its the speed at which the shutter of the camera closes, there is different types of shutter speeds
a slow shutter speed setting which allows a greater amount of light. changing your cameras shutter speed is one way to adjust the overall exposure of an image, also it allows you to be creative by being able to control the amount of blur or lack of it in your images.
the slower the shutter speed the more motion blur your camera will be able to capture when shooting fast moving subjects. but with long shutter speed from two to 30 seconds, any movement in the image will blur. this can create a cool effect with landscapes and the sky, as water and clouds turns soft and streaky.
when we take the photo, the cameras shutter opens, which allows light to reach the recording medium, where an image is made. by controlling hoe long the shutter stay open, we are able to control the resulting image will be like.
which is also known as “exposure time”, shutter speed is measured in seconds or fractions of a second, for example a slow shutter speed of 1/2 means the shutter remains open for half a second, while faster speed of 1/2000 which means it only remains open for one-two-thousandth of a second.
Eadweard Muybridge used fast shutter speeds, around 1/1000th of a second, to capture motion in his famous 1878 The Horse in Motion series. This allowed him to freeze the movement of animals and humans, pioneering motion photography and laying the groundwork for early film technology.
Francesca Woodman – slow shutter speeds
Francesca Woodman often used slow shutter speeds in her photography, which contributed to the dreamlike and ghostly quality of her images. By using long exposures, she created blurred, ethereal effects, particularly when capturing herself or her subjects in motion. This technique added a sense of fleeting presence and emotional intensity to her work, emphasizing themes of identity, fragility, and the passage of time.
Some of my examples with a high and low shutter speed
Colour is indeed a potent ally in highlighting form in photography. It can add dimension and depth to your subjects
Line
Line in photography is used to create moods. Below are different types of line: Vertical line: Vertical lines run up and down.
Shape
An element of art that is two-dimensional, flat, or limited to height and width. Form. An element of art that is three-dimensional and encloses. volume; includes height, width and depth (as in a cube, a sphere, a pyramid, or a cylinder)
Tone
refers to how light and dark something is. Tones could refer to black, white and the grey tones between. It could refer to how light or dark a colour appears. In real life tone is created by the way light falls on an object.
Pattern
is a regularity within a scene. It’s elements of the scene that repeat themselves in a predictable way. Pattern can be found everywhere and is commonly seen within shapes, colours or textures
Texture
how the surface of an object appears to feel or actually feels to the touch. Texture can be described as rough, smooth, soft, etc. Texture is shown in photographs by the way the light falls on an object and through value changes. The paper on which the photograph is made also determines texture.
Form
involve different aspects of light, shadow, depth, angles, and composition that create the perception of three-dimensionality in a two-dimensional image
all of these are the photos i took and edited on photoshop
In 1917 Jaroslav Rössler began his career as an apprentice in the Prague studio of Frantisek Drtikol, where he learned the techniques of oil, bromoil, pigment and other printing techniques. From 1923 to 1925, he also made a series of his own photographs, using contrasts of geometrical areas of light, shade and reflections with different shades of black, grey and white tones, and geometric shapes cut from paper and cardboard.
some of my own example, inspired by his work
raw photos , which were the best
these photos edited
Francis Bruguière
Born the youngest of four sons into a wealthy San Francisco family, Francis Bruguière was interested in painting, poetry, and music, and became an accomplished pianist. Upon his return from Europe, where he studied painting, he met Alfred Stieglitz at the 291 Gallery in New York and soon took up photography. While studying with Frank Eugene (Smith), Bruguière joined the Photo-Secession. Although he returned to San Francisco, Stieglitz published one of Bruguière’s photographs in Camera Work and included several in the groundbreaking 1910 Photo-Secessionist exhibition at the Albright-Knox Gallery in Buffalo, New York.
