Catch Up Year 11 Photo

8/12/2019 Catch Up Year 11 Photo

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Unit 1 PhotographyCatching 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:


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Year 11 Photography Unit 1 30 January 2014

STUDIO ART: PHOTOGRAPHY


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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 tohelp 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 fit into

the gallery environment) and artists whose works you

Nick Knight OBE is a

British fashion

photographer,documentary

photographer, and


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Websites to visit:

Masters of Photographywww.masters-of-photography.com

Centre for Contemporary Photographyccp.org.au

Monash Gallery of Artmga.org.au

Australian Centre for Photographywww.acp.org

Museum of Contemporary Photography

Suggested Reading and

Interneting:Art Almanac, (www.art-almanac.com.au)

Journal of Photography (http://www.bjp-

online.com),

Photofile (http://www.acp.org.au/photofile)

Artist Profile (http://www.artistprofile.com.au)

http://www.foam.org

tate.org.uk

aperture.org

blindspot.com

lenscratch.com

https://www.lensculture.com


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TasksThis is what you will be doing in Unit 1. There will be specific instructions and demonstrations as

we get to each stage. Use this list to ensure all tasks are completed and included in your visualdiary by the end of the Unit.

1. Visual Diary front cover: ensure it has your name clearly visible on it and

identifies 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 final 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 film and darkroom processes.

see separate worksheet.!

7. Photoshop Skills: worksheets!


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Research an ArtistPresentationwritten response and presentation

Outcome 3:

Discuss how artists from

di!erent times and

cultures have interpreted

sources of inspirationand used materials and

techniques in the

production of artworks


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Things to include:

Brief biography of the artist when did they live, where did they live, include keyautobiographical 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).


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PHOTOGRAMS


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ANNA ATKINSb. 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 scientific illustration.

Atkins learned directly about the invention ofphotography 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.


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Adam Fuss


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Adam Fuss


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Original photo of window at

Lacock Abbey, by Fox Talbot.

Photogram of same window by Floris Neussus


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TASKS Create your photograms in the darkroom

then answer the following questions inyour visual diaries. Use full sentencesand you can draw diagrams if you wish

Explain the process of creating aphotogram. How do you do it? What

equipment is required?

What objects did you choose and why?Name at least one photogram artist andfind 3 examples of their work - discuss

what their work is about and why it wasof interest to you?

Did you get ideas for your images fromlooking at what other artists have done?explain in what way?


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PhotographyThe Basics


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Optical & Digital Zoom

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 zoomrange. 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 clearfrom the examples below.


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EXIF Data

EXIF Data = exchangeable image file

Almost all digital cameras save JPEG files with EXIF(Exchangeable Image File) data. Camera settingsand scene information are recorded by the camerainto the image file. Examples of stored informationare shutter speed, date and time a photo wastaken, focal length, exposure compensation,

metering pattern and if a flash was used.

Other formats that included EXIF data include RAWand TIFF files.


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ISO

Film= the lower the number the lowerthe sensitivity of the film which meansfiner grain in shots.

Digital= a low ISO number means yourcameras sensor is less sensitive to lightand there will be less noise on yourimage.

In film cameras a whole roll of film wouldhave to be used at the same ISO.Digital cameras can chance ISO for eachindividual image taken. This is usually

done for you when your camera is set toAUTO or you can change it yourself(Manual modes).

ISO = International Organization for Standardization
http://en.wikipedia.org/wiki/International_Organization_for_Standardizationhttp://en.wikipedia.org/wiki/International_Organization_for_Standardization


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A higher ISO is used in darker situations in order to beale to use a faster shutter speed but will result in agrainier image.

Higher ISO = More noise / grain


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Some things to think aboutwhen changing ISO:

LIGHT - is the subject well lit?

GRAIN - do you want a grainy shot or nonoise at all?

TRIPOD - will you be using a tripod? You

need to think about shutter speed too.


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Task #1

ISOTake a picture with a low ISO and one with

a manually adjusted higher ISO of thesame subject in both images.How do they compare?


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Aperture & Shutter priority modes

Aperture and Shutter Priority modes are really semi-manual (or semi-automatic) modes. They give yousome control over your settings but also ensure you

have a well exposed image by the camera making someof the decisions about which settings it will use.

