Jan31

I like this photo because it focuses on the flower and blades of grass, while the building and scenery is blurred. I like the strong vertical line drawn by the flower stem, though the background could have stronger lines and structure.

This photo is also a good representation of a low depth of field because only the object in the foreground is in focus.

This photo was taken by photographer Henri Cartier-Bresson. He is a popular photographer because he is known for being the "father of photo-journalism." He was known for his ability to capture candid photos, which is part of his allure to being a good photo-journalist. He is also well known for capturing the essence of  "the streets," meaning he--in a sense-- "invented" the art of capturing real life within photography.

-Nicole Eason

Rittenhouse_Olivia Arthur_Week2

Olivia Arthur's photos have a very distinct pattern in that in each of them there is often a focus on one central object or person in the center of the picture amidst other people or objects surrounding it. Much of her pictures are of people. Because of the people being at the center there are 2 distinct lines going through each picture each halfway between what would be half of the picture to the center. There is also often a line on the top portion of the picture from a window or a portrait frame. In that respect there is also a re-occuring line a quarter above the bottom of the photo as well.

Arthur was born in London and studied math at Oxford & photojournalism at the London College of Printing. One of her mot important works was "The Middle Distance" which is "about the lives of young women along the border between Europe & Asia, which was premiered at Centre Pompidou in Paris. She continues to work on this project further today.

Rittenhouse_Depth of Field_week2

Depth of field is the range in which something is focused. Therefore, a shallow depth of field is when only things close to the camera are in focus and a large depth of field is when everything is in focus.The depth of field is based on the size of your aperture, ie: the smaller the aperture the more shallow your depth of field is and when you have a larger aperture, for example 1.8, you have a deeper depth of field.

Rittenhouse_Week2

I took this picture in July at Myrtle Beach, South Carolina. I see two distinct lines in this picture on top from the pier as well as the three on the bottom and one from the ocean breaking along the shore. My eye jumps directly to the "No swimming withing 300 ft of the pier" sign and the pier itself before noticing all of the hotels and people in the background. I like the quality of a large close-up object in the front and the smaller objects in the back giving the picture more depth.

Week 2 Gray

1) I took this picture over winter break when I was running errands. I was getting back into my car when I had to stop and take a picture of the sky. I used my iphone and I am happy with what was captured from the trees to the street to the sky.

2) Depth of Focus is the distance between the closest object and farthest object in a scene. What is in focus is the subject and the space between the blurred objects and the focused subject is the DOF. In order to capture a large scene with everything in focus, a large DOF is recommended. To capture one subject in the scene a small DOF is recommended so that the subject is clear and the foreground and background are blurred.

3) Donovan Wylie was born in Belfast in 1971. He discovered his love of photography when he was very young and ultimately dropped out of school to pursue his passion at the age of 16. He traveled around Ireland for three months and published the pictures he took during this time soon after. I was drawn to Wylie because a lot of his pictures are just moments that he captured and it shows the beauty in the every day occurrences. He draws inspiration from political and social happenings in Ireland and I think he does a phenomenal job of capturing this by not worrying about the way he is holding the camera or if it is going to come out grainy, but worrying about capturing the moment and depicting it a certain way.

Macall Mulcahy week 2

I took this picture in Maui this summer when traveling around the islands of Hawaii.  It was a beautiful day but as it got closer to sunset dark thunderstorm clouds started to move in.  Although the breeze was still warm and the air was thick this was a perfect time for a sunset swim and beautiful picture.  I can still remember slowly walking down those stairs into the warm pool water, light grains of sand on the bottom washed away from the feet of those who had just came from the ocean.  The lines in this picture are very extreme from the horizontal horizon and the vertical palm trees.

Depth of field refers to the range of distance that appears acceptably sharp to a blurred view.  DOF gradually changes from sharp to unsharp rather than having a main subject in the forground and everything else behind it unfocused. Everything in front is focused and as distance decends back it loses its sharpness.

