Ansel Adams
Ansel Adams was an American landscape photographer and environmentalist known for his black and white images of the American West.He was born on the 20th of February 1902 and died on the 22nd of April 1984.Adams helped found the anti-pictorialist Group f/64, an association of photographers advocating "pure" photography that favored sharp focus and the use of the full tonal range of a photograph.
Minor White
Minor White was an American photographer known for his meticulous black-and-white prints of landscapes, architecture, and men. White’s interest in Zen philosophy and mysticism permeated both his subject matter and formal technique.
Darren Almond
Darren Almond is a contemporary British artist. Working in a variety of media that includes photography, sculpture, and film, Almond addresses seriality and ephemera, exploring temporal themes such as the schedules of commuting and working.
Richard Wentworth
Wentworth was born in Samoa—then a province of New Zealand—in 1947. He studied art at Hornsey College of Art in North London from 1965, and then at the Royal College of Art where he was a contemporary of Zoë Wanamaker and Tony Scott.
Between 1971 and 1987, Wentworth taught at Goldsmiths College and his influence has been claimed in the work of the Young British Artists. From 2002 to 2010, Wentworth was 'Master of Drawing' at the Ruskin School of Drawing and Fine Art, Oxford University and was the head of the Sculpture department at The Royal College of Art, London from 2009 - 2011.
In August 2014, Wentworth was one of 200 public figures who were signatories to a letter to The Guardian opposing Scottish independence in the run-up to September's referendum on that issue.[1]
Between 1971 and 1987, Wentworth taught at Goldsmiths College and his influence has been claimed in the work of the Young British Artists. From 2002 to 2010, Wentworth was 'Master of Drawing' at the Ruskin School of Drawing and Fine Art, Oxford University and was the head of the Sculpture department at The Royal College of Art, London from 2009 - 2011.
In August 2014, Wentworth was one of 200 public figures who were signatories to a letter to The Guardian opposing Scottish independence in the run-up to September's referendum on that issue.[1]
Good
Bad
Ugly
Rule of thirds
he basic principle behind the rule of thirds is to imagine breaking an image down into thirds (both horizontally and vertically) so that you have 9 parts. As follows.
As you’re taking an image you would have done this in your mind through your viewfinder or in the LCD display that you use to frame your shot.
With this grid in mind the ‘rule of thirds’ now identifies four important parts of the image that you should consider placing points of interest in as you frame your image.
Not only this – but it also gives you four ‘lines’ that are also useful positions for elements in your photo.
The theory is that if you place points of interest in the intersections or along the lines that your photo becomes more balanced and will enable a viewer of the image to interact with it more naturally.
Studies have shown that when viewing images that people’s eyes usually go to one of the intersection points most naturally rather than the center of the shot – using the rule of thirds works with this natural way of viewing an image rather than working against it.
As you’re taking an image you would have done this in your mind through your viewfinder or in the LCD display that you use to frame your shot.
With this grid in mind the ‘rule of thirds’ now identifies four important parts of the image that you should consider placing points of interest in as you frame your image.
Not only this – but it also gives you four ‘lines’ that are also useful positions for elements in your photo.
The theory is that if you place points of interest in the intersections or along the lines that your photo becomes more balanced and will enable a viewer of the image to interact with it more naturally.
Studies have shown that when viewing images that people’s eyes usually go to one of the intersection points most naturally rather than the center of the shot – using the rule of thirds works with this natural way of viewing an image rather than working against it.
John Divola - Zuma
Framing
Although the physical subjects that John Divola photographs range from buildings to landscapes to objects in the studio, his concerns are conceptual: they challenge the boundaries between fiction and reality, as well as the limitations of art to describe life. John Divola is from Southern California, and his imagery often reflects that locale by including urban Los Angeles or the nearby ocean, mountains, and desert. Divola grew up in the San Fernando Valley, which he credits as having an impact on his development as an artist. He earned a BA from California State University, Northridge in 1971 and an MA from University of California, Los Angeles in 1973. In college, the new art movements that inspired him--Minimalism, Conceptualism, and Earthworks--were often not easily accessible, but encountered through photographic documentation. "I came to the conclusion that [photography] was the primary arena of contemporary art," Divola has said, "and that all painting and sculpture and performance was, from a practical point of view, made to be photographed, to be re-contextualized, and talked or written about." After earning an MFA from the University of California, Los Angeles in 1974, Divola developed his own combination of performance art, sculpture, and installation, with photography at its conceptual core.
