRINCIPLES OF LIGIII

The

visiltle

specLrutn conr[)I'ises tlrree broar'l bnrrrlri

r'arliat iorr

I]l Ut

the primary c:olours of' Ij qlrt-. [iorrrovr: otre l)rirnary, arrrl you are lett wibh its complemenl-ary (a nri xt.ure of tlre otlror' [-vro Jrrinrary

GRF-tN, artc! RED, ,i

:*/

colours). This primary,/conrplernerrtary rr:LatirrrrsIrip is pri rrt-irrq , and you should be lanr i 1j ar j l-h i [- :

f'rrrrrlarrrrrrrtal Lo r:o.[our

BLUE/YT-LL

GRTEN/MAGENT

EI)/C

Yort must also undersLand lrow colour Iilters a[[ect I ic;lrl Jxrr;r;irr11 lluorrrllr Lhom -- each al;sorbs ("sul;tnacl_s") liglrl oI a.l I r.olour.s cxr:c1rt j llr rrwrr. A Jrrimary colorrred Ii1ter Jrasses ono prirnary unl;', stcrlrpirrrl llre rrttrr--r t-vrr;. A conrJlJenrentaly colotrrr:cl f i lter (Yf l lUl,l, ['or exarrrple) su[)[ t'ir(]ts lirll rl of its printary colour (Bl-l..lF), buL allovrs Llre ot-lrer t.r.rr; (llIl) r tilll EN= Yfl_t t]W) Lo Jrass.

llte Lltree silver tralicle 1ay,et's present in all r--oloul.malorials ear.lr respond t-o orte plintary eololt r of Iiglrt only. Ior a goocl prinL, yor,t rnrrst- balarrt--e Llte t'esJror)ses oI eaclr 1ar1,pt

7oi1

. i'

SUt]IRACTIVI_

ILIRAI

ION

ELuc t

ELACH GREEN

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T'AFI

TINE :

ilIt [ras been r:irccrni$t.ant-ia]. 1y shown, t.hat evElry colour plorJur:es a distinr-'b Il4Pfif SSItlN ort t-he rn-inLl , ancJ thL.rs aclrlre.rsse$ arL orrce Llte et,e ancJ faeJ.i.nqs. l-lerrce i l, [oI.].owr,; tha I ccr..]-oLt I rflaty b= ernfr.l.oyed 1'or certain sen$ur:-l-, rrio.I'a-1. arrcl, aes'Lhel-jc ends." Goethe refen Lo Lhe at"t.acher:l [rlroi-o Ccrply ancl crrtrrsj-rJer one of three approaches t-o colouf: symbrr.li"c, al,legori.cal ur nry,stical. Select one approach ancJ Rtr-INl t-RPUF I Goetlre's co.lour rvheel photoqraphically. P-l.elasc

Conceptua l.rl.;o f ranre

f,olIowing colours:

0RAf,lGt_

PURPLE

:.C

yotlr inraqes

atr-rLrnrJ assictr--iatl.ions r./:i l. lr Llre

total of six prints will be due for criLique

V.tOLET BI-UE GRETN YT-L LOhJ

PAIIT IIJO:

PRAt]TiCAL EXIRCISt.,/MAI(.IIiG A NEIJA\TIVL "PLI:IITJ.VE IIIi.]G

ARI]L]I.']I.)

Lr a ;i-rc*e .rsllnC, tire r;rl.lLt1':: :ilc rlolr r-:cl i.r,' L.hc ct:trl-el pr-inL: the oi-her-s; ar'e L:.ial:rtJ t.ownrr,l ye.l. 1.r-rn. rra.Je\nLa, (:)'an, b-1 lte, r'.Jreern, arrd red by incr:easirrr; arnounLs. I ar::h pr-i.r'rt. irr bl re rir]q-zr.[uLtnd is slrown wj.Lh a I'i.L[.el rrurnberl-. This reprer-;errt.s tlre i-rnrcrLrrrL of' fi.lLratjorr 1zs1-1 nrusl- su|:rIr:act Fr:r:rtn y'ourr I'i.]l-r,rl heacl setl.-itrqsi t,o corrr:ct- Lhat arnount- of' errr:r'. -I v.r-i l-l tlr-:nronsf-rart-e l'ro'r t-r.r mako a ring-arorrnd in the darrkLo(.rrrr. Pleass.r 1'-rlor,,jr-la: Lhr: [oJ--lrrwirrrl: 1)

A correctl y exposecl cr:lrrur rreqat.ivr: Lr) 0btain an'1 Llf% qlery carrl lrorn Derr-is Ler,rir,; b) PhoLoqreph a persorr ho.[rl:inc1 thr: qray r]i:rL[l: -irrc]ttrlr: l-he co.l or-rrs ll[[-l , UllE tiii L Bl. UF j.r'r Llrr,: P ir:l rrlr:

Trrtc-rr:

Cl-rrj,sty Johnsr.tn I 0l{

t]FII

CYAN

CAII4ERA d.*J^CA

Crl,t ttI vERXIER. CAUALCTTO ei.g NISPCC,

he.lrograph (,irr--\) L-

dogue-rrecrfupa lr,C-o

r83e I)

p?er p late (notogrw..')

no prryrts poEE ible

-,-q,.r'.fiI @ O-aOq--'C" ffidKEla.krElCi!6.ffuiry) I

11*

i(fr

d tong

EEEI

ca.Lo+Vpe (\-r.. l'(,-\ OY\ Pa.P<f P,nh+s Possibte

c o \ [o

dioq .-.'

lESf

.'\ ',

JUfiDcrx

It'iil r

Modern

Ftlrar

petPe.r rotl c<tttrl oio{ rotl

188S

llgq

return ior li[e pensrons for hrmsell ond Nrepce! son lsrdore

Ihe r *! pnor%roph b, JoEph NdphoE N,.ts. {O.md.,o Cor,(,,M. io,n Ro.sm Hutunh.. t.r@d Cdtc_U^-.rr,t

{ \-

.,ch he.olled o hsloqropb lhich rs now prscrcclrn uernsherr Lolleâ&#x201A;ŹlDn ol rhe Unrversrty ol Texos os rhe world's {irst s!ccessf ul photog roohO

ru.mrar*i.Oog* (EBC

r t t

I t

Huh6

PitM L,'q)

fhc Frenchmon louis Dogm I D89- 1851 )(D *os o rherricol

| \" po'nicr who, rn l&4, I 2led o Doromo rn Fod. , nr: w on arhrbition ol lougt ponoromrc pnrntrngs which, logcther with lighting effcds, mode viewers feei they woo in lhe scene, ln order to obtoin occurote deto I ond propcr perspectrve lor lhese drowings lhe odrsl ohen mode use of o comero obscuro Whrle using lhts technrque Doguerre lhoughi how much msrer thc tosk would be rf the comero rmoges could be mode permonent perhops by lormrng them on some Ight'sensrt ve motefi ol. Unforlunorely, he hod very liile

success. Then, in 1829, he heord lhot Niipce wos working on lhe some problem; o meling wos orronged belween lhe fwo men ond lhey ogred to colloborote. Therr portnershrp continued untrl the deoth of Niipce in 1833, ond Doguerre then continued lo work olone, drscording the brtumen pcess ond subslituttng his own ideos He expenmented wilh silver soits ond lhe obsence oI ony vrsrble imoge on his plot* first coused him to ossume thot his work hod forled. Howaer, more exFEnmenis provd lhol lhere wos o loient or hidden imoge which could be intensified by odditionol tmlmenl with chemicols, The ide of development hod been born By 1837 he hod produced o photogrcph o{ his iudb on o silvecd coppcr plotc thot wos emorkoble Ior its clority, ond o litile loter produced o pidurc ol rhe Tuileries@. ln l&19 ha onnoumcd d6loils of hi5 rcw praess, which hc collcd the dogucmtTpc, ond ho old il, with thc hcliogoph prrcss, lo lhc Fronch gowmmrril in

F,ri, o prece ol sheet copFEr the srze of the clesrred prclurc wos hrghly polrshed ond thcn srlver ploled belore berng mode rensrtrve lo lrght by holdrng rt rn the iumes of rodine, whrch formed o lhin loyer o{ srlver iodrde on the sur{oce Aher exposrng this lrghl-sensrtrve suTfoce rn o comero rl wos remored ond lhe rmoge deveioped by putirng it rn conloct wrlh the {umes lrom hol mercury When rl hod reoched the desired degre oI inlensity the prclure wos mqde permonenl, or lixed, wilh o solulron of common soll which removed lhe unoffecled silvcr iodide. After woshing ond dryrng il wos necessory to

ploce lhe prcture bahind gloss logether with o mounl which would roise lhe gloss obove the imoge, since contocl boht6n lhe lwo surfoces would rcsull in domoge@ Ahhough the finished produci wos o mirror imogc of lhc originol, this revcml rcs

considered occeptoblc [or podroits, but not lor londscopcs. When thc phologropher wos toking o londscopc he hod to ploce o corrccling pnsm or mrrfo, in lronl ol the comero lens which formed o Nice r*ersed imogc on lhc lilm, whrch wos rhus the right woy round

Anolher pioncer of photogrophy wos rhe Englishmon

Wil|om Henny For Toibor (1800-1877) (see p,ctur. on poge ) ), ln 1833 Fox Tolbor wenl with hrs wife on o belotcd honeromo to ltoly where he

;f;r,H;"T:ii:",:"o Como. Ra{l*rrng on rhr b6uty of lhe plcrucr p.od{!d b, the lens, ha

lub$qucflh

w.oac:

'How chorming rt would be il werr possible lo couse thess

nolurol imoges to rmprinl lhemsclves durobly ond {ired upon lhe FEper' On his return to his onc.slrol home, Locock Abbey rn Wiltshire, Fox Tolbot bâ&#x201A;Źon to develop some idms which he hod hod Ior producing this effeci. He knew thot some chemicols were dorkened by exposure to light, ond bcaon by exprnmenting wilh silrcr nitrcte. Firn he b.ushed o rclution of this chemicol onto god quolity writing poper which hod o smoori Nil@As rhc lQht senoivcy ol rhir f chemicol ir vory la hr do lncd o cotrng of silrcr chloride. He then erposed the snsili*d poper to the sunlighl hoving first ploced in lont oI il qn obiccl thot hqd o dcfinitc shopc, such os o leol. Thc om of lhc popcr thus prot<lcd frcm lhc sunlight moincd whitc, whilc the o< grcdrclly tumcd blqk. Thcn com ilrc ml prcblcm o{ hw lo dop }hc wholc of the poprr luming block orce thc object hod bccn romovcd. Tolbol! iniliol onsw rcr lo wosh lhc cxposed poper wilh o dilute olution oI grctossium iodidc, bul loter he used o rclulion of common sh. His n6xl slep wos lo try ond Eord on imoge lormed by plcing lhe light-scn:itivc pnper in o comcro obruro moda fom o cordb@rd box fincd with o suiloblc lcns. Aher loding lhc box with his sensitivc popcr he

process superseded both rhe Joguer reotype onj orrgrnol

erpo5ure trme, ond were copobie oi berog srored for mony monrhs wrthout loslng rhe r sens.trvrty. Two yeors lolcr on rmproved "ers,on ol lhcse plotes wos morketed which gove rhe public therr Irrst Chonce ro buy reody-mode photogroph c oJotes,nsteod of hov'ng to mote rherr own. Until rh s rrme o I Phologroph c morerols hod been sensrl've onry to ullro. v,o el ond blue 9nt bur Dr Eermon Voget etrended lhor. colour rens,r,v,r/ bv odd,ng :moll quonr,rres oi cenorn dyesrufis lo the emu sron. The

CoiolyDe reChnioue\ A,<her <oorej o gbsc plore

wrrh,odrre<i collodon lo solutron of gunconm rn crher ond se^siliseC rt wilh o solut on o[ srlver nrtrote When erposec ond cjeveioped wnrie rhe collodron wos sirll wet. rl produceci o negolrve thol reveoled oll the irne deror ot lhe sublecl Howevet the need lo use rhe ploles rn the wer aoncj lron meont thot ony Phologropher .orkng our ol doors h6/;6 66rt o11 1r;t chem cols creon woter ond some {orm ol ponoble dork, room Ne!ertheless, lhrs drO not deler ine Oroneers In thtg oronch ol pheregrophy, such os l,4onhew Brody, who chotogrophed the Amerrcon Civrl Wor by trovell,no rn o

@ e pUq.n'. a..,ng md. by For Tolbd,n tB5, lr rhoEr dr hfrird w'deo, htr hm.,o trhrhj.. llruroro,rh.S.,6.. M!ffi) pDrolcd rt tOSrdS o burldino rllumrnotad by thr sun ond l;h rt Ior on hour or two. Then he opened the box ond lound o distinct raoge ol rhe building on the popGr H! reolised thot if lhe box wos mode smoller the exposure times would be

ci"#;3:::ituil:';]*, ion some Lilliput

ort ist'.

Tollsl colls{ th6 msgcs 'rcn trcrures o, Phobgmic dmwrngs ond ooc ol tha berl

inloncy. Conlrontcd by critrcism for lock ol dctoil he revmlad thr mitsing informolion thre weeks loler

lote

'1840

Tolbor hod

-Ry (,onoged to shortcn thc

r:po:m

tine rcquind, hoving

diaaemd

thot th. *nritiviry o, popoc wirh rilu iodir,. - known os iodised poprr wos grwtly increo*d by rcshing it with o liquid contoining silver nitotc ond ocalic ond gollic ocids, collcd gollo-nitrotc of silver Hc rcrmod lhis'crciting liquid,. Thc iodird popcr rcr modc by coting onc sidc with rilvcr nilrcle Flulion ond thcn ollowing il to dry beforc immcning it in o rclution ol polosium iodidc. Thc dried iodidc jnl:r thcn copoblc ot being tond lor on indefinite lime proidcd il wos kefl in the dork When rcquired for u* it wos wo:hcd wirh thc 'excilino liquid', rined in wotcr ond lightly dn:ad bclora being ploced in lhocormro. Ahcr o bnef erposurc (under o minute) it wos removed ond the blonh sudocc brushed with more of

otrd

Plotes sensrtrsed to

vrduotl, rhe whote oi rhe visrble tPeclrum Colleci ponchromotrc plotes, were first morketed rn 1906