Born on July 26, 1928, in Paris, Elliott Erwitt spent his childhood in Milan. His family moved back to Paris in 1938, and immigrated to New York the following year then moved to Los Angeles in 1941. His interest in photography began while he was a teenager living in Hollywood.  In 1951 he was drafted for military service and undertook various photographic duties while serving in a unit of the Army Signal Corps in Germany and France. While actively working for a magazine, industrial and advertising clients, he devotes all his spare time toward creating books and exhibits of his work.  to this date he is the author of over 20 photography books.
This picture was taken in New York, East Hampton in 1983.  This surreal photo caught my eye because the subject is clothed and the artists are not.  The lines in this photo occur at a horizon where all behinds aline on a certain line and where the subject stands as well, along with other obvious lines.

week 2- Lauren



1.) I took this picture this weekend while skiing in the Swiss Alps in Interlaken, Switzerland. Although this picture is overwhelming with white, I thought it was awesome how much the little hint of sun brought this picture to life. I also like the skiis in the bottom left corner because of the character, color, as well as storyline it brings to the photo.

2.) Lewis Hine

 

Lewis W.Hine was born in 1874 in Oshkosh Wisconsin USA.

After his father died in an accident he began working and saved his money for a college education.

He became a teacher in New York City at the ethical culture school where he encouraged his students to use photography as an educational medium, the classes travelled to Ellis Island in New York harbour photographing the thousands of immigrants who arrived each day.

Between 1904 and 1909 Hine took over 200 plates (photographs) and eventually came to the realization that his vocation was photojournalism.

Hine became a photographer for the National Child Labour Committee (NCLC) and left his teaching position.

Hine photographed people in there working life, such as life in the steel making districts, people of Pittsburgh and in World War 1 he photographed for the American Red Cross.

Hine made a series of “work portraits” which emphasized the human contribution to modern industry.

Despite his professional successes, Hine found it hard to keep his head above water leading him to accept the offer to document the construction of The Empire State Building. Hine photographed the workers in precarious positions while they secured the iron and steel framework of the structure, taking many of the same risks the workers endured. In order to obtain the best vantage points. Hine was swung out in a specially designed basket 1,000 feet above Fifth Avenue.

In 1936, Hine was selected as the photographer for the National Research Project of the works projects administration but his work there was never completed.

The last years of his life were filled with professional struggles due to loss of government and corporate patronage. Nobody was interested in his work, past or present and Lewis Hine was consigned to the level of poverty he had earlier recorded in his pictures.

He died at the age of 66 on November 3^rd 1940 at the Dobbs Ferry Hospital after an operation.





This picture was taken while contructing the empire state building. I love this picture not only because of it obvious lines, but also because of the image and story it portrays of working people, yet it also portrays how the lives of these workers still go on even while at work.

 

On Thursday, Andrea Ruggeri

On Thursday the Photographer Andrea Ruggeri will show us his photo-work

http://www.andrearuggeri.it/

Andrea Ruggeri was born in 1980 in Rome, where he studied philosophy. In 2002 he began to photograph and since has collaborated with magazines and agencies as a freelance photographer. He dedicated his work to social themes. Between 2005 and 2009 he travelled through South America, where he taught photography in an indigenous reserve in Mato Grosso do Sul, Brazil, as part of a project with the University of São Paulo. During this time he completed his work about Guarani indigenous people of Southern Brazil, miners in Potosi, Bolivia, and a project about Argentinians. His pictures have appeared in Scampia, at “Periferie del Mondo” festival, at the 2007 “Festival Internazionale di Roma” of photography, at "Bibli" and "The House of Love and dissent" galleries of Rome, at the Museum Of Contemporary Art in Shanghai. From 2005 he started a collaboration with photo-artist Serafino Amato.

Victor Hasselblad was born March 8, 1906 and died August 5, 1978. He was an inventor and photographer and is best known for his invention of the Hasselblad camera.

