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Photography and Cinema
Photography and Cinema David Campany Photography and Cinema EXPOSURES is a series of books on photography designed to explore the rich history of the medium from thematic perspectives. Each title presents a striking collection of approximately80 images and an engaging, accessible text that offers intriguing insights into a specific theme or subject. Series editors: Mark Haworth-Booth and Peter Hamilton Also published Photography and Australia Helen Ennis Photography and Spirit John Harvey Photography and Cinema David Campany reaktion books For Polly Published by Reaktion Books Ltd 33 Great Sutton Street London ec1v 0dx www.reaktionbooks.co.uk First published 2008 Copyright © David Campany 2008 All rights reserved No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publishers. Printed and bound in China by C&C Offset Printing Co., Ltd British Library Cataloguing in Publication Data Campany, David Photography and cinema. – (Exposures) 1. Photography – History 2. Motion pictures – History I. Title 770.9 isbn–13: 978 1 86189 351 2 Contents Introduction 7 one Stillness 22 two Paper Cinema 60 three Photography in Film 94 four Art and the Film Still 119 Afterword 146 References 148 Select Bibliography 154 Acknowledgements 156 Photo Acknowledgements 157 Index 158 ‘ . everything starts in the middle . ’ Graham Lee, 1967 Introduction Opening Movement On 11 June 1895 the French Congress of Photographic Societies (Congrès des sociétés photographiques de France) was gathered in Lyon. Photography had been in existence for about sixty years, but cinema was a new inven- tion. -
Through Lens View
This article originally appeared in the 2010-2011 publication, “LANGDON REVIEW OF THE ARTS IN TEXAS” published by Tarleton State University’s Dora Lee Langdon Cultural and Educational Center in Granbury, Texas. THROUGH THE LENS OF THE VIEW CAMERA The general description of the wet darkroom process is not that complicated. yet the successful implementation requires a much deeper understanding and dedication to craft than is readily apparent. Large and Ultra Large Format photography requires a dedication and understating of craft, which in turn allows the artist to express themselves in a way that is unique to the medium. All cameras, regardless to size, are only a light-tight Box that hold the lens and film. Camera, film, chemicals and process are only the tools used to create the finished product. That finished product is the photographic print. It has to contain and express what the artist wants to say with respect to their feeling and interpretation of the suBject. It is said that amateur photographers talk aBout equipment, while serious photographers talk about photographs. Certainly it is important to have the proper tools in order to be successful at anything you attempt. Matters not whether you are building a bookcase, fixing a leaky kitchen faucet or making a photograph. But to obsess endlessly over your tool Belt is not necessary. When asked how they choose which camera to use, JB or Susan Harlin will usually say, “it is the largest camera I can get into position.” This is especially true for landscapes. The biggest obstacle is just how far they can carry any one camera. -
Price List NEW.Pmd
Price List November 2014 The essential guide to the very best photographic equipment and materials Telephone: 01636-823922 Fax: 01636-821719 Email: [email protected] wwwwww.mor.morcoco.uk.com.uk.com We supply all these top brands... Agfa Hahnemühle Manfrotto Quantum Ansmann Harman Marrutt Reflecta Apple Heliopan Marumi Richards B+W Hensel Medalight Rodenstock Beattie Herma Metz Rosco Benbo Hewes Morco Rotatrim Benro Hitech NEC Samyang Billingham Holga Nissin Sandisk Bowens Hot Press Nova Savage Braun Hoya Omega Sekonic Camlink HP OpTech Sigma Canon Ilford Orchard Silvestri Canson Just Oregon Slik Cokin Kaiser Osram Snapshut Colorama Kenko Panasonic Sony Creativity Kenro Pantone Sunpak Delkin Kentmere Paterson Tamrac Douglas Kodak Peli Tamron Eclipse LaCie PermaJet Tetenal Elinchrom Lastolite Philips Toyo Energizer Lee Photolux Velbon Epson Lensbaby PhotoTherm Visible Dust Falcon Lexar Pinnacle Wein Fotospeed Light Craft Pocket Wizard Westcott Fuji Linhof Polaris X-Rite GePe Lowepro Polaroid Zeiss Gossen Lyson Morco Limited College Farmhouse, Cromwell, Newark, Nottinghamshire, NG23 6JE England Telephone: +44 (0)1636-823922 Fax: +44 (0)1636-821719 Email: [email protected] www.morco.uk.com Introduction Contents Welcome to The MORCO Price List. Page Inkjet Paper and Digital Consumables Since 1987 Morco has been a supplier of a wide range of Ilford Paper.................................................. 