Unit 1 Photography

Catching up in the Visual Diary

The following is all the tasks and info we have looked at so far that you will need to complete in order to catch up:
Mind map - a starting point for your ideas for future themes Moodboard - a visual representation of your works might look, what inspires you visually Photograms - one page of your photogram works and explain how you did them and one page of photogram works by one other photogram artist with images of their work and discussion on why you like their work, their ideas and inspirations. Shutter Speed Task - using digital camera, take images of a moving subject using a variety of different shutter speeds. images need to be printed out and stuck in your visual diary. identify which shutter speed was used in each shot. Formal Elements Task - stick images in your book identifying which elements are used in your shots. Using a roll of 35mm film take photographs that depict the things on the 10 things list. You will need to process your b&w film at school, one page of your visual diary will have your negatives attached with a description of the step by step process of how you processed your film. Contact sheet - your negatives printed as a contact print in the darkroom, one page with contact sheet stuck in and description of the process. Portraiture task - see the sheets. two pages in your visual diary is for the formal analysis (one image on each page) and then you will have one page for the 2nd part of the portraiture task planning out your digital portrait projects ideas. Portrait artist research: One page will be devoted to a portrait photographer whose work you will use as inspiration for your own ideas. see the examples i have included about my idea.

Year 11 Photography Unit 1

30 January 2014

STUDIO ART: PHOTOGRAPHY

UNIT 1: Artistic Inspiration and techniques

This unit focuses on using sources of inspiration and individual ideas as the basis for developing artworks and exploring a wide range of materials and techniques as tools for communicating ideas, observations and experiences through art making.! Students also explore and research the ways in which artists from different times and cultures have interpreted and expressed ideas, sourced inspiration and used materials and techniques in the production of artworks.!

Call of the Wild. Matthew sleeth Published by Josef Lebovic Gallery, Sydney, 2004. Edition of 15, Slip case, 250x330 mm, Signed + Numbered 14 8x10 type C prints www.sleeth.info

!1

Year 11 Photography Unit 1

30 January 2014

Visual Diary Keep records of everything you create in studio arts, drawings, notes, gallery visits, and photographs all go in your visual diary. Keep all your images (even test prints etc.) and store your negatives safely for future use. If! you intend to continue photography at a tertiary level you will need all your VCE work (from year 11 and 12) for presentation in folios and pre-selection kits.!

Gallery Visits During the year, you should aim to visit a variety of galleries regularly in order to help develop your ideas, concepts and to maintain an awareness of contemporary styles, concepts and techniques present in current art practices. Take notes about the works you see with particular attention paid to the way works are presented (what are they made out of, how are they framed / hanging on the wall etc, how do they t into the gallery environment) and artists whose works you particularly nd interesting. What is it about their work that piqued your interest: subject matter, size of work, colour / B&W, style of photography etc? The following venues are a provided as a starting point. At a minimum you should visit these galleries!

Nick Knight OBE is a British fashion photographer, documentary photographer, and web publisheras director of SHOWstudio.com

Centre for Contemporary Photography 404 George St, Fitzroy, Vic, 3065 www.ccp.org.au!

Outcome 1:

Source inspiration, identify individual ideas and use a variety of methods to translate these into visual language.

Monash Gallery of Art 860 Ferntree Gully Road Wheelers Hill Victoria 3150 www.mga.org.au!

! ! !

! !

National Gallery of Victoria Federation Square: The Ian Potter Centre: NGV Australia! and ! St Kilda Road:! NGV International!

!2

Year 11 Photography Unit 1

30 January 2014

Suggested Reading and Interneting:

! !

Art Almanac, (www.art-almanac.com.au) Journal of Photography (http://www.bjponline.com), Photole (http://www.acp.org.au/photole) Artist Prole (http://www.artistprole.com.au)

http://www.foam.org tate.org.uk aperture.org blindspot.com lenscratch.com https://www.lensculture.com

! ! !