In Aperture Priority Mode take some shots at thelargest aperture you can (small numbers) and see howit blurs the background (but also increases the shutter

speed) and then head to the other end of the spectrumto take some shots at the smallest aperture you can(large numbers) to see how it keeps more of yourimage in focus.

In Shutter Priority Mode play with fast and slow shutterspeeds and see how that impacts DOF.


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Task #2

Your camera might not have aperture andshutter speed controls. You may have

options like these main ones instead:Landscape, Portrait, Macro, Sports, Night.Take a photograph of the same subjectusing each of the modes your camera iscapable of.Document which one is which using theEXIF data on your camera to take notes.


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Some shooting modes.

Panoramic/Stitch Mode for taking shots of apanoramic 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 speedand 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


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Shutter speed

Shutter Speed is the amountof time the camera shutter

remains open letting light in.You will see numbers likethis: 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 ofsecond. A shutter speed of 1second is considered slow.


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Task #3

Changing shutter speeds:

Take 4 photos of the same moving subjectat the following shutter speeds:

1/1000, 1/500, 1/250, 1/30


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Aperture & f stops

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 getsthrough to the sensor. A small hole will get lesslight in.

Remember The smaller the number (f-stop) thebigger the hole!


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Task #4

Changing thefstop

Take 4 photos ofthe same objectusing different f-numbers. Try f4,f8, f11, f16 or as

close to these asyour cameraallows. Keep yourshutter speed the

same.


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Depth of Field


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Depth of Field

Depth of field is the area in front and behindthe spot you have focused on. This area will

also appear to be somewhat in focus. Apertureand Shutter Speed work together to determinedepth of field. Smaller f-numbers result inshallow depths of field. Larger f-numbers resultin deeper depths of field.


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Task #5

Line three objects up so they canall be seen within the shot but atincreasing distance from thecamera.

In the first shot, focus on themiddle object letting the cameradetermine your shutter speed fornow. Use f4 (or the lowest yourcamera has) and take a photo.

keep the camera in the sameposition take a 2nd photo usingf11.

take a third photo using f22 (orthe highest f-number your camerahas).


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WHICH ONE?


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TV-SHUTTER PRIORITY


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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


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AV-APERTURE PRIORITY


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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 objectwhere you dont need to control the shutterspeed

Choosing a larger aperture (f/stop) means thelens will get smaller and it will let less light in so alarger depth of field (more of the area in focus),but your camera will choose a faster shutterspeed and vice versa


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WhiteBalance


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WHITE BALANCE

The process of removing unrealistic colorcasts, so that objects which appear white inperson are rendered white in your photo

Takes into account the "color temperature" ofa light source, which refers to the relativewarmth or coolness of white light

Needs to be adjusted under various lightsources: tungsten, fluorescent, sunlight,cloudy, etc


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Find the WB on your camera and adjust it


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ADJUST WHITE BALANCE?


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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


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File Types


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CHOOSE JPEG or RAW


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uncompressed (an 8 megapixel camera will produce a 8MB Raw file)

the complete (lossless) data from the cameras sensor

higher in dynamic range (ability to display highlights andshadows)

lower in contrast (flatter, washed out looking)

not as sharp

not suitable for printing directly from the camera orwithout post processing

waiting to be processed by your computer

RAW


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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


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Camera Handling Techniques

Ensure you have an ability to control depth of field,

shutter speed, exposure and focusing by completing thefollowing 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 focusUsing the same set up as question 1, use the largest aperture possible to makeexposures 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 awayfrom the camera ensuring that your background is a clearly


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The

Formal Vision


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ngle of View1. 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.


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Framing

1. Use the edge of frame as a cutting device tocreate tension within the image or suggest

there is more of the subject beyond the

frame.


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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.


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Colour

Consider the use of colour in

relation to the subject /

composition.

Create two images that express

two different emotional states or

themes.


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Lighting

1. Produce one image that uses shadow

to communicate its meaning

2. Produce one image that uses side

lighting as an expressive element.

