DOCSLIB.ORG

Picturing Landscape May 22 to October 7, 2012 the J

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Picturing Landscape May 22 to October 7, 2012 the J In Focus: Picturing Landscape May 22 to October 7, 2012 The J. Paul Getty Museum at the Getty Center 4 4 1. Sir John Frederick William Herschel 2. Dr. Samuel A. Bemis British, 1792 - 1871 American, 1793 - 1881 IF_FIE IF_FIE LD_D LD_D EPTH Valley of the Saltina near Brieg at Entrance of the EPTH View within Crawford Notch, New Hampshire, About Simplon, 1821 1840 Graphite drawing made with the aid of a camera lucida Daguerreotype 19.7 x 29.7 cm (7 3/4 x 11 11/16 in.) Whole plate The J. Paul Getty Museum, Los Angeles, Gift of the The J. Paul Getty Museum, Los Angeles Graham and Susan Nash Collection 84.XT.818.14 91.GG.98.51 4 4 3. John Beasly Greene 4. Charles Marville American, born France, 1832 - 1856 French, 1813 - 1879 IF_FIE IF_FIE LD_D LD_D EPTH Thebes, Village of Ghezireh, 1853-54 EPTH Fontainebleau, 1854 Salted paper from a waxed paper negative print Salted paper print Image: 23.2 x 30.5 cm (9 1/8 x 12 in.) Image: 15.9 x 21.3 cm (6 1/4 x 8 3/8 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles 84.XM.361.15 84.XP.259.5 May 4, 2012 Page 1 of 4 Additional information about some of these works of art can be found by searching getty.edu at http://www.getty.edu/art/gettyguide/ © 2012 J. Paul Getty Trust 4 4 5. Francis Frith 6. Francis Frith English, 1822 - 1898 English, 1822 - 1898 IF_FIE IF_FIE LD_D LD_D EPTH Pyramids of Dahshur, 1856-57 EPTH Pyramids of Dahshur, 1857 Albumen silver stereograph Albumen silver print Image: 6.8 x 6.5 cm (2 11/16 x 2 9/16 in.) Image: 37.6 x 48.4 cm (14 13/16 x 19 1/16 in.) The J. Paul Getty Museum, Los Angeles, Gift of Weston The J. Paul Getty Museum, Los Angeles J. and Mary M. Naef 84.XM.633.5 84.XC.979.3649 4 4 7. Eadweard J. Muybridge 8. Eadweard J. Muybridge American, born England, 1830 - 1904 American, born England, 1830 - 1904 IF_FIE IF_FIE LD_D LD_D EPTH Yosemite Valley, Pohono Meadows, 1868 EPTH Valley of the Yosemite, from Rocky Ford, 1872 Albumen silver stereograph Albumen silver print Image (left): 7.7 x 7.9 cm (3 1/16 x 3 1/8 in.) Image: 42.9 x 54.5 cm (16 7/8 x 21 7/16 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles 84.XC.873.6307 85.XP.14.9 4 4 9. Imogen Cunningham 10. Ansel Adams American, 1883 - 1976 American, 1902 - 1984 IF_FIE IF_FIE LD_D LD_D EPTH Evening on the Duwamish River, About 1911 EPTH Sugar Pine Cones, Neg, 1925-30; print, 1931-32 Platinum print Gelatin silver print Image: 14.8 x 24.1 cm (5 13/16 x 9 1/2 in.) Image: 11.6 x 16.2 cm (4 9/16 x 6 3/8 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles © The Imogen Cunningham Trust © The Ansel Adams Publishing Rights Trust 88.XM.44.1 85.XM.256.5 May 4, 2012 Page 2 of 4 Additional information about some of these works of art can be found by searching getty.edu at http://www.getty.edu/art/gettyguide/ © 2012 J. Paul Getty Trust 4 4 11. Edward Weston 12. Harry Callahan American, 1886 - 1958 American, 1912 - 1999 IF_FIE IF_FIE LD_D LD_D EPTH Kelp on Tide Pool, Point Lobos, 1939 EPTH Chicago, About 1948 Gelatin silver print Gelatin silver print Image: 19.2 x 24.4 cm (7 9/16 x 9 5/8 in.) Image: 9.2 x 11.9 cm (3 5/8 x 4 11/16 