Film Photography

Final Group Critique Friday. December 11th

If possible, please pin your work up to the crit walls in the hallway by the end of lab on Thursday 12/10 to all your colleagues to look and consider your work before the final critique on Friday. I'd like to start the critique promptly at noon on Friday because we only have 4 mins. per student. Please pin your work up to the crit wall, above and to the left of the magenta post it.

John will talk about Briar's work

Katie will discuss Autumn's work

David will talk about Natalia's work

Maria will discuss David's work

Fan will talk about John's work

Gemma will discuss Fan's work

Marc will talk about Maria's work

Alyssa will discuss Gemma's work

Briar will address Katie's work

Kristina will talk about Alyssa's work

Autumn will address Marc's work

Natalia will talk about Kristina's work

We will continue the critique in the individual sections for 30-35mins. The rest of the time will be spent taking down the Eco Temple exhibition.

Some answers to questions I received about the final 'folio submission yesterday which may be useful to the rest of you.

1. Final folios are due at noon on Monday December 14th. Daniel will be in over the weekend, please look at the lab schedule for specific hours. Sunday, December 13th is Daniel's last day, we'd like to thank him and let him know how much we appreciate his expertise and excellent contributions.

2. Please separate your proof prints for previous assignments and either remove them from your flat file drawer or leave them in the drawer and label them, as such. Mostly, I want to be able to look at your final folio, as a whole, without having to sort through the proof prints which yield the finals... for all assignments except Chemical manipulations.

3. More work or revised work toward any assignment... This work should be included with the final folio. If you are 'reprinting' previously submitted images, kindly include both the new and old print. Leave me notes if you think anything is unclear.

4. Continue to use the discussion section on Glow to barter for supplies. I know we're coming close to running out on some supplies.

5. Gemma and Kristina are the only students who have advised me that they will be leaving campus before December 18th. If you are leaving before the 18th and have not told me, please do.

Happy to answer more questions via email.

Contents of the Final Folio

All negatives and contact sheets for the semester, in 3 ring binder, interleaf'd
All proof prints and final prints for Chemical Manipulations
All final prints for Vanishing Presence, Minimum Depth of Field, Maximum Depth of Field and Decisive Moment

Your name needs to be, in pencil, on the back of each of your final prints. If you leave your proof prints for assignments other then Chemical Manipulations in your flat file drawer, the proof prints must be separated from the final prints.

Revised Class Schedule: schedule.end.docx

#5 Chemical Manipulations

Assignment Sheet: Solarizations, Negative prints and photograms.docx

Powerpoint presentation--Cameraless Photogarphy: cameraless_photo.photograms.negative_prints.ppt

Powerpoint presentation--solarizations.ppt

Powerpoint presentation--student_work.solarizations.ppt

#4 Vanishing Presence

Vanishing_Presence.docx

Vanishing_presence.ppt

After Class on Friday Barry Goldstein, Daniel and I shot some tests to demonstrate that shutter speed does not impact on density exposure when shooting with flash mounted on the camera. The only factors which influence density are the ISO, the f stop and distance from the camera to the subject. The metadata is included for these camera originals, I've also written the pertinent information below each exposure in red text. (Metadata is only legible in 'presentation view.' ) All four pictures were taken at a distance of @1 meter (3 ft.) with ISO 200, at f 11 with a digital camera (TTL turned off, manual exposure, your external flash units attached). The only difference is evident in the 4th picture ISO f11 @ 1/500th of a second which is faster than where the shutter speed at which the camera syncs up with the flash. The top of the image is cropped because the mirror (the curtain) is starting to descend.

iso 200 f11 @ 1/60th iso 200 f11 @ 1/30th

iso200.f11.1:250.Screen Shot 2015-10-30 at 7.33.32 PM.png iso200.f11.1:500.Screen Shot 2015-10-30 at 7.33.41 PM.png

iso 200 f11 @ 1/500th iso 200 fll @ 1/250th

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This next set of images demonstrates the impact of ambient light on the exposure with flash. There is a four-stop difference between the shutter speeds used in the top two images, below, left top is iso 200, f32 @ 1/250th of a second, the right top is iso 200, f32 @ 1/15th of a second. While the continuous cold light in the left part of the frame gets lighter with the longer shutter speed, the exposure on Daniel's face remains relatively unaffected by the four stops increase in exposure.

iso200.f32.250Screen Shot 2015-10-30 at 7.57.50 PM.png iso200.f32.15.Screen Shot 2015-10-30 at 7.57.53 PM.png iso200.f32.1.Screen Shot 2015-10-30 at 7.57.57 PM.png

The ambient light does not really effect the density of the foreground in this image until the shutter is slowed down to a one second exposure: iso 200, f32, 1 sec.

8 stops below the sync speed, flash to camera!

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Studio strobe, top, Ring flash, bottom. Look at the shadows.

Screen Shot 2015-10-30 at 7.39.51 PM.png

Screen Shot 2015-10-30 at 7.40.54 PM.png

Ring flash will leave a reflective residue, if the light hits glasses the glasses just so...

See the ringflash reflected in Maria's glasses, not in Natalia's glasses.

Just curious do you both wear non-glare lenses?

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View Camera samples by Ralph Lieberman, art historian and photographer

#3 Minimum Depth of Field

These are the sample images I made up to show you in class today but left on my laptop, at home. I wanted you to see what the view camera can do to ‘correct’ spatial distortions. These are Photoshop manipulations of an iphone image I took at the Natural Bridge, on Mountain Day.

Original iphone image, I had attached a wide angle lens to the iphone.

IMG_1098.crop.jpg Lens correction in Photoshop, to simulate what can be done with a view camera tilt, to "correct" the perspective of that rectangle of fence....also a bit of color enhancement. This calls attention to the peculiarity of that rectangle suspended in the landscape.

IMG_1098.crop.blur.jpg Same image with a Photoshop simulation of what you could do in a view

camera if you tilted the plane, in the opposite direction, to enhance rather than to correct the distortion.

Please note what happens to the edges of frame with both the correction and the enhancement. Poor Natalia, in the lower right hand corner, gets quite a beating.

Assignment sheet: Minimum_Depth_of_Field_Assignment.docx

Powerpoint Presentation: Minimum_Depth_of_Field.ppt

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#2. Maximum Depth of Field assignment:

Camera Assignments: please note that lenses are now in the camera boxes

John & Briar have the #1 View Camera with the 180mm Schneider Kreuznach Symmar-S lens.
David & Autumn have the #2 View Camera with the 150mm Rodenstock Apo Sinar lens WHICH SHOULD USE 320 ISO INSTEAD OF 400.
Kristina & Marc have the #3 View Camera with the 135mm Rodenstock lens WHICH SHOULD USE 320 ISO INSTEAD OF 400.
Natalia & Katie have the #4 View Camera with the 210mm Schneider Kreuznach Symmar lens.
Alyssa & Marie have the #5 View Camera with the 150mm Schneider Kreuznach Xenar lens.
Fan & Gemma have the #6 View Camera with the 150mm Schneider Kreuznach Xenar lens