to capture texture in a photo you need various colours, shapes and depth of the objects surface

Werner Bischof

Werner Bischof’s photographs of post-World War II European and Asian cultures were integral to the development of photojournalism since 1945. Trained in graphic design and photography at the Zürich School of Arts and Crafts, Bischof adhered early to the style of New Objectivity, and an interest in avant-garde art and photography led him to move to Paris in 1939. The war began shortly after his arrival, and he returned to Switzerland, where he was conscripted. His experiences with refugees and his observation of the desperate conditions of war as a soldier at the Swiss border–as well as his later employment at the Zürich magazine Du, where he was encouraged toward photojournalism–resulted in a dramatic change in his photographic approach between 1942 and 1944. By 1945 he was producing the socially conscious photographs and essays for which he became best known, and had begun traveling extensively for life. Bischof specialised in photos of texture

this is one of werner bischofs texture photos and he likes to get photos of people with a texture around them

this is a photo that i took i went up to a stop sign and took a photo of it, the rust on the stop sign added texture to it, i took this photo in to light room and then edited it i changed the bottom white colour to a blue colour it made it stand out more and more vibrant, this makes the texture stand out more

I explored the theme of texture in this photo by taking a photo of a wall with shadows of the tree shining on it, it was with the use of natural lighting. The tree shadows highlights the detail of the wall. i used a medium Iso for this photo.

The main subject in this photo is the pink leaves i edited the photo to add more detail to the foreground, the background of this photo is the leaves on the floor that are bright orange this adds

we did a experiment using different paper shapes, lighting and iso

This photo has a high iso we used a spotlight to add more light to the photo to make it stand out more we used a pretty low iso to darken the background to make our paper shape more vibrant.

I like this photo because the shadow in the back makes the photo stand out more and it adds more detail to a small detailed image.

this photo i also used a lower ISO and we added red tint paper but we only put it halfway through the spotlight and it made the actual paper that was photographed red and then it made the shadow of the paper normal light colour

by using light room i edited the original photo. and made it darker and added a lower exposure and higher colour temperature witch then added a blue colour (cold colour) instead of the original white colour by doing this it adds more detail to the normal photo that was half red half white because we covered half the camera with red tint paper

this is the last photo I chose, I used low ISO setting I used an artificial light to highlight the subject in the photo which is the paper origami, additionally I edited the photo a bit to make the shadows more clear. I cropped the photo to leave out the black space from the photo and zoom in on the subject.

Christiane Feser

Christiane Feser creates three-dimensional photographic based work. They are photographs of complex assemblages of repeated forms and shadows with actual elements from the assemblage projecting three-dimensionally from the surface of the photograph. Feser flattens a sculptural object through the act of photography and then reconstitutes that dimension in a new way by turning the photograph into a relief sculpture. The works challenge our perception of dimension and perspective as well as our assumptions about what a photograph is. They also introduce a tension between the past and present: the original photograph is of a thing that has existed, but it has been transformed into a new object that now exists. And in this new form, the constant change of light and shadow across the relief surface will continue to keep the work in the present moment. The works are therefore about both photography and sculpture. They are simultaneously images and objects that play with flatness and depth, and engage with the histories of the photograph as a physical thing in space.

this is one of the photos that she took and that is in one of her museums in America

Shutter speed is the length of time your camera’s shutter stays open, and therefore how long the sensor is exposed to light. The longer it’s open, the more light hits the sensor and the brighter the image. Shutter speed is one side of the exposure triangle – the three factors that determine the exposure of an image.

Meat yard eliminated the “thing” and looked only for the background, which he would then throw out of focus. Eventually, feeling that the background was still too recognizable, he abandoned this practice and began to contemplate his surroundings through an unfocused lens.

Leiter was fond of using long lenses, partly so that he could remain unobserved, but also so that he could compress space, juxtaposing objects and people in unusual ways. Many of his images use negative space, with large out of focus areas, drawing our eye to a particular detail or splash of colour.

