shirttails: April 2018

Hanoi fish market weavers with conical fish baskets Huc bridge

* Remember that by the end of class today (Wednesday), I must have your 300 word biographical essay on your selected photojournalism, as well as your works cited!
By midnight tonight, send me along your power point or prezi link.
Tomorrow the presentations will begin. If you are absent when called-and do not have a listed legal absence- you will forfeit your opportunity to present.
Again...only the images on your presentation. Follow the graphic organizer to present to the class.
Be mindful of presentation skills: eye contact, body language / facing the audience, voice projection and most importantly, knowledge. If you understand the material, you will have no difficulty. The objective is to demonstrate that your understand the basics of photo composition. If you have adequately practiced the in class assignments, this should be a walk in the park.
The grading rubic is based upon the graphic organizer. If you forget something, I will prompt you.

Presentation order: alphabetical, unless anyone wants to move up.

Period 5

Period 7

Your session is about to time out in .

Photojournalist choices
Period 5 Period 7
Barlin- Altaf Qadri Daniel- Felice Beato
Kyra -Roy Decarava Darla- Steven Alvarez
Nye'Asia Simmons -Came Mae Weems Nashaly Helmut Newton
Shayla- Malin Fezehai Giorgia Walker Evans
Ingrid- Lee Miller Azana Melissa Springer
Emmett- Robert Capa Danisha Susan Meiselas
Melody- Robert Doisneay Tevanna George Ngondo
Michael - Manoocher Deghati Nadia Margaret Bourke-White
Quanae-Carol Guzy Ellie- Deborah Copaken Kogan
Gustin- Galen Rowek Claudia Sam Abel
Kevin - Eddie Adams Mia- Malin Fezehai
Anessa- Timothy Allen Diamond Eddie Adams
Michael Roman Vishniac
Carina-Sebastiao Salgado Helena Sebastiao Salgado
Tay'Von Sergio Durantes Remy Lynsey Addario
Javanse Eugene Smith
Katelyn- Zoriah Kiera Jim Richardson
Eileen- Sara Krulwich Sophia Sara Krulwich
Piper Corky Lee   Victoria Lois Bielefeld
Deja Alfred Eisenstadt Gianni- Spider Martin
Sara Jamal Shabazz Allayzia-Altaf Qadri
Carlos- Reza Deghat
Ty'johnna? Marcus Bleasdale
Jordan?
Melina-Rhadika Chalasani
Tahtiannah- Danny Lyons


Please read carefully!

If I have not received the Tuesday / Wednesday work, please complete prior to selecting your photojournalist.
(Thursday) Today is an exploratory day. Within the last 5 minutes of class, hand in a list of three photojournalists that you have written on the 3 x 5 card I give you.  I'll let you know which one is yours tomorrow The objective is not to have duplicates. If you have not made a selection, I will assign you one.
I will not accept your choices until the end of class!

1. Spend today exploring the works of the following photojournalists. The list is by no means exhaustive, so you might have some ideas of your own. As material can seemingly become copyrighted over night, make sure that you have access to the work.

2. Choose three that appeal to you and write down their names in order of preference. Write it on 3 x 5 card I'm handing you. (Don't forget to put your name on the card)

3. Tomorrow I'll post who you will be researching. There should be no duplicates. If you did not give me a name, I'll assign you one.

4. On Friday, Monday, Tuesday and Wednesday you will have time in class to research and organize your project, which will consist of:

a. Researching the biographical information on your journalist, noting significant influences in their work and philosophical perspectives. You must use five sources. Include correct citations at the close of your writing. (Forgot how to do this? ( http://www.citationmachine.net/mla

You will use this information to write a 300 word background report on your selected photojournalist.

SEND THIS TO ME BY THE CLOSE OF CLASS ON Wednesday, May 2, after which this is worth only 50 points, with the exception of those who receive extended time.

b. Creating a power point or Prezi presentation consisting of six slides: a title slide that includes an image of the photojournalist with his or her name and life dates and a quote from the photographer (that is all on this slide),   followed by 5 images taken by the journalist.
That is a total of 6 images....no more, the first being a picture of your photojournalist, with life dates and a quote, followed by 5 images that only contain the cutline. Only one image should be on a slide, not a compilations.

c. Class presentation. These will begin on Thursday, May 3.
With accompanying notes only (no reading from a text), you will give an historical overview of your journalist (slide 1) noting particularly the significance of their work. You will then review the five images you selected.

Your analysis point for each of your five images is as follows:

1) type of shot: close up, medium range, establishing

2) The organization of the photograph: rule of thirds, phi grid,

Fibonacci spiral

3) where / what is the light source

4) Two items within the photograph that impact the aesthetics of the photo and help convey the message of the image: low / high angle, depth of field, lines, pattern, texture, symmetry and placement of horizon line. You will be expected to explain why these are significant, not merely label.

