UAE, Dubai Fall 2012
Italy, Rimini Summer 2012
Unknown Author
Sonya Melnik,
Place of Birth: Odessa, Ukraine
Age: 20
Position: student
Hobby: photography
1) What is Aperture?
Aperture is a hole within a lens, through which light travels into the camera body. It is easier to understand the concept if you just think about our eyes. Every camera that we know of today is designed like human eyes. The cornea in our eyes is like the front element of a lens – it gathers all external light, then bends it and passes it to the iris. Depending on the amount of light, the iris can either expand or shrink, controlling the size of the pupil, which is a hole that lets the light pass further into the eye. The pupil is essentially what we refer to as aperture in photography. The amount of light that enters the retina (which works just like the camera sensor), is limited to the size of the pupil – the larger the pupil, the more light enters the retina.
http://photographylife.com
What is Depth of Field?
Depth of field refers to the range of distance that appears acceptably sharp. It varies depending on camera type, aperture and focusing distance, although print size and viewing distance can also influence our perception of depth of field.
One important thing to remember here, the size of the aperture has a direct impact on the depth of field, which is the area of the image that appears sharp. A large f-number such as f/32, (which means a smaller aperture) will bring all foreground and background objects in focus, while a small f-number such as f/1.4 will isolate the foreground from the background by making the foreground objects sharp and the background blurry.
Herbert List (October 7, 1903–April
4, 1975) was a German
photographer, who worked
for magazines, including Vogue,
Harper's
Bazaar, and Life,
and was associated with Magnum Photos.
His austere, classically-posed black-and-white
compositions, particularly of male nudes, taken in Italy and Greece have been highly
formative for modern photography, with contemporary fashion photographers like Herb Ritts being clearly
influenced by List's style. He is also noted for his erotic street photography.
DEVELOPING PHOTOS
Steps:
Step 1
Prepare the tank where the film will be placed. Get one reel where you will wind the film, along with scissors and film chemicals needed for film developing.
Step 1
Prepare the tank where the film will be placed. Get one reel where you will wind the film, along with scissors and film chemicals needed for film developing.
Step 2
Put the the tank, reel, film canister and tools inside a darkroom or in a black box or a change bag where the materials don't get exposed to any light.
Put the the tank, reel, film canister and tools inside a darkroom or in a black box or a change bag where the materials don't get exposed to any light.
Step 3
Load the film by removing it from the canister. Handle the film by the edges to avoid putting fingerprints on the film. Attach the end of the film into the little tabs in the reel. Twist the reel back and forth until it is completely wound around the reel. Make sure that the little ball bearings under the tabs are properly used to grip the film around. Put the reel into the tank and screw the lid tightly so the film is safe in the lightproof tank.
Load the film by removing it from the canister. Handle the film by the edges to avoid putting fingerprints on the film. Attach the end of the film into the little tabs in the reel. Twist the reel back and forth until it is completely wound around the reel. Make sure that the little ball bearings under the tabs are properly used to grip the film around. Put the reel into the tank and screw the lid tightly so the film is safe in the lightproof tank.
Step 4
Develop the film preferably using developing chemicals. Fill the tank with water through its top hole. Let the film soak for a minute then pour it out. Get your stopwatch or timer, and depending on the ISO/ASA, also commonly known as the film speed which is stated in the film canister or film box upon purchase, you must put the developer steadily inside the tank and time it anywhere between seven and 12 minutes. The film should be completely submerged, then agitate the tank (flip it over and over several times) for ten seconds, once every minute.
Develop the film preferably using developing chemicals. Fill the tank with water through its top hole. Let the film soak for a minute then pour it out. Get your stopwatch or timer, and depending on the ISO/ASA, also commonly known as the film speed which is stated in the film canister or film box upon purchase, you must put the developer steadily inside the tank and time it anywhere between seven and 12 minutes. The film should be completely submerged, then agitate the tank (flip it over and over several times) for ten seconds, once every minute.
Step 5
Remove the developer, then readily fill the tank with water for the stop bath. This removes the chemical significantly left in the tank. Shake it a bit, replace the water, then remove the second set of water inside the tank.
Remove the developer, then readily fill the tank with water for the stop bath. This removes the chemical significantly left in the tank. Shake it a bit, replace the water, then remove the second set of water inside the tank.
Step 6
Put the fixer. Wash it thoroughly with water as there shouldn't be any fixer left on the film when it's drying.
Put the fixer. Wash it thoroughly with water as there shouldn't be any fixer left on the film when it's drying.
Step 7
Put the final chemical called the wetting agent which helps prevent water spots. Pour a very small amount of the chemical then fill the tank with water. Leave it for 20 seconds then pour it out. Take the reel out of the tank. Clip one end of the film and hang it. Allow it to dry for a few minutes. Once done, cut the negatives with four to five frames each set.