The mosl common exomples

known is the view ol the lottice

his technique in Jonuory 1839 even though it wos still in ils

ol rhese dye-sensrtrsed

l88i

horse-d.o*n *ogonO

ol collodron neoot',es remo n,ng todol ore found

ortiJc

ol h. rm lff.iqidF "c* ltoy fufit a{otd0tltur en

moun,ed n front ol o block

riodow or lmat Abbcv-

rolcn in l&15@@. pmprca bv ffi ol Dogu{6i pfocc$, Tolbot onerad on qttm of

frrst

ploles reoched the morket rn

lhe'exciting liquid, until o slrong imoge wor obtoined, Afier woshing in clmr woter lhe poper wos immeacd in o wrGt slurron of mmm slt,

lorr sodiuo thiorvlphde

hypo, io rtop th. davrlopm^t process. This prcduced o Iired picture but with the block ond white oms revered - o negolivc. ln orde. lo obloin o posilive prinl, i.e, wiih block ond white oreos the righl woy round, lhe negolive wos rcxed lo moke il lronslucent ond lhen ploced in contoct with o pixe ol poper coted with silvcr chlodde, collcd drad

Er Thc anirno thrnaili

ligh uail]hc primopjccrd on

lSalnr.mn orElEm

lhcGrrrltolodmim brcurilirL lt ir o

ilrd dilllomr

O MffF-06dytFiobbdo.lffi. worllul-8651,.e! ndnomd

lhey ore lnown os ombrotvoes These *ere populor from tle mid-1850s untrl the 1880s os o

form of cheop porlrorture. Postlive prrnl5 qsrc ql5s 66js from lhese negohves.

fcholm-

fi.

Ud d6E ,h. AffiEon rh. Whot.ir

rGgm,.

Cpd

thr poprc No dcrlogoct solulim wo3 ut d. flbot nanrd hb proccathe cololyp. rcca.3 od oolo*rd

iria

ln 1885 on Amerrcon, George toslmon rntroduced o ftlm consrsting of o flexrble roll o[

bockground which gives rhem the oFpeoronce o{ positives;

bota; o,

phologophy todoy.

0ry techniques rotended lo

oErom.

The poper ncAotives prcduced by lhe colotype praess did not

prodxe priors ol vary hfuh

qwlily, pndly gwiag te {E fibrou nam ol tE ooort bur

,hrscpobhnrw!

eliminoted when Fedcrick Scor Archer inlroduced thc,rcl coilociion'praess in 1851. This

rhe

d;sdEntoEB ol

lhc cgllodron pr66sg l6ggn t6 oppcor in rhe mrd lE50:, but none of them were very sotrsloclory The greot odvonce come rn l87l when Dr Richord Moddox. o London physicion, pub rshed on occount o[ o melhod usrng gelotrn os o suppod lor lhe lrght-sensrtrve solts These plotes olso hod the odvonloge 9l !a6g6r.1, rosler r e rlqurringsly o shod

poper cooted wrth o geldin emulsion, togelher wirh on odoplor for comeros mode for use with plotea Eodmon th.n

designrdo comm codoining rollholdcr wh'ch. cmhncd wllh O naw Commmd developing ond prrntrng 5eryrcc, meonl thd phologrophers need nol become involved wrrh messy chemrcol prxesse s unies llqy wrshed Eormon g up o ComPOny lO morlet hiS ncw Comeros; rls nome - Kodok wos o grophrc rundrrng o[ thc o

ol the cooerc thuiec During 1889 the poper bosc norse

wos repioced wrrh cellulose nrtrote. This ceiluloid film, when bocked with block popcr, could be used to lood o comero in doyiight ond rr groduolly oustcd lhe g oss photogroph;c plot..

PUL]I.ICATIOIIS

OT.I PI]OTOTTIERAPY

'l'Iew portraits for o1<1 : the use of the camera in therapyt,r l4artin ancl Jo Spence. in Feminist Review, tlutnber 19. Itlarch 19S5.

Ftosy

--/ t/i

'Putting myself in tl.re picturef Jo Spence Canrden presi. 1986

'Double Exposure The mirrefiercl of mernory,. The schoor photo revisited. Rosy i'iartin and Jo spence. For the series 'photographs in photographers GaJ-lery. February 19S7. context'. 'Phototherapy: -nelv ;>ortraits for old' Rosy uartin ancr Jo or]' ln.,-g.= of Femini"ity-'i,., trre visr-rar Arts spence .i" lLookinE arr<l l.ledia r Edited by Rosemary Betterton. panclora . Spring 1gl87.

'Phototherap-y Transforrning the schoor photo.'9f"nn, days are Irere again ' ' Rosy llartin in Photography por i tics- ii . Ilrlitecl by Patricia Ilor1anc1, Jo spence & simon tv.ti',"y. Comrnec-li./pr-,otography lilorkslrop. I9B7 'l'Il)at- do resr:ians rooll lille' Rosy llartin an(-r Jo sJ,ence dDrl 'TaIes nly fatlter never t.ruqht nrei Jo spence anci l-,.evicl Roberts in Ter::8 I\To 23 June lc.tt7

Phototlierapy - ps)zclric realisrn as a healing art? Rosy i.iartin and Jo Slrence in Ten : Ll, IIo 30, spellbound , octol.>er l.9BB 'The "r,retc.nciecl fanrily" llervs r\utumn 1990.