The formal elements
Negative space
Negative space, in art, is the space around and between the subject of an image. Negative space may be most evident when the the space around a subject, not the subject its self, forms an interesting or artistically relevant shape, and such space occasionally is used to artistic effect as the real subject of an image.
Texture
close up abstraction
Three Favourite titles
Negative Space , Mould , Colour
Close up, Far away
Annotation
Look at the sentences below and use them when writing about your work and the work of other photographers
Introducing a task:
WWW
Subject matter
EBI:
Subject matter
What’s next
Analysis
What do you think the photographer’s intentions are? There may be more than one. ‘PEC’ each intention.
P (Photographer’s name) creates (what type of images? Fantastical, surreal, objective)
E He / she does this by… (describe something in the image)
C He/she wanted us to consider ….
What wider issues is the photographer addressing?
P (Photographer’s name) is considering (is the photographer talking about a bigger issue in photography, society, politics?)
E This is shown by … (describe something in the image)
C The (Photographer’s name) was interested in this issue because (they felt it was relevant to us now…)
How do the materials and techniques used support your photographer’s intentions?
P (Photographer’s name) has used (the darkroom / multiple exposure / film / digital manipulation techniques) in creating this work.
E This creates a ______ effect. (describe something in the image)
C This helps to support (Photographer’s name) point about (showing an identity / hiding a person’s identity / the media / anonymity)
Look at the sentences below and use them when writing about your work and the work of other photographers
Introducing a task:
- In this task I was required to…..
- This task links to the theme, (______) as it shows....
- My intention was to respond to_______ because I wanted to explore....
WWW
Subject matter
- The subject I chose to photograph suited the theme as it……
- My composition helped to support my response to the theme by….
- I managed the exposure very well. My ISO / shutter speed / aperture settings were…..
- I prioritised my shutter speed to… (capture movement / blur/ frozen moment)
- I prioritised aperture to manipulate depth of field.
- I used a tripod to avoid camera shake.
- My images express my intentions which were…
EBI:
Subject matter
- The subject I chose to photograph did not necessarily fit the brief as it was not interesting enough / appropriate / adequately lit…..
- Next time I should go to (a different location), photograph at a different time of day, organise people in advance, think more about my composition so that….. ect
- I did not create enough depth of field / sense of movement. The image is over exposed / underexposed / too blurred.
- Next time I should use a tripod / use a different type of lens (be specific) / experiment with film…
- My images do not show my intentions which were…
- The concept wasn’t clear in my images, I need to make it more explicit by…
What’s next
- Next time I will consider the work of (a photographer) to inspire a more accurate depiction of what I want to achieve.
- I will experiment further with… (blur / shutter speed / composition)
Analysis
What do you think the photographer’s intentions are? There may be more than one. ‘PEC’ each intention.
P (Photographer’s name) creates (what type of images? Fantastical, surreal, objective)
E He / she does this by… (describe something in the image)
C He/she wanted us to consider ….
What wider issues is the photographer addressing?
P (Photographer’s name) is considering (is the photographer talking about a bigger issue in photography, society, politics?)
E This is shown by … (describe something in the image)
C The (Photographer’s name) was interested in this issue because (they felt it was relevant to us now…)
How do the materials and techniques used support your photographer’s intentions?
P (Photographer’s name) has used (the darkroom / multiple exposure / film / digital manipulation techniques) in creating this work.
E This creates a ______ effect. (describe something in the image)
C This helps to support (Photographer’s name) point about (showing an identity / hiding a person’s identity / the media / anonymity)