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Matt WG 3.02 Tuesday 23pm

James WG 3.02 Friday 3-4pm

Yana WG2.02 Tuesday 45pm


Best of exercise 1


pattern


shape


form


line


Contrasting colour


Similar colour


Pale tones


Dark tones


High angle


Low angle


landscape


portrait


Extreme close up


Front lit


Back lit


In shade


Assignment One Place Defining Location

Anne Noble


1st Shoot Feedback •

Slow down

WHAT ARE YOU TRYING TO SHOW?

Carefully consider framing

Think about light

Not just details - need a sense of space


Keep horizons straight

Keep camera angles consistent and relevant

No setting up/manipulation of space

No Photoshopping

Edit to eliminate repetition

• Alleyways are hard


Technical Considerations


Ways to Control Exposure • Sensitivity (ISO rating) • Intensity of light (time of day, etc) • Amount of light allowed in (size of opening = aperture / f:stop) • Duration (shutter speed)


Correctly exposed image

Detail in the shadow and highlight areas


Exposure Shutter Device which opens and closes, controlling the amount of time the camera chip is exposed to the in-coming light. Shutter speeds are fractions of a second and usually have a range of: 1 sec 1/2

1

/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000


Exposure Aperture Diaphragm inside the lens, made up of a series of metal blades that can be adjusted to vary the size of the hole.


Exposure Aperture On the aperture are a series of set points known as f:stops.


Exposure Combining the Shutter and Aperture: controls how much light will affect the film or image sensor (the focal plane). Both the f:stops and shutter speed can be interchanged, but the changes to one must be compensated by changes to the other, to maintain balance, i.e. result in a correct exposure.


Exposure These combinations below will produce the same exposure. f:1.7

f:2.8

f:4

f:5.6

f:8

f:11

f:16

1/500

1/250

1/125

1/60

1/30

1/15

1/8

If you reduce the aperture to half its original size (stop down) then you must double your shutter speed to obtain the same amount of light.


Creating an Image

Anything with a small hole can cast an image – a lens isn’t required.


Creating an Image

The smaller the hole, the smaller the overlapping circles and therefore the sharper the image.


Creating an Image

But nothing is truly sharply focused. However, with very small holes, our eyes perceive it to be.


Circles of Confusion photo


Depth of Field


Depth of Field Range of acceptable sharpness Always 1/3 in front and 2/3 behind the critical plane of focus


Depth of Field

f:3.2

f:4.0

f:5.0

f:6.4

f:9.0


Depth of Field

f:3.2

f:9.0


Depth of Field

f:3.2

f:9.0


Small Depth of Field Aperture is large Only point that is focused on appears sharp


small depth of field


Large Depth of Field Aperture is small Large area is acceptably sharp


large depth of field


Freezing or Blurring Movement Slow shutter speed blurs movement e.g. 1/4 , 1 sec

Fast shutter speed freezes movement e.g. 1/1000

N.B. speed of subject also factor


Exposure Choose the best combination for your situation. Do you want: • more of your image in focus? • to freeze a moving subject? f:1.7

f:2.8

f:4

f:5.6

f:8

f:11

f:16

1/500

1/250

1/125

1/60

1/30

1/15

1/8

All these combinations let through a small amount of light


Camera Shake Difficult to hold camera steady when using slow shutter speeds 1. Avoid shutter speeds slower than 1/60 sec 2. Use a tripod

USE A TRIPOD!!!


This Week’s Exercise Using Shutter Priority and Aperture Priority Modes Experiment with depth of field and subject movement

TV = Shutter Priority Mode (“T probably stands for “time” and “V” for “value”)

AV = Aperture Priority Mode


This Week’s Exercise Camera Settings  Image quality - small or low  ISO 100  White Balance – Daylight or cloudy for outside;


This Week’s Exercise Aperture Priority Mode experimenting with depth of field. Shutter Priority Mode experimenting with freezing or blurring movement.


