DOCSLIB.ORG

Sixth Street Photography Workshop Educator Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sixth Street Photography Workshop Educator Guide EDUCATOR GUIDE Story Theme: Art Frees the Soul Subject: Sixth Street Photography Workshop Discipline: Visual Art (Photography) SECTION I - OVERVIEW ......................................................................................................................2 EPISODE THEME 2 SUBJECT 2 CURRICULUM CONNECTIONS 2 OBJECTIVE 2 STORY SYNOPSIS 2 INSTRUCTIONAL STRATEGIES 2 INSTRUCTIONAL OBJECTIVES 2 EQUIPMENT NEEDED 2 MATERIALS NEEDED 2 INTELLIGENCES ADDRESSED 2 SECTION II CONTENT/CONTEXT ..................................................................................................3 CONTENT OVERVIEW 3 THE BIG PICTURE 4 RESOURCES TEXTS 5 RESOURCES WEB SITES 6 RESOURCES VIDEO 7 BAY AREA FIELD TRIPS 7 SECTION III VOCABULARY.............................................................................................................9 SECTION IV ENGAGING WITH SPARK ...................................................................................... 11 Robert Farrell, a photographer working with Sixth Street Photography Workshop, takes a group shot at the Bayanihan House. Still image from SPARK story, February 2004. SECTION I - OVERVIEW EPISODE THEME EQUIPMENT NEEDED Art Frees the Soul VCR or DVD player, a TV, and a copy of the SPARK story Sixth Street Photography Workshop SUBJECT Computer with Internet access, navigation software, Sixth Street Photography Workshop speakers and a sounds card, printer Access to one or more cameras of any kind (such as GRADE RANGES Polaroid, 35mm, disposable, pinhole, etc.) K-12 & Post-secondary Access to facilities capable of developing and/or printing photographic images (such as at a CURRICULUM CONNECTIONS supermarket photo lab, darkroom, etc.) Visual Arts & Social Studies MATERIALS NEEDED OBJECTIVE Access to libraries with up-to-date collections of To introduce educators to photography as a periodicals, books, and research papers, and a documentary and expressive art form, through the variety of newspapers and comic art books Sixth Street Photography Workshop. Different examples of traditional and alternative comic art (see Resource section) INTELLIGENCES ADDRESSED STORY SYNOPSIS Intrapersonal - awareness of ones own feelings, SPARK follows photographers from the Sixth Street emotions, goals, motivations Photography Workshop as they take pictures of Interpersonal - awareness of the feelings, emotions, their lives and ideas in some of San Franciscos most goals, motivations of others depressed neighborhoods. Visual-Spatial - the ability to manipulate and create mental images to solve problems INSTRUCTIONAL STRATEGIES Bodily-Kinesthetic - the ability to use ones mind to control ones bodily movements Individual and group research Logical-Mathematical - the ability to detect patterns, Individual and group exercises reason deductively, think logically Written research materials Linguistic Intelligence the ability to effectively Group discussions manipulate language to express oneself INSTRUCTIONAL OBJECTIVES To introduce the form of photography as both a See more information on documentary process Multiple Intelligences at To demonstrate how photography can be used as a www.kqed.org/spark/education. form of personal, artistic expression To innovate with photography as a form of communication through which to learn about history and culture SPARK Educator Guide Sixth Street Photography Workshop 2 SECTION II CONTENT/CONTEXT CONTENT OVERVIEW When George Eastman produced the first In addition to the facilitation of Ferentz and Herman, commercially available camera, called the Brownie in a group of some 20 experienced photographers 1900, he hoped that photography would become volunteer their time to teach participants the accessible to everyone -- providing people from all technical aspects of framing, composition, exposure walks of life with an easy and fun method to and advanced printing techniques. With this focused document the world around them. In 1992 when attention some Sixth Street photographers commit photographer Tom Ferentz founded the Sixth Street stridently to the practice, developing full series and Photography Workshop, his vision was equally as other investigations of their subjects or ideas. egalitarian, but with a specific focus -- to bring photography and opportunities for creative Beyond the classes and the darkroom, the Workshop exploration to San Franciscos homeless and low offers its participating photographers different income residents. He centered his program where his projects and opportunities to show their work in the target audience lived - in an area of the City community, including exhibitions and portrait populated with hotels, transitional housing and events. Each year, exhibitions are held in some of San shelters on 6th Street downtown. Francisco's low-income and transient housing complexes in gallery-like settings, and providing Ferentz started the program with the support of powerful works of art for the residents. Whether or TODCO, a South of Market (SOMA) not they are in the photographs, the experience is a housing/community development nonprofit powerful one, offering unique and diverse organization, drawing on their housing for his perspectives on a world rarely shown, by artists photographers, subjects, and exhibition locations. embedded in its culture. Today, housed in the SomArts Cultural Center, the Sixth Street Photography Workshop serves the Workshop residents and residences of Sixth Street, SOMA and founder and the Tenderloin, including homeless, transient director Tom residents, and other people living below the