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If you are not redirected to the page automatically, click here! >>>Click Here<<< https://EditaPaper.com State University of New York Downstate Medical Center â&#x20AC;&#x2039;hi my name is jeff parks i am an instructor at the art institute of seattle and i teach a variety of photography courses one of those courses is photo criticism in which we talk about it the transformation that happens between the time the photographer releases the shutter and the final image which is often instantaneous now what happens during that time is the photographer ends up abstracting the world they see

photography's often taken as being real but actually it's not quite you see in three dimensions you see with peripheral vision but photography reduces the image down to two dimensions and it puts borders around what you see if they looking through a window so through this the photographer selects what the viewer is seeing what they want to say and through that we can see the photographer as the artists through the things they feel that are normally important to show in their images and it's usually a consistent theme throughout all the images they do they may like to emphasize line or shape or texture or positive and negative space the interplay a shadow and highlight or some combination of all the above what I have my students do in photo criticism as a in-class assignment is to experiment with reinterpreting photographs we can't duplicate peripheral vision and our three dimensionality very well with the equipment that exists today but what we can do is still kind of experience the transformation that does happen when a photograph has taken in one of the ways we do that is this will just take an image one of the images we were looking at in Photoshop and put it into Photoshop and then we can go ahead and select parts of that image for instance we might take this part right here show it as pretty much as a square I can copy it and paste it as its own layer then we might come down here and get this portion here with some of the bright areas and some of the shadow areas and try to use the shadow as a shape in and of itself to support the image or what at least what the photographer is trying to say and it's telling me to get on the layer with the information and will copy it again now to paste in its new layer and then maybe we can just isolate the sculpture on top of its pedestal air-tight crop a little too tight but we'll go with it copy it and again get back on your layer copy it paste it so what we've attempted to do now is to reinterpret the photograph the original photograph is now a series of various crops and in some cases those images say something completely different let's take a look at just a few of those and we'll isolate them this one fairly close to the original image as far as emphasizing the geometry of that huge cement railing that goes across the bridge this one of course we've isolated the sculpture atop the sills or at least the dragonfly part of the sculpture and here we've created a real abstraction that's very different from the entire scene you can't see anything but the diagonals of the shadow and of the cement wall on the side of the bridge the strong obliques come into play and the interaction of highlight and shadow become very apparent on this one our square image it's almost totally shadow with very little detail on just a slight reflection off water again a bit of an abstraction more organic leave composed than with all the strong geometric lines we saw in the other crops adhere we go to a real landscape type of scene now what we're showing here is almost a whole different feel than the original picture which emphasized the bridge in the wall that created the type of railing for that bridge this is looks like a very pastoral scene that does it play off of the bridge architecture at all and then here this time we include the little monument or the pedestal that holds the dragonfly sculpture and basically all we've done is just isolated this and it's a picture about it and doesn't bring much else into it so as we go through these images we you think we can think about the different things they say a lot of it is what the viewer will read into it but if you look at a body of work from a photographer you begin to see those themes as the work I was showing earlier you see that all of geometry has a lot to do with that body of work because it all came from one photographer so try this experiment with a variety of images you know sit down with the half a dozen images and do this simple of selection and copy and pasting and you'll soon see there's a certain consistency that you'll have to what you consider is important in an image even if you haven't taken the original image itself what you select out of that will say about a lot about you as an artist as well of course is your own photography so thank you for listening and we'll see you at school early admission New York university.

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