Sunday 31 August 2014

shoot outside school week 6

f/2.8, 1/250, ISO 100
Flash light, lidding lines, shadow and rule of third.
This photo I'm cutting out from a large photo, i just want give some warm light and get display there are two different color in this flow.

f/2.8, 1/80, ISO 125
Flash light, lidding lines and rule of third 
I am cutting this image from a large image, the flash light give this leave different shadow.

f/2.8, 1/250, ISO 200
Just a lot bit flash light for this flower, I want give the shadow and Lines translation.

f/2.8, 1/200, ISO 100



Tuesday 26 August 2014

Artists: week 6 one

Ernst Haas (1921–1986) is acclaimed as one of the most celebrated and influential photographers of the 20th century and considered one of the pioneers of color photography. Haas was born in Vienna in 1921, and took up photography after the war. His early work on Austrian returning prisoners of war brought him to the attention of LIFE magazine. He declined a job offer as staff photographer in order to keep his independence. At the invitation of Robert Capa, Haas joined Magnum in 1949, developing close associations with Capa, Henri Cartier-Bresson, and Werner Bishof.


Haas moved to the United States in 1951 and soon after, began experimenting with Kodachrome color film. He went on to become the premier color photographer of the 1950s. In 1953 LIFE magazine published his groundbreaking 24-page color photo essay on New York City. This was the first time such a large color photo feature was published by LIFE. In 1962 a retrospective of his work was the first color photography exhibition held at New York’s Museum of Modern Art.


 This is best photo i ever see in my life,the light, shadow, lidding lines and window like two photo join tegether.


After the frist photo, i am start looking for some photo like this. In this photo that light, the shadow, and lidding lines.

Sunday 24 August 2014

week 5 shooting outside school

f/8.0, 1/200, ISO 200
 Light the hair, Reflector and spot.


f/8.0, 1/200, ISO 200
The straight light from her left hand side, create a triangle spot on her right face.

f/10.0, 1/160, ISO 100
Complementary colors of sky and beach, lidding lines from the sun spot and rule of third.

f/13.0, 1/120, ISO 100
Lidding lines, shadow, rule of third and xiece light.

Thursday 21 August 2014

Artists: week 5 two

Wolfgang Tillmans



Color, lidding line, different items and light.



Light, lines and color.

Wolfgang Tillmans was born on 16th August in Remscheid, Germany. He lived and worked in Hamburg at the end of the 1980s before moving to England. He studied at Bournemouth and Poole College of Art from 1990 to 1992.
Tillmans is mainly known for his use of multiple photographic genres and his unique gallery presentations and his practice has also extended to video.
Since the mid-1980s, Wolfgang Tillmans has reinterpreted representational genres from portraiture to still life to landscape through the medium of photography. He employs a presentational practice that engages the dynamics of space, varying the size of his photographs based on the specific spatial setting of a venue and producing them as large inkjet prints and c-type-prints in multiple sizes. First recognized in the early 1990s for photographs of friends and street subculture he has developed a highly distinctive style of image making that freely embraces a broad range of subjects—from experiences of the everyday, the homo-erotic snapshot, to abstractions that result from experiments with the photographic process.
His exhibition strategies are unique and distinctive, and have changed the way in which photographic images are read and received in the exhibition context. An aspect of his artistic practice is to assume a curatorial role—he creates configurations with his photographs that draw formal, symbolic and ephemeral connections. His installations encourage active audience engagement and ask viewers to consider their own experiences within Tillmans’ visual world.
One of Tillmans' other chief modes of presentation is through the book form, and his numerous collections (see bibliography below) offer both extended studies of specific artistic interests such as in the book Concorde, while other books function in a way similar to his gallery installations and include images from several bodies of work. Tillmans won the Turner Prize in 2000. He is the first artist working with photography at the center of his practice to have won the Turner Prize and as well the first non-British citizen to have done so.
Since 2006 Wolfgang Tillmans has run a exhibition space below his studio in London called Between Bridges.

Artists: week 5 one


WILLIAM EGGLESTON’S SHIT!


American master of analog color photography William Eggleston shot this photo of his camera bag for the June issue of the Wall St Journal. This retrofitted leather number is just one of his three camera-filled bags. This one contains 13 different Leica cameras and a few Canons. Photography is expensive.

In this photo had so many lines and a lot money for this much camera.



I like this photo very much, the light from this photo was the best.

Tuesday 19 August 2014

DT1 week 5 exercises

 Use the magnetic tool to select the figure in this image, delete the background and replace with a color that compliments the colors in the figure.
 Change the open eyes to close eyes, with magnetic tool.
 Use the quick selection tool to make selection of the sky. Using the lasso tool , changing to darken sky.
Delete the background and replace with a color that compliments the colors in the figure.