poverty Ferentz helps set line. Ferentz and program associate and darkroom up for a location shoot in San manager, Amanda Herman, manage all aspects of Francisco. Still this program from teaching to fundraising as well as image from organizing and hosting exhibitions and openings. SPARK story, June 2004. More than 300 photographers have come through the program during its 12 year history. Despite the many challenges that face its members, participation in the SPARK follows a few photographers in the story, workshop is consistent. The flexibility of membership including Robert, a long-time participant in the enable photographers to take just one class, or stay Workshop who takes images of people on San for months or even years to hone their craft in the Franciscos streets, people he considers his family. weekly sessions. Beginning and Intermediate classes SPARK also accompanies Robert on a portrait project offer participants the opportunity to learn how to use in the Bahaniyan House during which he takes a camera, as well as how to take photographs and professional portraits of some of the residents of this develop and print their images in Sixth Streets well newly-remodeled City housing project. Roberts equipped dark room facilities. captivating images reveal his understanding of his SPARK Educator Guide Sixth Street Photography Workshop 3 subjects, showing them with a dignity and self- This concept is illustrated beautifully in what came to awareness unique to the Roberts status as an artist be called the camera obscura, a dark room in which and trusted member of the communities he light passed through a small hole, projecting an exact, photographs. inverted image of what was outside the room onto an interior wall. THE BIG PICTURE Over the next 200 years, progress was made in the A VERY BRIEF, HIGHLY CONDENSED HISTORY identification of light-sensitive chemicals by different OF THE INVENTION OF PHOTOGRAPHY scientists, inventors and artists. However, it was not Literally translated from the Greek, the word until Joseph Nicephore Niépce (1765-1833) produced photography means the writing of the sun (photo = the first photographic image in France in the summer sun, graphy = writing). While photographers have of 1827 that photography was officially born. been using other sources of light to make images for many years, the definition expresses the true nature Niépce, of photography that remains today the use of light Landscape in to create images. Saint-Loup-de- Varennes, 1827. Reprinted from A unique hybrid form of creativity between the fine http://www.niep arts (painting, drawing, and printmaking), and ce.com the science (chemistry and physics), developments in the official Web site for the estate of field of photography grow out of and reflect the Joseph understanding of imagery, light, and time. As a Nicephore Niépce. result, photographic equipment and processing techniques have changed markedly over the years as our understanding of the technology deepened. Following this first success, in 1829 Niépce joined These advances and innovations impacted upon how forces with another creative artist, the architect Louis images were taken and how they look. Jacques Mande Daguerre, who had been using a camera obscura to create theatre sets. Although The technology of a camera is based upon an Niépce died four years later, Daguerre soon understanding of light refraction, a concept discovered a way of developing photographic plates understood since ancient times. Light is a spectrum that reduced the exposure time from Niépces 8 hour- of colors that move in straight lines, called waves. process to 30 minutes. When passed through a small opening, the rays bend in order to fit through the opening. When they do so, Daguerres process produced only single, positive they stay together and flip upside down. images that is, without negatives. Many scientists, inventors, artists and photographers built on Daguerres ideas in the ensuing 100 years with
Load more

Recommended publications
  • Film Camera That Is Recommended by Photographers
    Film Camera That Is Recommended By Photographers Filibusterous and natural-born Ollie fences while sputtering Mic homes her inspirers deformedly and flume anteriorly. Unexpurgated and untilled Ulysses rejigs his cannonball shaming whittles evenings. Karel lords self-confidently. Gear for you need repairing and that film camera is photographers use our links or a quest for themselves in even with Film still recommend anker as selections and by almost immediately if you. Want to simulate sunrise or sponsored content like walking into a punch in active facebook through any idea to that camera directly to use film? This error could family be caused by uploads being disabled within your php. If your phone cameras take away in film photographers. Informational statements regarding terms of film camera that is recommended by photographers? These things from the cost of equipment, recommend anker as true software gizmos are. For the size of film for street photography life is a mobile photography again later models are the film camera that is photographers stick to. Bag check fees can add staff quickly through long international flights, and the trek on entire body from carrying around heavy gear could make some break down trip. Depending on your goals, this concern make digitizing your analog shots and submitting them my stock photography worthwhile. If array passed by making instant film? Squashing ever more pixels on end a sensor makes for technical problems and, in come case, it may not finally the point. This sounds of the rolls royce of london in a film camera that is by a wide range not make photographs around food, you agree to.