" Legend has it that he was asked if he could produce a camera equal to a German model scout discovered the wreckage of a military plane shot down. To this question, it is said that the now thirty-four replied "No, but I can make one better." Thus was born the Hasselblad HK7, a 7 × 9cm camera for 80mm film that was produced in 342 copies for the Swedish army, including versions for the aerial shots. After the war, and consequently the production for the army, Victor Hasselblad camera was able to propose a focus on the civilian market. On 6 October 1948, at a press conference in New York, was presented with the 1600F. Since then, Hasselblad has come a long way, passing from the hands of the great photographers at several space missions, including the Apollo 11 when the first walks 500EL immortalized by Neil Armstrong and "Buzz" Aldrin Jr. on the moon." Strong, Luke. Reflex publishing LTD http://www.reflex.it/tag/victor-hasselblad/ 

The vaticano

This was taken last weekend at the vatican. I really like this picture because of the beam of light that is highlighting the black statue in the right side of the photograph. Soon after this picture the light moved on and that statue no longer seemed as important; it made me wonder for what purpose that window was made, I think clearly for the sun to shine through onto some piece of art, but which one? I also really like how the light cuts through the very horizontal and vertical lines made by the people, the arch, the pillar and the gold writing in the rest of the picture.

Week Two: "Semplice"

1.)

Saturday afternoon fishing in Napoli.

2.) 

Lewis Hine was an American sociologist and photographer. His photographs were instrumental in reforming the society of the United States in 1906. Advocating for the end of child labor laws, he captured life in the steel-making districts and people of Pittsburg, Pennsylvania. In 1908,  he became the staff photographer of the National Child Labor Committee. Through his dedication to aid the NCLC's efforts to end the process, his document ended child labor in American industry.  

week 1- Lauren

1.)

 

 

I took this picture this fall in Dayton, Ohio at a corn maze/petting zoo with my digital camera. There were tons of flowers with such character, yet so simple at the same time. I like this picture because of how crisp the colors are as well as how the background is blurred, it really makes the sunflower stand out to its fullest.

2.) Telephoto Lens

In photography and cinematography, a telephoto lens is a specific type of a long-focus lens in which the physical length of the lens is shorter than the focal length.^[1] This is achieved by incorporating a special lens group known as a telephoto group that extends the light path to create a long-focus lens in a much shorter overall design. The angle of view and other effects of long-focus lenses are the same for telephoto lenses of the same specified focal length. Long-focal-length lenses are often informally referred to as telephoto lenses although this is technically incorrect: a telephoto lens specifically incorporates the telephoto group.^[2]

Telephoto lenses are sometimes broken into the further sub-types of medium telephoto: lenses covering between a 30° and 10° field of view (85mm to 135mm in 35mm film format), and super telephoto: lenses covering between 8° through less than 1° field of view (over 300mm in 35mm film format)

The concept of the telephoto lens, in reflecting form, was first described by Johannes Kepler in his Dioptrice of 1611,^[4] and re-invented by Peter Barlow in 1834.^[5]

Histories of photography usually credit Thomas Rudolphus Dallmeyer with the invention of the photographic telephoto lens in 1891, though it was independently invented by others about the same time; some credit his father John Henry Dallmeyer in 1860.^[6]

In 1883 or 1884 New Zealand photographer Alexander McKay discovered he could create a much more manageable long-focus lens by combining a shorter focal length telescope objective lens with negative lenses and other optical parts from opera glasses to modify the light cone. Some of his photographs are preserved in the holdings of the Turnbull Library in Wellington, and two of these can be unequivocally dated as having been taken during May 1886. One of McKay’s photographs shows the Russian warship Vjestnik anchored in Wellington harbour about two and a half kilometres away, with its rigging lines and gun ports clearly visible. The other, taken from the same point, is of a local hotel, the Shepherds Arms, about 100 metres distant from the camera. The masts of the Vjestnik are visible in the background. McKay's other photographic achievements include photo-micrographs, and a ‘shadow-less technique’ for photographing fossils.^[7]

McKay presented his work to the Wellington Philosophical Society (the precursor of the Royal Society of New Zealand) in 1890.