arI>unr

' l,y Rosy rlarLirr in Irernirrist Art

'Pllototheral)y: slrarire arrc.i the minef iercrs of ruerrrory, Jaa Grover Af ter irriage Sur,-,nier 19!O IISA

''r<l

,Cu Itural 'DirLy Lilrerr' l.,y Rosy i.jatrtin snil-,er' by Jo Spence in Ten 3 \rol 2 lio i Springancl r99I 'Don' t say chr:ese, lesbian, by Rosy r,rartirr irr ,storerr ('lancr-s f,esbians sdy tale Photogr.rp'hs' -r.rit"a-r-,y Jcan Fraser anrl Tessa Iloffin pan<]ora

I991

'untrirrcl the ties that birrcil try Rosy t4art irr r-rnd ,Soa1,, [.arr i 1 y Arbut'r L ork .il.rc'l Iroire' ancr I srron,-.=-rvor]< : Thor:glrLs on I.;rrni_Iy -i1.,n,,.,.o Sn.rps ancl Fractured Jrlenti ties;, lry Jo in ' I"amil y S nirlrs : the t:?a nings of ' ,lornest ic l.liotoc;raphy, 11(jitec] by.fo Spence anrl patrici.r IIoIl.rncl Virago l99l f

'f pose a paraclox' ))y Rr:sy irartin in larclr/Apri I 19)2

I,Jomerr,s

Ar:t rlagazine llo

'Loolling bacl,l?_pltot-otlleral)y, rrrer.iory ancl identity, in \itrlokuva - Finni sh Rtroitgral,l,y Spring I992

l.,y Rosy l,lartin

I'ort

hconr

ing

'The circle closes: the Ltse alternat-ive rll,aries in bereavrrient' by Itosy t,,lartln inof I l.lhat a ueman. do ryith a camera' riditee uy io il;;;" and .Joancan Solomofi Open Letter,s press I993. rcultural sniperi the collected turitings of rlo spence, by Jo Spence Routledge 1993. 'l'?r:tting Lls ar r _in trre picture: Joqfspe_,,ce a,cr pl.rototherapy, by t''tartin in Carnera Atstria voi i99:.

I.,-osy

'Lrnconciousness rai.sing Jo Strrence \/j,rallo 1q9-

wi tl"r

a cartera , Ecliterl by ,Rosy l{artin

and

Chris Enos was born ln Catllornla on August 21st, 1944. Atter recelvlng an A'A' ll Art at Foot' frifi Lolrege, Los Altos, Galllornla,-ln 1965' she *a" a*atIed a B.A. ln Art at the Unlversity ol the nmertcas, Mexlco Clty, 1967, and a B'A' in S-"uiptrt. at the San Franclsco State Unlverslty fn rdes. ln 't971 she recelved an M'F'A' ln Photography lrom the San Francisco Art lnstitute'

lnterview wlth Chris Enos by Kareen Moss, SePtember 1979 urMoss: Why do your pictures contain primarily ban subiect malter?

Enos: I was born and raised in Calilornia' After moving to Western Massachusetts on the East Coast,-t moved again to Boston, directly downto*n.'f felt that if lwas going to live in a city' I *"nteO to live in the heirt of it' When I moved downtown, I had already been photographing years landscapes for some years, and for eight nudes' of pictures taking before t'hat I had been Living in tlle heart of the city, it took me some time io find new themes to photograph, and I began by photographing construction sites beiause there were so many ol them in the area *n"re I lived' The sites were surrounded by fences, and as time went by, plants and bushes started to grow around these fences, and I realized more ind more about the plant life's struggle lor survival in this hostile environment' M: Do you see your own life as a struggle in the city environment, similar to that of the plants? E: I start photographing spontaneously and try not to think of my own personal problems' I try not to think about what I am doingf dnb seek a more emotional and direct response' My aim is not to intellectualize -buJ to reflect my feelings and emotions.

M: Let's say that's the way art really happens'

Many seasons of the year are represented in your work. Was this consciouslY done?

that E: lt is iust that I am more aware of the fact comas Coast East there aie four seasons on the pareO to the West Coast, and I simply keep on photographing throughout the year' 'M: fnle ie.uty ot thb flowers in the spring, the lushness of summer and the decay of autumn ' ' ' Oo yo, see human or animal likenesses in the ptants that You PhotograPh? it is E: t do see-forms of inimals and people' but people really the element of decay that makes ol look at things more astutely' People take a lot disturbing noti"" of dEcaying things' There is a io this, irut-t mrit admit that decay fasci".p""t nates me. tn a way, your photographs are laden with M: -iymbotism,'eien though you may n.ot start out a coniitn tni" in mind. There also seems toin be picyour ftiit Oetween technology and nature tures.

plant life' E: Technical structures are opposed to

know this tension in your photographs'

Chris.