5) Note power point attributes: NO WHITE BACKGROUNDS
                                               On the slide with the picture of the photographer, you must include a quote from the photojournalist.
                                                One very large image per slide and a cut line only.
                                                Remember that the point of a power point / prezi is to support you and your knowledge. Know your material and talk about it.
You may use notes, but should absolutely not read off a piece of paper. Engage the audience through your body language, eye contact and  voice. If you are prepared, this is very easy.

TIME FRAME SUMMARY:
So what and when does everyone need to turn in?

1. On Wednesday, May 2 send along your biographical paragraph with proper source citations. (See above.)

2. On Thursday, May 3 at the start of class, I will have a presentation list. Volunteers are always welcomed. If you are anticipating a field trip, plan to present before, as there may not be an opportunity after. There are no makeups for illegal absences.
2. When you present, turn in your graphic organizer, a copy of which is located at the end of this blog. Print out two copies of the filled-in organizer- one for me, another for your presentation. Reminder: you will not have access to a computer from Thursday through to the following Tuesday.

3. Again, on Thursday, May 3, you should be ready to share out your power point to the class.

Possible topic choices. If there is someone else you wish to research, please let me know.

1. Eddie Adams
2. Timothy Allen
3. Stephen Alvarez
4. Moahmed Amin
5. Pablo Bartholmew
6. Felice Beato
7. Marcus Bleasdale
8. Margaret Bourke-White
9. Mathew Brady
10. Dan Budnik
11. Pogus Caesar
12. Robert Capa
13. Joseph Costa
14. Paul Couvrette
15. Manoocher Deghati
16. Sergio Dorantes
17. Clifton C. Edom
18. Roger Fenton
19. John Harrington
20. Deborah Copaken Kogan
21. Andre Kertesz
22. Russell Klika
23. Danny Lyon
24. Don McCullin
25. Spider Martin
26. Enrico Martino
27. Susan Meiselas
28. Hansel Mieth
29. Lee Miller
30. James Nachtwey
31. Sara Krulwich
32. Lucian Perkins
33. Dith Pran
34. Altaf Qadri
35. Reza Deghati
36. Jim Richardson
37. James Robertson
38. Ingac Sechti
39. Josef Jindrich Sechtl
40. W. Eugene Smith
41. Melissa Springer
42. Juliea Tutwiler
43. Roman Vishniac
44. Zoriah
45. Jacob Riis
46. Carol Guzy
47. Corky Lee
48. Stan Honda
49. Walker Evans
50. Lewis Hine
51. Robert Doisneau
52. Manuel Alvarez Bravo
53. Alfred Eisenstadt
54. Roy DeCarava
55. Sebastio Salgado
56. Timothy O’Sullivan
57. Oscar Rejlander
58 Eadweard Muybridge
59 Helmut Newton
60. Ansel Adams
61. Dorothea Lange
62. Alfred Eisenstadt
63. Edward Steichen
64. Galen Rowell
65. George Ngondo
66. Henri Cartier Bresson
67. Jim Brandenberg
68. Robert Capa
69. Margaret Bourke-White
70. Sam Abell
71. Gordon Parks
72. James Vanderzee
73. Addison Scurlock
74. Eli Reed
75. Remi Ochlik
76. Radhika Chalasani
77. Thomas Allen Harris
78. James Van Der Zee
79. Carrie Mae Weems
80. Jamel Shabazz
81. Lynsey Addario
82. Malin Fezehai

Photojournalist project graphic organizer

Your Name_____________________________________

Photojournalist ___________________________________

Two-hundred word background information.	_ This was due by the close of class on Wednesday, May 2. I should have it.
Quote that accompanies the picture and life dates of your photojournalist	On this initial slide, you should include a large image of your photographer, a quote from the individual and life dates. Nothing more. Write the quote in this section.
Example photo slide 1: image	Include only the photo and cutline on the slide. Type of shot: Organization: Light Source: Two items: Photographer’s message
Example photo slide 2: image	Include only the photo and cutline on the slide. Type of shot: Organization: Light Source: Two items: Photographer’s message
Example photo slide 3: image	Include only the photo and cutline on the slide. Type of shot: Organization: Light Source: Two items: Photographer’s message
Example photo slide 4: image	Include only the photo and cutline on the slide. Type of shot: Organization: Light Source: Two items: Photographer’s message
Example photo slide 5: image	Include only the photo and cutline on the slide. Type of shot: Organization: Light Source: Two items: Photographer’s message

memento mori photography 4:29

At this time, you are responsible for the understanding and identifying the following:

1. composition: rule of thirds, phi grid and Fibonacci spiral
2. how a photographer employs lines, patterns, textures, depth of field (choice as to what is in focus) and symmetry as a communication tool within a photograph.
3. how camera angles convey dialogue and the relationship that the photographer wishes to communicate with the view
4. identify the horizon line
5. techniques to photograph landscapes, buildings and people / animals.

