Assignment #3 Street Photography-The Decisive Moment

“You must milk the cow a great deal, to get enough milk, to make a little bit of cheese”

Henri Cartier-Bresson

There come certain moments in our lives when any number of forces (both those we can control and those we can’t) merge together.  Everything comes together as if fate had planned it that way.  To simplify this in a phrase; being in the right place at the right time.

The French photographer Henri Cartier-Bresson describes this sensation in his work as being “The Decisive Moment”.  A point in time and space when those forces (people, buildings, autos, animals, shapes, forms, weather etc.) arrange themselves in front of his camera to present a complete statement, both visually and emotionally.  Everything is revealed with perfect clarity.

But this is a very quick and fleeting moment.  The power created by all these forces dissolves as quickly as it arises.  Cartier-Bresson sees it as his responsibility as a photographer to be aware of such moments and to photograph them at precisely “the decisive moment”.

Your assignment, shoot at least 50 photos of these decisive moments you find in your world.  These are best found outdoors and in situations where there are lots of people around.  Use ISO 400 speed setting and try to use higher shutter speeds if your subjects are moving, around 250-500 of a second.

Carry your camera in the ready mode, that is pre-focused and the exposure controls adjusted for the lighting situation you are in.  Try concentrating on the three basic elements (time, space, and objects in space, like people).  Observe their interaction.  You skill will increase with practice and timing is everything.

Turn in a minimum of one print that best presents the idea of the decisive moment. The print may be of any size.

For more information, check out the works of Cartier-Bresson in the art and architecture library and the works of Elliot Erwitt and Gray Winnogrand two other photographers who deal with these elements.

Gary Winogrand

Critique for this assignment is

Assignment #2 part B Shutter Speed & Motion

The camera has the unique ability to freeze motion or to show an entire motion to the point where it is only a blur.  Both of these qualities can be used in a photograph in interpret movement as you would like it to be shown.

A few things to remember are:

1.  A higher shutter speed will be required to freeze motion when the motion is parallel to the film than when motion is toward the camera.

2.  If you are using a slow shutter speed, those less than 1/30 of a second, you should use a camera support.  A tripod is best, however you can brace the camera on a bench, a wall, or place it on the ground.

3.  Panning means to move the camera with the subject in motion.  This will allow you to freeze motion which is faster than your fastest shutter speed.  Panning requires practice, so try this a number of times.

 1. Make a series of exposures that show the effects of freezing motion with a high shutter speed.

 2. A series of exposures to imply motion using slow shutter speeds.

 3. Finally  a series of exposures that  demonstrate the use of panning technique.

 Remember that you must adjust the f stop to match the shutter speed you have selected to get a correct exposure.  You may find that you can not use a low or slow shutter speed in the bright sun, as there is too much light present.  In that case, you must go someplace where there is less light or wait till dusk.  The same is true of high shutter speeds, which often require you to open the lens to get enough light to make a correct exposure, this may not be possible indoors, for example.

Assignment 2 part A: Depth of Field & Focus

Depth of Field and Focus 

As you have learned in your lecture, depth of field is the area, from the near point to the far point, which will be in focus in your photograph.  This can be used in many ways to make your photograph have more impact, to isolate the subject from a distracting background or to give a photograph more apparent depth.  Just to review:

1.  Depth of field is directly related to the f stop which you use.  A small f stop like f 16 will give greater depth of field (more in focus), and a smaller f stop (like f 2.8) will make the depth of field shallower.

2.  When you want fairly accurate indications of depth of field, you should use the depth of field scale on you lens.

3.  Focusing on a subject close to the camera will give less depth of field than focusing on a subject farther away.

 Assignment:

1.  Make at least 2 photographs which show shallow depth of field.  Remember to use a wide f stop (like f 2.8).

2.  Make at least 2 photographs to show great depth of field.  Use a smaller

f stop (like f 16)

3.  Use the remaining images to show subjects in background out of focus,

objects in foreground out of focus, and other variations of use of limited and expanded focus.

DUE September 17

 Don’t forget, as you change the f stop, you must compensate the exposure by also changing the shutter speed.  In some cases, it will be too bright to use a open apeture like f 2.8, or too dark to use f 16.

by J.H. Lartigue

Assignment #1 Exposure Variation

In this assignment you will shoot a series of exposures and iso settings on your digital camera as follows:

1.  Set Colorspace to Adobe RGB
2.  Set Quality to RAW & jpg-large
3.  Set Mode to manual
4.  Now set ISO and expose images as follows:

-Shoot one subject at iso setting 100; 400; 800; 1600; Do this for 6 scenes for a total of 24 images.
-Shoot one subject at the normal or correct exposure, the one over and one under exposure for a total of three exposures per scene.

Do this for 12 scenes for a total of 36 images. All totaled 60 images.

This assignment is pass/fail, bring in one set of jpg images on a jump drive for in class review. Select best image for shoot and post on class blog.

Your fearless leader hard at work at Mardi Gras.

Welcome to Digital Photo I 1183 section 01

Prof. Stan Strembicki

Digital Photography I FL 2014 V1.1

ART 1183 section 01

Monday & Wednesday 8:30-11:30

08/25/14          class intro; exposure and camera set up; assignment #1-(over under)        

08/27/14          Lightroom 5 orientation/downloading images/basic adjustments

09/01/14          No WU classes-Take Photos Today!