Tne things that I photograph are engaged in of the same stiuggle as people are' I don't think me for struggle is a it person, and mysett as a citi peaceto live here. Living in the country is more strugthe lind I do but lul and more comfortable, to the moved I When gl"ln1n" city invigorati!1g' which happened things Ea"t Coast, certiin c[angeO my lite. I lelt a desire to document these anO t useO the camera as my tool' I am out"n"ni"", consiantiy looking for a balance between the subiect my between life, own my and side worll matter and my personal experiences' The East Coast has changed my inner world, and I should I had ce.tainry not belhotographing in this way if

remained on the West Coast' M: When did You begin this series? I am E, fn" plant seriesbegan in 1971. or 1972'

not quite sure which. They were done by stereo' other anO basically I was more concerned with shown photographs tning" in thslandscape. The my herjwere taken in 1975, 1976 and 1977' ln beevolution nude studies' there is a definite in the tween the first pictures and those taken I plant series' of the year. Thesame is true in images to sites "igntn halve moved from construction which people control the plants-and some of a tne *oiklooks like earthworks; but there exists Continued on Page 2l

Captlons

17:

1977

Page18:

1976

Page Page

1977

Page

19: 20:

1977 /1977

..-..-.firf-Gffi.Fffi

?4t!JE-jqq{ll$''l

CHRIS ENOS Continued lrom page 16

1971

1973 Let A Dark Photo Lab, San Rafael, CA, Co-owner and lnstructor of Photogra-

phy.

Sonoma State .University, Sonoma, CA, ln-Ph oiog-laphy.

definite evolution between my first plant pictures and my present ones. I can only look at my'work subjectively after a space of time, for example to determine where I was emotionally a yea( ago. I have noticed that when the surface and the subject matter come very close to the camera, the pictures were taken at a time when I was going through a claustrophobic phase, When I started venturing further into space, I became more concerned with the space beyond, and I started thinking in terms of foreground, middleground

These photographs of plants were taken with a Nikon camera and a 2.1-mm lens. The films were FP4 and Plus-X, and the lighting was natural daylight. Chris Enos developed the film in Rodinal F67 and made the prints with a Beseler enlarger. ln answer to the question 'Under what circumstances were the pictures made', the photographer replied: 'Usually stoned!'

whole new important issue. M: I notice that a lot of artists are currently in-

The Photographic Resource Center

itructor of

and background. And then space became a volved with the major concept of survival-for example photographers, sculptors, earth-artists etc. I wonder if you are aware that you are working in a context which interests many contemporary artists?

E: No. I wasn't aware of it, but I am becoming aware of it having looked at other works of painting, drawing, sculpture and photography. M: Chris, I remember your fascination with dirty snow-piles after the blizzard last winter in Boston. E: Here again, I am attracted to things that repel other people. I spent quite some time photographing garbage with my SX-70 camera; the space and colour abstractions created by the light fascinated me, and my curiosity about things of this kind enable me to cope with them and to want to photograph them.

(*;

Work Experience 1976 - Present President and Director, Photographic Resource Center, Boston. .1978 1977 New England School of Photography, lnstructor of Photography Gallery Director, and organizer of lecture series. 1978 Artist in Residence, Light Work, Syracuse University, NY. Printed Georgy Kepes Portfolio for Vision Gallery, Boston, MA. 1977 Harvard University, Photography section of Humanities 15 1976 Essex Photo Workshop, MA, Workshop on Photographing the Nude. 1975 Goddard College, VT Workshop in Photography 1974 - '1975 Hampshire College, MA, Assistant Professor of Photography 1974 Windham College, Putney, VT, lnstructor of Photography 1972 - 1973 University of California, San Francisco, lnstructor of Photography. San Francisco Academy of Art, lnstructor of Photography

The Photographic Resource Center is a nonprofit tax-exempt membership organization located in Boston, Massachusetts. lt provides working photographers and the supporting community of picture researchers, historians, critics, curators, art collectors, teachers, students and the interested public with professional information and resources not available from other sources. The Center was incorporated in 1976 to meet the expressed needs of New England's photographic community and is currently providing the following services: 1) a monthly Newsletter and Calendar of Events; 2) Directories containing information on photographic education and exhibition in New England; 3) an on-going Lecture Series which presents photographers of regional and national reputation to the public and 4) Views, an in-depth review devoted to photography and visual communications edited by the critic A. D. Coleman. ln addition, the Center provides a Telephone Referral Service and answers written inquiries on various aspects of photography. lt also makes available information on copyright legislation, grants and legal and financial matters. The Center's future plans include the development of a Research Library of visual books, articles, clippings and periodicals about the technical and aesthetic concerns of photography and a slide reference service, a Film Series featuring the work of photographers who work in both media, and a Graphic Arts Workshop to be used by artists for smalledition books. The Center is supported by its membership and grants from the National Endowment for the Arts, a federal agency, the Massachusetts Council on the Arts and Humanities, The Polaroid Foundation, Bell & Howell; Mamiya Company and private contributions. A 21

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PHOTOMEDIA WORKSI"IOP

STUDIO LIGHTING & VIEW CAMERA WORKSHOP WORKSHOP TUTOR - PETE DAVIS A place has been reserved for you on this workshop commencing on Tuesday Feb. gth. at 2.30pm. The timetable is outiined below. Apart from the timetabled sessions shown you will be expected to work in the studio at other times to consolidate you studio experience. The workshop syllabus will cover:-

* The lighting studio, layout operation, equiprnent and protocol. * General lighting principles. * Electronic studio flash. * The large format view camera, it's cperation and controls. * Sheet film, the double dark slide, polatiod materials. * Processing sheet film. * Project work.

