English for Photographers (160,00 руб.)

108 Pages·00.508 MB·Russian

by  Щербинин

Copyright ОАО «ЦКБ «БИБКОМ» & ООО «Aгентство Kнига-Cервис»
Министерство культуры Российской Федерации
Кемеровский государственный университет культуры и искусств
Социально-гуманитарный институт
Кафедра иностранных языков

English for Photographers

Хрестоматия
для студентов 1–2 курсов
специальности 071301 «Народное художественное творчество»,
специализации «Фототворчество»

Кемерово 2011
Copyright ОАО «ЦКБ «БИБКОМ» & ООО «Aгентство Kнига-Cервис»
ББК 81.2Англ(я73)
Щ64

Рецензенты:
доцент кафедры фото-видеотворчества Кемеровского государственного
университета культуры и искусств Е. Ю. Светлакова,
и. о. заведующей кафедрой иностранных языков Кемеровского
государственного университета культуры и искусств,
кандидат культурологии М. В. Межова

Утверждена на заседании кафедры иностранных языков 08.11.2010 г.,
протокол № 3.
Рекомендована к изданию учебно-методическим советом Социально-
гуманитарного института 23.11.2010 г., протокол № 3.

Щербинин А. А., Трифонова Т. С.
Щ64 English for Photographers [Текст]: хрестоматия для студентов
1–2 курсов специальности 071301 «Народное художественное твор-
чество», специализации «Фототворчество». – Кемерово: КемГУКИ,
2011. – 108 с.

В хрестоматии представлены тексты на английском языке по тематике фото-
творчества. Рекомендуется студентам, изучающим фотографию, а также для повы-
шения профессиональной квалификации фотографов.

ББК 81.2Англ(я73)

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CONTENTS – ОГЛАВЛЕНИЕ

ВВЕДЕНИЕ………………………………………………………………. 6
I. Photography…………………………………………………….……… 8
Uses of photography…………………………………………..…………… 8
II. History of Photography………………………………….…………… 10
Invention…………………………………………………………..………. 10
Popularization……………………………………………………………… 12
The rise of the portrait…………………………………………………….. 12
Commanding the medium (1860–90) …………………………………….. 13
The birth of color………………………………………………………….. 14
Expanding horizons (1890–1920) ………………………………………… 15
Illustrated newspapers……………………………….…………………….. 15
Projecting the image ………………………………….…………………… 16
Cameras for the masses……………………………………………………. 16
Improving color …………………………………………………………… 17
The power of the image …………………………………………………… 18
Awareness and vision (1920–50) ……………………………….………… 19
A revolution in equipment……………………………………….………… 19
Photography and propaganda……………………………………………… 19
New camera designs………………………………………………..……… 20
Artistic development ……………………………………………………… 21
Innovations and rebellions (1950–70) ………………………….…………. 21
Family of Man exhibition ……………………………………….………… 22
The era of the photojournalist ……………………………………….……. 22
Reaching into the dark ………………………………………….………… 23
New frontiers……………………………………………………….……… 23
Fashion photography ……………………………………………………… 24
The Vietnam War Divergences (1970–90) ………………….……………. 24
Divergences (1970–90) …………………………………………………… 25
New color photography………………………………………….………… 25
The growth of celebrity………………………………………….………… 26
Advertising sophistication ………………………………………………… 27
Changing face of portraiture ……………………………………………… 27
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Holography………………………………………………………………… 28
Dispersions and digital era (1990 – now)……………………….………… 28
The digital revolution …………………………………………….……….. 28
Online access……………………………………………………………… 29
New color photojournalism ……………………………………………..… 29
Probing deepest space…………………………………………………….. 30
Press photography ………………………………………………………… 30
Diversities of image ……………………………………………….……… 31
III. Photography types and styles…………………………………..…… 32
Colour photography ………………………………………………….…… 32
Digital photography ………………………………………………….…… 33
Quality…………………………………………………………………….. 34
Convenience and Flexibility ……………………………………………… 36
Price……………………………………………………….………………. 36
Archiving………………………………………………………………….. 37
Integrity …………………………………………………………………… 39
Commercial photography……………………………………………..…… 39
Photojournalism…………………………………………………………… 41
Professional organizations ………………………………………………… 44
Fashion photography……………………………………………………… 45
Still life……………………………………………………………………. 46
Portrait …………………………………………………………………..… 49
IV. Photographic image-forming devices…………………………..…… 51
Camera……………………………………………………………….……. 52
Camera obscura ……………………………………………………..…….. 54
Video camera ……………………………………………………………… 55
Major components ………………………………………………………… 58
Shutter (photography) ………………………………………………..…… 59
Camera shutters …………………………………………………………… 59
Shutter lag ………………………………………………………………… 61
Photographic film ……………………………………………………….… 61
Film basics ……………………………………………………………....... 62
Film speed ………………………………………………………………… 65
History of film ………………………………………………………..…… 65
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Special films ……………………………………………….……………… 65
Exposure (photography) …………………………………….…….………. 66
Burning-in ………………………………………………………………… 68
Dodging……………………………………………………….…………… 69
Camera lucida ………………………………………………...…………… 69
V. How to Become a Professional Photographer……………….……… 71
How to Photograph Weddings …………………………………….……… 71
How to Sell Photos ……………………………………………….………. 72
How to Shoot Slide Film Nature Photography.…………………………… 74
How to Take Better Photos with the Equipment You Have………………. 75
How to Be Photogenic ……………………………………………….…… 76
How to Get Better Travel and Vacation Photos…………………………… 80
How to Make a Panography ………………………………………………. 80
How to Avoid Your Photo Being a Dark…………………………..……… 83
How to Make a Movie ……………………………………………………. 84
How to Photograph a Dragonfly …………………………………….……. 86
How to Choose a Camera …………………………………………….…… 87
VI. Gallery of Рhotographers…………………………………….……… 89
Ansel Adams (1902–1984) ……………………………………………….. 91
Eve Arnold (1913–) ….…………………………………………….……… 92
Margaret Bourke-White (1904–1981) ……………………………..……… 93
Julia Margaret Cameron (1815–1879) …………………………….……… 94
Alfred Eisenstaedt (1898–1995) ……………………………………….…. 95
Elliott Erwitt (1928–)……………………………………………………… 96
Annie Leibovitz (1947–)……………………………………………….….. 97
Leo Mason (1952–)………………………………………………….…….. 98
Don McCullin (1935–)……………………………………………….……. 99
Steve McCurry (1950–)…………………………………………….……… 100
Susan Meiselas (1948–)…………………………………………………… 101
Alexandr Rodchenko (Russian 1891–1956) ……………………………… 102
Alfred Stieglitz (1864–1946) ……………………………………….…….. 103
ENGLISH-RUSSIAN VOCABULARY……………………….……….. 104
СПИСОК ЛИТЕРАТУРЫ…………………………………….……….. 107