    [Show full text]
  • Street Photography 101
    STREET PHOTOGRAPHY 101 ERIC KIM INTRODUCTION This book is the distillation of knowledge I have There are no “rights” and “wrongs” in street pho- learned about street photography during the tography– there is only the way you perceive past 8 years. I want this book to be a basic street photography and the world. primer and introduction to street photography. If Cheers, you’re new to street photography (or want some new ideas) this is a great starting point. Eric Everything in this book is just my opinion on Feb, 2015 / Oakland street photography, and I am certainly not the foremost expert on street photography. However I can safely say that I am insanely passionate and enthusiastic about street photography– and have dedicated my life to studying it and teach- ing it to others. Take everything in this book with a pinch of salt, and don’t take my word for granted. Try out tech- niques for yourself; some of these approaches may (and may not) work for you. Ultimately you want to pursue your own inner-vision of street photography. i 1 WHAT IS “STREET PHOTOGRAPHY”? Dear friend, Welcome to “Street Photography 101.” I will be your “professor” for your course (you can just call me Eric). If you’re reading this book– you’re probably interested in street photography. But before we talk about how to shoot street photography– we must talk about what street photogra- phy is (or how to “define” it). Personally I hate definitions. I think that definitions close our minds to possibilities– and every “defini- tion” is ultimately one “expert’s” opinion on a topic.
    [Show full text]
  • Street Photography Project Guide
    The Street Photography Project Manual by Eric Kim When I first started shooting street photography, I was very much focused on “single images”. Meaning– I wanted to make these beautiful images (like pearls) that would get a lot of favorites/likes on social media. I wanted each photograph to be perfect, and stand on its own. However after a while shooting these single-images became a bit boring. I felt photography became a way for me to produce “one-hit-wonders” – which didn’t have that much meaning, soul, and personal significance. In trying to find more “meaning” in my photography– I started to study photography books, learning from the masters, and how they were able to craft stories that had a narrative and personal significance. Soon I discovered that I was much more interested in pursuing photography projects– projects that would often take a long time (several years), would require meticulous editing (choosing images) and sequencing, and were personal to me. I wanted to create this book to be a starting guide and a primer in terms of starting your own street photography project. I will try to make this as comprehensive as possible, while still being practical. Here is an overview of some of the chapters I will like to cover: Chapter 1: Why pursue a street photography project? Chapter 2: What makes a great photography project? Chapter 3: How to come up with a street photography project idea? Chapter 4: How to stay motivated when pursuing your photography project Chapter 5: How to edit/sequence your photography project Chapter 6: How to publish your photography project Chapter 7: Conclusion Chapter 1: Why pursue a photography project? Of course we are dealing with street photography– but there are many different reasons to pursue a photography project in general: Reason 1: Photography projects are more personal First of all, one of the main reasons you should pursue a photography project is that you can make it more personal.
