Parisian Laundry is not open on Tuesdays. Because I fear we won't be able to regroup in time to visit another show together this coming Tuesday, I've decided to cancel field trip and the class and ask instead that each of you see one of the shows listed below before our next class, October 7.
This said, I will be in the lab this Tuesday (October 2), until 3:30 if you want to consult with me about any of the assignments, after which I will tour the exhibitions listed below on Ste. Catherine O. (under spaces identified as being open Tuesday to Saturday, 12 – 6). If anybody wants to join me, please feel free to tag along. These galleries are all within a block of each other so worth the trouble to tour as many of them as possible, on the same trip.
I have noted the names of the artists showing in each space so you can do preliminary research.
There are also exhibitions of artists participating in Le Mois de la Photo at the Musee d’art Contemporain, the Musee des Beaux Arts, the Leonard + Bina Ellen Gallery at Concordia University, Galerie d’UQUAM and many, if not all, of the Maisons de la Culture in Mtl. (including NDG, CDN, Plateau Mt. Royal, Frontenac). Download the program from the Le Mois… website for more information on these spaces.
Exhibition Spaces open Wednesday – Sunday 12 – 5
Parisian Laundry 3550 rue St-Antoine O. (514-989-1056)
Carlos + Jason Sanchez
Trine Sondergaard + Nicolai Howalt
Eve Sussman + the Rufus Corporation
Espaces Video 3520 St. Jacques O. (514-390-0383)
Mike Hoolboom
Jesper Just
Althea Thauberger
Sala Tykka
Teresa Hubard/Alex Birchler
Hotel des Encrans 870 du Couvent (514-344-4081)
Josee Pedneault
Exhibition Spaces open Tuesday - Saturday 12 – 6
Vox, Centre d’e L’Image Contemporaine, 1211 St. Laurent (514-390-0382)
Candice Breitz
Occurrence Espace d’Art Contemporain 460 Ste. Catherine O. #307 (514-397-0236)
Valerie Mrejen
Galerie B312 372 Ste. Catherine O. #403 )514-874-9423)
Gustavo Artigas
Optica, 372 Ste. Catheine O. #508 (514-874-1666)
Emmanuelle Leonard
Skol, Centre des arts actuels, 372 Ste. Catherine O. #314 (514-398-9322)
Karin Kihlberg + Reuben Henry
Thursday, September 27, 2007
Wednesday, September 26, 2007
Monday, September 24, 2007
lighting + portraits
some on-line resources for stuido lighting set-ups
Lighting
http://www.fodors.com/focus/focselect.cfm?catid=7
A Photographer’s Sketchbook
http://www.filmlessphotos.ca/
Studio Lighting
http://www.studiolighting.net/
Lighting
http://www.fodors.com/focus/focselect.cfm?catid=7
A Photographer’s Sketchbook
http://www.filmlessphotos.ca/
Studio Lighting
http://www.studiolighting.net/
Saturday, September 15, 2007
light: balanced, low key, high key
robert frank - london/wales (1951-53)
roy decarava - man in window (1982)
imogen cunningham - two sisters (1928)
how a photograph is made:
∑ exposing the image: the meter of the camera measures the light reflecting off the objects in the scene and suggests an exposure setting (shutter speed and aperture setting/f stop that will balance the highlights in the scene with the shadow detail. The exposure setting gives you an accurate rendering of the ‘middle gray’ areas of a scene that is composed of equal parts highlight and shadow information. The recommended exposure is determined by the light sensitivity of the film (the speed at which it responds to light measured by ISO) and the available light.
∑ the light reflecting off the subject is focused through the lenses onto the light sensitive surface of the film. the light sensitive emulsion is chemically altered by exposure to light and will create a latent image corresponding to that which has been focused through the lens.
∑ light areas in the scene will reflect more light causing a greater chemical change and a greater density in the negative. The darker areas in the scene will not cause the same reaction and so will be less dense, more transparent.
∑ in development, the unexposed light sensitive material is washed away leaving only areas exposed to the sun. the highlights in the scene will appear darker on the negative than the shadow areas, which will be clearer, relative to the exposure. Once printed, these values will be reversed and the scene will look like it did when you composed it in the viewfinder.
∑ If the scene has more highlight areas in it, the recommended exposure will likely be too low to record the highlight accurately because your camera “thinks” all photographs are made up of equal parts highlight and shadow and the recommended setting will always provide you with an exact rendering of the middle gray values in a scene. Similarly, if the scene has few or no highlight areas, the recommended setting will give you an overexposed negative.
