MattWG 3.02

Tuesday 2-3pm

JamesWG 3.02

Friday 3-4pm

YanaWG2.02

Tuesday 4-5pm

Best of exercise 1

pattern

shape

form

line

Contrasting colour

Similar colour

Pale tones

Dark tones

High angle

Low angle

landscape

portrait

Extreme close up

Front lit

Back lit

In shade

Assignment OnePlace

Anne Noble

Defining Location

• Slow down1st Shoot Feedback

• Carefully consider framing• Think about light

• Not just details - need a sense of space

• WHAT ARE YOU TRYING TO SHOW?

• No setting up/manipulation of space• No Photoshopping• Edit to eliminate repetition• Alleyways are hard

• Keep camera angles consistent and relevant

• Keep horizons straight

Technical Considerations

• Sensitivity (ISO rating)

• Intensity of light (time of day, etc)

• Amount of light allowed in (size of opening = aperture / f:stop)

• Duration (shutter speed)

Ways to Control Exposure

Detail in the shadow and highlight areas

Correctly exposed image

ExposureShutterDevice which opens and closes, controlling the amount of time the camera chip is exposed to the in-coming light.

Shutter speeds are fractions of a second and usually have a range of:

1 sec 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000

ExposureApertureDiaphragm inside the lens, made up of a series of metal blades that can be adjusted to vary the size of the hole.

ExposureApertureOn the aperture are a series of set points known as f:stops.

ExposureCombining the Shutter and Aperture:controls how much light will affect the film or image sensor (the focal plane).

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, i.e. result in a correct exposure.

ExposureThese combinations below will 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.

Creating an Image

Anything with a small hole can cast an image – a lens isn’t required.

Creating an Image

The smaller the hole, the smaller the overlapping circles and therefore the sharper the image.

Creating an Image

But nothing is truly sharply focused. However, with very small holes, our eyes perceive it to be.

Circles of Confusion

photo

Depth of Field

Depth of Field

Range of acceptable sharpness

Always 1/3 in front and 2/3 behind the critical plane of focus

Depth of Field

f:3.2 f:4.0 f:5.0 f:6.4 f:9.0

Depth of Field

f:9.0f:3.2

Depth of Field

f:9.0f:3.2

Small Depth of FieldAperture is large

Only point that is focused on appears sharp

small depth of field

Large Depth of FieldAperture is small

Large area is acceptably sharp

large depth of field

Freezing or Blurring Movement

Slow shutter speed blurs movement

e.g. 1/4 , 1 sec

Fast shutter speed freezes movement

e.g. 1/1000

N.B. speed of subject also factor

ExposureChoose the best combination for your situation.

Do you want:• more of your image in focus?• to freeze a moving subject?

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

All these combinations let through a small amount of light

Camera Shake

Difficult to hold camera steady when using slow shutter speeds

1. Avoid shutter speeds slower than 1/60 sec

2. Use a tripod

USE A TRIPOD!!!

This Week’s Exercise

Using Shutter Priority and Aperture Priority Modes Experiment with depth of field and subject movement

TV = Shutter Priority Mode(“T probably stands for “time” and “V” for “value”)

AV = Aperture Priority Mode

This Week’s Exercise

Camera Settings Image quality - small or low ISO 100 White Balance – Daylight or cloudy for outside;

This Week’s Exercise

Aperture Priority Mode experimenting with depth of field.

Shutter Priority Mode

experimenting with freezing or blurring movement.

BeckDeadweight

There’s No Place Like Home

Alec Soth

Eugene Atget, Staircase Hotel de Brivilliers, rue de Charles V albumen print, 1900

Andrew Ross, Kitchen, 262 Riddiford St, silver gelatin print, 1996

Andrew Ross, Where Alice Kavalous Lived, Rintoul St, silver gelatin print, 1999

Consumerism and Place

Edward Burtynsky

Lars Tunbjörk, Civic Administration, Toyko, 1996

Lars Tunbjörk, Car manufacturer, Goteburg, 1997

Lars Tunbjörk, Lawyer’s Office, New York, 1997

Phillip Toledano, from the series Bankrupt

Phillip Toledano, from the series Bankrupt

Phillip Toledano, from the series Bankrupt

Tim Davis, Shell 3, from the Retail series, 2001

Tim Davis, McDonalds, from the Retail series, 2001

Miles Coolidge, Police Station, Toys-R-Us, McDonalds, from Safetyville series, 1994

Miles Coolidge, Industrial Buildings from Safetyville series, 1994

On the Edge

Steven Smith

Glenn Sloggett, Love Me from series Lost Man, 2003

Glenn Sloggett, Toys on Sticks from series Lost Man, 2003

Dan Holdsworth, Untitled from series A Machine for Living, 1999

Dan Holdsworth, Untitled from series A Machine for Living, 2000

Toshio Shibata, Onakami Village, Gunma Prefecture, 1994

Toshio Shibata, Morrow Point Dam, Gunnison County, CO, 2000

Toshio Shibata, Kikuchi City, Kumamoto Prefecture, 1999

Significant Sites

Laurenz Berges

Joel Sternfeld Taylor Hall Parking Lot, Kent State University, Kent, Ohio, May 1994 from the book On this Site

Joel Sternfeld from the book On this Site

Joel Sternfeld from the book On this Site

Joel Sternfeld from the book On this Site

Joel Sternfeld from the book On this Site

Shao Yinong and Mu Chen, Shanchuan from series Assembly Hall, 2002

Shao Yinong and Mu Chen, The Charitable Temple from series Assembly Hall, 2002

Laurenz Berges, Altenberg, 1992

Laurenz Berges, Potsdam V, 1994

Cindy Bernard, Vertigo (1958/1990)from the series Ask the Dust, 1990

Andrea Robbins, Max Becher, Dachau Doorway to Gaschamber, series Dachau, 1994

Andrea Robbins, Max Becher, Dachau Drain in Crematorium Complex, series Dachau, 1994

Andrea Robbins, Max Becher, Dachau East Wall of Gas Chamber, series Dachau, 1994

Andrea Robbins, Max Becher, Dachau This Gas Chamber WAS Used, series Dachau, 1994

Ordered Space

Michael Schnabel

Neil Pardington, Postmortem Room #4 from series The Clinic, 2004

Neil Pardington, Dissection Room #2 from series The Clinic, 2005

Sites of Power

Jono Rotman

Lucinda Devlin, Electric Chair, Greensville Correctional Facility from series The Omega Suites, 1991

Lucinda Devlin, Lethal Injection Chamber, Texas State Prison, from series The Omega Suites, 1992

Lucinda Devlin, Witness Room, Broad River Correctional Facility S.C., from series The Omega Suites, 1991

Jason Oddy, Untitled, Pentagon, Arlington, Virginia, 2001

Jason Oddy, Untitled, The United Nations, Building, New York,2001

Jason Oddy, Untitled, The United Nations, Building, New York, 2003

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

Psychological Space

Mihai Manguilea

Panos Kokkinias, Alikos, 2007

Luisa Lambri, Untitled from series The Blind Room, 2002

Luisa Lambri, Untitled from series The Blind Room, 2002

Rut Blees Luxembourg, Caliban Towers I, 1997

Rut Blees Luxembourg, Liebleslied, 1997

http://www.flickr.com/

blog

For next week• Work for interim presentation (20%

of the project grade)• Don’t forget workbook with

research, etc• Answer questions to readings and

be prepared to discuss them in class