Thursday 14 August 2014

week 4 shooting outside school


  • Aperture:  ƒ/2.8
  • Camera: Canon 5Diii
  • Taken: 15 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 100
  • Shutter speed: 1/125
After change the background at Camera Raw to all black, i just want showing the light, that the feeling in the dark night of sky. There are flying in the dream.
  • Aperture:  ƒ/2.8
  • Camera: Canon 5Diii
  • Taken: 15 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 250
  • Shutter speed: 1/60
Why I'm chocie this photo, because the different of the green color in this photo, and make the lizard is outstanding.

Tuesday 12 August 2014

DT 1 Artists week 3 two

Chantal Faust
born Australia 1980
Lap Milk
2007
Chromogenic print
80.0 x 58.0 cm
Collection of the artist
© courtesy of the artist
 Chantal Faust
born Australia 1980
Waiting
2007
Chromogenic print
80.0 x 58.0 cm
Collection of the artist
© courtesy of the artist

“Drawing on MGA’s collection of Australian photographs, Photographic abstractions highlights the work of 33 Australian artists who use photography to achieve abstract effects. Ranging from modernist geometric abstraction and the psychedelic experiments and conceptual projects of the 1970s, through to recent explorations of pixelated pictorial space, this exhibition surveys a rich history of abstract Australian art photography. Photography is traditionally recognised for its ability to depict, record and document the world. However, this exhibition sets out to challenge these assumptions. As co-curator of the exhibition and MGA Curator Stephen Zagala states, “The artists in this exhibition are less concerned with documenting the world and more interested in engaging the senses, exciting the imagination and making the ordinary appear extraordinary.”
Some artists have eliminated the camera altogether, preferring the effects that can be achieved with photograms and digital scans. Other artists have experimented with multiple exposures, mirrored images, irregular lenses and the printing of the usually discarded stubs of negatives. Co-curator and MGA Curatorial Assistant Stella Loftus-Hills says, “Photography has always been tied to abstraction. Some of the first photographs ever produced were abstract and subsequent photographers have sought out abstract compositions in their work.”
One highlight of the exhibition is a selection of works by the iconic Australian photographer David Moore, who experimented with abstract photography alongside his more well-known figurative work. In Moore’s Blue collage (1983) the process of cutting bands of colour from existing photographs to create a new composition celebrates the artist’s imagination above and beyond the camera’s ability to capture content.
Artists include Andrew Browne, John Cato, Jo Daniell, John Delacour, Peter Elliston, Joyce Evans, Chantel Faust, Susan Fereday, Anthony Figallo, George Gittoes, John Gollings, Graeme Hare, Melinda Harper, Paul Knight, Peter Lambropoulos, Bruno Leti, Anne MacDonald, David Moore, Grant Mudford, Harry Nankin, Ewa Narkiewicz, John Nixon, Rose Nolan, Jozef Stanislaw Ostoja-Kotkowski, Robert Owen, Wes Placek, Susan Purdy, Scott Redford, Jacky Redgate, Wolfgang Sievers, David Stephenson, Mark Strizic and Rick Wood.”

DT 1 Artists week 3 one

Usually when I see an artist (particularly student artists) working with collage I can’t quite shake off the feeling that they’re being lazy.
I’m sure this stems from far too many camp collaging experiences where we just smothered the covers of our journals with chopped up magazines and modge podge, and I also have the nagging feeling that it’s because many of my peers actually are being lazy (I’ve seen far too many half-baked collages thrown together hours before a critique). Collage always struck me as something that may turn out looking wonderful but often lacking in meaning and depth. Appropriating the work of others as the only means of expression in your artwork feels too similar to so many Tumblrs with collage acting as the art world’s reblogging feature.
So when I see Martha Rosler’s work I’m always pleasantly surprised. It goes against all of my preconceived notions about collage (which I’m working on. Sorry to all of those out there who love collage, I’m sure your work is wonderful!). Her work has an emotional value that it might not have in any other medium. By using pre made images Rosler is manipulating the work of popular society into a form of social activism. For example, in her most well known series, Bringing the War Home: House Beautiful, Rosler appropriates images found in homemaking women’s magazines of the period and juxtaposes them with violent imagery from the Vietnam war.

 "First Lady (Pat Nixon)" (1967-72)
"Cleaning the Drapes" (1967-72)

Interestingly, Rosler has reprised this body of work, applying the same method of juxtaposition to images from current American women and lifestyle magazines and the war in Iraq. Some critics feel that this shows a lack of imagination and innovation on Rosler’s part, but others (including myself) find it interesting that Rosler is examining today’s events and today’s media imagery with the same eye as in the late 60′s and early 7o’s. The similarities between the two series of images is uncanny. The two bodies of work seem to meld together, and barring the advances in technology could be part of the same set of work.