09/03/14          Critique assignment #1-over under & assignment-The Color Image

09/08/14          Lecture for assignment #2-Motion and Focus

09/10/14          Lecture: Preparing files for output and printing in Lightroom 5

09/15/14          possible field trip weather permitting

09/17/14          Critique for assignment #2 Motion and Focus

09/22/14          Lecture for assignment #3 Street Photography/Decisive Moment

09/24/14          Lecture: Assignment #4 Environmental Portrait

09/29/14          Critique for #3 Street Photography/Decisive Moment assignment

10/01/14          Stan’s Life in Art lecture

10/06/14          Lecture: Electronic flash

10/08/14          Critique for #4 Environmental portrait

10/13/14          Lecture for #5 Still Life

10/15/14          no Stan-TBA  

10/20/14          Lecture for assignment #6 TBA

10/22/14          Lecture of assignment # 8 Night Photography & flash demo

10/27/14          TBA

10/29/14          Critique for #5 Still Life

11/03/14          Lecture for studio assignment  #7-studio portrait (J. Karsh; R. Avedon)

            & studio portrait lighting demo

11/05/14          Lightroom tool bar extra demo/lecture

11/07/14          Slides for Self portrait #9

11/10/14          Critique for Assignment #6 TBA

11/12/14          Critique for assignment # 7 Studio portrait

11/17/14          Lecture/Demo   Presentation, mounting & matting issues

11/19/14          Critique for assignment #8-Night photography

11/24/14          workday with Stan

11/28/14          Thanksgiving Break-no WU classes-labs closed

12/01/14          Critique for # 9 Self Portrait

12/03/14          workday

12/08/14          final portfolio due today

12/10/14          final exams begin                   

12/16/14          portfolios returned

Assignments:

1. Exposure and development
2. Motion and focus
3. Street Photography-decisive moment
4. Environmental portrait
5. Still Life
6. TBA-
7. Studio portrait
8. Night photography
9. Self portrait

Final Portfolios:

You are expected to shoot images, perform all lab work, and final presentation. Students who use other students’ prints or files without attribution are guilty of cheating and will be referred to the Associate Dean for further action, and fail the class. Final portfolios consist of 15-20 matted or mounted prints, printed to your highest standards.  Portfolio may include assignments, may be thematic, or may just have 15 of your best images.  All prints should be ready for presentation.  All prints must be in something that resembles a folder or case.  No trash bags or loose prints please.  Label all mats on rear with your name and class.

Attendance policy:

Students are expected to attend all classes, in case of medical excuse, students are responsible for supplying documentation to faculty.  Excessive absence  (five unexcused) will result in lowering of grade, one letter and seven unexcused, failure of class entirely.  Students should plan on arriving to class on time. Excessive tardiness will result in a lowering of the final grade.

Grading:

Work will be graded in two parts, 1) craft and technique, which refer to camera handling skills, and print quality and 2) concept and creative solution to assignment problem.

Final grade comprised of the following guidelines:

                                                                        25% assignment

25% attendance and class participation

                                                                        50% final portfolio

Grade values:

A+, A, A-: Superior work and effort. This grade level is for those who demonstrate and maintain strong, creative concepts, intellectual curiosity, focused work ethic, and courage to push beyond safe limits. They produce work consistently, and create technically and conceptually excellent work that is innovative and resolved. They actively participate in critiques, and show a high level of independence and motivation facilitating the studio community and their education.

B+, B, B-: Very good work and effort. This grade implies above average work,

participation/citizenship and demonstrates an effort beyond expectations to discovery in the process of developing a solid studio practice. The B student works hard but struggles with technique and process; or has good conceptual goals but does not put forth substantial skill/effort to communicate them effectively.

The B range student may be doing minimal outside research to develop ideas but makes use of the faculty/peer suggestions and dialogue.

C+, C, C-: Average work and effort. This grade indicates good attendance, completion of ideas, and some extra work. Adequate time spent in studio. The C student struggles with resolving projects in a coherent manner, or may struggle with the development of a consistent and rigorous studio practice. Their participation and initiative in critique settings and seminar is minimal, and they often fail to initiate peer/faculty feedback.

D+, D, D-: Unsatisfactory work. Often, these grades are earned through poor attendance, late work or not following directions.

F: Failing work.

Digital Etiquette:

This should go without saying, but let’s say it anyway: you should turn off your cell-phone and/or other devices (iPods, etc) before you enter the classroom. If your phone rings once during class this semester, we’ll all laugh and I’ll ask you to turn it off. If your phone rings again during class this semester, we’ll need to have a talk.

I understand that your phones connect you with your friends and family, but the classroom should be a place apart, however briefly, from the outside world. You will learn more, in short, if you can concentrate on the class while you’re in class. If you’re really into your phone to that extent, consider taking my class being scheduled for Spring 2015 “Cell Phones, Snapshots and the Social Network”, it’ll all be about the mobile device and making art.

Stan’s office number/voice mail:  935 8406

Stan’s cell 314 440 2894

Stan’s E mail address:  Strembicki@wustl.edu