3.) History of Photojournalism

The photograph has affected the way many cultures throughout the world understand and learn about their world. One of the main fields responsible for this paradigm is photojournalism. Photojournalism is the use of photographs in conjunction with the reporting of news in media such as print newspapers, magazines, television news and internet reporting. The incorporation of photographs into news reports is so ubiquitous that a story without photographs to a contemporary audience feels incomplete, as though they were only getting half the story. Consumers depend upon photojournalists to bring them the images that allow them to feel connected to far-away realities, and to be educated about those realities. Photojournalism distinguishes itself from other forms of professional photography by its adherence to the principles of journalism: timeliness, accuracy, fair representation of the context of events and facts reported, and accountability to the public. While a wedding photographer may be documenting an actual event, his or her responsibility is to the client and the presentation that client would like to see. A journalist, on the other hand, cannot be held to the demands of the photographic subject, but rather he or she must be concerned with producing accurate news for the public.  In addition to accuracy, the photojournalist must be careful not to exclude important parts of the context of the event being photographed. A shot of an individual rioter breaking a store window can look like an isolated act of criminality if the photojournalist does not show it in the context of a larger social event whose significance goes beyond the individual act. The emergence of photojournalism, along with its current trajectory, depends a great deal upon technological developments in the camera. As early as the Crimean War in the mid-19 th century, photographers were using the novel technology of the box camera to record images of British soldiers in the field. However, the widespread use of cameras as a way of reporting news didn’t come until the advent of smaller, more portable cameras which used the enlargeable film negative to record images. The introduction of the 35 mm Leica camera in the 1930’s made it possible for photographers to move with the action, taking shots of events as they are unfolding. Newspapers quickly took advantage of this portability, and publications like Life, Sports Illustrated, and The Daily Mirror staked their reputation on fresh, timely images of matters of interest to their readers. In the first golden age of photojournalism, which lasted from the 1930’s to the 50’s, photographers such as Robert Capa and Alfred Eistenstaedt became household names for the news-consuming public. Capa would later go on to found, along with three other photojournalists, the Magnum agency, which supported photojournalists and negotiated to get them copyright of their images, as opposed to letting copyright revert to the publication. In the late 1970’s, the cultural importance of photojournalism began to be recognized by the art world, and photojournalists were given exhibitions and retrospectives at museums and galleries. Photojournalists like Don McCullin received wide attention in retrospectives across the country. Today, most major museums will devote a showing or more a year to photojournalists and documentary photographers. With the introduction of digital cameras, photojournalism has greatly augmented its capacity for reporting up-to-the-minute news from around the world. Not limited by exposures on a roll of film, digital chips can store up to a thousand images, and are less sensitive to airport x-rays and exposure to light. With a wireless internet connection, a photojournalist can send images from the field to his or her editor within seconds of their initial capture. As a medium, the digital photograph has opened up new venues for gathering news, from small, self-published newsletters, to the online blog. These new venues mean an increased market and an accelerated pace for the transmission of news through photographic images.

Edward Weston

Edward Weston was one of the most influential photographers of the 20^th century.  At age 16, Weston received his first camera from his father.  He proceeded to go on a trip to the midwest and by the time he returned to his hometown, he had discovered a new hobby.  Living in Chicago, Weston began his love for the art by photographing parks.  Soon he relocated to Tropica, California and opened a small business called, “The Little Studio”, in 1911.  Weston created relationships with many women, other than his wife, inspiring him to shoot nudes.  He became especially close with a woman, Tina Modotti, who he relocated with to Mexico.  There he saw things through a new lense and delved into capturing the beautiful landscapes.  There is no doubt that the love Weston had for this art was indescribable, but this quote helps us understand his passion and perspective, “The camera should be used for a recording of life, for rendering the very substance and quintessence of the thing itself…I feel definite in the belief that the approach to photography is through realism”. 

-Livlove 

Week 2 - Alanna

I took this photo while walking by the Colosseum at night, although the photo is not perfect because it does have some "dust" spots I still really enjoy it.