Having completed the workshop you will be able to use the lighting studio and the large format camera equipment on an open access basis.

Some materials will be provided, but you will be expected to bring with ,vou at least 2 t'oiis of 35rnnr. B+Vt' fiim, multigrade paper for contacts and work prints - and if you wish to continue to work on large fclrmat, 5"x4" sheet film (HP5 plus) for your project work.

TIMETABLE

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Feb. Feb. Feb. Feb. Feb.

Tuesday 9th. Thursday 11th. Tuesday 16th. Thursday 1 8th. Tuesday 23rd.

2.00 pm. -- 4.00 p,11. 9.30 am. -12.3C 2.00 pm. -- 4.00 9.30 am. - 12.30 2.00 pm. -- 4.00 pm.

pm. pm. pm.

2.00 pm. -- 4.00 pm. 5.00 pm. -- g.00 pm. 2.00 pm. -- 4.00 pm.

The timetable has been designed to intergrate with your main course timetable as much as possible. However there may be sonte clashes. You should check this with the tutor affected to ensure it is O.K. You should also inform you r tutor so that they know what you are doing. lf there is any problem, or you cannoi attend the workshop at this time, please let me know so I can arrange for another student to take your place. Otherwise we look forward to seeing you at room 213- ihe Ptrotomedia Lighting Studio at2.O0 pm. on Tuesday Feb. 9th.

Pete Davis January i994.

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STUDIO LTGIITTNG AND LARGE FORHAT CAMERA WORKSTIOP

Please read these notes before attendinq the vorkshop The aim cf this r,.orkshop is to introcluce you to the discipline of worr.linE ir: a s budio environment, to give you experience of usj-nq1 varj.ous types of str:dio lighting, and to become familiar rsi th the u-<e of the large f ormat camera. Successful completion of the r,rorkshop will enable you to use the lion'"ing studio, and the large format camera equipment on an open access basis. The tutored sessions wi t t begin with a general inLrocluction on the use of t,he studi.o, follor-ed by practical tuit.ion on t,he use of studio flash lighting and bhe large format camera. This witt include general i iql-rti,'rq prineiple;/ exposure measurement and the flashmeLer/ operati,on and controls of the large formaL camerar/ darkroom loading of sheet fi1m, and sheet film processing. There will be a practical studio session when you will be encouraged to experiment wit,h various lighting techniques using the equipment available to you in the sLudio. you will be expected to demonstrate a sound understanding of the problems relating to lighting techniques and exposure measurement.

Additional, un-t,utored studio time may be available to you during the course of the workshop. rt is essential that you make use of this time to consolidate your expertise in the new techniques and processes thzrt have been demonstrated, and to p!1 epai..J ;-'cr 1-he p-roject iv"llrK fou will be e>rpect-ed to produce before the end of the workshop. You will have the opporbuniby on the workshop to work in the studio on a personal project either related to your ongoing work t or possibly to explore a ne.w direetion in your r+ork using the new techniques and facilities available to you. There r+i11 be an opportunity to cliscuss this project with the tutor in the early stages of the workshop. For your project work you wilt be expected to come full repared with film r ODS models, layouts, etc. etc. rea to make full use of stu.dio t ime . At the end of the wo ea to have produced at least four or five photographs on your project theme, and made a 1O,,xB, work print of each. Use of the large format camera witt be encouraged if the project is suit.able, but is not essent,ial for the project, r+ork. certain materials are provided for the early sessions of the r+orkshop, but you should bring with you your own camera if you have one / at least t,wo rolls of 35mm f il-m, and Multigrade paper 10"x8" or A4 f or cont.aet prints and work prints. For the later stages of the workshop you ruill need more film of whatever format you choose to use for your projecE. work 35mm, 12-o or 5"x4". rt is essentiar t,hat vou DreDare all this in ?dvance so as not advise you on all this at the sLart oi ilre workshop. Pete Davis.

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LARGE FORMAT GAMERAS:. USERS CHECKLIST

Make sure that the camera is fixed firmly to the tripod before use - always double check quick-release heads.

2. 3.

Select lens required and fix lens panel securely to camera.

After roughly positioning the camera and composing the picture, use the camera movements - tilts, swings and shifts, as necessary to optimise focus and composition.

5. 6. 7.

Lock all adjustments on camera and tripod.

Begin to compose the picture on the ground glass with all the camera movements in the new position.