Around 1912 Bruguière began to experiment with multiple exposures. In 1918 he published a book of Pictorialism views of his hometown, titled San Francisco. Soon thereafter, he returned to New York, where he opened a new studio, and began his famous series of cut-paper abstractions. In 1928 he moved to London where he designed stage sets and photographic murals. The later years of his life were spent mostly in New York, where his attention turned increasingly to painting and sculpture.
photos edited to look similar to his work and in a high key
photos similar to his work but in a low key
these photos that are similar to the artist, which have a formal element of texture from the complex shapes.
experiments with different types of editing
kaleidoscope effect –
with these images I have used cropping to make them seem more abstract and not obvious that its paper. also theses connect to a formal element – pattern from these complex patterns made from being cropped. but not only that these photos have formal element shape cause complex shapes are seen in these photos.
gradient overlay
these images have a connection to a formal element – colour from the different shades of colour that show, which have been edited into these colours.
my final presentation
with these images iv just used a simple display cause by being simple you are able to focus on the photos unlike a complex display which will sometimes look confusing on where to look. which is also got many formal elements such as texture, space , pattern but not semantical and tone. which made me decide on these because it had the most of the formal elements compared to the other experiments, cause the other two only had one or two and is most in reference to the artists.
in photography is the visual quality of the surface of an object revealed through variances in shape, tone and colour and depth
Artist
Minor White
examples of his work
Minor White, born in Minneapolis in 1908, earned a B.S. in botany from the University of Minnesota in 1933. He moved to Portland in 1937, working as a WPA photographer and teaching photography until his military service in 1942. After the war, he studied art history in New York and was influenced by notable photographers like Edward Weston and Alfred Stieglitz. In 1946, he joined the California School of Fine Arts, where he became friends with Ansel Adams and co-founded Aperture magazine in 1952. White later taught at the Rochester Institute of Technology and MIT, co-founded the Society for Photographic Education, and edited Aperture until 1970. His mystical approach to photography, particularly in landscapes, emphasizes abstract images and spiritual self-knowledge, making him a significant figure in postwar photography. His work has been exhibited widely and includes notable publications.
Some of my own work similar to him
and first the raw photos, which are the best in my opinion
contrast sheet
edited in colour
most of the photos will be edited in a similar style
these were edited in colour however preferable it looks best and captures the texture best in the black and white versions and they are more similar to the artist.
edited photos
edited on light room ^
these are edited to make the texture more noticeable and into black and white to Mach the artist and all of the photos similar to this artist were taken of plants and mostly close up.
with all of these photos I made it so they were in black and white and the texture was increased to improve the affect and make texture more visible.
editing experiments
gradient overlay
in these there are the formal element other then texture, is colour cause of the unnatural colours that are in these edited photos of greenery.
invert
in these there are the formal element other then texture, is colour, which have lots of vibrant colours from editing them into inverted.
final outcome
I chose this as my final out come because its the most similar to the artist and the way its been edited the texture is most visible compared to the others ones edited in colour and since its in black and white it allows you to focus on the texture within the photos. With the simplistic layout it also makes it easier to focus on the photos.
these are my final images presented into the gallery, which were done in artsteps. which shows how you would view them in an gallery and can see that all of my final photos defiantly connect together. and show a similar effect the the photos the the artist produced.
ISO is a number that represents how sensitive your camera sensor is to light.
The higher the ISO number, the higher your camera’s sensitivity, and the less light you need to take a picture.
photo from offline ^
how does a high ISO impact on your photos?
The higher the ISO number, the higher your camera’s sensitivity
higher ISOs can lead to degraded image quality and cause your photos to be grainy or “noisy.”
what’s it meant by visual noise?
everything that is annoying to the eye, from jarring colours to spaces overloaded with home décor objects.
photo from offline ^
low light situations
photo from offline ^
in lowlight situations, its often necessary to raise the IISO, so it is able to get a clear photo. however from increasing the ISO, through is that it introduces noise to a image, which makes it appear grainy.
however if you take a photo in ideal light, you can keep the ISO low in order to avoid introducing noise into the images.