Websites to visit:
Masters of Photography www.masters-of-photography.com Centre for Contemporary Photography ccp.org.au Monash Gallery of Art mga.org.au Australian Centre for Photography www.acp.org Museum of Contemporary Photography http://www.mocp.org/ Museum of Photographic Arts http://www.mopa.org/ Australian Institute of Professional Photography www.aipp.com.au Photography Studies College www.psc.edu.au Queensland Centre for Photography www.qcp.org.au History of Photography www.rleggat.com/photohistory International Museum of Photography and Film www.geh.org Australian Centre for the Moving Image www.acmi.net.au Alternative Photography www.alternativephotography.com
!3

Lewis Hine en.wikipedia.org /wiki/Lewis_Hine Ben Cauchi bencauchi.com

Year 11 Photography Unit 1

30 January 2014

Tasks

This is what you will be doing in Unit 1. There will be specic instructions and demonstrations as we get to each stage. Use this list to ensure all tasks are completed and included in your visual diary by the end of the Unit. !

1. Visual Diary front cover: ensure it has your name clearly visible on it and identies your book as Unit 1 Studio Art: Photography. !! 2. Mind Map: your initial brainstorming session to help you start thinking about future themes. !! 3. Photograms - produce 4 nal works to be handed in using the photogram process which will be explained to you. You will also need to complete the worksheet.!! 4. Camera handling skills worksheet. !! 5. Formal Elements & Composition Task !! 6. Portraiture Project - to be done utilising 35mm lm and darkroom processes. see separate worksheet.!! 7. Photoshop Skills: worksheets !! 8. Typology Project- to be done using digital cameras and photoshop skills learnt in Task 7.!! 9. Still Life Project - to be done utilising digital cameras and computer editing.!! 10. Research an artist - you will do a 6-8 slide PPT presentation to your classmates about a photographer of your choice chosen from a list provided. Everyone will have a di"erent artist.!! 11. Major Project: will be divided into small tasks via separate worksheets.!

!4

Outcome 3:

Research an Artist Presentation

written response and

Discuss how artists from di!erent times and cultures have interpreted sources of inspiration and used materials and techniques in the presentation! production of artworks

Paul Strand, The White Fence, 1916

! !

Studio Arts - Unit 1!

Research an Artist - theory task.

You are to select an artist (a different one for each student) and research their life and work to present in class as a Powerpoint presentation of 8-10 slides. You will create a slideshow of your chosen artists work to show in class. You need to be able to discuss your artists life and work. Your images should have their titles and info with them. Show 5-6 examples of that artists work as digital images. !

STUDIO ARTS DIGITAL & MIXED MEDIA UNIT 1!

WRITTEN RESPONSE TASK #1

"1

Things to include:!

! ! ! ! ! ! !

Brief biography of the artist when did they live, where did they live, include key autobiographical information that is relevant to their lives as artists. !

What kind of art did they do? Why is it important? How is this artist relevant to your own work - what made you pick this artist to report on? ! Select one or two particular images that epitomise this artists work to discuss in greater detail. ! You need to present the information assuming your audience has never heard of this artist before (we might not have!) ! Use the library, internet and journal articles etc to inform your presentation.! Be prepared to answer questions during your presentation about what materials your artist used, style of photography, subject matter and the ideas behind their works.! Your research should be about 1000 words (equivalent to one A4 page typed but can be included in powerpoint slides).! DUE IN: ____________________________ . This task needs to be presented in class as a Powerpoint (or similar) presentation. Ensure your name is on the rst slide along with the title etc. This rst slide does not count as one of your 8-10 slides.

Richard Avedon, Beekeeper, 1981 Eugene Atget, Fireplace, Hotel Matignon, 1905 Diane Arbus, Child with a Toy Hand Grenade in Central Park, N.Y.C. (1963)

STUDIO ARTS DIGITAL & MIXED MEDIA UNIT 1!

WRITTEN RESPONSE TASK #1

"2

PHOTOGRAMS

ANNA ATKINS
b. 1799 Tonbridge, Great Britain, d. 1871 Atkins printed and published Part I of British Algae in 1843 and in doing so established photography as an accurate medium for scientic illustration. ! ! Atkins learned directly about the invention of photography through her correspondence with its inventor, William Henry Fox Talbot. Although she owned a camera, she used only the cameraless photogenic drawing technique to produce all of her botanical images.

Anna Atkins, 1853

Anne Ferran

Adam Fuss

Adam Fuss

Original photo of window at Lacock Abbey, by Fox Talbot.

