ASSIGNMENT 6: MULTIPLE IMAGES AND DIPTYCHS
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1. Jerry Uelsmann.
Jerry Uelsman was a 20th century photographer who specialized in creating multiple images in order to create surreal photographs as a final result. This surrealist technique was innovative and almost "magical" at the time, since it consisted in properly combining negatives in a darkroom. Most of his photographs are sepia-toned or black and white, and are composed of various elements which often have to do with nature. The photographs are typically very contrasty and have a great, bright source of light with many shadows. Many of his works include hands or other seperate body parts such as eyes, and if a full body is shown, it is typically naked. Uelsmann's photographs are absurd and hold elements that are not normally together in everyday life. Below is an example of the work done by Uelsmann, composed of a blended eye, a crow, and a piece of land leading to a house in the distance.
2. Oscar Gustav Rejlander.
A photographer who uses a technique similar to Uelsmann's, and who may have been the creator of this technique is Oscar Gustav Rejlander. Rejlander was a 19th century swedish photographer who experimented with combining negatives in order to create an image out of many different ones. Unlike Uelsmann, however, Rejlander used and combined over 30 negatives per picture. Since he lived before Uelsmann's time, the quality of his photographs was not as good as if he had lived in the 20th century. However, despite the less advanced technology, he managed to create beautiful images, which somewhat ressembled very realistic paintings. Rejlander liked to specialize in portraiture involving many subjects. The tones of his photographs varied from sepia to black and white. His photographs were very powerful and held a lot of emotion, due to both the poses of his subjects as well as the lighting and contrast involved. Like Uelsmann, his photographs were usually quite contrasty. Below is a photograph, most likely his most famous, which was achieved by combining several different negatives. This photograph created controversy because of the nudity in it, which was unusual in photography at the time.
Thursday, March 26, 2009
Thursday, March 5, 2009
For my blurred motion pictures, I used a slow shutter speed to photograph a moving object or person, which made the picture blurry.
For my stopped action pictures, I used a fast shutter speed to photograph a moving object or person, which made a stop motion picture.
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Thursday, February 19, 2009
Thursday, February 12, 2009
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Birth:November 3,1903 St.Louis, Missouri. Death:April 10, 1975 New Haven,Connecticut
Walker Evans (November 3, 1903 – April 10, 1975) was an American photographer best known for his work for the Farm Security Administration documenting the effects of the Great Depression. Much of Evans' work from the FSA period uses the large-format, 8x10-inch camera. He said that his goal as a photographer was to make pictures that are "literate, authoritative, transcendent". Many of his works are in the permanent collections of museums, and have been the subject of retrospectives at such institutions as The Metropolitan Museum of Art.
"Leaving aside the mysteries and the inequities of human talent, brains, taste, and reputations, the matter of art in photography may come down to this: it is the capture and projection of the delights of seeing; it is the defining of observation full and felt."
Walker Evans began to photograph in the late 1920s, making snapshots during a European trip. Upon his return to New York, he published his first images in 1930. During the Great Depression, Evans began to photograph for the Resettlement Administration, later known as the Farm Security Administration (FSA), documenting workers and architecture in the Southeastern states. In 1936 he traveled with the writer James Agee to illustrate an article on tenant farm families for Fortune magazine; the book Let Us Now Praise Famous Men came out of this collaboration.
Throughout his career Evans contributed photographs to numerous publications, including three devoted solely to his work. In 1965 he left Fortune, where he had been a staff photographer for twenty years, to become a professor of photography and graphic design at Yale University. He remained in the position until 1974, a year before his death.
(August 22, 1908 – August 3, 2004) was a French photographer considered to be the father of modern photojournalism, an early adopter of 35 mm format, and the master of candid photography. He helped develop the "street photography" style that has influenced generations of photographers that followed.
“For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. In order to “give a meaning” to the world, one has to feel involved in what one frames through the viewfinder. This attitude requires concentration, discipline of mind, sensitivity, and a sense of geometry. It is by economy of means that one arrives at simplicity of expression.
To take a photograph is to hold one’s breath when all faculties converge in a face of fleeing reality. It is at that moment that mastering an image becomes a great physical and intellectual joy.
To take a photograph means to recognize – simultaneously and within a fraction of a second– both the fact itself and the rigorous organisation of visually perceived forms that give it meaning.
It is putting one’s head, one’s eye, and one’s heart on the same axis.”
Thursday, February 5, 2009
-What kind of camera do you use? Nikon Coolpix P5000
-What is the resolution? 10.0 (million)
-What kind of media storage does it have? 4GB pq1 HC SD card
-How do you download images to the computer? UC-E6 USB cable
-What is the name of the cord connecting the camera to the computer? UC-E6 USB cable
-How many low res images can you store on your disk? 3000
-How many high res images can you store on your disk? 1000
-What kind of image (file format) is stored on disk? jpeg
-Do you have a camera manual? Have you read it? Yes and yes, partly