Richard Avedon

Richard Avedon was born May 15^th, 1923. He was born and raised in New York City and began his career taking ID photos for the Merchant Marines. His first big break, however, came from Alexey Brodovitch who worked for Harper’s Bazaar. His images can be found in a number of well know magazines including: Life, Vogue, Interview, and was the first staff photographer at “The New Yorker”. He was known for not conforming to standard photography style; he enjoyed capturing all emotions of his subjects rather then plain stoic images. He published a book titled “The American West” which was critizized because of the manor in which it portrayed the American worker. However his other photobook “Evidence” won the prestigious award called the “Prix Nadar”. Some of the most famous moments captured by Avedon include the Civil Rights Movement, the fall of the Berlin wall, portraits of The Beatles and the electric Light Orchestra.

Richard continued to create works of art right up until his death in 2004. Although he is no longer with us his artwork continues to shine and can be found displayed in The Metropolitan Museum of Art, The Whitney Museum of Art, The Guggenheim Museum Bibao, and The museum of Fine Arts in Boston. His memory also continues on with The Richard Avedon Foundation, the main goal of the foundation is to promote his work and continue on his legacy by providing internships, class trips, and information to anyone who is interested in honoring Richard Avedon’s work.

Below is his famous portrait of The Beatles

week 2

Expression @ the Pantheon

-livlove

Jamie: Week Two

Part One:

Portrait of Blair

Part Two: 

"Richard Avedon is a man with many masks: the American creator of dashing commercial images; the magician behind the sleekest magazine pages of the day,...the ruthless exposer of social and political flummery; the maverick storyteller who made titans of America's underclass and mixed them in among his pantheon of actors, writers, poets, politicians and artists." 

-Mark Irving, "Harsh Reality"

TELEGRAPH MAGAZINE, SEPTEMBER 21, 2002. 

Richard Avedon was born on May 15th, 1923 in New York, New York. Avedon was best known for “probing portraits that go beyond recording likenesses to explore the identity of society and reflect dreams and desires.” (http://www.bookrags.com/biography/richard-avedon/). Avedon was educated by the New York City public school system. From 1929-41 he attended P.S. 6, and Columbia University. He did not graduate high school, yet in 1942 he enlisted in Merchant Marine’s photographic section. Two years later he became a department store photographer, and only a year after that was hired as a fashion photographer. This was his big break; Alexey Brodovitch, the art director of Harper’s Bazaar, hired him. In 1946 Avedon established his own studio. 

He took photographs of many famous people, but also took breathtaking portraits of every-day, middle class people. Avedon focuses solely on his subject by using a white background for all of his portraits and black and white film. It was these pictures that touched me most, not the fashion pictures. Avedon received many different awards for both his portraits and fashion shots. Richard Avedon died on October 1, 2004. He passed in San Antonio, Texas, while on assignment for The New Yorker magazine. 

“And if a day goes by without my doing something related to photography, it's as though I've neglected something essential to my existence, as though I had forgotten to wake up. I know that the accident of my being a photographer has made my life possible.” 

-Richard Avedon, 1970. 




