Photogram of same window by Floris Neussus

TASKS

Create your photograms in the darkroom then answer the following questions in your visual diaries. Use full sentences and you can draw diagrams if you wish Explain the process of creating a photogram. How do you do it? What equipment is required? What objects did you choose and why? Name at least one photogram artist and nd 3 examples of their work - discuss what their work is about and why it was of interest to you? Did you get ideas for your images from looking at what other artists have done? explain in what way?

Photography
The Basics

Most cameras have both optical zoom and digital zoom. Optical zoom works just like a zoom lens on a film camera. The lens changes focal length and magnification as it is zoomed. Image quality stays high throughout the zoom range. Digital zoom simply crops the image to a smaller size, then enlarges the cropped portion to fill the frame again. Digital zoom results in a significant loss of quality as is clear from the examples below.

Optical & Digital Zoom

EXIF Data = exchangeable image file

Almost all digital cameras save JPEG files with EXIF (Exchangeable Image File) data. Camera settings and scene information are recorded by the camera into the image file. Examples of stored information are shutter speed, date and time a photo was taken, focal length, exposure compensation, metering pattern and if a flash was used. Other formats that included EXIF data include RAW and TIFF files.

EXIF Data

Film= the lower the number the lower the sensitivity of the film which means finer grain in shots. Digital= a low ISO number means your cameras sensor is less sensitive to light and there will be less noise on your image. In film cameras a whole roll of film would have to be used at the same ISO. Digital cameras can chance ISO for each individual image taken. This is usually done for you when your camera is set to AUTO or you can change it yourself (Manual modes).

ISO

ISO = International Organization for Standardization

A higher ISO is used in darker situations in order to be ale to use a faster shutter speed but will result in a grainier image. Higher ISO = More noise / grain

Some things to think about when changing ISO:

LIGHT - is the subject well lit? GRAIN - do you want a grainy shot or no noise at all? TRIPOD - will you be using a tripod? You need to think about shutter speed too.

ISO Take a picture with a low ISO and one with a manually adjusted higher ISO of the same subject in both images. How do they compare?

Task #1

Aperture and Shutter Priority modes are really semimanual (or semi-automatic) modes. They give you some control over your settings but also ensure you have a well exposed image by the camera making some of the decisions about which settings it will use.
In Aperture Priority Mode take some shots at the largest aperture you can (small numbers) and see how it blurs the background (but also increases the shutter speed) and then head to the other end of the spectrum to take some shots at the smallest aperture you can (large numbers) to see how it keeps more of your image in focus. In Shutter Priority Mode play with fast and slow shutter speeds and see how that impacts DOF.

Aperture & Shutter priority modes

Your camera might not have aperture and shutter speed controls. You may have options like these main ones instead: Landscape, Portrait, Macro, Sports, Night. Take a photograph of the same subject using each of the modes your camera is capable of. Document which one is which using the EXIF data on your camera to take notes.

Task #2

Panoramic/Stitch Mode for taking shots of a panoramic scene to be joined together later as one image. Snow Mode to help with tricky bright lighting at the snow Fireworks Mode - for shooting firework displays Kids and Pets Mode fast moving objects can be tricky this mode seems to speed up shutter speed and help reduce shutter lag with some pre focussing Underwater Mode underwater photography has its own unique set of exposure requirements Beach Mode another bright scene mode Indoor Mode helps with setting shutter speed and white balance Foliage Mode - boosts saturation to give nice bold colors

Some shooting modes.

Shutter Speed is the amount of time the camera shutter remains open letting light in. You will see numbers like this: 1/8000, 1/4000, 1/1000, 1/500, 1/250, 1/125, 1/60, 1/30, 1/15, 1/8, 1/4, 1/2, 1 These are fractions of second. A shutter speed of 1 second is considered slow.

Shutter speed

Changing shutter speeds:

Take 4 photos of the same moving subject at the following shutter speeds: 1/1000, 1/500, 1/250, 1/30

Task #3

The aperture is the hole in the middle of your lens. F stops are the numbers that indicate the size of that hole. If the aperture is wide open, a lot of light gets through to the sensor. A small hole will get less light in. Remember The smaller the number (f-stop) the bigger the hole!

Aperture & f stops

Changing the fstop Take 4 photos of the same object using different fnumbers. Try f4, f8, f11, f16 or as close to these as your camera allows. Keep your shutter speed the same.