Put the final chemical called the wetting agent which helps prevent water spots. Pour a very small amount of the chemical then fill the tank with water. Leave it for 20 seconds then pour it out. Take the reel out of the tank. Clip one end of the film and hang it. Allow it to dry for a few minutes. Once done, cut the negatives with four to five frames each set.
HOW TO MIX CHEMICALS:
Developer: Water: Fixer:
50/450 500 100/400
Water: 20C
Water: 20C
The shutter speed is simply the length of time that the light hits the film or sensor allowing the image to be recorded. Each variation in speed (much the same as the aperture variations) is known as a stop.
You can get really creative with varying shutter speeds as we shall see in a moment but there is one important factor that you should always remember. AS mentioned in the Aperture chapter, whenever you adjust the speed of the shutter up or down, you must compensate in some other way, normally via the aperture but you can do it via the ISO setting or use of filters.
As you are letting in less light with a faster speed, you need to compensate and allow more light in via a larger aperture (creating less depth of field) or a higher and more sensitive ISO setting, and vice versa.
1
Insert your negative into the enlarger machine's carrier slot. Make sure the negative's emulsion side is facing up when inserted.
Open your easel and place the sheet of paper inside of it. "Speed easels" are hinged and can snap shut over the paper, and are easiest to use if you are a beginner.
Switch the enlarger's lamp on. Adjust the head of the enlarger so that the projection of the negative fits into the easel's frame. Some easels have different sized frames, so choose and adjust based on the size of the print you intend to make.
Focus the enlarger's projection by adjusting its knob. Using the negative's point of focus as a reference, get it as sharp as you can.
Pick up your focus tool and put it on top of the paper. This tool allows you to refine the projection based on the size of the grain in the negative. Take your time during this step to ensure a clear, accurate final result. Don't touch the knob once you have focused the projection.
Switch the enlarger's lamp off and remove the sheet of paper from the easel. You are now ready to insert a sheet of print paper and continue with the rest of the process.
Midterm
Exam
Spring 2013
Part I. Technical Review
Suppose your camera has the following settings:
aperture
f1.8 f2.8 f4 f5.6 f8 f11 f16 f22
shutter B 1 2 4 8 15 30 60 125 250 500 1000
(It is a manual slr film camera with a 50mm 1:1.8
lens.)
1.
Which f-stop allows the most light in? F1.8
2.
Which allows the least? F22
3.
Which will give the most depth of field? F22
4.
What does depth-of-field mean? The depth of field is when one
can focus on the nearest or farthest object and make it appear sharp.
5.
Where is the aperture diaphragm located? On the lens
6.
How is aperture measured? Measured by using F stops which allows the amount of
light to pass through the lens.
7.
Which f-stop allows half the amount of light as f5.6?f11
8.
Which allows twice the light as f5.6?f2.8
9.
What does focal length refer to? Optical system that can
measure how light diverges or converges through the lens.
10.
Besides aperture, what is another factor that affects depth of field? The depth
of camera
11.
Where is the depth of field scale located (on a traditional
slr)? On a some they have a button but on most it is where one would also focus
the camera. It is located on the outside of the outside of the lens. It is distance
near, far and focal length.
1
12. What is the shutter and what does it control?
The shutter controls the light to pass through to capture an
image.
13.
How is shutter speed measured? Measured by the seconds that the camera shutter
is open.
14.
Where is the shutter located? On the outside of the lens.
15.
What kind of shutter speed is needed in low light conditions? A slower shutter
speed.
16.
What does “B” refer to? Bulb- which allows for a longer exposure time.
17.
What is the safest slow shutter speed without a tripod? No speed lower than the
focal length which is 1/60 on a 50mm camera.
18.
Which ss allows twice as much light as “60”(1/60)? 1/30
19.
Which allows half as much light as “60”? 1/20
20.
(4 points) On a given day, your camera gives you a correct reading of f4 at 250. What
other configurations would give you the same amount of light and a greater depth of field? (list four
ways).
21.
Which would give you the same amount (as above) of light and allow you to
create a blurred picture of a speeding car?
22.
Which shutter speed would give you the same amount of light (as
above, question 20) at f2.8?
23.
On a shadowy area with a bright sky, how would you insure a correct
exposure of a subject in shadow?
24.
(4 p)Which is a better setting, f4 at 1/60, or f 16 at 1/4 ? Say why.
25.
What does ISO refer to? Measures the sensitivity of the image sensor. The lower
the ISO the less sensitive to light it is. The higher the ISO the more
sensitive it is.