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles © 1981 Arizona Board of Regents, Center for Creative © Estate of Harry Callahan Photography 88.XM.65.12 84.XM.860.8 4 4 13. Minor White 14. Wynn Bullock American, 1908 - 1976 American, 1902 - 1975 IF_FIE IF_FIE LD_D LD_D EPTH Eroded Sandstone, Point Lobos State Park, California, EPTH Tide Pool, 1957 1950 Gelatin silver print Gelatin silver print Image: 19.1 x 24.1 cm (7 1/2 x 9 1/2 in.) Image: 20.2 x 26.5 cm (7 15/16 x 10 7/16 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles © Bullock Family Photography LLC. All rights reserved. Reproduced with permission of the Minor White Archive, 2010.73.6 Princeton University Art Museum. Copyright © Trustees of Princeton University. 84.XM.861.1 4 4 15. William A. Garnett 16. Manuel Álvarez Bravo American, 1916 - 2006 Mexican, 1902 - 2002 IF_FIE IF_FIE LD_D LD_D EPTH Sandbars, Cape Cod, Massachusetts, 1966 EPTH Invented Landscape, Negative 1972; print, 1974 Cibachrome print Gelatin silver print Image: 34.4 x 51 cm (13 9/16 x 20 1/16 in.) Image: 28.9 x 36.2 cm (11 3/8 x 14 1/4 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles © Estate of William A. Garnett © Asociación Manuel Álvarez Bravo AC 2003.77 84.XM.676.15 May 4, 2012 Page 3 of 4 Additional information about some of these works of art can be found by searching getty.edu at http://www.getty.edu/art/gettyguide/ © 2012 J. Paul Getty Trust 4 4 17. Eliot Porter 18. John Pfahl American, 1901 - 1990 American, born 1939 IF_FIE IF_FIE LD_D LD_D EPTH EPTH Aspens and Grass, Elk Mountain Road, New Mexico, Blue X, Pembroke, New York, 1975 October 3, 1972 from Altered Landscapes: The Photographs of John Pfahl Dye transfer print Dye transfer print Image: 26.2 x 20.6 cm (10 5/16 x 8 1/8 in.) Image: 19.5 x 25.7 cm (7 11/16 x 10 1/8 in.) The J. Paul Getty Museum, Los Angeles, Gift of Daniel The J. Paul Getty Museum, Los Angeles Greenberg and Susan Steinhauser © John Pfahl © 1990 Amon Carter Museum of American Art, Fort 2010.19.10 Worth, Texas, Bequest of the artist 2005.93.54 4 4 19. Robert Adams 20. Toshio Shibata American, born 1937 Japanese, born 1949 IF_FIE IF_FIE LD_D LD_D EPTH EPTH Longmont, Colorado, 1985 Tsuru City, Yamanashi Prefecture, 1989 Gelatin silver print Gelatin silver print Image: 12.9 x 12.6 cm (5 1/16 x 4 15/16 in.) Image: 44.5 x 55.5 cm (17 1/2 x 21 7/8 in.) The J. Paul Getty Museum, Los Angeles The J. Paul Getty Museum, Los Angeles, Purchased with © Robert Adams funds provided by the Photographs Council 2003.482.9 © Toshio Shibata 2006.19.8 4 4 21. Virginia Beahan 22. Clifford Ross American, born 1946 American, born 1952 IF_FIE LD_D and Laura McPhee EPTH Mountain IV, 2004 American, born 1958 Chromogenic print IF_FIE LD_D EPTH Mount Rainier, Washington, 2000 Image: 160 x 299.7 cm (63 x 118 in.) Chromogenic print The J. Paul Getty Museum, Los Angeles, Gift of Fiona Image: 75.5 x 96.5 cm (29 3/4 x 38 in.) and Stan Druckenmiller The J. Paul Getty Museum, Los Angeles, Gift of Nancy © Clifford Ross Studio LLC 2007 Goliger and Bruce Berman 2006.54 © Virginia Beahan and Laura McPhee 2008.80.10 May 4, 2012 Page 4 of 4 Additional information about some of these works of art can be found by searching getty.edu at http://www.getty.edu/art/gettyguide/ © 2012 J. Paul Getty Trust.