-Jamie Solomon

How to develop film successfully

The first thing to remember when learning to develop film successfully is to stick to one film, one developer, and one method of development. It is the only good way to learn a sound technique and to fully explore and maximize the potential of the film and ultimately your print.
Keep in mind that the only purpose of developing film is to make the best prints you can make. It doesn't matter how the negatives look to your eyes as long as they produce the results in the prints that you originally wanted.
What films and developers to use? That is a question I get a lot. Any of the available ones will give you acceptable results, and you can't really go wrong. It also depends on what results you're after. Remember that there are no silver bullets when it comes to film or chemistry. They can help you get the results you're after, but the main factor is technique in exposing the film, developing it, and ultimately printing it. The work of the artist is by far more important than the materials used, so try to focus on repeatable results, and please remember to print your images often, only then can you truly know if your negatives are developed well or not.
Important factors:
1. Temperature. Some developers work fine in a temperature range between 65*F and 80*F, others don't. It's safest to keep the temperature you choose to develop at constant, at least in the beginning, and since so many recommended developing times are recommended at 68*F (or 20*C) I stick to that temperature religiously.
2. Time. Consistency requires exact timing, and the best way to achieve that consistency is to make sure the procedure for developing your film is the same every time. Don't change a thing.
3. Persistance. Don't give up if you don't get results immediately.
Basics:
When developing negative black and white film, the image is of course a negative of what your print will look like. That means the areas with the lowest density of developed silver will be the darkest in the print, and the areas with the highest density of developed silver will become the highlights. The dark tones in the print, or the 'thin' parts of the negative develop slowly, because they receive less light at the time of exposure. How much detail you get in this area of your negative depends on how you exposed it in the camera. Overexposed negatives will generally produce very generous detail in the print shadow areas, while underexposed (too little light) will invariably produce blocked up shadow areas without any detail at all. When you develop your film, the density of the developed silver in those areas is practically unaffected by developing the film longer.
The dense areas of your negative, or the highlights of your print, is a different story. This portion of your negative is determined solely by development. Several factors affects the results, mainly developer concentration, developing time, how you agitate your tank, as well as chemistry temperature. This is the reason why it's so important to be accurate in your methods of developing film.
My method of developing film:
The following method works great for me. You may wish to adopt it and do as I do, or you may find that some other method works better for you. We all have individual needs and desire different looks in the finished print.
1. Presoak the film in plain water. I do this for 3 minutes in water that is the same temperature as the developing chemistry. There are some developers that specifically shouldn't be used with a presoak, but 95% of them benefit from it. (The film emulsion is embedded in gelatin, and it swells. Presoaking makes sure the gelatin is properly swelled up by the time the developer is poured in and ensures more even development).
2. Developer. 20*C or 68*F, I mix one shot 'single use' batches of developer just minutes prior to developing the film. After pouring the presoak out, I immediately pour the developer into the tank. When it's all in the tank I start a timer that displays seconds and minutes, counting backwards from my predetermined developing time. I agitate for the entire first minute by inverting my tank with a lid tightly capped onto it. After about 50-55 seconds have passed, I very firmly rap the tank on the counter space six or seven times. This helps air bubbles that can get trapped on the film to dislodge and come to the top. The air bubbles will adversely affect your film development and turn up as marks, usually round and along the edge of the film strip.
3. Agitation. I completely invert the tank every minute a couple of times, and before setting the tank back down, I rap the tank on the counter top to, once again, dislodge those harmful air bubbles. The inversion ensures that the mixed developer acts evenly on the film surface.
4. Stop bath. 15 seconds prior to the film developing time being up, I start pouring the developer out. Then right as the development time ends, I pour pure water into the tank (at 20*C or 68*F, same as the developer). I do NOT use a stop bath since it is known to sometimes be the source of 'pinholes' in the film emulsion, showing up as dark spots on your prints. Developer is alkaline, stop bath is acid. The very large difference between developer and stop bath pH causes this phenomena to happen. You can use a stop bath if you like, but water stops development almost as well, and you run much less risk of pinholes. I change the water a couple of times for a total rinse of about 1-1.5 minutes.
5. Fixing. This is a critical stage of developing your film. It is extremely important to use fresh fixer, because it removes the unexposed silver in the emulsion that the developer didn't develop. If your fixer isn't fresh, or is spent, it will loose its ability to remove that unwanted silver. I always test my fixer before I use it by putting an undeveloped piece of film into the solution. The film strip should clear within the time the manufacturer recommends to use the fixer. I double the time it takes.
The fixer I use is alkaline. You can use acid fixer if you like. They are OK, but alkaline fixers wash out of the emulsion faster and easier. Do not use an alkaline fixer after using an acid stop bath.
I agitate constantly for the entire duration of the fixing. My fixer takes one minute to clear the unexposed silver when it's fresh, so I fix for two minutes. Then I pour the fixer back into its container and continue to use it until it's spent (when the clearing time exceeds the manufacturer's recommended fixing time, or preferably before that point, it should be discarded).
6. Washing. I use the Ilford-method of washing my film. After pouring the fixer out, I rinse with fresh water and a couple of inversions. Then I dump water. Pour in fresh water, invert tank five times. Dump water. Pour in fresh water, invert tank ten times. Dump water. Pour in fresh water, invert tank twenty times. Dump water. Rinse in fresh water for about five minutes, and finally do a rinse in distilled water to avoid drying marks on the film to the largest possible extent.
7. Wash aid. Some people like to use wash aids such as Kodak Hypo-clearing agent. With the alkaline fixer and the Ilford washing method there is no need. The purpose of washing film is to wash out unwanted chemicals. The hypo-clearing agent itself must be washed out for archival washing, so you're back to square one. With acid fixers, it may be necessary to use, however.
8. Rinse aid. Kodak Photo-flo (one among many similar products, Kodak is the best known), is a good tool to help the water to run off from the emulsion surface. Use distilled water and follow the instructions.
9. Drying. I hang my film from a nylon line with weights on the end. No air movement to minimize dust sticking to the film emulsion. Drying time varies with Relative Humidity level.
This method has been bullet proof for me. Which materials to use is related to personal taste and you will get as many suggestions as people you ask which film or developer is best.
Good luck, and remember to stick to selections that are the same every time, at least until you master those materials and explore them fully. Then you may venture off and try something else on an experiment level. Until then, keep it simple!
- Thomas
http://reviews.ebay.com/Black-amp-White-Film-Developing-Guide_W0QQugidZ10000000003726995