Monday 11 August 2014

Artists: week 4 two

Karl Blossfeldt (June 13, 1865 – December 9, 1932 - age 67) was a German photographer, sculptor, teacher, and artist who worked in Berlin, Germany. He is best known for his close-up photographs of plants and living things, published in 1929 as, Urformen der Kunst, He was inspired, as was his father, by nature and the way in which plants grow. He believed that 'the plant must be valued as a totally artistic and architectural structure.
Blossfeldt made many of his photographs with a homemade camera that could magnify the subject up to thirty times its size, revealing details within a plant's natural structure. Appointed a teaching post at the Institute of Royal Arts Museum in 1898 (and where he remained until 1930), he established an archive for his photographs. Blossfeldt never received formal training in photography. Blossfeldt developed a series of homemade cameras that allowed him to photograph plant surfaces in unprecedented magnified detail. This reflected his enduring interest in the repetitive patterns found in nature's textures and forms.

Ranke der weißen Zaunrübe 
(39,5 x 27,5 cm)
2011

 Samenkapsel der Blumenbachia
( 39,5 x 27,5 cm)
2012

Kohlkratzdistel 
 (39,5 x 27,5 cm)
2012


Artists: week 4 one

I have looked at the work of László Moholy-Nagy he was born in Hungary,  and began to study law before joining the Austro-Hungarian army at the outbreak of World War 1. Although he had already begun to draw, it was during the war that  he turned to it in a serious manner producing hundreds of sketches in 1917 he was wounded and had a long convalescence he then began thinking seriously about becoming an artist. He worked with many different techniques and media, such as painting, photography, sculpture, film and graphics and explored the relationships between light and colour  In his abstract paintings,  gaining his inspiration  from the Russian avant-garde: Constructivism, the Suprematists Malevich and Lissitzky. Moholy-Nagy became  interested in photography after meeting Lucia Schultz, a talented photographer who he later married. 
He was interested in painting with light, and the techniques used to create an image. He was one of the first artists to experiment with photograms, these were images made without using a camera. He placed every day objects between a sheet of light-sensitive paper and a light source to create abstract shadow images. He also worked with photomontage,  cutting images out of  newspapers and magazines to create a new picture. He would draw and paint  these montages, and then photograph them joining the components into an image that could be reproduced from a negative. He called these photomontages “photoplastics”* to emphasise that it is the light that shaped the image. 

Moholy-Nagy  used a portable miniature camera to explore how photography through its ability to record forms can change and renew our perception of the everyday. Lines, patterns and shapes dominate his black-and-white photographs of the world and make us perceive reality afresh. He liked to use unusual camera angles – often taking the pictures from a bird’s or a worm’s eye view – as well as shadows and negative photos – in which the photographic negative is itself presented as the photograph.He made a number of documentary films between 1930 and 1946 giving life and movement to his photography.he died i 1946  at the age of 51


Here  is some of the work by Moholy-Nagy that I enjoyed viewing
 I love the angle of view along with the angles and lines, that has a great use of light and shape shown in the reflection.
 
I have spent the past couple of weeks looking for lines and curves as part of my assignment, so was fascinated to see the amount of detail in this image with all the lines, curves and added atmosphere created by the use of light

Sunday 10 August 2014

DT1 Week 4 ecercise

Pull the texture photo on the photo shooting last week. and create a layer mask and use the brush tool make the texture photo only on her face.
  • Aperture:  ƒ/2.8
  • Camera: Canon 5Diii
  • Taken: 07 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 100
  • Shutter speed: 1/80
Using the B&W adjustment layer make this image B&W, create a layer mask and choose an area of my photo to pull back in.
  • Aperture:  ƒ/2.8
  • Camera: Canon 5Diii
  • Taken: 07 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 100
  • Shutter speed: 1/80

Saturday 9 August 2014

Week 3 exercise

  • Aperture:  ƒ/22.0
  • Camera: Canon 5Diii
  • Taken: 09 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 100
  • Shutter speed: 30's

  • Aperture:  ƒ/22.0
  • Camera: Canon 5Diii
  • Taken: 09 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 1000
  • Shutter speed: 30's
  • Aperture:  ƒ/22.0
  • Camera: Canon 5Diii
  • Taken: 09 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 100
  • Shutter speed: 30's