This is my attempt of using different shutter speeds to get a better understanding of how it works

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. The trade-off is that higher ISOs can lead to degraded image quality and cause your photos to be grainy or ‘noisy.

this was me testing out different ISO settings. The ISO setting is a setting on the camera that allows light in to the camera so it makes the photos lighter or darker. ISO represents sensitivity to light as numerical valve

As the ISO goes up in the photos the figure of Hayden gets more visible, I would use a low ISO when I am taking a photograph of something or someone in bright or good lighting, additionally I would use the higher ISO when I am in a darker environment taking photos of something or someone

I can also combine my shutter speed and ISO skills together to get more photos

Aperture is how much light is let in the camera. It is in the lens, it is measured in the f/stops

depth of field iswhat’s in focus, The smaller the aperture the smaller the depth of view, the larger the aperture the greater the depth of view, depth of field is what is in focus behind and in front of the main subjects

a narrow depth of field is f1.4-f 5.6 if i want everything in my shot i want to use f 22

shutter speed:1/3

aperture:22

ISO setting: 400

A camera obscura consists of a dark box, tent or room with a small hole in one side or the top. with light from an external scene through the hole and strikes a surface inside, the scene is reproduced but inverted and reversed with colour and perspective preserved. Although camera obscura is old and we have developed more high-tech cameras the concept of camera obscura is still used by photographers world wide

These images are an example of how camera obscura works

Nicephore Niepce

Joseph Nicephore Niepce was a French inventor and one of the earliest pioneers of photography. Niepce used his heliography process which was an early photographic process producing a photoengraving image on a metal plate coated with an asphalt preparation to capture the first photograph, but his pioneering work was soon overshowed by the invention of daguerreotype.

Daguerreotype is a direct-positive process, creating a highly detailed image on a sheet of copper plated with a thin coat of silver without the use of a negative. the process required great care. The process required great care. The silver plated copper plate had first to be cleaned and polished until the surface looked like a mirror

Louis Daguerre

Louis was a painter and a stage director. He was a student of Degotis, who was a creator of stage setting at the Paris opera, where he started at the age of 16.

while Daguerre works exhibited in the art shows that he never really had huge success, from 1817-1822 his work was shown at the opera brought him unanimous praise from critics and from the public, he displayed original creativity with his light effects, creating moon rises or moving suns that remained in peoples memories.

Daguerre was developing hislighting talents, acquired during his years as a set designer at the Opera and the Ambigu, to change the mood of a same scene. This created such an illusion of reality that the Diorama became a huge success. Later on, the two partners adapted to these huge sets the principle of showing the optical views either with front or back lighting. In this case the scene watched with a dim lighting, whence a night effect that could be accentuated by painting to the back of the view a decor with the purpose of masking some parts of the image creating new shadows corresponding to night. Going from one to the other lighting, the same scene would progressively change from day to night.

Daguerreotype

The daguerreotype is a direct-positive process, creating a highly detailed image on a sheet of copper plated with a thin coat of silver without the use of a negative. The process required great care. The silver-plated copper plate had to be cleaned and polished until the surface looked like a mirror

Henry Fox Talbot

Whilst on honeymoon in Italy with his wife Constance, Talbot tried to draw a picture of Lake Como using a camera Lucida. A camera Lucida is a drawing aid which uses a prism to allow the artist to simultaneously see the landscape before him or her and the drawing paper. Talbot was frustrated with the outcome of his drawing, especially in comparison to Constance’s accomplished artwork, and wished that the image made by the camera Lucida could be fixed in a more mechanical and accurate way.

Richard Maddox

Richard Maddox was an English photographer and physician who invented lightweight gelatin negative plates for photography in 1871. Dry plate is a glass plate coated with a gelatin emulsion of silver bromide. It can be stored until exposure, and after exposure it can be brought back to a darkroom for development at leisure.

