LANDSCAPE/SEASCAPE - DUE DATE

ROLL DUE:

and 2 paragraphs on Ansel Adams in your sketchbook

WEDNESDAY - 2/28

LANDSCAPE/CITYSCAPE - ZONE SYSTEM

 

INTRODUCTION
Landscape can mean many things. The definition goes beyond the "grand view" with great vistas. Land forms, vegetation, utility lines, cloud forms, intimate views, water, rocks, buildings with character, trees, root forms, and aerial views are but a few examples of subjects within the landscape genre.

A cityscape is the urban equivalent of a landscape.

HAND IN
Turn in ONE roll of 36 exposures. Contact sheet, five 8”x10”. Save zone system records of metering and processing. Have notes, exposure times and test stripes in binder.


PREPARATION
You are to research the work of Ansel Adams. In your sketchbook, write 2 paragraphs about Ansel Adams and include 4 images of his work. Make sure you mentioned his influence with the zone system.

SUBJECT MATTER AND ARTISTIC INTENTION
Whether you select to focus on seascape or find a more rural setting for you landscape, try to define for yourself the visual qualities that attract you to the setting. Use a whole film with the intention of finding the best way to communicate the special feeling that attracts you to the setting.

Look for both the most intimate detail and the largest view that your viewfinder can encompass without including distractions. Remember to try various camera angles and heights. If possible, try several lens focal lengths, to see which rendition seems most effective. See London/Upton, Chapter 14 on composition.

COMPOSITION IN LANDSCAPE
Animals, birds, and so on may need to be placed against contrasting tones. Face them into the composition. If there are directional forces in your composition, allow some balancing pace so the eye isn't led off the picture.

Adjustments may be prudent because of wires, poles, trees and other distractions. Or, express your environmental concern by using distractions intentionally to make a statement about viewscape pollution. Remember to consider the directional and compositional forces of wires, poles and other clutter.

Framing always cuts something off at the edges. Leave enough or cut it out all together. Avoid ambiguous mergers between objects and edges. Avoid continuations between foreground and background objects. Run your eye around the edge of the viewfinder to look for ways to organize and simplify. Avoid cluttered distracting backgrounds by trying another angle or get the camera lower.

FILM TO USE
Select film for the grain and effects you want.  You will use the zone system for your exposure.

FILTERS
In black and white work, a red or orange filter is recommended to darken the tone of blue sky. See page 85 in London/Upton. Clouds are much more noticeable and skies are less apt to print white. If your meter is not through the lens and filter, be sure to subtract the filter factor.

If the sky blends in with parts of the building, a polarizing filter may also be helpful. It can also control reflections from windows and the surface of water. See pages 84 to 87 in London/Upton.


LIGHTING
Time of day, camera position, and weather conditions can all greatly contribute to the effects that you are after. Recall your previous results with natural light. Avoid direct sunlight on your lens surface. In some light, bright rooftops are hard to differentiate from sky tone. Cross-lighting that skims over the surface of textures and contours produces good definition and brings out textures better.

ZONE SYSTEM

Use the zone system to produce negatives with a full contrast range while having good shadow and highlight detail. If working with only a camera meter, find a shadowy area nearby which corresponds to your gray card.

The next reading, from the lightest portion of the scene, has nothing to do with taking the picture, but you need it to know how to develop the film with correct contrast. If a white cloud is the lightest area you may use the backside (white side) of your gray card. Never allow light to fall on the front of a camera or light meter lens surface when metering. Shade it from the sky or the sun. Light hitting the surface produces falsely optimistic readings. Write down this reading.

The last reading is the dark of the shadow. Also write this down.

Create a chart in your sketchbook. This will make is easier to determine your proper development. Remember to only change the aperture or the shutter speed, don't change both!

TAKE A LOOK AT THE FOLLOWING LINKS FOR MORE INFORMATION:

A SIMPLIFIED ZONE SYSTEM

ZONE SYSTEM

ZONE SYSTEM

WHAT IS THE ZONE SYSTEM


DEPTH OF FIELD
Don’t forget about depth of field. At f/22 you have a longer range in focus. At f/3.5 or f/4 you have a shorter range in focus.

EXPERIMENT WITH YOUR OWN IDEAS - ENJOY

REQUIRED EXPOSURE RECORD
What is your film speed? _____

Does your rewind crank turn when you advance film? If not, it could mean the film was not loaded correctly.

IMPORTANT FOR ZONE SYSTEM
Give the contrast range for your exposures - so you know how to process the film.

Some Ansel Adams photographs.

