Place - Lecture3

Last week’s exercise

1a. Far distance sharply in focus and as much as possible before it: f8, 1/80

1b. Mid ground sharply in focus, but as little else as possible: f7.1, 1/125

1c. Immediate foreground is sharp and as much of the rest of the scene as possible: f22, 1/10

1d. Foreground is in focus, but little else in the scene is: f5.6, 1/125

2a. Freezing movement f4, 1/200

2b. Little blur: f9, 1/40

2c. Lots of blur: f29, 0.6sec

Read Zoe Reilly Sean Shapcott Joshua Sommer Hanna Stoss Alexander AlexTeekawong Arnon Thomson Kelsey Tran Son Wallace Taryn Whitehead Hayden Woon Shan Shan Yang Qiaoqiao Yang Xixi Cicide Friez Tobias Toby

Adams Rangi Badger Jesse Beale Desiree Bull Katelin Callus Christopher ChrisCowdell-Murray Sara Crow Jennifer Frances Maurizio Frontin-Rollet Grace Gilbertson Liam Guerin Francis Harvey Anna Hawkins Annabel Hogg Rebecca

Hughes Olivia Hunt Eleanor ElleJennings Gregory Jephson Sinead Law Bridget Lee Alice Manhire Cameron Meredith Larissa Mondares Jan Mowat Nicholas NickNeate Daisy Northcott Courtney Oakes Lauren Pexton Benjamin Ben

session1

Technical Considerations

Detail in the shadow and highlight areas

Correctly exposed image

ExposureCombining the Shutter and Aperture:controls how much light will affect the image sensor.

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.

ExposureThe combinations below produce the same exposure.

f:1.7 f:2.8 f:4 f:5.6 f:8 f:11 f:161/500 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.

ISO [INTERNATIONAL ORGANISATION FOR

STANDARDISATION]

– Sensitivity to light/film speed– Below 200 ISO - slow– Over 200 ISO – fast– Slow is good for studio photography– Fast is good for low light situations– Grain is silver halide emulsion particles

200 ISO 1600 ISO

Exposure Control

M = Manual

18% greycard

White cat in snow

ExposureBracketing

White cat in snow

Black dog

Black dog

ExposureBracketing

Middle image exposed to what camera considers best

Left image over exposed one stop

Right image under exposed one stop

Assignment OnePlace

Anne Noble

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

Locating Leisure

Xavier Ribas

Massimo Vitali, Pic-Nic-Alee, colour photograph, 2000

Massimo Vitali, Rosignano Solvay Sea 1, colour photograph, 1998

Massimo Vitali, Piombino Jump, colour photograph, 1999

Xavier Ribas, Untitled, from the series Barcelona, colour photograph, 1996




J. Bennetts Fitts, Arroyo Seco Driving Range #1 from the series Golf, colour photograph, 2003-04

J. Bennetts Fitts, Verdugo Hills #10 from the series Golf, colour photograph, 2003-04

J. Bennetts Fitts, Arroyo Seco #8 from the series Golf, colour photograph, 2003-04



J. Bennetts Fitts, Long Beach Driving Range #1 from the series Golf, colour photograph, 2003-04

J. Bennetts Fitts, Victorville from the series No Life Guard on Duty, colour photograph, 2003

J. Bennetts Fitts, North Shore from the series No Life Guard on Duty, colour photograph, 2003

J. Bennetts Fitts, Huntingdon from the series No Life Guard on Duty, colour photograph, 2003

J. Bennetts Fitts, Panama City Beach from the series No Life Guard on Duty, colour photograph, 2003

Organised Space

Wout Berger

Lynne Cohen, Laboratory, 1999

Lynne Cohen, Spa

Lynne Cohen, Military Installation

Jacqueline Hassink, Mr Robert H. Benmosche, 2000

Jacqueline Hassink, The Meeting Table of the Executive Board of Barclays Bank, London, England, 5 September 1996

Jacqueline Hassink, The Meeting Table of the Board of Directors of NESTLÉ, Vevey, Switzerland 6 December 1994