Make any final lighting adjustments and take a meter reading. Close lens shutter, select aperture and shutterspeed. Do

lf using-studio flash, select 'x' synchronisation, connect flash lead and cable release. Cock the shutter and test open.

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Re-cock shutter, insert film holder, pull out sheath to expose the film. Make the exposure and replace sheath with black side out to indicate that sheet has been exposed.

With large format cameras always lvork in a methodical way - large format can also mean large mistakes!

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CALCULATING THE BELLOWS EXTENSION FACTOR WHEN USING THE LARGE FORMAT CAMERA AT CLOSE RANGE. Lens apertures are only correct in theory when the camera is focused at infinity, ie. when distance from the lens to the groundglass is equal to the focal length of the lens in use. When you are focused closer than infinity the distance from lens to groundglass will increase. Light passing through the lens has then further to travel than before, resulting in a fall off in light intensity before it reaches the film. The falloff is inversely proportional to the distance travelled, which in simple terms means that a doubling of the bellows extension over the focal length of the lens in use, will result in the exposure having to be increased by a lactor ol 4 and not a simple doubling. Failure to take this into account when photographing in certain situations will result in a serious underexposure.

ln these situations there is a simple fornruler which can be applied once you have taken your nteter readings, to take the bellows extension into account. This is it! :-

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IMAGE DISTANCE 2

FOCAL LENGTH

E = the factor by which you multiply the expcsure. Simply rr)easure the ciistance lrc-,rrr the lens panel to the ground glasr; to give you the 'irnage <ji-qtance', arrtJ the [,rc;il lettgth nreasurernerrt is sinrpiy ilre focal leng:th oI tlle lens in rlse. A talculatiorr nrig['rt icok like this:-

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to rnultiply the expilsure by a factor ol 4, or open the aperture two stops. This is the inverse square law in practice, although we herrre only eloubled the bellows extensior: we neeci to increase t:re exDUSUre by a lactor ol 4.

+/rfrt' TRANSFORMATION AND METAMORPIIOSIS

Advanced l{orkshop

"But for me it is rhe fantasy offered by the ambiguity of photography and the inherent-S_U_f-fCgl.lft of tIfrTp.ocess (i.e. you can capture an imagu fToE-l]iTime and ty some wonderful alchemy it is possible for this latenL image to be used if you wish to reduce a building to size of a pin head or to enlarge a pin head to the size of a bullding) that is one of the mediumt s greaLest strenghths'.tt Photograpf,ic T.uth, MetaDh_or, & Individuul E*o.essio., Paul Hill

A11 photographs are transformations of a three dimensional world into a two dimensional representation of that which was before the camera. This can be then taken into further stages of metamorphosis through the myriad ways of presentation and context which are always part of the communication of the work.

rn this workshop we will be looking at the concept of transformation in photography. we will be discussing what i t can mean and how it can communicate ideas as well as looking at examples in contemporary practise. Some examples

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of this are: transformatiog of meaning in images by putting Lwo or more images next to each ot.her. transformation of forl by using the photographic medium aS in a picture of a moving train using a slow enough shutter speed to record the train as a blur on the ii-t*. ttPngf or*uEiorl of thg rubj .. .,"* pu.=o..tiv. "ct to creut"irnage aS. in David Hockney's j oinermultiple pieces. "subi ect or ihe :prrotograbns. in beEransto{maEion a.s the Iore and after photograbhs, or changing of the seasons,etc. !.ransformetign of different concepts oi reality through the use of Lhe phot.ographic studio to construct different misg en scene or fantasiesl that can ask questions or communicate in ways that documentary, on location photography perhaps cannoL. These are just some of many examples of transformation and metamorphosis that we will be discovering in this Advanced I{ork?hop. Nancy Honey

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HE FINry BI,ACK & WHITE PftINT WORKSHOP TUTOR - PETER GOLDFIELD A place has been reserved for you on this workshop commencing on Thursday June 3rd. at 9.15 am. ln addition to the tutored timetabled sessions set out beloq you will be expected to work in the darkrooms at other times to consolidate your printing skills. The workshop syllabus will cover:-

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Obtaining optimum negative quality. Aesthetics of the fine print. Paper choice, grades, colour, surface. Darkroom practice, health and safety. Chemistry and developer formulae. Archival processing for permanence. Selenium toning.

Certain materials and chemistry witl be provided, but you will need to bring with you a quantity of Ilford Multigrade Fl,bre Based oaper. for general printing. Please make certain that you obtain this before the workshop. You should also bring with you a selection of good negatives for printing and samples of your prints.

T!METABLE

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Thursday 3rd. June ....... Tuesday Bth. June ........ Thursday 1Oth. June ...... Thursday 17th. June ......

9.15am. 2.00pm. 2.00pm. 2.00pm.

4.00pm. 8.00pm. 8.00pm. 8.00pm.

The timetable has been designed lo intergrate with your main course as much as possible, but there may be some clashes. You should check this as discuss it with your tutor concerned to ensure that it is O.K. lf you are unable to attend the workshop please let us know so we can offer your place to another student. Pete Davis. May 1993

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