    [Show full text]
  • Photography and Communication: a Study of Interrelationship
    International Journal of English Learning and Teaching Skills; Vol. 1, No. 3; ISSN : 2639-7412 (Print) ISSN : 2638-5546 (Online) PHOTOGRAPHY AND COMMUNICATION: A STUDY OF INTERRELATIONSHIP Debashish Ghosh Scientific Officer, Department of Electrical Engineering, Aruni Maji, Debapriya Palai B.Tech,Forth year, Department of Electrical Engineering, Niloy Chakravorty B.Tech,Second year, Department of Electronics & Communication Engineering, Institute of Engineering & Management, Kolkata Abstract: Photography has arguably become one of the most potent instruments of communication for a contemporary artist. Its versatility, suggested truthfulness and the way in which artists distort or interpret ''reality'' has been a part of photography since the advent of the daguerreotype in 1839. Taking photographs today are no longer primarily an act of memory intended to safeguard a family's pictorial heritage, but is increasingly becoming a tool for an individual's identity formation and communication. Digital cameras, camera-phones, photo-blogs and other multipurpose devices are used to promote the use of images as the preferred idiom of a new generation of users. The aim of this article is to explore how photography has developed through time in itself and at the same time went on reshaping ideas of communication. Photography has touched and influenced almost all the major aspects of communication; the conclusion calls for a broader consideration of the links between the history of photography and media. Keywords: Photography, Media, Communication, Culture, Art history. Introduction: “The first thing to observe about the world of the 1780s is that it was at once much smaller and much larger than ours. It was smaller geographically …Yet if the world was in many respects smaller, the sheer difficulty or uncertainty of communications made it in practice much vaster than it is today.” This is how eminent Marxist historian Eric Hobsbawm starts the first pages of his seminal work on world history in four volumes.
    [Show full text]
  • SELECTED PHOTOGRAPHS from Brassaï to Cindy Sherman from Brassaï to Cindy Sherman
    T +49 (0)30 - 211 54 61 | F +49 (0)30 - 218 11 97 |[email protected] 97 54 |F+49T +49 61 (0)30 11 (0)30 -218 -211 |www.kunsthandel-maass.de Kunsthandel Jörg Maaß |Rankestraße Berlin |10789 24 Kunsthandel Jörg Maaß SELECTED PHOTOGRAPHS From Brassaï to Cindy Sherman · 2009 SELECTED PHOTOGRAPHS From Brassaï to Cindy Sherman Cindy Brassaïto From 2 SELECTED PHOTOGRAPHS From Brassaï to Cindy Sherman 2 FROM BRASSAÏ TO CINDY SHERMAN 22 selected photographs For a number of years we have been gathering together a took Europe by storm between the two world wars, displaying collection of photographs which has evolved into a substantial infl uences from the Bauhaus, Surrealism and Neue Sachlichkeit group, but has never been shown publicly. A selection of which (New Objectivity) movements. Some examples of artists who we would now like to present in this catalog and exhibition. Our were proponents of the Neues Sehen or New Vision Photography intentions are to pro vide a wide and representative cross section are reproduced in our catalog. of our inventory, begin ning in the late 1920s and continuing up to the present day. We focus on American and European After the Second World War, the center of modern art moved photo graphy; black and white, as well as color. We have chosen from Europe to the United States, where photography had been works – in addition to the signifi cance of the individual artists – developing in a different direction. In the States, photography according to certain central themes: the nude, land scapes, por - was less dependent on the fi ne arts and can be seen as a per- traits and architecture, to name the most prominent.
    [Show full text]
  • Seven Photographers Who Are Rewriting Street Photography's
    Seven Photographers Who Are Rewriting Street Photography's Rigid Rules These photographers are finding new ways of making pictures in public space: some staged, some digitally altered, all with uninhibited grit. Jon Feinstein In the nearly two centuries since Daguerre's classic 1838 Parisian street scene, exposed for several minutes, miraculously capturing two men who stayed still long enough to show up on the negative, attitudes towards street photography, photographing in public, and the possibility of the medium—digital or not—to achieve any sense of objective truth have changed continuously. And the debates have been contentious. For years, many traditionalists treated the genre with a rigid sense of rules prescribed by street-photo-godfather Henri Cartier-Bresson. No double exposures, no printing techniques that might obscure the original content on the negative, no cropping that could change what was captured. Some insisted on including the edges of the negative on their prints as “proof” that the original photo had not been altered. And then Photoshop and digital photography opened up a whole new can of worms. The following seven photographers mark street photographyʼs many contemporary directions and its ability to stay varied and continue to grow beyond the strictures of its most traditional tyrants. Some use digital tools to reform how we understand public spaces, others create varying degrees of staged interference, while still others let it all happen naturally, topped off with the raw power of a flash. Most of these photographers are sharing work daily on Instagram—I encourage you to keep up with their work. Field Hockey Game, Boston University Highline, 2013.
