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the elements of photography PDF

385 Pages·2008·32.44 MB·English
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The Elements of Photography FOR CLAY (… as in dirt, mud, pottery, sand…) WHEREVER YOU ARE. The Elements of Photography Understanding and Creating Sophisticated Images ANGELA FARIS BELT AMSTERDAM • BOSTON • HEIDELBERG • LONDON NEW YORK • OXFORD • PARIS • SAN DIEGO SAN FRANCISCO • SINGAPORE • SYDNEY • TOKYO Focal Press is an imprint of Elsevier Acquisitions Editor: Diane Heppner Recognizing the importance of preserving what has been written, Elsevier prints its books on acid-free paper whenever possible. Developmental Editor: Valerie Geary Publishing Services Manager: George Morrison Library of Congress Cataloging-in-Publication Data Project Manager: Kathryn Liston Application submitted Assistant Editor: Doug Shults British Library Cataloguing-in-Publication Data Marketing Managers: Christine Degon Veroulis A catalogue record for this book is available from the British Cover and Interior Design: Joanne Blank Library. Focal Press is an imprint of Elsevier 30 Corporate Drive, Suite 400, Burlington, MA 01803, USA ISBN: 978-0-240-80942-7 Linacre House, Jordan Hill, Oxford OX2 8DP, UK For information on all Focal Press publications visit our website Copyright © 2008, Elsevier Inc. All rights reserved. at www.books.elsevier.com No part of this publication may be reproduced, stored in a 07 08 09 10 11 12 10 9 8 7 6 5 4 3 2 1 retrieval system, or transmitted in any form or by any means, elec- Printed in China tronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. Permissions may be sought directly from Elsevier’s Science & Technology Rights Department in Oxford, UK: phone: ((cid:2)44) 1865 843830, fax: ((cid:2)44) 1865 853333, E-mail: permissions@ elsevier.com. You may also complete your request on-line via the Elsevier homepage (http://elsevier.com), by selecting “Support & Contact” then “Copyright and Permission” and then “Obtaining Permissions.” Contents Preface ix Introduction xv Acknowledgments xxiv Chapter  Part : Framing and Borders  What Is “Th e Photographic Image” Exactly? 4 Framing: Th e First Photographic Element 6 Aff ecting Visual Quality and Photographic Meaning through Conscious Framing 6 Organizing the Frame: Vantage Point, Juxtaposition, and Picture Planes 8 Contact Sheets: Key to Choosing the Best Frame 14 Cropping: Framing After the Fact 14 Borders: Th e Exterior Edge of the Frame 15 Traditional Darkroom Border Techniques 16 Th e Digital Realm: Borders Without Film Edges 21 Chapter Exercises 23 Portfolio Pages 25 Part : Using Multiple Frames  Multi-panel Panoramas 68 Making Contact Sheet Images 71 v TABLE OF CONTENTS Chapter Exercises 73 Portfolio Pages 74 Chapter  F ocus: Apertures, Lenses, and Depth of Field  Focus: Th e Second Photographic Element 108 Apertures: A Brief Technical Background 109 Depth of Field: A Brief Technical Background 110 Cameras without Lenses 112 Aff ecting Visual Quality and Photographic Meaning with Apertures and Lenses 116 Digital Darkroom Focus Eff ects 126 Chapter Exercises 129 Portfolio Pages 131 Chapter  Shutter Speeds: Time and Motion  Shutter Speeds: Th e Th ird Photographic Element 158 Shutter Speeds: A Brief Technical Background 159 Aff ecting Visual Quality and Photographic Meaning Using Shutter Speeds 160 Th e Delineation of Time in a Photograph 164 Traditional Darkroom Techniques for Overlapped and Blurred Time 180 Chapter Exercises 182 Portfolio Pages 183 vi TABLE OF CONTENTS Chapter  M aterials and Processes: The Aggregate Image  Materials and Processes: Technical Considerations and Visual Outcomes 233 A Case Study in the Eff ects of Materials and Processes 240 In the Gallery: Display Materials and Considerations 240 Chapter Exercises 242 Portfolio Pages 243 Conclusion  Tutorials  Works Cited  Appendix A  Appendix B  Index  vii Preface “One fact that is not in dispute is that there is a wid- (whose primary structure prepares students for success as ening gulf opening up between art and commercial fi ne artists). Although ideal in many respects, the system’s photography, between professors and professionals.” inherent drawback is that while the marketplace off ers —Bill Jay in Occam’s Razor vast opportunities for both professionals and fi ne art- ists, academia’s singular-focus approach limits graduates’ It is no new observation that throughout the history of chances of success, and inhibits the useful carry-over of photography its practitioners have been segregated into one techniques and ideas from one discipline to the other. of two distinct disciplines, professional or fi ne art practices. Th at this self-conscious distinction creates limitations for College photography programs situated within Technical practitioners on both sides is evidenced by the large per- Schools (those off ering degrees in commercial, edito- centage of fi ne artists who attempt more or less success- rial, consumer portraiture, etc.) tend to organize curricula fully to support themselves in the professional fi elds and an around the mechanics of the medium, producing gradu- equal percentage of professionals who vie for acceptance of ates whose images demonstrate skilled craft and technical their art work in galleries. Th e separation of photographic profi ciency. Adept at using the most complex, state-of-the- practices is perpetuated through a higher education sys- art equipment and materials, the best graduates of these tem in which the overwhelming majority of photography programs produce images demonstrating feats of techni- programs emphasize one of the two disciplines: technical cal perfection with eye-catching style. However, many education (the goal of which is to train students to become of their best photographs lack any substantive meaning, successful professional photographers) or fi ne art practices and at worst their images miscommunicate, because these IMAGE © CAROL GOLEMBOSKI, OBJECT LESSON IN HEADS, 2004. ix

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photographers are undereducated in the areas of photogra- phy and art .. Wolf, my dear friend (from our first conversation about cats and dogs), for
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