It’s called this name because it’s about 200 years old , this name comes from the Latin words for ‘dark’ (obscura) and ‘room’ (camera)
The camera obscura is something where you can perfectly capture the world around you by projecting what’s outside in a dark room, also a power source is not needed. This is not ‘magic’ but useful science, before them was pinhole cameras which had been round for several hundreds of years. But until the early 1600s CE that they were able to make lenses of higher enough quality to create more flexible cameras with bigger openings, this meant that letting in more light to create a brighter and higher quality images.
Draughtsman and other painters once used a camera obscura like this for making accurate detailed sketches of scenes such as landscapes or architecture.
It was useful for capturing perspective, accurately representing the height, width, depth and relative position of what you can see in the 3D world on a 2D flat surface.
how dose it work
Above a rather theatrical curtain that surrounds the darkened chamber, there’s a large lens in a wooden panel. This lens focuses the light from the scene outside down into a mirror which is held at a 45degree angle behind it on inside. It reflects rays of light into a piece of paper or canvas, which is laid out flat on the base inside a wooden box.
To see the image, you need you cover yourself with a piece of black cloth to stop any other surrounding light from getting into the box. And because this uses a lens which creates a relatively big aperture, you get a sharp, colorful image on the the paper, like a mini video feel of the outside world.
who used a camera obscura?
Because the light is bouncing off the mirror, you see the image the right way up. But the lens causes the image to flip (or invert) so it’s also the wrong way round.
That meant artists using a camera obscura would have to trace the final image in reverse.
There is plenty of evidence that masters like Canaletto and Rembrandt used the camera obscura — but other artists may have been more secretive.
People still debate whether the Dutch painter Johannes Vermeer used a camera obscura to capture the incredible detail in his exquisite paintings of domestic scenes. Although there’s no written evidence to prove it either way, art historians think, on balance, that he probably did!
Nicephorus Niepce
Born on the 7th March 1765
Died 5th July 1855, aged 68
he was a French inventor and one of the earliest pioneers of photography. Niepce developed heliography, a technique he used to create the world’s oldest surviving products of a photographic process. In the mid-1820s, he used a primitive camera to produce the oldest surviving photograph of a real-world scene. Among Niepce’s other inventions was the Pyrophore, one of the world’s first internal combustion engines, which he conceived, created, and developed with his older brother Claude Niepce.
his early life
Niepce was born in Chalon-sur-Saône, Saône-et-Loire, where his father was a wealthy lawyer. His older brother Claude (1763–1828) was also his collaborator in research and invention, but died half-mad and destitute in England, having squandered the family wealth in pursuit of non-opportunities for the Pyrophore. Niepce also had a sister and a younger brother, Bernard.
Nicephore was baptized Joseph but adopted the name Nicephore, in honour of Saint Nicephorus the ninth-century Patriarch of Constantinople, while studying at the Oratorian college in Angers. At the college he learned science and the experimental method, rapidly achieving success and graduating to work as a professor of the college.
His photography
The exact timing of Joseph Nicephorus Niepce’s first photographic experiments is uncertain, but they stemmed from his interest in lithography and the camera obscura. By 1816, Niepce had captured small images on silver chloride-coated paper, though these resulted in negatives and were difficult to fix. Shifting to Bitumen of Judea, a light-sensitive asphalt used in etching, Niepce developed heliography, his method of creating permanent photographic images. In 1822, he made what is considered the first lasting photograph, though it was destroyed later. Surviving photo-etchings from 1825 are among his earliest works. Niepce’s successful camera photograph came between 1822 and 1827 and was rediscovered in 1952. In 1829, he partnered with Louis Daguerre to develop the physautotype, but after Niepce’s death in 1833, Daguerre continued alone, creating the daguerreotype. The French government bought Daguerre’s process, awarding him and Niepce’s estate stipends. Niepce’s contributions were initially overlooked, but he is now recognized as a pioneer of photography. His bitumen process, while impractical for early cameras, was used as an effective photoresist for printing plates well into the 20th century.