Load more

Recommended publications
  • Friedlander Dog's Best Friend PR March 2019
    Andrew Smith Gallery Arizona, LLC. Masterpieces of Photography LEE FRIEDLANDER SHOW TITLE: Dog’s Best Friend Dates: April 27 - June 15, 2019 Artist’s Reception: DATE/TIME: Saturday April 27, 2019 2-4 p.m. “I think dogs are happy because people feed them fancy food, treat them nicely, pedicure and wash them, take them into their homes.” Lee Friedlander Andrew Smith Gallery, in its new location at 439 N. 6th Ave., Suite 179, Tucson, Arizona 85705, opens an exhibit by the eminent American photographer Lee Friedlander. The exhibit, Dog’s Best Friend, contains 18 prints of dogs and their owners, one of Friedlander’s ongoing “pet projects.” Lee and Maria Friedlander will attend the opening on Saturday, April 27, 2019 from 2 to 4 p.m., where the public is invited to visit with America’s most celebrated photographer and view “the dogs.” The exhibit continues through June 15, 2019. Lee Friedlander is one of America’s legendary photographers. Now in his eighties, he still photographs and makes his own prints in the darkroom as he has been doing for 60 years. In the 1950s he began documenting what he called “the American social landscape,” making pictures that showed how the camera sees reality (different from how the eye sees). In his layered compositions, what are normally understood to be separate objects; buildings, window displays, people, cars, etc., are perpetually interacting with reflective, opaque and transparent surfaces that distort, fragment and bring about surprising, often humorous conjunctions. Friedlander has been photographing virtually non-stop these many decades, expanding the vocabulary of such traditional artistic themes as family, nudes, gardens, trees, self-portraits, landscapes, cityscapes, laborers, artists, jazz musicians, cars, graffiti, statues, parks, advertising signs, and animals.
    [Show full text]
  • Ansel Adams by Ross Loeser February 2010
    Ansel Adams By Ross Loeser February 2010 Ansel Adams is one of the most fascinating people of the 20th Century… a photography pioneer whose art captured the imagination of millions of ordinary people. Most of the information in this paper is from his autobiography – written in the last five years of his life. I found the book a joy to read. Adams (1902-1984) was born in San Francisco and lived most of his life in that area. For his last 22 years he lived in Carmel Highlands. Some key formative events in his early life were: In 1916, when he was 14, he influenced his family to go on vacation in Yosemite after reading the book, In the Heart of the Sierras by J.M. Hutchens. During that trip, he received his first camera – a Kodak Box Brownie. He returned to Yosemite every year of his life thereafter.1 He was hired as a “darkroom monkey” by a neighbor who operated a photo finishing business in 1917, which enabled him to learn about making photographic prints. As he grew up, one major focus was music – the piano. “By 1923 I was a budding professional pianist…”2 On a bright spring Yosemite day in 1927, Adams made a photograph that was to “change my understanding of the medium.” The picture was of Half Dome, and titled “Monolith, The Face of Half Dome.” The full story is included later in this paper, but, in a nutshell, he captured how he felt about the scene, not how it actually appeared (e.g.
    [Show full text]
  • The Curriculum
    Intergenerational Digital Photography Workshop Curriculum About this Curriculum With funding from The Brookdale Foundation, Generations United worked with professional photographer, Annie Levy to pilot the intergenerational photography workshop during the summer of 2007 with two organizations in New York – the Carter Burden Center for the Aging and DOROT. This curriculum is based on the lessons learned from the two pilot projects. About Generations United Generations United (GU) is the national membership organization focused solely on improving the lives of children, youth, and older people through intergenerational strategies, programs, and public policies. GU represents more than 100 national, state, and local organization and individuals. Since 1986, GU has served as a resource for educating policymakers and the public about the economic, social, and personal imperatives of intergenerational cooperation. GU acts as a catalyst for stimulating collaboration between aging, children, and youth organizations providing a forum to explore areas of common ground while celebration the richness of each generations. For more information, visit www.gu.org. About Annie Levy Annie Levy is a photographer and creative director who documents, and brings to life, the experience and stories of ordinary people through the art of portraiture in its variety of forms – image/text, exhibit/installation, presentation/performance. With a special focus on the lives of older and young people, she is committed to creating works for both innovative and traditional venues that inspire, educate and influence public opinion and perception. Examples of Ms. Levy’s work have been featured at the United Nations and The Frick Collection for their “Art of Observation” program.