Task #4

Depth of Field

Depth of field is the area in front and behind the spot you have focused on. This area will also appear to be somewhat in focus. Aperture and Shutter Speed work together to determine depth of field. Smaller f-numbers result in shallow depths of field. Larger f-numbers result in deeper depths of field.

Depth of Field

Line three objects up so they can all be seen within the shot but at increasing distance from the camera.
In the first shot, focus on the middle object letting the camera determine your shutter speed for now. Use f4 (or the lowest your camera has) and take a photo. keep the camera in the same position take a 2nd photo using f11. take a third photo using f22 (or the highest f-number your camera has).

Task #5

WHICH ONE?

TV-SHUTTER PRIORITY

CHARACTERISTICS OF TV MODE
TV means time value Shutter priority lets you set the shutter speed and calculates the matching aperture Use when photographing moving subjects, such as some sporting action, you might want to choose a faster shutter speed to freeze the motion Capture movement as a blur of the subject, like a waterfall, and choose a slower shutter speed

AV-APERTURE PRIORITY

CHARACTERISTICS OF AV MODE
AV means aperture value Manually control the aperture while the camera sets the matching shutter speed Particularly useful to control a stationary object where you dont need to control the shutter speed Choosing a larger aperture (f/stop) means the lens will get smaller and it will let less light in so a larger depth of field (more of the area in focus), but your camera will choose a faster shutter speed and vice versa

White Balance

WHITE BALANCE
The process of removing unrealistic color casts, so that objects which appear white in person are rendered white in your photo Takes into account the "color temperature" of a light source, which refers to the relative warmth or coolness of white light Needs to be adjusted under various light sources: tungsten, fluorescent, sunlight, cloudy, etc

Find the WB on your camera and adjust it

ADJUST WHITE BALANCE?

WHITE BALANCE EXERCISE

Pick something or someone and take photographs of them while adjusting the WB on your camera to its various settings Notice the difference in lighting

File Types

CHOOSE JPEG or RAW

RAW
uncompressed (an 8 megapixel camera will produce a 8 MB Raw file) the complete (lossless) data from the cameras sensor higher in dynamic range (ability to display highlights and shadows) lower in contrast (flatter, washed out looking) not as sharp not suitable for printing directly from the camera or without post processing waiting to be processed by your computer

JPEG
compressed fairly small in file size (an 8 megapixel camera will produce JPEG between 1 and 3 MBs in size) higher in contrast and sharper immediately suitable for printing, sharing, or posting on the web processed by your camera

Camera Handling Techniques

Ensure you have an ability to control depth of field, shutter speed, exposure and focusing by completing the following tasks: 1. Changing the aperture (f stops)
Using a fixed camera position, attach the camera to the tripod, set up a situation where you have a foreground subject, a mid-ground subject and a background subject. The camera should be positioned 1 meter from the foreground subject and there should be about one metre between each subject. Focusing on the mid-ground subject make exposures using f.2, f.2.8, and f.16 (or f.22 if your camera has it)

2. Changing the point of focus

Using the same set up as question 1, use the largest aperture possible to make exposures where: a)focus is on the foreground object, b) focus is on the midground object, c) focus is on the background object.

3. Depth of Field Using a fixed camera position, place an object about 1 metre away from the camera ensuring that your background is a clearly identifiable object - a wall with signs or architectural details is ideal to ensure the task is correctly done. a) focusing on the background use the largest aperture (f stop) to take one image b) take the same image again using the smallest aperture 4. Moving subjects With a fixed camera position (use a tripod), photograph an object such as a person skateboarding past the camera using a variety of shutter speeds as per below. In order to set up your shot, locate a spot about 2 -3 metres in front of the camera and have your moving subject stand there while you focus the camera. When you get them to move past, ensure they move past at that point so that they will be in focus. Use the following shutter speeds to photograph your moving person: , , 1/15, 1/250, 1/500, 1/1000

Formal Vision

The

Angle of View
1. Objective view: a perfunctory representation 2. Subjective view: same object from a different angle to produce an image which presents the object from a subjective view.

Framing
1. Use the edge of frame as a cutting device to create tension within the image or suggest there is more of the subject beyond the frame.