henry fox Talbot
He was born in 1800 and passed in 1877
And a graduate of trinity college, Cambridge and was recently elected liberal member of parliament in house of commons, he was a true polymath, his intellectual curiosity embraces the fields of mathematics, chemistry, astronomy and botany ; philosophy and phished ; Egyptology, the classics, and art history. He had published four books and twenty-seven scholarly articles on a variety of subjects and was a fellow of the astronomical, linnean, and royal societies
in January 1834, Talbot returned home to Laycock abbey, an amalgamation of buildings incorporating the thirteenth- and fourteenth-century remains of a former abbey about eighty-five miles west of London. within only a few mouths he was able to began to experiment with that had occurred to him at lake Como and soon found that a sheet of fine writing paper, which is coated with salt and brushed with a solution add silver nitrate, dark in the sun, and that a second coating of salt impeded further darkening or fading.
louis Daguerre – daguerreotype
The daguerreotype process made it possible to capture the image seen inside a camera obscure and preserve it as an object. It was the first practical photographic process and ushered in a new age of pictorial possibility.
the process was invented in 1837 by Louis Jacques Mandé Daguerre. in his work as the theatrical scene painter, Daguerre was familiar with the camera obscura, a device used to project a image of a brightly lit scene into a dark chamber. on 19th of august 1839, Daguerre’s announces Daguerre’s invention to the Académie des sciences and the Académie des beaux-arts in Paris. later Daguerre wrote a 79 page booklet, called Historique et description du procédé du Daguerreotype et du Diorama. in march 1840, Jules lion introduced the daguerreotype to new Orleans.
The daguerreotype process produces a highly detailed, a unique object. Its a direct-positive process, meaning no negative is made. To make a daguerreotype, you need a sheet of copper is plated with a thin coat of silver. This plate is then cleaned and polished to a mirror finish. Next, it is sensitized in a lighttight box with iodine and bromine vapours until its surface turns yellow. The reaction between the iodine vapor and the silver coating produces light-sensitive silver iodide.
Once it is sensitized, the plate is kept in a lightproof container, which is inserted directly into a camera, where the exposure is made. Development is then accomplished by placing the exposed plate face down over a source of heated mercury fumes until the image appears. Chemically, the mercury merges, or amalgamates, which will have a silver creating a milky white image. the image is fixed and prevented from undergoing any further development, which is in a solution of sodium chloride or table salt. later the sodium thiosulfate, a hyposulfite of soda or hypo, filled this role. the plate is treated with gold chloride, which intensifies the image. finally the plate is washed in distilled water and then dried.
exposure times for early daguerreotype ranged from 3 to 15 minutes, but after the improvements to the lenses and the introduction for bromine, which increases the sensitivity of the silver components on the plate, which was possible to make a portrait with an exposure of about 1 minute.
initially, daguerreotype were presented to the sitter in a book like case of embossed paper or leather. the fragile plate was protected by a Cover Glass and was sealed inside a preserver frame and brass mat. later the union case, as it was known, was moulded from a material called thermoplastic.
due to the nature of the process, daguerreotype are made into mirror images of their subjects, as reversed from right to lift. this illusion is hardly noticeable in portraits but quite obvious in urban views or any images containing lettering.
Richard Maddox
An anthropologist, also holds advanced degrees in religious studies and humanities. He has done fieldwork in Mexico, Ecuador, and primarily in Spain. His general interests are in the relation between cultural meanings and practices and the exercise of political and economic power. He is the author of the ethnographic and historical study, El Castillo: The Politics of Tradition in an Andalusian Town, which won the President’s Book Award of the Social Science History Association and the Robert E. Park Award of the Urban and Community Studies Section of the American Sociological Association. More recently, he published a study of state and public culture, The Best of All Possible Islands: Seville’s Universal Exposition, the New Spain, and the New Europe. His current research interests include microhistory, processes of Europeanization and globalization, the cultural politics of European liberalisms, regionalism and nationalism, and the transformation of the countryside in Spain and Europe
education – PhD Stanford University 1988
Publications
“Euro liberal Pastoralism and Rural Development in Southern Spain,” in Landscape, Heritage, and Conservation (Carolina Academic Press, 2010).