1 top quality products to the professional and amateur Fotospeed Paper......................................... 2 photographic and allied markets. Permajet Paper........................................... 2 - 6 Pinnacle Paper............................................ 7 We are the UK distributor for BEATTIE, PHOTOTHERM Hahnemühle Paper...................................... 8 - 9 and WEIN products, we also manufacture/produce MORCO Harman Paper............................................. 10 PHOTOGRAPHIC products. These products are available SnapShut Folio Covers............................... -
Mindful Photographer
Operating Manual for the Mindful Photographer Ed Heckerman Copyright © 2017 Cerritos College and Ed Heckerman 11110 Alondra Blvd., Norwalk, CA 90650 Second Edition, 2018 This interactive PDF was made in partial fulfillment for a sabbatical during the academic year 2016 - 2017. No part of the text of this book may be reporduced without permission from Cerritos College. All photographs were taken by Ed Heckerman and produced independently from sabbat- ical contract. Ed Heckerman maintains the copyright for all the photographs and edition changes. No images may be copied from this manual for any use without his consent. Contents Part 1 — Insights and Aspirations 1 contents page Introduction 1 What is Photography? 2 What is a Photograph? Motivations — Why Make Photographs? Photography and Mindfulness 6 Thoughts On Tradition ��������������������������������������������������������������������������12 Part 2 — Navigating Choices ������������������������������������������������������������� 14 Cameras Loading Your Camera Unloading Your Camera Manual Focus Autofocus Sensitivity and Resolution — ISO Controlling Exposure — Setting the Aperture and Shutter Speed Shutter Speed Coordinating Apertures and Shutter Speeds Exposure Metering Systems ��������������������������������������������������������������� 25 Full-frame Average Metering Center Weighted Metering Spot Metering Multi-Zone Metering Incident Metering -
(In This Case, Huge-Format) Negatives. New Solutions Were Also Needed to Keep the 20 X 24 Inch Negative Optimally Positioned During Projection
of large-format (in this case, huge-format) negatives. New solutions were also needed to keep the 20 x 24 inch negative optimally positioned during projection. Initial attempts were sobering and led to stretching of the negative. The idea of simply adapting the dimensions of a classic glass holder to the required format was also discarded because, due to the weight of the glass, it showed significant buckling. In the end, two solutions were delivered: a combination of anti-Newton glass and museum glass, and anti-Newton glass in a metal holder pressed together with magnets. The mechanical design also had to be extremely stable to ensure the necessary precision. This in turn led to the use of some very heavy individual components which would require a body- builder as operator/lab technician. To make it both safer and easier to operate, mechanical brakes were designed into the new product along with motor-driven assists. Anton Ivanov was involved in all phases of planning and construction to Anton Ivanov and the MAMONT at the Art of Foto Gallery and Lab in ensure that the enlarger could be operated practically and St. Petersburg, Russia. The rails on the floor were for an older horizontal productively in its intended home. enlarger; the MAMONT doesn’t need them. No less complex than the mechanical design was the electronic hardware and electromechanical design. Heiland’s goal from the beginning was to forego rail guidance. But the 400+ kg (almost 900 pound) enlarger still needed to be easily movable, and not cause any problems with image projection Jürgen Heiland really got into his work in St. -