Composition
1. Compose an image that uses symmetry 2. Compose an image that uses lines or pathways to lead you through the image, forming a link from foreground to background.

Colour
Consider the use of colour in relation to the subject / composition. Create two images that express two different emotional states or themes.

Lighting

1. Produce one image that uses shadow to communicate its meaning

2. Produce one image that uses side lighting as an expressive element.

Texture

Produce a reductive or abstract image that exploits the qualities of surface and texture.

Julia Margaret Cameron

Eugene Atget

Alexander Rodchenko

Lissitzky

Alfred Stieglitz

Edward Steichen

Paul Strand

Formal Elements
Utilising the formal elements discussed in class, take a series of images that demonstrate the following in at least one shot each: Angle of view: photograph an object from a subjective angle and in a separate shot; photograph the same object from an objective angle. Framing: use the edge of the frame to try and suggest tension within the image or more of the story beyond the frame. Symmetry: shoot an image that demonstrates symmetry Colour: Use colour to suggest emotion in your image. Lighting/Shadow: Create an image that uses shadow to communicate its meaning and one shot that uses side lighting as an expressive element. Texture: Produce an abstract image that features the surface qualities of your chosen subject. Pattern & Repetition: Shoot a subject that highlights pattern or frame repetition. Line: Create an image that uses line to lead the eye through the image. Contrast: Shoot an image that features contrasting colours in the subject matter. Balance: Compose an image that uses the rule of thirds or dynamic symmetry.

How to load film into a

processing

tank

Drawings by Georgina Campbell 2007 (Dont laugh at my drawings!)

Portraiture

Tuesday, 11 June 13

Tuesday, 11 June 13

Tuesday, 11 June 13

Duane Michals
Tuesday, 11 June 13

Duane Michals
Tuesday, 11 June 13

Duane Michals
Tuesday, 11 June 13

Duane Michals
Tuesday, 11 June 13

Irving Penn, Small Trades series,1950s.

Tuesday, 11 June 13

Irving Penn, Small Trades series,1950s.

Tuesday, 11 June 13

John Coplans
Self-Portrait (Back with Arms Above) 1984

Distortion Number 70, Andre Kertesz 1933

Tuesday, 11 June 13

Self Portraits
Tuesday, 11 June 13

Lee Friedlander
Tuesday, 11 June 13

Lee Friedlander
Tuesday, 11 June 13

Nearly nine months after being blown up by a landmine in Afghanistan, Duley made this powerful black-andwhite self-portrait. "When I was still in intensive care, I had an idea in my head of a photo I wanted to take a selfportrait... I called the idea 'my broken statue'." As well as echoing classical Greek and Roman sculpture, it speaks powerfully about what Duley has gone through and where he is going as a person and a photographer.

Giles Duley
Tuesday, 11 June 13

British artist Gillian Wearing has made a series of self-portraits called Album in which she disguises herself as members of her family mother, father, uncle or as younger versions of herself. In this intriguing portrait she poses as her father when he was a much younger man, dressed in a formal suit. By excavating the family photo album for her staged self-portraits, We a r i n g p l a y s w i t h i d e n t i t y a n d genetic likeness while simultaneously masking herself. The result is both knowing and unsettling.

Self-portrait as My Father Brian Wearing, 2003

Tuesday, 11 June 13

Self Portrait at 17 Years Old, 2003

Tuesday, 11 June 13

Portraiture Task
Take a series of images that depict an individual of your choosing. Think about how you can communicate the personality or key feature of interest of your subject. Take into consideration your location, background, lighting techniques and your own ideas, inuences and inspirations. Submit ready to show in class: At least one nal presentation image and an outline of your process, the ideas behind your work and a reection on your nal print. All other images / ideas should be included in your visual diary along with notes and diary entries that log your project from initial brainstorming, shot lists and reections from each stage of the project. Remember to think about: The expressive moment of the subject Extreme close up or part of the face / body Props, clothing etc. Psychological portraits Camera angle or point of view Dramatic facial expressions, poses and gestures Lighting What other visual clues can you include along with your subject?
Tuesday, 11 June 13

Portraiture Task

Looking at the work of other artistsusing the examples discussed in class as a starting point, now find your own images to analyse as per below Do this task in your visual diary.
1. Find 2 Photographic Portrait images that you admire (they can be by different artists) 2. Print them out and stick them in your visual diary in the middle of a page each. (you will need the space) They can be as large as A4 size. 3. Analyse them using your knowledge of composition, identify what you think works in the image and why it is inspiring to you (has it given you any ideas for your own work?)
David Bailey, August Sander, Richard Avedon, Irving Penn, Thomas Ruff.