    [Show full text]
  • Hybrid Photographies in London Labour and the London Poor
    2 Hybrid Photographies in London Labour and the London Poor It would be a work of supererogation to extol the utility of such a publication as ‘London Labour and the London Poor,’ so apparent must be its value to all classes of society. It stands alone as a photograph of life as actually spent by the lower classes of the Metropolis.1 This advertisement for Henry Mayhew’s London Labour and the London Poor (1850–62) attempts to disguise its purpose by claiming that its ‘value’ is manifestly true. That a newspaper advert would use photogra- phy as a figure for the self-evident suggests the status that it had achieved as a representational mode by 1861. Thanks to its unsurpassed level of mimetic accuracy, photography had become a common metaphor for fidelity. London Labour was not only advertised using the metaphor of photography; as we shall see, the work itself had a particularly intimate relationship with photography.2 If the text is ‘a photograph of life’, then do the book’s actual photographs tell us something about the text itself? In particular, do they help to explain the differences between Mayhew’s earlier and later writings? It is my contention that they do. I will show that the distinctive nature of Mayhew’s images, the fact that they are hybrid daguerreotype-engravings, was concomitant with his desire to represent the poor according to an aesthetic of picturesque nobility. Critics have tended to vary in their assessment of Mayhew’s journal- ism depending upon which part of his voluminous output they are examining.
    [Show full text]
  • Street Photography – Tips
    Street Photography – Tips Getting Over Your Fear I’ve been capturing shots of complete strangers for a long time and while I’ve become much more confident and carefree, I still freeze up feeling terrified like when I first started. Photographing people on the streets candidly from close distances can be terrifying, especially if you tend to be introverted like I am. The most common comment I see about street photography is that people are too nervous to try it or that they go out to try it and then freeze up. FYI, we all freeze up. Street photography is so rewarding once you fight through these barriers, especially if you’re introverted, but the problem is that most people stop before they ever learn to get through it. So if you’re completely new to street photography or haven’t had much practice with it, what are the processes and techniques to help you get over your fears? Ultimately, time and practice is the only true way to do it, but there many steps you can take to make it easier on yourself from the very beginning. 1. Shoot from the Hip and Zone focus Shooting from the hip is when you photograph without looking through the viewfinder. It is easiest to do with a light, wide-angle prime lens where you are used to the perspective, so that you can frame correctly without looking. Zone focusing, or pre-focusing to a specific distance, is necessary for shooting this way and is a subject that needs its own article.
    [Show full text]
  • Reimagining Vancouver's Skid Road Through the Photography Of
    “Addicts, Crooks, and Drunks”: Reimagining Vancouver’s Skid Road through the Photography of Fred Herzog, 1957–70 Tara Ng A Thesis in The Department of Art History Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts (Art History) at Concordia University Montreal, Quebec, Canada April 2016 © Tara Ng, 2016 CONCORDIA UNIVERSITY School of Graduate Studies This is to certify that the thesis prepared By: Tara Ng Entitled: “Addicts, Crooks, and Drunks”: Reimagining Vancouver’s Skid Road through the Photography of Fred Herzog, 1957–70 and submitted in partial fulfillment of the requirements for the degree of Master of Arts (Art History) complies with the regulations of the University and meets the accepted standards with respect to originality and quality. Signed by the final Examining Committee: _____________________________________ Chair _____________________________________Examiner Dr. Catherine MacKenzie _____________________________________Examiner Dr. Cynthia Hammond _____________________________________Supervisor Dr. Martha Langford Approved By ______________________________ Dr. Alice Ming Wai Jim Graduate Program Director ________________2016 ______________________________ Rebecca Taylor Duclos Dean of Faculty of Fine Arts iii Abstract “Addicts, Crooks, and Drunks”: Reimagining Vancouver’s Skid Road through the Photography of Fred Herzog, 1957–70 Tara Ng This thesis explores how Canadian artist Fred Herzog’s (b. 1930) empathetic photographs of unattached, white, working-class men living on Vancouver’s Skid Road in the 1950s and 1960s contest dominant newspaper representations. Herzog’s art practice is framed as a sociologically- oriented form of flânerie yielding original, nuanced, and critical images that transcend the stereotypes of the drunk, the criminal, the old-age pensioner, and the sexual deviant on Skid Road.
