PHOTOGRAPHY A PICTURE IS WORTH A THOUSAND WORDS

PHOTOGRAPHY “A PICTURE IS WORTH A THOUSAND WORDS” “THE CAMERA NEVER LIES” “A PICTURE IS A POEM WITHOUT WORDS” “A ROOM HUNG WITH PICTURES IS A ROOM HUNG WITH THOUGHT” “THE GLAMOURIZER OF EXISTING IMAGES AND LEGENDS”

PARTS OF THE CAMERA BLACK BODY (BOX) * inner parts must be light-tight (or film fogs) * the only light in the camera is the light that we let in HOLE - TO LET LIGHT IN * aperture (lens) * manual focus or automatic * colours of light are focussed onto a single point * size of the hole (F-STOP - are of the hole) varies the amount of light FLAP - TO CLOSE HOLE * called the ‘shutter’ * FOCAL PLANE (built into the camera) - LEAF PLANE (built into the lens) * the amount of light that is let into the camera = the amount of time that the shutter is open (Varies how long the film is exposed to light) FILM SUPPORT - TRANSPORT * holds film flat, advances frames VIEWFINDER * shows what camera is viewing and will photograph * SLR (single lens reflux) - shows 90% - 100% of what will be photographed

TYPES OF CAMERAS *single lens reflux - SLR - one lens, one mirror, ONE PUSH OF THE BUTTON * mirror flips - seals ground glass - aperture opens - aperture closes - shutter flies - PICTURE * rangefinder - RF - leaf shutter * point and shoot * twin lens reflux - TLR * view camera (accordion) - grad photos - hood over head - commercial photos * digital - any of the above - very expensive

TYPES OF FILM *SLOW SPEED * requires more light, fine grain, higher contrast, greater colour saturation *HIGH SPEED * requires less light, course grain, lower contrast, less colour saturation

WILLIAM MORFTENSEN’S THREE RULES OF PHOTOGRAPHY COMPOSITION * IMPACT - picture must make you look at it * diagonal line, triangle, s-curve, dominant mass * SUBJECT MATTER - viewer must have something to see * sex (for professionals), sentiment, wonder * PARTICIPATE - must find something you enjoy and share it * movement and hindrance (from upper left to bottom right), tactile qualities, confirming forms, repetitions

TECHNIQUES OF COMPOSITION * FRAMING - square (boring), vertical (bold), horizontal (traditional) * BACKGROUNDS - ensure that the background does not interfere with the photo * BALANCE - crash points, horizons, contrasts and shades (mixture of dark and light) (light objects advance, dark objects recede) * PERSPECTIVE AND POINT OF VIEW - perspective is the relationship of the subject to the foreground and the background - point of view is the angle from which the camera approaches the subject (Can be active or passive) * SPOT - single spot or small object against a contrasting background attracts attention * LINE - real or implied - gives direction by moving eye across the picture * EMPHASIS - the main focus of the shot * CONTRAST - depth of field (focus/out of focus), motion (action/still), dark/light

DIRECTIONS OF LIGHT * front light - flat, low contrast, hides texture, normally should be avoided * side light - maximum texture, dramatic lighting, makes 3 -dimensional photos * back light - produces halo effect (rim of light), very dramatic * top light - flat light, eyes in shadow, avoid when possible * bottom light - unnatural (ghoulish)

QUALITY OF LIGHT * DIRECT/HARSH LIGHT * wide contrast - highlight to shadow * caused by small light source - spotlight, sun, flash, distant light * LARGE LIGHT SOURCE * soft shadows, less texture is found * caused by large light source - umbrella lighting * FLAT LIGHT SOURCE * virtually no shadows are present, no definition * uninteresting * BOUNCE LIGHTING * off ceiling or wall, or other flat surface * gives a softer light than a direct light (absorption) * caution to be taken - the colour of the surface being used shows in picture

PORTRAITS Always feather the light toward the camera and not the subject (this way the lighting has no effect on the background) * REMBRANDT - 45 degrees from subject (down) shadow under nose (triangle) * BUTTERFLY - straight-on and down – butterfly shadow under nose * SPLIT LIGHTING - from one side - one side is hidden * LOOP LIGHTING - between rembrandt and butterfly shadow should not be on lips

POSING - make sure the ‘hands’ always look relaxed or natural - wear earth tones - grey - green - off-white SUBJECT: * straight to camera - shows the most weight * body diagonal - reduces weight * out of line - feminine * in line - masculine * dropped shoulder - more friendly * shoulder back - more aloof (playful) CAMERA: * above eyes - more passive - child role * equal eyes - equity, same level * below eyes - more dominant - adult role INTERACTION: * with camera * away from camera * with another subject in the frame

SHOWING PHOTOGRAPHS Mounting and Framing - protects photos, gives them rigidity, easier to handle * * * * DRY MOUNT - tissue between photo and paper WET MOUNT - larger images - wallpaper paste COLD MOUNT - mount to a surface (plastic, aluminium, foam) CANVAS MOUNT - laminate front of print, dry mount on canvas -allows rolling into tubes WOOD FRAME - isolates image from background - compliments photo METAL FRAME - silver/gold/platinum - photo should be matted (in glass) PLASTIC FRAME - very flimsy - locker framing - should be avoided for ‘special’ photos GLASS FRAME - reflect UV light to protect photo - avoid reflecting light

THE PORTFOLIO “PICTURES ARE LOOPHOLES TO THE SOUL” VOLUME LINES AS DESIGN REPETITIVE SHAPES TEXTURE SHAPE AS DESIGN DIAGONAL LINES S-CURVE TRIANGLES DOMINANT MASS BACKLIT SCENIC SHADOWS PORTRAIT - REMBRANDT PORTRAIT - BUTTERFLY PORTRAIT - SPLIT OPEN