Portraiture Task
1. who have you chosen? 2. why? 3. how will you photograph them?

Create a portrait image of someone of your choosing. Think about why you have chosen your subject and how you want to portray them. Answer the following questions in your visual diary.

4. list the items you will need in order to take your image - do you need a particular location, props, backdrop etc? 5. you will need to complete at least one final portrait image either digitally or using traditional darkroom methods. 6. you will need to put test prints, contact prints and other working materials in your visual diary and then a copy or print out of the final work.

! !

PORTRAITURE
These images are contemporary Daguerrotypes created by Keliy AndersonStaley. I like that the subjects are looking directly at the camera, the rustic look of the daguerreotype process and the short depth of eld which makes only the closest face details appear in sharp focus.

Keliy, Anderson-Staley, Helen, 2009.

I am thinking about doing d a g u er r eo ty p e sty le photo g r a ph s of peo ple I m e et at s c h o o l. I ca nt a ct u a lly do the daguerreotype process as I don't have the resources so I am going to replicate the style using an iPhone app called Hipstamatic. It has a daguerreotype style filter that I will experiment with.

The fact that they are daguerreotypes makes the images seem like they could be antique except the people are wearing modern clothes etc. Are they time travellers? The use of an old techniques adds mystery to the images and suggests the sitters must have had to sit staring out at the camera for a long time, lending a contemplative air the images.

For my project I plan to use the studio at s ch oo l and use the plain white background and po s si b ly one studio light . I will photograph my s u bj ects lo o k i n g directly at the camera and take a few pics of ea c h perso n because the App has a few differ ent fo cu s patterns that come up randomly.

http://burnaway.org/qa-jennifer-schwartz-talksshop-on-wet-plate-and-mirrors/

Keliy Anderson-Staley, Jeremy, 2010.

T h es e are the di ffer ent t ext u r es that the Hipstamatic app uses for it s d a g u er r eo ty p e sty le images. its called the tint 1884 lens with the d-type plate film. its really just a filter in the app using the iPhones native camera.

! ea c h

fi lt e r is a bit di ffer en t and c o m es up randomly during a shoot so i wanted to see each one to see if their focus area was different as this would a ffect my i m a g es . i h ave photographed each one on a b la n k s u r fa c e so t h at i co u ld s ee the effects without any distractions. as it turns out, all the sharp area is in the middle of each shot so that will be i d ea l fo r ta ki n g po r ait images . it is just like a real dageurreotype.

! i

was inspired in part by the artist david emit adams who u s ed the w et p la t e collodion process to create mini po rtr aits of his photography students
IN THE PIECE 36 EXPOSURES, I USED 35MM FILM CANISTERS DISCARDED BY MY INTRODUCTION TO PHOTOGRAPHY STUDENTS AS THE METAL BASE TO HOLD THEIR COLLODION TINTYPE PORTRAITS. I EMPLOYED THIS LABOR-INTENSIVE, 19TH-CENTURY PHOTOGRAPHIC PROCESS TO MAKE THE STUDENTS PORTRAITS ON THE VERY FILM CANISTERS THAT PLAYED A CRUCIAL ROLE IN THEIR INITIAL UNDERSTANDING OF PHOTOGRAPHY. THE ENTIRE SERIES IS HOUSED IN A MAHOGANY DISPLAY CASE, WHICH I DESIGNED AND BUILT TO REFERENCE AND REINTERPRET THE HISTORY OF PHOTOGRAPHIC DISPLAY. THE CANISTERS AND THE PROCESS I USED IN THIS PIECE SPEAK OF MY FASCINATION WITH THE EVOLVING NATURE OF PHOTOGRAPHY, REPRESENTATION, AND CULTURE.!

Hipstamatic Test Shots

HTTP://DAVIDEMITTADAMS.COM/PORTFOLIO/36-EXPOSURES/

!"#$#%&$'#()!*"$"+#%,*-