Beck Deadweight


There’s No Place Like Home

Alec Soth


Eugene Atget, Staircase Hotel de Brivilliers, rue de Charles V albumen print, 1900


Andrew Ross, Kitchen, 262 Riddiford St, silver gelatin print, 1996


Andrew Ross, Where Alice Kavalous Lived, Rintoul St, silver gelatin print, 1999


Consumerism and Place

Edward Burtynsky


Lars Tunbjรถrk, Civic Administration, Toyko, 1996


Lars Tunbjรถrk, Car manufacturer, Goteburg, 1997


Lars Tunbjörk, Lawyer’s Office, New York, 1997


Phillip Toledano, from the series Bankrupt


Phillip Toledano, from the series Bankrupt


Phillip Toledano, from the series Bankrupt


Tim Davis, Shell 3, from the Retail series, 2001


Tim Davis, McDonalds, from the Retail series, 2001


Miles Coolidge, Police Station, Toys-R-Us, McDonalds, from Safetyville series, 1994


Miles Coolidge, Industrial Buildings from Safetyville series, 1994


On the Edge

Steven Smith


Glenn Sloggett, Love Me from series Lost Man, 2003


Glenn Sloggett, Toys on Sticks from series Lost Man, 2003


Dan Holdsworth, Untitled from series A Machine for Living, 1999


Dan Holdsworth, Untitled from series A Machine for Living, 2000


Toshio Shibata, Onakami Village, Gunma Prefecture, 1994


Toshio Shibata, Morrow Point Dam, Gunnison County, CO, 2000


Toshio Shibata, Kikuchi City, Kumamoto Prefecture, 1999


Significant Sites

Laurenz Berges


Joel Sternfeld Taylor Hall Parking Lot, Kent State University, Kent, Ohio, May 1994 from the book On this Site


Joel Sternfeld from the book On this Site


Joel Sternfeld from the book On this Site


Joel Sternfeld from the book On this Site


Joel Sternfeld from the book On this Site


Shao Yinong and Mu Chen, Shanchuan from series Assembly Hall, 2002


Shao Yinong and Mu Chen, The Charitable Temple from series Assembly Hall, 2002


Laurenz Berges, Altenberg, 1992


Laurenz Berges, Potsdam V, 1994


Cindy Bernard, Vertigo (1958/1990)from the series Ask the Dust, 1990


Andrea Robbins, Max Becher, Dachau Doorway to Gaschamber, series Dachau, 1994


Andrea Robbins, Max Becher, Dachau Drain in Crematorium Complex, series Dachau, 1994


Andrea Robbins, Max Becher, Dachau East Wall of Gas Chamber, series Dachau, 1994


Andrea Robbins, Max Becher, Dachau This Gas Chamber WAS Used, series Dachau, 1994


Ordered Space

Michael Schnabel


Neil Pardington, Postmortem Room #4 from series The Clinic, 2004


Neil Pardington, Dissection Room #2 from series The Clinic, 2005


Sites of Power

Jono Rotman


Lucinda Devlin, Electric Chair, Greensville Correctional Facility from series The Omega Suites, 1991


Lucinda Devlin, Lethal Injection Chamber, Texas State Prison, from series The Omega Suites, 1992


Lucinda Devlin, Witness Room, Broad River Correctional Facility S.C., from series The Omega Suites, 1991


Jason Oddy, Untitled, Pentagon, Arlington, Virginia, 2001


Jason Oddy, Untitled, The United Nations, Building, New York,2001


Jason Oddy, Untitled, The United Nations, Building, New York, 2003


Transitory Space

Adam Bartos


Martha Rosler, Public Passage from the series In the Place of the Public: Airport Services, 1980 to present


Martha Rosler, Munich from the series In the Place of the Public: Airport Services, 1999


Martha Rosler, Untitled (J.F.K.), 1990, from the series In the Place of the Public: Airport Services, 1980 to present


Martha Rosler, Untitled (O’Hare, Chicago), 1989, from the series In the Place of the Public: Airport Services, 1980 to present


Doug Hall, X Corridor, 1989


Doug Hall, Non-place, California #10, 1991


Doug Hall, Non-place, California #31, 1991


Psychological Space

Mihai Manguilea


Panos Kokkinias, Alikos, 2007


Luisa Lambri, Untitled from series The Blind Room, 2002


Luisa Lambri, Untitled from series The Blind Room, 2002


Rut Blees Luxembourg, Caliban Towers I, 1997


Rut Blees Luxembourg, Liebleslied, 1997


blog


For next week • Work for interim presentation (20% of the project grade) • Don’t forget workbook with research, etc • Answer questions to readings and be prepared to discuss them in class


Place - Lecture2  

Second lecture for the project - technical info + concepts

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