PANORAMIC DUE DATES

DUE DATES:

GROUP 1:

FRIDAY - 2/9 - PANORAMA IMAGES ARE DUE


TUESDAY - 2/22 - 2 EDITED PANORAMAS ARE DUE



GROUP 2: 
WEDNESDAY 2/7 - PANORAMA IMAGES ARE DUE


THURSDAY - 2/20 - 2 EDITED PANORAMAS ARE DUE

PORTRAIT COLLAGE - DUE DATES

YOU ARE TURNING IN YOUR COLOR ROLL DEVELOP AND PRINTED OR YOUR DIGITAL IMAGES PRINTED. SIZE TO PRINT IS 4X6.

DUE DATES:

WEDNEDAY - 1/10

PANORAMIC

Panoramic: is a format of photography that aims to create images with exceptionally wide fields of view.

INTRODUCTION:
You are to shoot a roll on panoramic images. Since your camera is not a panoramic camera, you are to take 5 – 6 images to create one panoramic image. Your subject can range from landscape, cityscape, seascape, anything that can create an interesting composition.

OBJECTIVES:
1. Elements of Art : Line, Shape, Texture, Space
2. Design Principles : Balance, Contrast, Emphasis, Pattern, Rhythm, Movement

WHAT TO DO:
1. Shoot 5 – 6 images (or more if needed) to create a panoramic image. If you are shooting vertical, you will need more to maintain the panoramic format.
2. Keep in mind your elements of art and design principles.
3. Pay attention to lighting. Time of day that you are shooting. METER EVERY TIME!!
4. When shooting a set:

• Do not change the zoom or tilt your camera. 
• Do not change your aperture. Keep the same aperture in your set.
• Do not change your focus. If you use auto focus, flip your focus to manual. 
• It is important that you stay at the same distance and move to the left or right. Find a point in your viewfinder that you can line it up for your next image.
• When you are metering, you only change your shutter speed.
• SHOOT RAW
• Select the appropriate ISO - ex... 100, 200 or 400 - depending on your light.
• Use a tripod.

WHAT TO turn in:
1. Turn in 4 sets of panoramic images. Each set minimum of 4 images.

PORTRAIT COLLAGE EXAMPLES

PORTRAIT - COLLAGE

INTRODUCTION:

You are to shoot a COLOR roll or DIGITAL to create a photo color. Pick one location, think about your composition and capture that location with a serious of images.

HOMEWORK:

Photographer's Research format for David Hockney & Joyce Neimanas. Include 5 images per photographer. Make sure they are examples of photo collages

WHAT TO DO:

1.   You can use 100, 200 or 400ASA film.  Please make a note on your ASA setting.

2.   Shoot a minimum of 36 images (or more if needed) to create a color collage.

3.   Keep in mind your elements of art and design principles.

4.   Pay attention to lighting. Time of day that you are shooting.

5.   Compose a photo with a strong center of interest. Since you are taking pictures of a very wide area, you should keep your center of interest very close.

6.   Remember to use your meter to get the correct exposure on every shot. You must also make sure your camera is correctly focused for each shot.

7.   Remember, never to move from your spot until you're done. You may tilt the camera up and down during the shoot, but never change your shooting position.

8.   Practice shooting first. The idea behind Hockney's approach is to photograph a large scene by breaking it up into many smaller lines. You must think of your scene as having an invisible grid with overlapping squares placed upon it. Begin shooting with only your waist turned three-quarters to the left. Continue to shoot your first horizontal row of photos, remembering to always overlap the photo you just took, until you reach a position where your waist is turned three-quarters to the right.

     

      When shooting a set, do not change the zoom or tilt your camera. It is important that you stay at the same distance and move to the left or right. Find a point in your viewfinder that you can line it up for your next image.  You are to take a series of images, that when printed, you can recreate the image as a whole with collage.

9.   Begin to shoot the second row of horizontal photos as you did previously, but you must also overlap the top of this row with the bottom of the last row.

10. Continue to shoot the entire scene always overlapping both vertically and horizontally until you complete the scene.

11. Shoot the real thing when you feel comfortable. Take the film for processing.

Tips:
1. Practice with a cardboard viewfinder, getting the scene in 36 shots.
2. Don’t move your feet!
3. You can include a person and mover them around in the scene as long as they don't overlap
4. GET CLOSE!!!!! (to begin with)
5. Don’t just shoot a straight line. Look up and down

You may shoot digital or color or black & white film. Remember: Do not copy other artists’ work. This is plagiarism. Develop your artistic integrity.

WHAT TO turn in:

1.         Turn in 4x6 prints. Unfortunately we cannot develop or print color in class. You can drop off your color roll at any place that develops color film. (ex. Walgreen’s, CVS, Costco, etc…)

2.         Make your collage on a black or white poster board. You are to spray mount your images. Before you glue your images you need to arrange and make sure you are satisfied with the composition. Discuss your collage with other students and the teacher.