The Hybrid Photography Issue
The Alternative Journal of Medium and Large Format Photography VOLUME 1, ISSUE 6, BUILD 2 The hybrid photography Issue WWW.MAGNACHROM.COM NancyScans and NancyScans DFM NancyScans NancyScans DFM 3 Custom Tango Drum Scans Your Own On-Line Store Front KRIST’L Fine Art Archival Prints Sell Prints, License Stock Res80 Transparency Output 6HDPOHVV)XO¿OOPHQW 'LVWULEXWLRQ MC MC MC MC MC MC MC MC MAGNAchrom v1.6 MC Volume 1, Issue 6 ©2007 MAGNAchrom LLC. All rights reserved. The Alternative Journal of Medium and Large Format Photography Contents of this issue: HOT MODS: In The Pink 4-SQUARE: Edoardo Pasero MEDIA: Tri-Transparency Prints VISION Pinhole + Alternate Process BEYOND LF: Room-size pinhole photography TRAVELS: Enviro-Industrio Panoramas VOLUME 1, ISSUE 6, BUILD 1 BUILD 6, ISSUE 1, VOLUME CENTERFOLD: Klaus Esser EQUIPMENT: Going Ultra: with a 14x17 Lotus View www.nancyscans.com TECHNIQUE: DIY inkjet print onto aluminum www.nancyscans.net INTERVIEW: Denise Ross 800.604.1199 PORTFOLIO: Roger Aguirre Smith NEW STUFF: Mamiya ZD The hybrid photography Issue VIEWPOINT: Gum Printing, Then & Now WWW.MAGNACHROM.COM ADVICE: Hybrid Technique Cover Photo: Squish ©2007 Christina Anderson MAGNACHROM VOL 1, ISSUE 6 WWW.MAGNACHROM.COM About MAGNAchrom: Advertising with MAGNAchrom: How to Print MAGNAchrom on your inkjet printer: MAGNAchrom is an advertiser- MAGNAchrom offers advertisers a supported, hybrid magazine choice of four ad sizes based on the 8QOLNHWKH¿UVWWKUHHLVVXHVRI0$*1$ 4published bi-monthy, six times A4 paper format oriented horizon- chrom which were produced with a per year. It is available for free tally. horizontal page format, this issue inaugurates a new vertical page to registered users by download- Artwork should be supplied either as size of 8 1/2” x 11”. -
TYLER PHOTOGRAPHY COURSES AVAILABLE to NON-MAJORS There Are Currently Four Different Courses Available to Non-Majors
TYLER PHOTOGRAPHY COURSES AVAILABLE TO NON-MAJORS There are currently four different courses available to non-majors. They are: ART 0822 - Human Behavior and the Photographic Image How do photographs become more than just a pile of disparate images? Is there more to photography than that single "decisive moment" in the hunt and capture of an image? How do photographers comment on issues that are important to them? How can photographs tell a story? Is there a way one can use the art of photography to elicit change? In this class, students will use their digital cameras to investigate individual photographs, as well as series of photographs. We will look at photography in its historical context -- at the advent of documentary photography and photojournalism, and at narrative photography in its more contemporary form, as photographers use it to chronicle their own lives and to tell a story. Through the exercises of looking at and making photographic images, several core concepts of social work, along with theories of human behavior in the social environment, will be introduced. Students will learn not only about the place photography holds in our culture, but our culture itself, and the students' place in that culture. Students will critically analyze published photographs, as well as photographs made during the class. The semester will culminate in a class exhibition where students will be given the opportunity to present their photographs to the public, demonstrating their understanding of human behavior in the social environment. NOTE: This course fulfills the Human Behavior (GB) requirement for students under GenEd and Individual & Society (IN) for students under Core. -
Lesson Plan Design “Narrative Photography”