Produce a reductive or abstract image


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TextureProduce a reductive or abstract image

that exploits the qualities of surface and

texture.

Julia Margaret Cameron


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Eugene Atget


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Alexander Rodchenko


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Lissitzky


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Alfred Stieglitz


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Edward Steichen


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Paul Strand


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Formal ElementsUtilising 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 thestory beyond the frame.

Symmetry: shoot an image that demonstrates

symmetry

Colour: Use colour to suggest emotion in your

image.Li hti /Sh d C t i th t


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HH


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How toHow toHow toHow toload filmload filmload filmload filminto ainto ainto ainto aprocessingprocessingprocessingprocessing

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http://4.bp.blogspot.com/_MgQ5mHQZkhA/SiU0N33tdkI/AAAAAAAAC3c/MpMlzciwjRk/s1600-h/DistortionNo70_Kertesz1933.jpghttp://4.bp.blogspot.com/_MgQ5mHQZkhA/SiU0N33tdkI/AAAAAAAAC3c/MpMlzciwjRk/s1600-h/DistortionNo70_Kertesz1933.jpghttp://4.bp.blogspot.com/_MgQ5mHQZkhA/SiU0N33tdkI/AAAAAAAAC3c/MpMlzciwjRk/s1600-h/DistortionNo70_Kertesz1933.jpghttp://4.bp.blogspot.com/_MgQ5mHQZkhA/SiU0N33tdkI/AAAAAAAAC3c/MpMlzciwjRk/s1600-h/DistortionNo70_Kertesz1933.jpg


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PortraitureT k


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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, influences and inspirations.

Submit ready to show in class:At least one final presentation image and an outline of your process, the ideas behind your work and areflection on your final print. All other images / ideas should be included in your visual diary along withnotes and diary entries that log your project from initial brainstorming, shot lists and reflections from eachstage 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 withyour subject?

Task


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Keliy, Anderson-Staley, Helen, 2009.

T ITU I am thinking about doingda gu err eotype stylephotographs of people Imeet at school. I cantactually do the


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Keliy Anderson-Staley, Jeremy, 2010.

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

actually do thedaguerreotype process as Idon't have the resources soI am going to replicate thestyle using an iPhone appcalled Hipstamatic.It has a

daguerreotype style filterthat I will experiment with.

For my project I planto use the studio atschool and use theplain white backgroundan d pos si b ly o nestudio light. I willphot og ra ph mysu bjects looki ngdirectly at the cameraand take a few picsof each personbecause the App has afew different focuspatterns that come uprandomly.

These images are contemporaryDaguerrotypes created by Keliy Anderson-

Staley. I like that the subjects are lookingdirectly at the camera, the rustic look of the

daguerreotype process and the short depth offield which makes only the closest face details

appear in sharp focus.

The fact that they are daguerreotypes makesthe images seem like they could be antiqueexcept the people are wearing modern clothesetc. Are they time travellers? The use of an oldtechniques adds mystery to the images andsuggests the sitters must have had to sit

staring out at the camera for a long time,lending a contemplative air the images.

These are the differenttext u res th at th eHipstamatic app uses forits daguerreotype styleimages.its called the tint1884 lens with the d-typeplate film.its really just


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plate film its really justa filter in the app usingthe iPhones native camera.

ea ch fi lter is a bi tdifferent and comes uprandomly during a shoot so

i wanted to see each oneto see if their focus areawas different as this wouldaffect my images. i havephotographed each one on ablank surface so that ico u ld s ee th e effe ctswithout any distractions. asit turns out,all the sharparea is in the middle ofeach shot so that will beideal for taking poraitimages. it is just like a

real dageurreotype.

i was inspired in part bythe artist david emit adamswho used the wet platecollodion process to createmi ni po rt ra its of hisphotography 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-CENTURYPHOTOGRAPHIC 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.HTTP://DAVIDEMITTADAMS.COM/PORTFOLIO/36-EXPOSURES/

Hipstamatic Test Shots

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http://davidemittadams.com/portfolio/36-exposures/http://davidemittadams.com/portfolio/36-exposures/http://davidemittadams.com/portfolio/36-exposures/


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


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Catch Up Year 11 Photo