“Lived in Hegemonies and Biographical Fragments: Micro steps toward a Counter history of the Spanish Transition from Dictatorship to Democracy,” in Small Worlds: Meaning and Method in Microhistory (The School of American Research Press, 2008).
The Best of All Possible Islands: Seville’s Universal Exposition, the New Spain, and the New Europe (State University of New York Press, 2004).
“Intimacy and Hegemony in the New Europe,” in Off Stage/On Display: Intimacy and Ethnography in the Age of Public Culture, Andrew Sharrock, ed. (Stanford University Press, 2004).
“The Politics of Space and Identity in a Europe without Borders: Cosmopolitan Liberalism, Expo ’92, and Seville,” Irish Journal of Anthropology (1998).
“Founding a Convent in Seventeenth Century Spain: Cultural History, Hegemonic Processes and the Historical Subject,” Rethinking History: The Journal of Theory and Practice (1998).
“Bombs, Bikinis, and the Popes of Rock n’ Roll: Reflections on Resistance, the Play of Subordinations, and Cultural Liberalism in Andalusia and Academia, 1983-1995” in Gupta and Ferguson, eds., Culture, Power, and Place: Explorations in Critical Anthropology (Duke University Press, 1997).
“Revolutionary Anticlericalism and Hegemonic Processes in an Andalusian Town, August 1936” AmericanEthnologist (1995).
“Culture, Schooling, and the Politics of Class Identity in an Andalusian Town,” Comparative Education Review (1994).
El Castillo: The Politics of Tradition in an Andalusian Town (University of Illinois Press, 1993).
George Eastman
he was a high school dropout, who was judged ” not especially gifted” when he measured against the academic standards of the day, he was poor, however even as a young man, he took it upon him self to support hid widowed mother and two sisters, one of which had polio.
he began his business career as a 14 year old office boy in an insurance company and followed that with work as a clerk in a local bank.
he was George Eastman and his ability is to overcome financial adversity, his gift for organisation and management, and his lively and inventive mind made him successful in entrepreneur by his mid-twenties, and enabled him to direct his Eastman Kodak company to the forefront of American industry.
however building a multinational corporation and emerging as one of the nations most important industries required dedication and sacrifice. it would not come easy.
His Boyhood
The youngest of three children, George Eastman was born to Maria Kilbourn and George Washington Eastman on July 12, 1854 in the village of Waterville, some 20 miles southwest of Utica, in upstate New York. The house on the old Eastman homestead, where his father was born and where George spent his early years, has since been moved to the Genesee Country Museum in Mumford, N.Y., outside of Rochester
When George was five years old, his father moved his family to Rochester. There the elder Eastman devoted his energy to establishing Eastman Commercial College. Then tragedy struck. George’s father died, the college failed and the family became financially distressed.
George continued his schooling until he was 14. Then, he was forced by family circumstances, he had to find a job to help he family. .
His first job, as a messenger boy with an insurance firm, paid $3 a week. One year later, he became office boy for another insurance firm. Through his own initiative, he soon took charge of policy filing and even wrote policies. From this his pay increased to $5 per week.
But, even with that increase, his income was not enough to meet family expenses. so he decided to study accounting at home in the evenings to get a better paying job.
In 1874, after five years in the insurance business, he was hired as a junior clerk at the Rochester Savings Bank. then his salary tripled — to more than $15 a week.
Kodak (brownie)
Digital Photography
1957 – The First Digital Image
Let’s go back to the middle of the 20th century. Photography – on film – is as popular as it has ever been, made incredibly accessible by affordable, portable 35mm SLR and rangefinder cameras. These find their way into the hands of news people and enthusiasts alike – and as far as most are concerned, they do everything photographers need them to.