The advantages of the dry plate were obvious: photographers could use commercial dry plates off the shelf instead of having to prepare their own emulsions in a mobile darkroom. Negatives did not have to be developed immediately. Also, for the first time, cameras could be made small enough to be hand-held, or even concealed: further research created fast exposure times, which led to ‘snapshot’ photography (and the ‘Kodak’ camera with roll film), ultimately paving the way for cinematography.

George Eastman

When Eastman was 23, a colleague suggested that he take a camera on an upcoming vacation. Eastman bought a photographic outfit, and although he never made the journey, he became fully engrossed in photography. However, the weight, awkwardness, and cost of the equipment required to take and develop photographs soon led Eastman to seek improvements. He spent three years in his mother’s kitchen experimenting with gelatine emulsions, and by 1880, he had invented and patented a dry-plate coating machine.

In 1881, with the financial backing of Rochester businessman Henry Strong, Eastman formed the Eastman Dry Plate Company (reincorporated as the Eastman Dry Plate and Film Company in 1884 and as Eastman Kodak Company in 1892). With a series of innovations, the company created easy-to-use cameras that made photography widely accessible, established the practice of professional photofinishing, and developed a flexible film that was a critical contribution to the launch of the motion picture industry.

Kodak Brownie

The Kodak “Brownie” camera made its debut at the turn of the twentieth century and sold for one dollar. One hundred thousand of them were purchased during the first year alone. The Brownie helped to put photography into the hands of amateurs and allowed the middle class to take their own “snapshots” as well.

Eastman Kodak introduced the new Brownie dollar box camera in 1900; the release was supported by a major advertising campaign. The name “Brownie” was chosen primarily because of the popularity of a children’s book of cartoons of the same name, and partly because the camera was initially manufactured for Eastman by Frank Brownell of Rochester, New York.

Digital Photography

Digital photography is the process of capturing images electronically rather than by analog methods such as film or instant Polaroid’s. A digital image is captured to a solid state sensor containing an array of photodetectors or pixels. The digital images are then stored as a type of computer file* that can be processed, edited and corrected using software such as Adobe Photoshop.

Digital imaging, whether stills or video, encompasses capturing, storing, and manipulating images through electronic devices like cameras and smartphones. Unlike traditional film photography or video, digital for both mediums relies on sensors to convert light into digital data. 

Harry Callahan was a pioneering American photographer who worked in both color and black-and-white. Among his best-known works are the numerous portraits of his wife Eleanor, who served as a constant model throughout his career. His prolific practice included taking took dozens of photographs a day

He tried several technical experiments double and triple exposure, blurs large and small format film. Callahan was one of the few innovators of modern American photography noted as much for his work in color as for his work in black and white.

Harry Callahan was born in Detroit, studied engineering at Michigan State University, and worked for Chrysler before taking up photography as a hobby in 1938. Callahan cited a visit by Ansel Adams to his local camera club in 1941 as the time he began to view photography seriously. Self-taught as a photographer, he found work in the General Motors Photographic Laboratories. In 1946, shortly after meeting László Moholy-Nagy, he was asked to join the faculty of the New Bauhaus (later known as the Institute of Design) in Chicago, where he became chairman of the photography department in 1949. He left Chicago in 1961 to head the photography department at the Rhode Island School of Design, where he remained until 1973. He has won many awards for his photography, including a Guggenheim Fellowship in 1972 and the Photographer and Educator Award from the Society for Photographic Education in 1976, and he was designated Honored Photographer of the Rencontres Internationals de la Photography in Arles, France in 1977, and received ICP’s Master of Photography Infinity Award in 1991. Among the major exhibitions of his work

Harry Callahan has won many awards for his photography, including a Guggenheim Fellowship in 1972 and the Photographer and Educator Award from the Society for Photographic Education in 1976, and he was designated Honored Photographer of the Rencontres Internationals da la photography in Arles, France in 1977, and received ICP Master of Photography Infinity Award in 1991