Week 3 shooting outside school

  • Aperture:  ƒ/8.0
  • Camera: Canon 5Diii
  • Taken: 07 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 500
  • Shutter speed: 1/40
  • Aperture:  ƒ/2.8
  • Camera: Canon 5Diii
  • Taken: 07 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 100
  • Shutter speed: 1/50
  • Aperture:  ƒ/2.8
  • Camera: Canon 5Diii
  • Taken: 07 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 200
  • Shutter speed: 1/80
  • Aperture:  ƒ/2.8
  • Camera: Canon 5Diii
  • Taken: 07 Aug, 2014
  • Focal length: 24mm-70mm
  • ISO: 200
  • Shutter speed: 1/80

Tuesday 5 August 2014

DT 1 Week 3 exercise


  • Aperture:  ƒ/2.8
  • Camera: Canon 5Diii
  • Taken: 28 July, 2014
  • Focal length: 24mm-70mm
  • ISO: 400
  • Shutter speed: 1/8000
Resize and save as jpg



  • Aperture:  ƒ/13
  • Camera: Canon 5Diii
  • Taken: 31 July, 2014
  • Focal length: 24mm-70mm
  • ISO: 2500
  • Shutter speed: 1/100
 Vantage point, fore/mid/background and leading lines.
colour correct and sharpen using camera raw 
convert this image to B&W using Camera Rw
Resize to a small jpg

  • Aperture:  ƒ/13
  • Camera: Canon 5Diii
  • Taken: 31 July, 2014
  • Focal length: 24mm-70mm
  • ISO: 2500
  • Shutter speed: 1/100
Vantage point
B&W
Resize to a small jpg

Artists: week 3 two







Today one of those rarest of creatures from the olden days: a female photographer. The name Cunningham is well known and at first I believed I would yet again be reviewing the work of a man – until I saw the actual images. The softness and elegance are unmistingly femine and the dreamlike nature of some of her florals and nudes are refreshing and sensitive.
Imogen Cunningham was born on the 12th of April, 1883 in Portland, Oregon as one of ten children. In 1901, at the age of 18, Cunningham bought her first camera, a 4×5 inch view camera. She soon lost interest and sold the camera to a friend. It wasn't until 1906, while studying at the University of Washington in Seattle, that she was inspired by an encounter with the work of Gertrude kasebier to take up photography again. With the help of her chemistry professor, Dr. Horace Byers, she began to study the chemistry behind photography; she subsidized her tuition by photographing plants for the botany department.
After graduating in 1907 she went to work with Edward S. Curtis in his Seattle studio. This gave Cunningham the valuable opportunity to learn about the portrait business and the practical side of photography. In 1909, Cunningham won a scholarship from her sorority (Pi Beta Phi) for foreign study and, on advice from her chemistry professor, applied to study with Professor Robert Luther at the Technische Hochschule in Dresden, Germany. In Dresden she concentrated on her studies and didn’t take many photos. In May 1910 she finished her paper, “About the Direct Development of Platinum Paper for Brown Tones”, describing her process to increase printing speed, improve clarity of highlights tones and produce sepia tones.
Once back in Seattle she opened her own studio and won acclaim for portraiture and pictorial work. Most of her studio work of this time consisted of sitters in their own homes, in her living room, or in the woods surrounding Cunningham’s cottage. She became a sought after photographer and exhibited at the Brooklyn Academy of Arts and Sciences in 1913. Her portraits were shown at “An International Exhibition of Pictorial Photography” in New York and a portfolio of her work was published in Wilson’s Photographic Magazine.
The next year she married Roi Partridge, an etcher and artist, who she would come to divorce in 1934. He posed for a series of nude photographs, which were shown by the Seattle Fine Arts Society. They had three children (Gryffyd, Rondal, and Padraic) and in 1920 they left Seattle for San Francisco. There, Cunningham refined her style, taking a greater interest in pattern and detail as seen in her works of bark textures, trees, and zebras. Cunningham became increasingly interested in botanical photography, especially flowers, and between 1923 and 1925 carried out an in-depth study of the magnolia flower. Later in the decade she turned her attention towards industry, creating several series of industrial landscapes throughout Los Angeles and Oakland.
In 1929, Edward Weston nominated 10 of Cunningham’s photos (8 botanical, 1 industrial and 1 nude) for inclusion in the “Film und Foto” exhibition in Stuttgart. Cunningham once again changed direction to become more interested in the human form, particularly hands (and a further fascination with the hands of artists and musicians) which led to her employment by Vanity Fair, photographing stars without make-up or false glamour. In 1932, with this unsentimental, straightforward approach in mind, Cunningham became one of the co-founders of the group f 64, which aimed to “define photography as an art form by a simple and direct presentation through purely photographic methods”.
In the 1940s Cunningham turned to documentary street photography which she did as a side project while supporting herself with her commercial and studio photography. In 1945, Cunningham was invited by Ansel Adams to accept a position as faculty at the first fine art photography department at the California School of Fine Arts (CSFA).