    [Show full text]
  • The Museum of Modern Art Dedicates Erna and Victor Hasselblad Photography Study Center
    )** The Museum of Modern Art For Immediate Release THE MUSEUM OF MODERN ART DEDICATES ERNA AND VICTOR HASSELBLAD PHOTOGRAPHY STUDY CENTER October 21, 1985, New York King Carl XVI Gustaf of Sweden, Officers of the Museum and of the Erna and Victor Hasselblad Foundation, and members of the Museum's Trustee Committee for Photography today were among the guests at the formal dedication of the Erna and Victor Hasselblad Photography Study Center. "Today...is an important day for Sweden and for the Hasselblad Foundation," said Alf Akerman, chairman of the Board of the Hasselblad Foundation. "A new channel has been formed for contacts and a cultural gate has been opened which we hope will be of importance for further development of good relations between our countries." William S. Paley, chairman of the Board of Trustees, The Museum of Modern Art, stated, "We are both grateful and proud that the Hasselblad Foundation has made this extraordinary gift. We are grateful for what it enables our Study Center to do. We are proud of the international recognition it represents. And we are also proud that our Study Center now bears so distinguished a name." Although the Department of Photography has maintained a study center since 1964, its greatly expanded new facility is named in honor of the Hasselblads, as a gesture of gratitude to the Foundation that bears their names. An unprecedented gift from the Foundation will enable the Department of Photography to sustain and expand its capacity for sharing its rare resources and research materials with the larger photography community. John Szarkowski, director of the Department of Photography, has described this community as "an international audience, transcending national or regional perspectives." Since the Department of Photography first made its collection, library, and supporting archives available to the public for study, it has devoted an increasing amount of thought and attention to its study center.
    [Show full text]
  • Historic Photogs Presentation 4.Key
    & Weegee (Arthur Fellig) A photographer and photojournalist, known for his stark black and white street photography. Weegee worked in Manhattan, New York City's Lower East Side as a press photographer during the 1930s and '40s, and he developed his signature style by following the city's emergency services and documenting their activity. Weegee (Arthur Fellig) Gary Winogrand Gary Winograd was a street photographer from the Bronx, New York, known for his portrayal of American life, and its social issues, in the mid-20th century. Though he photographed in Los Angeles and elsewhere, Winogrand was essentially a New York photographer Gary Winogrand Gordon Parks Parks, born in 1912, was the first African-American photographer hired at Life and Vogue magazines. Focusing on race relations, civil rights, poverty and urban life, his body of work documented controversial aspects of American culture from the early 1940s until his death in 2006. He was a self- taught artist who purchased his first camera at the age of 25. Ansel Adams American photographer and environmentalist. His black-and-white landscape photographs of the American West, especially Yosemite National Park Ansel Adams Manuel Álvarez Bravo Often cited as Mexico's most celebrated fine art photographer, Manuel Álvarez Bravo, whose life almost spanned the entire 20th century, relentlessly captured the history of the country's evolving social and geopolitical atmosphere. His early work was based on European influences, but he was soon influenced by the Mexican muralism movement and the general cultural and political push at the time to redefine Mexican identity. Lola Álvarez Bravo Lola Álvarez Bravo was one of Mexico’s most important photographers.
    [Show full text]
  • Ansel Adams in the Human and Natural Environments of Yosemite
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Journal of the National Collegiate Honors Council --Online Archive National Collegiate Honors Council Spring 2005 Seeing Nature: Ansel Adams in the Human and Natural Environments of Yosemite Megan McWenie University of Arizona, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/nchcjournal Part of the Higher Education Administration Commons McWenie, Megan, "Seeing Nature: Ansel Adams in the Human and Natural Environments of Yosemite" (2005). Journal of the National Collegiate Honors Council --Online Archive. 161. https://digitalcommons.unl.edu/nchcjournal/161 This Article is brought to you for free and open access by the National Collegiate Honors Council at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Journal of the National Collegiate Honors Council --Online Archive by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Portz-Prize-Winning Essay, 2004 55 SPRING/SUMMER 2005 56 JOURNAL OF THE NATIONAL COLLEGIATE HONORS COUNCIL MEGAN MCWENIE Portz Prize-Winning Essay, 2004 Seeing Nature: Ansel Adams in the Human and Natural Environments of Yosemite MEGAN MCWENIE UNIVERSITY OF ARIZONA allace Stegner once hailed the legacy of Ansel Adams as bringing photography Wto the world of art as a unique “way of seeing.”1 What Adams saw through the lens of his camera, and what audiences see when looking at one of his photographs, does indeed constitute a particular way of seeing the world, a vision that is almost always connected to the natural environment. An Ansel Adams photograph evokes more than an aesthetic response to his work—it also stirs reflections about his involvement in the natural world that was so often his subject.