26.
What is a fast film and when should it be used? Used for ISO and is used to
measure the sensitivity to light. Has a higher sensitivity and will have more
grain.
27.
What is the major problem with fast films? Reduced images quality and more
grain exposed.
28.
What are the three chemical steps used in printing a photograph? Developer,
water and fixer.
29.
List two (2 p) ways exposure is
controlled in the darkroom. Time and filter.
30.
How is contrast manipulated in the darkroom? The filter and the time
Pictures taken with my amazing PENTAX asahi K 1000
Final
30 April, 2013
Diane Arbus
1949, by Allan Arbus ( a film test)
Diane Arbus (Nemerov) was born on March 14, 1923, in New York City. An artistic youth, she learned photography from her husband, actor Allan Arbus. Together, they found success with fashion work, but Diane soon branched out on her own. Her raw, unusual images of the people she saw while living in New York created a unique and interesting portrayal of the city. She committed suicide in New York City in 1971.
BEST KNOWN FOR
Photographer Diane Arbus's distinctive portraits showed the world how crazy (and beautiful) New Yorkers were in the 1950s and '60s. She was married to actor Allan Arbus.
QUOTES
"A photograph is a secret about a secret. The more it tells you the less you know."
– Diane Arbus
"Love involves a peculiar unfathomable combination of understanding and misunderstanding."
– Diane Arbus
WORKS
Identical Twins, Roselle, New Jersey, 1967.
This particular photo is one of the most widely used Arbus photos of her work. The image is a low resolution copy of the original work.Young twin sisters Cathleen and Colleen Wade stand side by side in dark dresses. The twin on the right slightly smiles and twin on the left slightly frowns.This photograph is echoed in Stanely Kunbrick film The Shining which features twins in an identical pose as ghosts. A print was sold at auction for $478,400 in 2004.
Colin Wood with the left strap of his jumper awkwardly hanging off his shoulder, tensely holds his long, thin arms by his side. Clenching a toy grenade in his right hand and holding his left hand in a claw-like gesture, his facial expression is maniacal. A print of this photograph was sold in 2005 at auction for $408,000.
A Young Brooklyn Family Going for a Sunday Outing, N.Y.C. 1966
Richard and Marylin Dauria, who actually lived in the Bronx. Marylin holds their baby daughter, and Richard holds the hand of their young son, who is mentally-retarded.
A Jewish Giant at Home with His Parents in The Bronx, N.Y. 1970
Eddie Carmel, the "Jewish Giant", stands in his family's apartment with his much shorter mother and father. Arbus reportedly said to a friend about this picture: "You know how every mother has nightmares when she's pregnant that her baby will be born a monster?... I think I got that in the mother's face...." The photograph motivated Carmel's cousin to narrate a 1999 audio documentary about him. A print was sold at auction for $421,000 in 2007.
A Very Young Baby, N.Y.C. 1968
A photograph for Harper's Bazaar depicts Gloria Vanderbilt's then-infant son, future CNN anchorman Anderson Cooper.
Shutter speed - in the camera controls amount of light let in; on the camera it can be :1-2-4-8-15-30-60-125-250-500-1000-2000-4000.
ISO - sensor sentivity- higher ISO more sensitive-can appear grainy.
How to use a camera:
when sunny- 250/16
when sun with clouds- 250/11
when cloudy with sun- 250/8
when cloudy- 125/8 or 60/11
Structure of Film:
1. Supercoat of Gelatin- protects the film
2. Emulsion layer
3. Substrate or subbing layer helps the adhesion of the emulsion to the film base.
4. The film base or support.
5. A backing layer on the rear which can counteract curling of the film.
Most common is size of film is 62mm x 45mm
How to develop B/W films:
To develop a black and white film we need few things:
- the reel;
- cups --> Fixer (blue), Water (green), Developer (yellow);
- tank
- water --> Water must have a temperature of 20° C;
- chemicals --> Rapid fixer, Ilsofol 3;
- scissors;
- a spirow;
Before proceeding light must be turned off. Then we have:
Put in the yellow cup: 50 ml of Isofol 3 + 450 ml of water (1 + 9);
Fill the blue cup with: 400 ml of water + 100 ml of Rapid Fixer (1 + 4);
Fill the green cup with 500 ml of water.
How to print:
Enlarger With the negatives the enlarger helps recreate the image and burn it onto printing paper.
Use the aperture of enlarger to control light. Smaller aperture less light, lighter print, larger aperture, more light, darker print.
Filter- higher filter more contrast
After burning, pass paper to wet area of printing lab going Developer to water to Fixer, then wash and hang.
Important to fix the print because it can get damaged with light.
No comments:
Post a Comment