HS Lesson Plan Design “Narrative Photography” Step 1: Ideation Using a writing frame, have students begin to think about their narratives. Have them identify characters, setting, and conflict. As their narratives develop, ask them to identify which elements and/or principals can be used to help reinforce their story elements. Based on their ideation work, have students create a few composition sketches to get them thinking about the actual images. Step 2: Photography Using their ideation work, students will take a number of photographs using whatever technology is available. Don’t discount cell phones! They are a great way to get quality images. Encourage students to take at least Objective: Students will use the elements 10-20 photographs. From these, students should and principles of design to evoke a feeling select the three that best tell the story using design principles. and tell a full story in a single photograph. Materials Step 3: Critique and Writing Pencil and Paper • In small groups, students should critique the final Camera or other technology that can take photos • 3 images to help choose their very best. Have Various props and costumes (optional) • groups exchange images and let students write short stories based on what they see in the peer- Motivation !generated photographs. • Students view the work of Jennifer Zwick, then Tip: To take things a step further, you could also write a brief story based on one of her images. have students use photo editing software to • Ask how Zwick might have worked: starting with enhance their images. the idea for the narrative, then staging the ! photograph? Or, starting with the image Tip: If the images are appropriate, make a elements? Talk about how much of the story is connection with an elementary or middle school possible to tell in one frame. -
PHMD 201 - Photography I: View Camera, Fall 2013 Writing Prompt No
PHMD 201 - Photography I: View Camera, Fall 2013 Writing Prompt No. 3 Read the chapter Once Upon A Time posted under Course Documents. Ideally, read this before you begin the Constructed Narrative assignment, as it will provide inspiration as you develop your idea. In the reading, identify and write about the two following things: 1. A statement, sentence, or paragraph that resonates with you or makes you consider photography in a way you had not before. Write it down, and explain why it resonates with you. 2. Formulate a question for discussion in regards to the reading. This should be something you don't understand or don't agree with and why. Be critical and inquisitive. “There were a lot of things I found interesting in the reading of Once Upon a Time. However one thing that resonated with me was the fact that most artists that create a narrative with photographs are using specific imagery and narratives that are specific to a place or culture. For example in Sarah Dobias Red Room, there is an intentionally open - ended narrative that is happening. There are personal choices that she decided to leave out of the frame which is unclear to the viewer. Also the blanket could be taken many different ways psychologically. Another thing that I found interesting was that Backstrom photographs do not contain a human element. Thus asking the viewer to engage with instituionalized and commercialized aspects of the scene. I guess a question that I would ask many of these artist would be, what makes a constructed narrative so strong? Does there have to be a human element present in the equation? The reason I ask this question is because most of the images that are within this reading have figures/models within them and some do not. -
Contemporary Photography and the Reality Effect
Contemporary Photography and the Reality Effect [edit] [edit] Introduction In today’s hybridized artworld, the art object known as the photograph is changing both in subject matter and the tools and techniques used in its production. The images are produced for different contexts such as documentary projects, portraiture, and fine art galleries. Photography’s richest quality — the ‘having-been-there’ -- drives viewers' demand for images and has propelled the artform since its inception. In contemporary photography, creative visionaries like Andreas Gursky and Peter Funch use photography as a way to explore hidden themes such as chaos and order, repetition and harmony. It is the second order of reality that prompted Roland Barthes to say, "A photograph is always invisible, it is not it that we see." What we see is a reflection of ourselves, the