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ВВЕДЕНИЕ

Данная хрестоматия представляет собой пособие по чтению
на английском языке и предназначена для студентов 1–2 курсов спе-
циальности 071301 «Народное художественное творчество», специали-
зации «Фототворчество».
Цель хрестоматии заключается в получении дополнительной ин-
формации по специальности посредством знакомства с аутентичными
текстами. Задачей хрестоматии является закрепление, развитие и совер-
шенствование навыков чтения на иностранном языке, усвоение специ-
альной лексики.
Следует отметить, что тематика текстов хрестоматии – фотогра́фия
(фр. photographie от др.-греч. φως / φωτος – свет и γραφω – пишу; свето-
пись – техника рисования светом) – это процесс, заключающийся в полу-
чении и сохранении статичного изображения на светочувствительном
материале (фотоплёнке или фотографической матрице) при помощи фо-
токамеры. Подобранные тексты представляют актуальную информацию
по истории и характерных чертах фототворчества.
На современном этапе развития человечества чтение, по мнению
С. К. Фоломкиной, является одним из важнейших средств получения ин-
формации. Научить читать на иностранном языке означает не только
создать предпосылки для расширения исполнения общего образования,
но и дать возможность каждому специалисту своевременно получать но-
вую информацию, что в современной науке и технике является условием
успешной профессиональной деятельности. Обучение чтению на ино-
странном языке является одной из основных задач курса «Иностранный
язык» в неязыковом вузе.
В неязыковом вузе обучаемые овладевают языком разных жанров
научной и справочной литературы (монографии, статьи, инструкции,
бюллетени, патенты, техническая и другая документация и т. д.). Умение
работать с литературой является базовым умением при осуществлении
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любой профессиональной (практической и научной) деятельности, а са-
мостоятельная работа по повышению квалификации или уровня владе-
ния иностранным языком чаще всего связана с чтением.
По структуре хрестоматия состоит из следующих разделов: «Фото-
графия», «История фотографии», «Типы и стили фотографии», «Фото-
техника», «Как стать профессиональным фотографом», «Выдающиеся
фотографы». Хрестоматия сопровождается списком литературы, англо-
русским словарем терминологического характера, который можно ис-
пользовать при чтении текстов, входящих в хрестоматию.