Now we are going to look at lighting. Below you will find general tips on lighting with examples. Take your time and review the following material on light. You are responsible for understanding the impact of the origin (position) and width (broad as opposed to narrow) source of the light and its impact on a subject.
Assignment: Please respond to the following questions based upon the reading. After the reading, there are ten images. Select five and explain where the lighting comes from and how it impacts the photo.
Questions:
1. What happens when light rays hit from several directions?
2. Why does the sun cast such a hard light, despite being over 93 million miles away?
3. How do clouds impact the diffusion of light?
4. So you want to make the those earring sparkle at the prom. What do you do?
5. What happens when you move your light source twice as far from your subject?
6. Why might you prefer side lighting when photographing a landscape?
7. What is a back lit portrait, and where is its light source?
8. What makes a picture have a 3-D look?

1. The broader the light source, the softer the light.

A broad light source lessens shadows, reduces contrast, suppresses texture.
This is because, with a broad source, light rays hit your subject from more directions, which tends to fill in shadows and give more even illumination to the scene.

Tip: When photographing people indoors by available light, move lamps closer to them or vice versa for more flattering light.

2. The closer the light source, the softer the light.

The farther the source, the harder the light. This stands to reason: Move a light closer, and you make it bigger—that is, broader—in relation to your subject. Move it farther away, and you make it relatively smaller, and therefore more narrow.

Think about the sun, which is something like 109 times the diameter of the earth—pretty broad! But, at 93 million miles away, it takes up a very small portion of the sky and hence casts very hard light when falling directly on a subject.

Tip: Materials such as translucent plastic or white fabric can be used to diffuse a harsh light source. You can place a diffuser in front of an artificial light, such as a strobe. Or, if you're in bright sun, use a light tent or white scrim to soften the light falling on your subject.

3. Diffusion scatters light, essentially making the light source broader and therefore softer.

When clouds drift in front of the sun, shadows get less distinct. Add fog, and the shadows disappear. Clouds, overcast skies, and fog act as diffusion—something that scatters the light in many directions. On overcast or foggy days, the entire sky, in effect, becomes a single very broad light source—nature’s softbox.

Bouncing light acts as diffusion

Tip: Crumple a big piece of aluminum foil, spread in out again, and wrap it around a piece of cardboard, shiny side out. It makes a good reflector that’s not quite as soft in effect as a matte white surface—great for adding sparkly highlights.

4. The farther the light source, the more it falls off— gets dimmer on your subject.

The rule says that light falls off as the square of the distance. That sounds complicated, but isn’t really. If you move a light twice as far from your subject, you end up with only one-quarter of the light on the subject.

In other words, light gets dim fast when you move it away— something to keep in mind if you’re moving your lights or your subject to change the quality of the light.

Also remember that bouncing light—even into a shiny reflector that keeps light directional— adds to the distance it travels.

Tip: If your subject is front lit by window light, keep the person close to the window to make the room’s back wall fall off in darkness. If you want some illumination on the wall, though, move the person back closer to it and away from the window.

5. .Front lighting de-emphasizes texture; lighting from the side, above, or below emphasizes it.

A portraitist may want to keep the light source close to the axis of the lens to suppress skin wrinkles, while a landscapist may want side lighting to emphasize the texture of rocks, sand, and foliage. Generally, the greater the angle at which the light is positioned to the subject, the more texture is revealed.

Tip: For spark in a back lit portrait or silhouette, try compositions that include the light source.

6. Side Light

Side light is light coming from the left or right of the subject. It was used by the masters of painting—Rembrandt used side light in his paintings to give the picture a three dimensional effect. When the light falls on one side of the subject, the other side is in shadow. The shadows are what give the picture a 3D look.

The monk walking past old wooden doors shows how shadow and light can create the contours that make the subject look three-dimensional.

Early mornings and late afternoons are great because the sunlight is more orange; the angle of the light is also more from the side, especially at sunrise and sunset. But also in the hours right after sunrise and the hours just before sunset, the light is not as harsh as in midday.

7. Back Lighting / Shadows create volume!

That’s how photographers describe three dimensionality, the sense of seeing an image as an object in space, not projected on a flat surface.

Again, lighting from the side, above, or below, by casting deeper and longer shadows, creates the sense of volume. Still-life, product, and landscape photographers use angular lighting for this reason.

Back lighting happens when the light source is behind the subject. This means that the light is directly in front of the camera, with the subject in between.

Tip: For spark in a back lit portrait or silhouette, try compositions that include the light source.

In cases of really bright light behind the subject, like in this shot of colorful spools of thread in by a window, the patterns created by the light and shadow make for an interesting picture.

Backlight can be used as highly diffused lighting.

Very few subjects are totally back

lit, that is, in pure silhouette, with no light at all falling from the front. A person with his back to a bright window will have light reflected from an opposite wall falling on him. Someone standing outside with her back to bright sunlight will have light falling on her from the open sky in front of her.

**************************************************************************************

From ten of the following images, select five and identify the origin(s) of the light and specifically how this impacts the message the photographer wishes to convey through the image. Your descriptions will suffice in my identifying the photo.