world held still by a clicking shutter or by a multi-layered Photoshop image. The natural world reproduced via a mediated experience — the camera and print — is still the pedestal on which photography rests, but increasingly the photograph reflects a culture in which computers and technology play a central role in the art making process. The conventional genres of photography range from a direct, almost clinical recordings of the world, to ironic, post-modern interpretations of today’s materialism. As contemporary photography becomes more conceptual, its artists reveal the hidden reality behind themes like the environment, street life, loneliness, and love. A tension has arisen between photography as a form of documentation and a medium to express feelings, emotions and the artists' visions. The boundaries are blurred. -
Summer 2017 | Courses and Programs
Summer 2017 | Courses and Programs 1114 Avenue of the Americas at 43rd Street, New York, NY 10036 icp.org/school | 212.857.0001 | @icpschool | @ICP | ICP | @ICPhotog PROGRAM DIRECTORY FEATURES 03 ONLINE CLASSES 04 Q & A with 04 Online Low Residency Stephen Ferry, icp faculty Program 2017–2018 07 Q & A with Lauren Petty, icp faculty 05 FOUNDATION & TECHNIQUES 12 Q & A with 05 Digital Photography Frank Fournier, icp faculty 06 Digital Workflow 15 Q & A with 07 Printing Jem Cohen, icp faculty New Media / Video 09 Film Photography 21 TRAVEL PROGRAMS Alternative Processes MEMBERSHIP Lighting 22 TEEN ACADEMY 11 IDEAS & PRACTICE 11 Documentary & 23 Museum Education Visual Journalism Community Partnerships 12 The Portrait Registration Information 13 New York City Facilities © Yola Monakhov Stockton 14 Personal Vision 17 STRATEGIES FOR THE early registration Registration for Summer Term begins PHOTOGRAPHER discount Wednesday, April 19. 17 Best Practices Now through May 31 use code PGFY18 18 Travel to receive 15% off tuition on all Summer For Teachers Term Continuing Education classes. Registration is available online at icp.org/school. ICP Members receive an additional $25 off. Not valid on any prior purchases. For more information about how to register, and/or to 19 FULL-TIME PROGRAMS schedule a portfolio review, please see page 23. note: The Early Registration Discount is applicable to Continuing Education 20 PART-TIME PROGRAMS courses only. It does not apply to Travel Programs or yearlong classes. 20 Continuing Education Track Program Advanced -
The Alternative Journal of Medium and Large Format Photography VOLUME 1, ISSUE 4, BUILD 2
The Alternative Journal of Medium and Large Format Photography VOLUME 1, ISSUE 4, BUILD 2 WWW.MAGNACHROM.CO M NancyScans and NancyScans DFM NancyScans NancyScans DFM Custom Tango Drum Scans Your Own On-Line Store Front KRIST’L Fine Art Archival Prints Sell Prints, License Stock Res80 Transparency Output Seamless Fulfillment & Distribution MC MC MC MC MC MC MC MC MAGNAchrom v1.4 MC MC Volume 1, Issue 4 ©2007 MAGNAchrom LLC. All rights reserved. The Alternative Journal of Medium and Large Format Photography Contents of this issue: SOAPBOX: A Brotherhood of Photographers HOT MODS: MP4 with Technika-style lensboards 4-SQUARE: Tim Myers STUDENT WORK: The Royal College of Art REVIEW: Shen-Hao HZX 45IIA CENTERFOLD: Mike Stacey VOLUME 1, ISSUE 4, BUILD 1 FEATURE: Sandy King: Carbon Prints CUSTOMIZE: A Homebrew 6x17 Camera www.nancyscans.com INTERVIEW: Robert Kresa www.nancyscans.net NEWS: New Stuff 800.604.1199 COLLECTIBLES: Rolleiflex TLR PROJECT: Working Class PARTING SHOT: Guggenheim, Bilbao Cover Photo: MAGNACHRO M VOL 1, ISSUE 4 “Retrato” — Cuba, La Habana ©2007 Leonardo Régnier WWW.MAGNACHROM.CO M About MAGNAchrom: Advertising with MAGNAchrom: How to Print MAGNAchrom on your inkjet printer: MAGNAchrom is an advertiser- MAGNAchrom offers advertisers a supported, hybrid magazine choice of four ad sizes based on the Unlike the first three issues of MAGNA- published bi-monthy, six times A4 paper format oriented horizon- chrom which were produced with a per year. It is available for free tally. horizontal page format, this issue inaugurates a new vertical page to registered users by download- Artwork should be supplied either as size of 8 1/2” x 11”.