AJS - Week 2

1. Candid portrait of my younger sister

2. Alfred Stieglitz was an American photographer and art promoter. He was born on January 1, 1864, and died on July 13, 1946. He was a relentless promoter of photography, as well as modern art. Some of his most famous works include his shots of New York City, as well as his portraits of his wife Georgia O'Keefe. He opened an art gallery called "291" in New York City (which introduced artists such as Cezanne and Picasso to the United States), and he also founded a photography magazine/journal called "Camera Work".

Smith Week #2: Vertical Lines

Took this photograph in Amsterdam this weekend. I like how the small, tilted building defies the clean vertical lines of the rest of the photograph.

Smith Week #2: Rolleiflex Camera

The Rolleiflex camera debuted in 1929 and featured a twin-lens reflex system which has two lenses of the same focal length. Each lens is situated on top of the other. One is for the viewfinder system and the other is the lens that actually takes the photograph. Rather than holding the camera to one's eye, the camera is meant to be held at the waist level and the photography must look down into the viewfinder to frame the photograph. Rolleiflex cameras use 117 or 120 type film rolls which develop square photographs, unlike the rectangular photos of 35mm cameras of this course use. Rolleiflex is a high-end camera, but since it's introduction, Rolleicord and similar models have been released which are meant to be an everyman's version of the Rolleiflex. The Rolleiflex camera has been in production since it's introduction and recently made the jump to the digital market in a revised format.

A Rolleiflex camera

Cross-section of a Rolleiflex

Looking down through the viewfinder of the Rolleiflex

Week #2- Federica Nuzzolese

Brooklyn Bridge-Digital

I took this picture last summer on the Brooklyne Bridge. I took this picture using a sony cyber-shot digital camera. I like the long distance shot to see how wide and narrow the bridge is. I also like coloring in the background of the blue clear sky and the American flag on top.

DOF

The Depth of Field is where an object is near or far away in the scene, the object can be blury or  appear to sharpin the image. If the Depth of Field is large (deep focus) it will sharpen the image. If it's a small Depth of Field (shallow focus), it will cause a blur shape since the object is defocused. So everything around the object is blury.

Rene Burri-History

(magnumphotos.com)

I really like this photo taken by Rene Burri, here I can see perfection of the lines going horizontal

and veritical. Also in the picture I like the colors that are in black and white, as well as the time period of this scene. I assume the 50's because of the cars.  I can sense the coldness and poverty in the picture.