∑ If your original scene has more highlights than shadows or vice versa, more shadow than highlight areas, you will need to alter your exposure setting accordingly—increasing or decreasing the recommended exposure by f stops corresponding to zones 0 – 10 of density (middle gray is zone 5, white with no detail is zone 10, black with no detail is 0).
∑ the light reflecting off the subject is focused through the lenses onto the light sensitive surface of the film. the light sensitive emulsion is chemically altered by exposure to light and will create a latent image corresponding to that which has been focused through the lens.
∑ light areas in the scene will reflect more light causing a greater chemical change and a greater density in the negative. The darker areas in the scene will not cause the same reaction and so will be less dense, more transparent.
∑ in development, the unexposed light sensitive material is washed away leaving only areas exposed to the sun. the highlights in the scene will appear darker on the negative than the shadow areas, which will be clearer, relative to the exposure. Once printed, these values will be reversed and the scene will look like it did when you composed it in the viewfinder.
∑ If the scene has more highlight areas in it, the recommended exposure will likely be too low to record the highlight accurately because your camera “thinks” all photographs are made up of equal parts highlight and shadow and the recommended setting will always provide you with an exact rendering of the middle gray values in a scene. Similarly, if the scene has few or no highlight areas, the recommended setting will give you an overexposed negative.
∑ If your original scene has more highlights than shadows or vice versa, more shadow than highlight areas, you will need to alter your exposure setting accordingly—increasing or decreasing the recommended exposure by f stops corresponding to zones 0 – 10 of density (middle gray is zone 5, white with no detail is zone 10, black with no detail is 0).
digital print workflow
1 plan your picture: Begin your project with an idea about the size and orientation of the final print. Decide also on the quality (resolution) and mode (black and white, RGB or CMYK colour). Also decide on the basic corrections you want to make to the image—cropping, colour and contrast correction, lightening or darkening parts of the photograph—and, if making a composite photograph, decide which parts of the image you plan to select. It is a good idea to make a drawing or ‘maquette’ of the final image. It helps you plan and follow the steps in your image production.
2 file organization: Open a Folder on the Scratch Disk of your computer with your name on it. Inside this folder open three others: one called image bank, another called projects and a final folder called final versions.
3 acquisition: At this stage you will be scanning images or collecting them from storage material or the Internet and saving them in your image bank folder. When scanning always scan at the highest optical resolution possible. Title the images using obvious and memorable titles and save these images in your image bank folder.
4 open, title and size a new project: Open a new project in Photoshop (File>New). Choose your mode (bitmap, grayscale, RGB, CMYK, lab colour), image size (preset or width, height, resolution) and contents (white, background colour, transparent).
5 selection/transformation/adjustment/combine: Return to your image bank and open the acquired and saved image files. Using the appropriate tools from the tool menu individually select, transform and adjust the material you want to include in the final image. This stage will take up most of your time as it involves the most time-consuming aspects of digital image production. After making the appropriate adjustments, resize the images proportionally, keeping the final picture in mind, and copy and paste the materials into different layers of your project file.
6 prepare and print the image: Once the basic elements are combined in the project file, place each layer according to your ‘maquette’ and make final adjustments to the image. Save two versions in your final versions folder: in .psd and TIFF formats (File>Save As). If you haven’t already flattened and/or sized your image for printing, do so now. Select and load your paper. Select your printer settings and profiles. Make a test print. Adjust as necessary. Make a final print.
2 file organization: Open a Folder on the Scratch Disk of your computer with your name on it. Inside this folder open three others: one called image bank, another called projects and a final folder called final versions.
3 acquisition: At this stage you will be scanning images or collecting them from storage material or the Internet and saving them in your image bank folder. When scanning always scan at the highest optical resolution possible. Title the images using obvious and memorable titles and save these images in your image bank folder.
4 open, title and size a new project: Open a new project in Photoshop (File>New). Choose your mode (bitmap, grayscale, RGB, CMYK, lab colour), image size (preset or width, height, resolution) and contents (white, background colour, transparent).
5 selection/transformation/adjustment/combine: Return to your image bank and open the acquired and saved image files. Using the appropriate tools from the tool menu individually select, transform and adjust the material you want to include in the final image. This stage will take up most of your time as it involves the most time-consuming aspects of digital image production. After making the appropriate adjustments, resize the images proportionally, keeping the final picture in mind, and copy and paste the materials into different layers of your project file.
6 prepare and print the image: Once the basic elements are combined in the project file, place each layer according to your ‘maquette’ and make final adjustments to the image. Save two versions in your final versions folder: in .psd and TIFF formats (File>Save As). If you haven’t already flattened and/or sized your image for printing, do so now. Select and load your paper. Select your printer settings and profiles. Make a test print. Adjust as necessary. Make a final print.
Monday, September 3, 2007
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