Doug Hall, Galapagos Tortoise Storage, colour photograph, 1997

Doug Hall, Mammal and Bird Cold Storage, colour photograph, 1997

J. Bennetts Fitts, Single Sapling from the series Industrial Landscape(ing), 2003

J. Bennetts Fitts, Tree with Two Benches from the series Industrial Landscape(ing), 2003

J. Bennetts Fitts, Three Red Trees from the series Industrial Landscape(ing), 2003

J. Bennetts Fitts, Yellow Tree from the series Industrial Landscape(ing), 2003

J. Bennetts Fitts, Line up of Pine Trees from the series Industrial Landscape(ing), 2003

Traces

Wendy Burton

Martina Mullaney, Untitleds from Turn In, colour photographs, 2002



Natalie Czech, Untitled from Anderswo (Elsewhere), colour photograph, 1999



Alec Soth, Future City II from the series Sleeping by the Mississippi c-print, 2000

Alec Soth, Dallas City IL from the series Sleeping by the Mississippi c-print, 2000

Alec Soth, Dallas City II from the series Sleeping by the Mississippi c-print, 2000

Alec Soth, New Orleans IA from the series Sleeping by the Mississippi c-print, 2000

Mary Farmilant, from the series Chicago Hospital, colour photograph, 1999

Mary Farmilant, from the series Chicago Hospital, colour photograph, 1999

Mitch Epstein

Private Space

Mitch Epstein, from the series Family Business, c-print, 2000




Gareth McConnell, Untitled from the series My Grandfather’s House, colour photograph 2002



Martin Parr, Untitled, from the series Sign of the Times, c-print, 1991



Poetic Space

Adam Holtzman

the camera introduces us to unconscious optics as does psychoanalysis to unconscious impulses.

Walter BenjaminThe Work of Art in the Age of Mechanical Reproduction, 1936

Annie Hogan, Untitled 1 from the series Big Silence, c-print, 1997

Annie Hogan, Gray Road, c-print, 1998

Annie Hogan, Silence, c-print, 1998

Elisa Sighicelli, Untitled, lightbox, 2003

Elisa Sighicelli, Untitled (Iron chairs), lightbox, 2003

Michael Keena, Hilltop Trees, Teshikaga, Hokkaido, Japan, 2003

Michael Keena, Ratcliffe Power Station Study 31, Nottinghamshire, England, 1987

Michael Keena, Ten and a Half Trees, Peterhof, Russia, 2000

Michael Keena, Hillside Fence Study 2, Teshikaga, Hokkaido, Japan, 2002

Surveyed Space

Scott Fortino

Thomas Ruff, Nacht 4 III, c-print, 1992

Thomas Ruff, Nacht 9 II, c-print, 1992

Thomas Ruff, Nacht 14 II, c-print, 1994

Jono Rotman, from the series Chambers, colour photograph, 2003



Maxe Fisher from the series There is Always Something Between Us and It, 2008




Fabricated Places

Michael Schnabel

Sarah Pickering, Semi Detached from the series Public Order, colour photograph, 2003

Sarah Pickering, Farrance Street from the series Public Order, colour photograph, 2005

Sarah Pickering, Behind the Flicks Nightclub from the series Public Order, colour photograph, 2004

Bridget Smith, Glamour Studio (Chaise Lounge), 1999

Bridget Smith, Glamour Studio (Locker Room), 1999

Hiroshi Sugimoto, Lion from the series Diorama, 1994

Hiroshi Sugimoto, Antelope from the series Diorama, 1994

Andrea Robbins and Max Becher, Entrance from Global Village 2003 – 2005

Andrea Robbins and Max Becher, Shanty Store from Global Village 2003 – 2005

Andrea Robbins and Max Becher, Wall Shelf from Global Village 2003 – 2005

Andrea Robbins and Max Becher, Church from Global Village 2003 – 2005

Andrea Robbins and Max Becher, Knapsack and Plastic Bag from Global Village 2003 – 2005

Project 1 Final Hand-in – next week

• Series of 5 to 10 images• Visual narrative > images working together to tell

a story

• Visually coherent as a series• Avoid repetition • Remember statement and workbook• Submit on Flickr and R:drive

Documents

Place - Lecture3