Rene Burry is a photographer from Switzerland whose photos are known for being political, historical and cultural. He also photographed key figures such as Che Guevara and Pablo Picasso.

Smith Week #2: Amato's Guide to Developing 35mm Film

Step #1: Fill a large container with water at 20 degrees celsius.

Step #2: Set aside three measuring cups, one each for the developer (Ifosol), the fixer and the stopper (water).

Step #3: Mix the developer (Ifosol) with water at 1 part Ifosol to 9 parts water (30mL Ifosol + 270mL water). Pour the solution into its own measuring cup.

Step #4: Mix the fixer with water at 1 part fixer 4 parts water (80mL fixer + 320mL water). Pour the solution into its own measuring cup.

Step #5: Pour 500mL of water into its own measuring cup.

Step #6: In the darkroom, roll the undeveloped film into the Hewes reel and place it in the black film developing container. Make sure it is closed tightly with the film inside before leaving the darkroom.

Step #7: Depending on the film type, this length of time this step takes will differ. Click here and look up how long the developer will need to react with the film based on your film type. For the purposes of this article, let's say we use Kodak 400TX film which has a development time of 7 minutes and 30 seconds.

Step #8: Pour the developer solution into the black container and gently shake the container side to side and in a circular motion. For the next 7 minutes and 30 seconds repeat the following: every 30 seconds pick up the container and rotate it 180 degrees until it is upside down and place it firmly down on the table to loosen up any bubbles that may have formed on the film, every 1 minute do the same motion twice.

Step #9: After the 7 minutes and 30 seconds are up, empty the developer.

Step #10: Fill the developing container with stopper (water). Shake, then empty it out.

Step #11: Fill the developing container with fixer solution and flip the container 180 degrees repeatedly for 30 seconds. Wait 15 seconds, flip again for 15 seconds, then wait another 15 seconds. Continue in 15 second intervals flips and waiting for 3 minutes.

Step #12: Fill with fresh water 4 times and shake lightly for 30 seconds each time.

Step #13: Use 2mL of imbibente to a liter to rinse the calcium deposits that may have attached to the film as a result of Rome's calcium rich tap water.

Click here for a video breakdown

Week 1- Jehiel

I.  Woodburn Reflection

Taken at Woodburn Wildlife Sanctuary Dimock, Pa.
Image is actually flipped creating an illusion between what part of the picture is the reflection.

II.  Portrait of Giovanni

 

Portrait of Giovanni taken near the Spanish Steps, Rome.

III.  Telephoto Lens

A long-focus lens whereas the physical length of the lens is shorter then the focal length.  

Hadley Manfredi - Week One

I took this photo at Crandon Park Beach in Key Biscayne, Florida with a Nikon Coolpix camera.  I love the texture of the footprints in the sand and the contrast of the sharp blue and white sky with the color of the sand. I also like that the scene isn't empty but has people and the lifeguard house in the shot.

This photograph is titled Boulevard du Temple.  This photo was taken by Louis Daguerre in 1838 and is apparently the first ever photograph of a person.  The photograph is of a street scene and it is hard to even seen that there is any motion on the street due to the fact that the exposure time had to have been quite long, possibly ten minutes or so, but you can see that there are two men, at what looks to be a shoe shine station, toward the bottom left-hand corner of the photograph.

This is a range-finder camera.  When using a range-finder you never actually look through the lens of the camera but instead you look through a little window and then use a ring to bring 2 images into focus.  Range-finder cameras produce a higher quality image than single-lens reflex cameras especially when it comes to distance and wide-lens photographs.

This is a single-lens reflex camera.  These are the most popular type of camera currently.  A single-lens reflex camera means that there is a mirror that bounces light up from the lens onto the flat glass screen.  You see the image through the lens as a prism like it's in front of you.  SLRs allow you to look through a lens and see exactly what you are taking a picture of and are great for close up shots.