    [Show full text]
  • The History of Photography: the Research Library of the Mack Lee
    THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography.
    [Show full text]
  • An Investigation of Sacred and Mundane Landscapes and the Alchemy of Light
    The splendour of the insignificant: An investigation of sacred and mundane landscapes and the alchemy of light Item Type Thesis Authors White-Jackson, Rachel Citation White, R. (2017) 'The splendour of the insignificant: An investigation of sacred and mundane landscapes and the alchemy of light', PhD Thesis, University of Derby Download date 24/09/2021 16:34:20 Item License http://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/10545/621819 UNIVERSITY OF DERBY THE SPLENDOUR OF THE INSIGNIFICANT: AN INVESTIGATION OF SACRED AND MUNDANE LANDSCAPES AND THE ALCHEMY OF LIGHT RACHEL WHITE DOCTOR OF PHILOSOPHY 2017 1 THE SPLENDOUR OF THE INSIGNIFICANT: AN INVESTIGATION OF SACRED AND MUNDANE LANDSCAPES AND THE ALCHEMY OF LIGHT CONTENTS LIST OF IMAGES 3 PREFACE 13 ABSTRACT 14 INTRODUCTION 16 A WORN OUT AESTHETIC OF PURITY 40 COMMONPLACE BEAUTIES 87 THE SPLENDOUR OF THE INSIGNIFICANT 139 RISKING ENCHANTMENT 197 CONCLUSION: UGLINESS COSTS MORE 245 THE SURFACE GLITTERED OUT OF HEART OF LIGHT 256 BIBLIOGRAPHY 278 2 LIST OF IMAGES Introduction - Rachel White, M6 Toll Road, 2007 Rachel White, Car, 2015 Chapter 1 - A WORN-OUT AESTHETIC OF PURITY Rachel White, Moon, 2016 Ansel Adams, Tetons and Snake River, Grand Teton National Park, 1942 Ansel Adams, Monolith, The Face of Half Dome, Yosemite Valley, 1927 Joe Cornish, Buachaille Etive Mor, Winter, Scotland, (Date unspecified) Thomas Cole, ‘The Oxbow, View from Mount Holyoke, Northampton, Massachusetts, after a Thunderstorm, 1836 Ansel Adams, Aspens, Northern New Mexico, 1958
    [Show full text]
  • From the Dust Bowl to Harlem the Arts in Depression-Era America by Dean Schneider
    E x p l o r i n g t h e A r t s From the Dust Bowl to Harlem The Arts in Depression-Era America by Dean Schneider hen I think of the Great Depression, the dust bowl first comes to mind; Steinbeck’s The Grapes of Wrath, Dorothea Lange’s W“Migrant Mother,” Woody Guthrie wandering the country, guitar slung on his back; an image of grayness, heaviness, and hardscrabble existence. But the 1930s and 1940s were also Harlem, the Cotton Club, the Savoy Ballroom, and the swing era. It was Grant Wood’s American Gothic and his odes to lush land and vibrant Iowa farm life. In short, times were hard, but times were what they always are––full of life, determination, and the impulse to make art, music, and literature. Bonnie Christensen offers an image of folksinger and songwriter Woody Guthrie “strolling / In wheat fields waving” in her book Woody Guthrie. B o o k L i n k s J u n e / J u l y 2 0 0 3 43 What a rich education awaits leap from his pages. Robert Andrew there even was a cultural life in such children who are exposed to the Parker’s Jackson Pollock is captured a difficult time. But just as the New literature, art, and music of that mid-sling. Bill Robinson tap dances Deal government provided jobs and time, including the big band music across the cover of Leo and Diane food and initiatives that changed of Duke Ellington and Benny Dillons’ Rap a Tap Tap.