All the same, some researchers have started to awaken to the possibilities that rapidly evolving digital technologies might have for image-making. In 1951, a team of Ampex Corporation researchers led by Charles Ginsberg invented a contraption that could take live images from a camera and store them as electrical impulses on magnetic tape. It would be sold in 1956, under the catchier and more familiar name of ‘video recorder’.
For the first thing we might think of as a digital photograph, however, we’d have to wait until 1957. At this point in the story, we meet one Russell Kirsch.
Kirsch was by all accounts a regular all-American guy. He worked a steady job at the National Bureau of Standards, and his wife Joan had a baby on the way. However, Kirsch wasn’t working just any job – he and his colleagues had in 1950 developed the USA’s first operational stored-program computer, known as the Standards Eastern Automatic Computer, or SEAC.
This computer would be used for all sorts of applications until its last run in 1964, from statistical analysis to meteorology. but, it was Russell Kirsch who first looked at the hulking machine – which back then was considered to be a relatively slimline computer – and had the thought, ‘Gee, y’know, we could probably load a picture into this thing.’
Kirsch and the team built their own drum scanner that would allow them to ‘trace variations of intensity over the surfaces of photographs’. With this, they were able to make the first digital scans. One of the first – possibly the very first – was an image of Russell Kirsch’s new-born son, Walden Kirsch.
By modern standards, this image wasn’t much of anything. It measured just 173 pixels on each side and covered an area of 5x5cm. It had a bit depth of one bit per pixel – it could only classify pixels as black or white, so the team made the shades of grey by compositing several scans done at different intensity thresholds.
Despite its technical limitations, this image would take its place in history. All digital imaging – from security footage to press photography to Uncle Bob’s iPad photos of his niece’s wedding – would follow on from this picture of Walden. It would go on to be honoured by Life magazine in 2003 as one of the “100 photographs that changed the world” – which it most certainly did.
The focal length of a lens is the optical distance, which usually measured in mm, from the centre of a lensand its focus
this shows that changes from a very large aperture, which almost nothing in focus, to a very small aperture, with almost all in focus.
the depth of field is the difference between the closest and furthest objects such as in 18mm the edges are in focus and the 200mm is zoomed in on the middle where you can see a couple boats clearly.
camera simulator
aperture priority
22 – this is a very small aperture and a large depth of field
8 – this is in the middle, and a medium depth of field
2.8 – this is a large aperture, and a small depth of field
in each photo you can tell a clear difference from the first to the last one, the first one its mostly all in focus and the last one only the plane is in focus and the rest in blurry
Ralph Eugene Meatyard
Meatyard made his living as a optician, born in 1925 and died in 1976. he was a member of Lexington camera club, which he perused his passion of photography outside the mainstream. he experimented lots of different strategies including exposures, motion blur and more methods of photographic abstraction. two of this worked are concentrated in focus and depth of field, which of of this works stretched expressive photography, film and cameras when looking at a normal world.
these photos on them one wouldn’t look like anything special but grouped together, which shows human figures in another view
these photos show that a large aperture has been used when taking these, and that the focus in only in one area and rest is blurry. also these photos were inspired and formed by the artists deep study of zen Buddhism.
•Karl Blissfield born in 1869 and died in 1932. Photographed plants in closeup and trained as a sculptor but was only very interested in plants and a keen amateur botanist and used photography as a teaching tool to demonstrate the differences in botanical forms.
•He developed cameras which allowed him to photograph both plants and the texture of their surfaces in unprecedented details.
•He first published black and white photography images In unformed der kunst (1929), which translates as artforms in nature, after an exhibition of his work at Berlins Gallery Nierendorf.
•His images are unique in the portrayal of plants although a number of people have sought to emulate him. He focuses in particular on the form and structure of plants.
