Use LEFT and RIGHT arrow keys to navigate between flashcards;
Use UP and DOWN arrow keys to flip the card;
H to show hint;
A reads text to speech;
28 Cards in this Set
- Front
- Back
Duane Michals
|
Book: Duane Duck - Context... words can change the meaning of a photograph.
big on context... how many images you can put together |
|
James Balog
|
book “Survivors” featuring animals - 3rd effect, photographic life, dying relatives, 2 pics effect each other
|
|
Robert Frank
|
shot the Americas, trolly car picture... composition
|
|
Richard Avedon
|
American West. Very stark contrast with blank background (15 to 20 feet high when shown in public)
|
|
Annie Leibovitz
|
Celebrities - Shot for Rolling Stone and Vanity Fair
|
|
William Albert Allard
|
National Geographic – very prolific - Wide expansive shots, beautiful color - American west, northern south America
|
|
Alex Webb
|
Put lots of things into the same image, compressed, color, high noon, haiti - Known for layering, dense images with lots of information - Shoots often with wide angle - Often at high noon, very intense shadow, in color - Known for shooting in Haiti, where he did a book called “Under a Grudging Sun” - Known / idolized for his style – very famous among photographers
|
|
Galen Rowell
|
Died in a plane crash – adventure photographer, extreme locations (everest, etc.) - Nature, landscapes, wonderful lighting (available light)
|
|
James Natchwey
|
War photographer - Started an agency with 6 other photographers called “7” - Black and white, typically, beautifully/impeccably composed - War or famine / something equated with war (a regime that tortures people, etc.)
|
|
Eugene Richards
|
aaaaaawk subjects - Known for cutting off body parts, odd cropping – uncomfortable - Gritty subject matter - Shot his wife dying of cancer - Kids sleeping on the floor of their Brooklyn home so that stray bullets don’t hit them in the night - Emergency rooms, psychiatric ward
|
|
Mary Ellen Mark
|
India, prostitutes in Bombay. With Magnum, then formed her own agency - 15 or 20 books - Finding a subject and staying with them for a long time
|
|
Marc Riboud
|
Light, style
|
|
Dorothea Lange
|
style... feet... Migrant Mother - Farm Security Administration (FSA) - Really into shooting feet, not what she was known for
|
|
Lauren Greenfield
|
fast forward (book)... the kids in hollywood. influence of drugs / gang life
|
|
Gary Winogrand
|
women are beautiful.. street photographer ... had dozens of rolls undeveloped when he died
|
|
Shelby Lee Adams
|
Appalachian potraits - These photos span about 20 years of time, but they seem timeless – these families don’t change much over the years
|
|
Cartier-Bresson
|
Decisive Moment
|
|
Sam Abell
|
frequent publication of photographs in National Geographic. Abell rarely uses flash, preferring a pure relationship with light. his best work is known for its transcendent qualities, starting at the documentary level yet open to interpretation on an aesthetic level.
|
|
Bill Owens
|
Best known for his photographs of suburban domestic scenes taken in the East Bay and published in the book "Suburbia" in 1973
|
|
"The Red Couch" by Kevin Clarke and Horst Wackerbarth
|
Most of all, it would become a neutral object that could change the meaning of the photograph by its inclusion alone. (i.e. Monument Valley, Arizona)
|
|
Why Crop?
|
i. Image format isn’t always ideal
ii. May be a now or never situation (news) iii. But, this crop isn’t absolute. Photo editor should have final say. iv. Never crop to change meaning or to mislead v. Never crop a photo to fit a layout |
|
When to Crop
|
i. To improve the composition
ii. Achieve clarity (perhaps to bring the action/subject up closer) iii. To heighten impact |
|
What Cropping can do
|
i. Delete distracting elements (sometimes not everything is visible in the viewfinder)
ii. Correct distracting camera tilt iii. Eliminate technical errors iv. Raise or lower horizon v. Reduce apparent distance |
|
When NOT to crop
|
i. Perfect images (according to the photographer…)
ii. Need to preserve the mood iii. Need for negative space iv. When quality is destroyed |
|
The Process of Shooting an Illustration
|
i. Start with a story idea
ii. Brainstorm (write them down) iii. Write a headline iv. Sketch v. Take your time thinking. Talk to others. vi. Gather props (give photogs time to do that, please) vii. Shoot! (the fastest part!) viii. The whole process should take more than a day if you don’t want crap. |
|
Gestalt Laws
|
Continuity, Closure, Similarity, Proximity
|
|
Hierarchy of Picture Selection by Joe Elbert, Washington Post
|
a. Informational
i. Who, what, when, where, why ii. Facts of the story b. Graphically Appealing i. Interesting perspective, lines, design, composition, framing, color, light, etc. c. Emotional i. More than emotion and a pretty photo ii. Do you feel something? iii. How does the subject feel? The photographer? iv. Feel like you’re there? v. Does it hit you in the gut? d. Intimacy i. The viewer feels privy to something ii. How’d they gain access? iii. How did the subject open their life up iv. What’s the relationship like? (subject/photographer) |
|
Gestalt
|
A German word for form or shape. It is used in English to refer to a concept of 'wholeness.' Refers to the form-forming capability of our senses, particularly with respect to the visual recognition of figures and whole forms instead of just a collection of simple lines and curves.
|