    [Show full text]
  • ANSEL ADAMS American Photographer
    ANSEL ADAMS American Photographer “Yosemite Valley, to me, is always a sunrise, a glitter of green and golden wonder in a vast edifice of stone and space.” ― Ansel Adams ANSEL EASTON ADAMS (February 20, 1902 – April 22, 1984) What made Ansel Adams Famous? • American landscape photography • Environmentalist • Known for his black-and- white images of the American West Yosemite- El Capitan AMERICAN PHOTOGRAPHER • Adams helped found an association of photographers advocating "pure" photography. They wanted images in sharp focus and the black and white tones to create depth and clarity. • Developed a system of image-making called the Zone System, which is a technique for determining optimal film exposure and development. • The resulting clarity and depth of such images characterized his photography. See the above pictures for examples of the Zone System. ENVIRONMENTALIST • Life-long advocate for environmental conservation • At age 12, he was given his first camera during his first visit to Yosemite National Park. • He developed his early photographic work as a member of the Sierra Club. • He was later contracted with the U.S. Department of the Interior to make photographs of U.S. National Parks. • Awarded the Presidential Medal of Freedom in 1980. Securing Photography’s Institutional Legitimacy • Adams was a key advisor in establishing the photography department at the Museum of Modern Art in New York • Helped to stage that department's first photography exhibition • Helped found the photography magazine Aperture • Co-founded the Center for Creative Photography at the University of Arizona. CONNECTIONS TO YOSEMITE • Yellowstone always remained a source of inspiration and opportunity for Adams.
    [Show full text]
  • Project Explore Value and Light in a Monochrome Digital Photography Project Inspired by the Work of Ansel Adams
    Let’s Create A Digital Photography Project Explore value and light in a monochrome digital photography project inspired by the work of Ansel Adams DIGITAL PHOTOGRAPHY is the process of capturing and editing images without the use of film. Today, most people use digital cameras and phones to take those pictures. Smart devices (such as an android phone or iphone, ipad, or tablet) have cameras with settings to change the lens filter to black and white (also known as monochrome or monotone). This setting can be changed prior to taking the photograph or after you’ve taken the photo as an edit function. Black and White MONOCHROME PHOTOGRAPHY utilizes differing amounts of light instead of different colors to capture and represent images. This is the case in black and white photography, which uses varying shades of neutral gray instead of the actual colors of the objects photographed. Sepia and cyan are also often used in monochrome photography. UNDERSTANDING VALUE OR GRAYSCALE Sepia Gray is a neutral color that combines black and white. You will not find gray on the color wheel because a true colorless gray has no opposite color on the other side of the wheel. Gray values are made by adding or taking away black and white. The lightest tones of gray have the most amount of white where the darkest grays have the most amount of black. These grays can be categorized in light tones, mid tones, and dark tones. Cyan This project was created by the Neuberger Museum of Art Education team. [email protected] Let’s Create A Digital Photography Project UNDERSTANDING SHADOW AND LIGHT To understand the behavior of light and shadow on a form, it will be helpful to understand these terms and concepts: LIGHT • Direct light refers to any area on the form that directly receives light from the light source.
    [Show full text]
  • Finding Aid for The
    1 FINDING AID FOR THE ANSEL ADAMS ARCHIVE AG31 Center for Creative Photography The University of Arizona Tucson, AZ 85721-0103 For further information about the archives at the Center for Creative Photography, please contact the Archivist: phone 520-621-6273; fax 520-621-9444 TABLE OF CONTENTS page number Description, Provenance, Restrictions 2 Scope and Content 2-3 Organization of the Collection 3-4 Correspondence 5-25 Correspondence Index 25-30 Biographical materials 30-33 Music related materials 34-36 Activity Files 36-97 Clippings 97 Publications 97-101 Audio-visual Materials 101-106 Memorabilia 106-107 Photographic Materials 107-118 Photographic Equipment 118-122 Appendix A: Periodicals and miscellaneous, by and about Adams Appendix B: Monographs by and about Adams Appendix C: Personal library: monographs by others Appendix D: Index to photographs in the Ansel Adams Archive Ansel Adams Archive, Center for Creative Photography, The University of Arizona 1 2 DESCRIPTION Papers, photographic materials, and memorabilia, 1920s -1984, of Ansel Adams (1902 - 1984), photographer, author, teacher and conservationist. Includes correspondence (1906 - 1984) between Adams and his family, friends, business associates, and other artists; activity files documenting his commercial projects (1930s - 1977); exhibitions (1936 - 1983); his associations with the Sierra Club (1937 - 1984), Friends of Photography (1967 - 1984), and Images and Words Workshop (1967 - 1972); writings, lectures, and interviews (1931 - 1982); publications with Morgan and Morgan (1950 - 1975), 5 Associates (1952 - 1979), and New York Graphic Society (1973 - 1983); photographic materials including work, reproduction, and exhibition prints; printed materials including reproductions of his work in periodicals and a portion of his personal library; audio and visual materials relating to interviews with him; and memorabilia including awards, certificates, equipment, and clothing.
    [Show full text]