    [Show full text]
  • Imagine... the Power of a Photograph a of Power the Imagine
    Serving the Photo Community1999 Since Summer/Fall 2020 Imagine... The Power of a Photograph a of Power The Imagine... Now offering classes online! classes offering Now CONTENTS General Information Letter from Julia Dean, Executive Director .......................................... 2 Mission Statement ......................................................................................... 2 The Staff, Board of Directors, Officers & Advisors ................................... 3 Charter Members, Circle Donors & Donors ........................................ 3 Donate ................................................................................................................. 4 Early Bird Become a Member ........................................................................................ 5 Certificate Programs ..................................................................................... 6 One-Year Professional Program ............................................................... 7 Gets the Project 2020 Exhibition Winner ............................................................8-9 Class/Workshop Calendar for Online Learning .........................10-11 Class/Workshop Calendar for LACP ...................................................12 Discount Webinar Calendar .........................................................................................14 Register early for great discounts on The Master Series ........................................................................................15 Fundraising Gala
    [Show full text]
  • Street Photography – for the Purist Words & Photos by Chris Weeks
    Street Photography – For the Purist words & photos by Chris Weeks forwards with photos by: Severin Koller – Austria Michael Kaiser – Germany Matthew Craig – United States of America Rainer Pawellek – France Deborah Delasio – Italy Errol Lyons-Rainey – United Kingdom Darren Abate – United States of America Massimiliano Mortillaro – Czech Republic Bernhard Wolf – Austria Patrick Kahn – Los Angeles/Paris Forward by Severin Koller – Austria (edited by Chris Weeks) When I started photography about two years ago I had a compact digital camera with no mentionable resolution. I soon started to focus on structures and abstract photography because anything else wasn't possible due to the low quality. It soon led me to architectural photography, which turned out to be the subject and style I master the best. It also makes my living at the moment. With that small digital camera, street photography were just ridiculous attempts that never turned out as they should have. As I investigated new photographic gear about a year ago, I still had the opinion that digital is the way … the future. Last summer I got the Canon Eos 1Ds Mark II, which I use for my commissions and some conceptual and architectural work. I used it for personal work sometimes as well. The moments you want to make should be personal, intimate, close and unobtrusive photos … you can throw these 7000 bucks in the rubbish bin !! My point is … I fell in love with street photography the moment I started analogue photography. I never took portraits. I never did journalism. I never dared to do street photography the classic way.
    [Show full text]
  • Photography Terms
    Photography Terms ● Negative- a reversed image, in which light areas are dark and dark areas ● are light ● ● Positive- an image in which light areas are light and dark areas are dark ● Subject- a person object or space depicted in a work of art ● Color- the optical effect caused when reflected white light of the spectrum is divided into separate wavelengths ● Fixing-the chemical process used to ensure a photographic image becomes permanent ● Cyanotype- photo process using irons salts that oxidize and produce a blue color. ● Developer- after an image has been recorded onto film or paper, this liquid transforms a latent image into a physical one ● Value- Dark and lightness values ● Soft Focus-deliberate blurring of the edges or lack of sharp focus in a photo or movie ● Texture- the surface quality of a work for example fine, coarse, lacking detail, film grain. ● Collage- work of art used by gluing materials, such as paper onto a surface ● Photomontage- a single photographic image made by combining multiple images together, usually by photographing the collage (analog), or by photoshop (digital) History of Photography Photography- Latin, Photo (light), Graphy (drawing) drawing with light. Camera (chamber) Camera Obscura (Dark Chamber) https://youtu.be/JoxGEymA8ro History of Photography Photography- Latin, Photo (light), Graphy (drawing) drawing with light. Camera (chamber) Camera Obscura (Dark Chamber) History of Photography Photography- Latin, Photo (light), Graphy (drawing) drawing with light. Camera (chamber) Camera Obscura (Dark Chamber) Jan vermeer, view of Delft, 1661. History of Photography Photography- Latin, Photo (light), Graphy (drawing) drawing with light. Camera (chamber) Camera Obscura (Dark Chamber) Jan vermeer, view of Delft, 1661.
    [Show full text]