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I. PHOTOGRAPHY

Photography is inextricably interwoven into modern life. Photographs are
all around us; we see them everywhere, and, since cameras have become a
commonplace feature of cell phones, we are increasingly taking photographs
on a daily basis. But photography is not just about pictures – much of technol-
ogy relies on photographic processes. The creation of microprocessors, cir-
cuitry, and the masks used in manufacturing microchips and processors –
writing with light onto a light-sensitive substrate – is fundamentally photo-
graphic.
Photography’s capacity for immediacy of impact and honesty of presenta-
tion gives it the power to enhance our understanding of situations and influ-
ence our opinions. This is because of the primacy of visual perception: we de-
pend on sight more than on any other sense for our survival. Moreover, a pho-
tograph can convey almost any human emotion, even complicated interper-
sonal tensions, in an instant. As a result, despite the power of the written word,
it is still true that pictures dominate international communication. The point is
not that a picture is worth a thousand words, but that it can be understood in a
thousand languages. While you may not agree with philosopher and cultural
theorist Paul Virilio (1932 –) that photographs are a virus on the planet, it is
true that the typical city-dweller is bombarded by photographs every waking
moment of his or her life.
Photography is the process of making pictures by means of the action of
light. Light patterns reflected or emitted from objects are recorded onto a sen-
sitive medium or storage chip through a timed exposure. The process is done
through mechanical, chemical or digital devices known as cameras. Lens and
mounting of a large-format camera. The word comes from the Greek words ...
phos ("light"), and ...... graphis ("stylus", "paintbrush") or ..... graphe, together
meaning "drawing with light" or "representation by means of lines" or "draw-
ing". Traditionally the product of photography has been called a photograph.
The term photo is an abbreviation; many people also call them pictures.
In digital photography, the term image has begun to replace photograph
(The term image is traditional in geometric optics).

Uses of photography
Photography has gained the interest of many scientists and artists from its
inception. Scientists have used photography to record and study movements,
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such as Eadweard Muybridge's study of human and animal locomotion (1887).
Artists are equally interested by these aspects but also try to explore avenues
other than the photo-mechanical representation of reality, such as the pictorial-
ist movement. Military, police and security forces use photography for surveil-
lance, recognition and data storage. Photography is used to preserve memories
and as a source of entertainment.
By the last quarter of the 19th century, photographers around the world
had supplied ample proof of the camera’s unique ability to record people and
places. At the same time, there were others who were taking pictures for a dif-
ferent purpose. Convinced that the camera could be used to go beyond simply
recording what was in front of the lens, these photographers, both amateur and
professional, were determined to produce images of artistic merit. Believing
that photographs could be every bit as beautiful and intriguing as paintings,
they pursued a simply stated goal. Their aim was to convince art critics, other
photographers, and the general public that photography should be regarded as
a legitimate form of art.
The photographs that these early artistic photographers produced were of-
ten little different from paintings. At the time, people regarded the world’s
great paintings as the highest form of visual art. It was only natural that artistic
photographers began by trying to produce the same kinds of images as those
created by the greatest artists. They chose the same types of themes, settings,
and compositions. Like painters, they emphasized the contrasts between dark
and light tones (called chiaroscuro). Many focused almost exclusively on sim-
ple but lovely, often sentimental, subjects. Some portrayed characters and in-
cidents in fables, myths, or the Bible, while others attempted to create genre
images, pictures that showed people and moments from everyday life. Still
others, in the style of well-known painters, created allegorical photographs. (In
an allegory, the figures represent universal human traits – such as heroism,
chastity, envy, lust, or despair – not specific individuals.)
By the 1930s and early 1940s, the new art photography had gained wide
acceptance. Regular exhibitions of modernist works were increasingly held
and were well attended. At the same time, photographers such as Edward
Weston and Paul Strand applied their purist or straight approach to producing
images of great artistic merit. It became clear that rather than dying out with
the end of the Photo-Secession, art photography had not only survived but had
taken photography in exciting new directions. The fact that photographs are
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today proudly displayed alongside paintings, sculpture, and other works of art
in museums and galleries throughout the world provides testimony to the
achievements of both the early pictorialists and those who extended their vi-
sion.

II. HISTORY OF PHOTOGRAPHY

Invention

For centuries images have been projected onto surfaces. Artists used the
camera obscura and camera lucida to trace scenes as early as the 16th century.
These early cameras did not fix an image, but only projected images from an
opening in the wall of a darkened room onto a surface, turning the room into a
large pinhole camera. The phrase camera obscura literally means darkened
room.
The first photograph was an image produced in 1826 by the French in-
ventor Nicephore Niepce on a polished pewter plate covered with a petroleum
derivative called bitumen of Judea. Produced with a camera, the image re-
quired an eight-hour exposure in bright sunshine. Niepce then began experi-
menting with silver compounds based on a Johann
Heinrich Schultz discovery in 1724 that a silver and chalk mixture dark-
ens when exposed to light. In partnership, Niepce, in Chalon-sur-Saone, and
Louis Daguerre, in Paris, refined the existing silver process. In 1833 Niepce
died of a stroke, leaving his notes to Daguerre.
While he had no scientific background, Daguerre made two pivotal con-
tributions to the process. He discovered that exposing the silver first to iodine
vapour, before exposure to light, and then to mercury fumes after the photo-
graph was taken, could form a latent image. Bathing the plate in a salt bath
then fixes the image. In 1839 Daguerre announced that he had invented a
process using silver on a copper plate called the Daguerreotype. A similar
process is still used today for Polaroids. The French government bought the
patent and immediately made it public domain.
William Fox Talbot had earlier discovered another means to fix a silver
process image but had kept it secret. After reading about Daguerre's invention
Talbot refined his process, so that it might be fast enough to take photographs
of people. By 1840, Talbot had invented the calotype process. He coated paper
sheets with silver chloride to create an intermediate negative image. Unlike a
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