Digital Photography 2017

Criticizing Photographs By Terry Barrett (Photographs and Contexts: Page 106-126)             This chapter explains that you need to know the context of photos (eg. who took, when taken, where, for what purpose) in order to accurately place them in categories. Context can be internal, original or external. Internal context is when you pay attention to the physical aspects of the photo; you look at the subject matter, the medium, the form and their relationship. You can tell the internal context of a photo just by observing it. Original context is when you know the background behind the photo. You know the meaning or situation or photographer and this context gives the photo much more depth. External context is where the photograph is found or how it is presented. Where a photo can be found affects its context (whether it is found in a magazine, advertisement, museum, etc.). Where a photo is found or its “channel of transmissi...

My photographer of choice is Kenro Izu. He was born in 1949 is Osaka, Japan and started working in New York in 1970. He is primarily a still life photographer who has travelled the world for his work. What interests me is the versatility in his work. He photographs landscapes, portraits and still life that all have their own unique qualities. I find all of his work especially beautiful and his style resonates with me. Some examples of his work includes: Kenro Izu  /  Sacred Within: Bhutan 1  /  2002  /  Platinum-Palladium Print Kenro Izu  /  Sacred Places: Egypt 107  /  1983  /  Gelatin Silver Print Kenro Izu  /  Still Life: Still Life 189  /  1992  /  Platinum-Palladium Print Kenro Izu  /  Blue: Still Life 851b  /  2001  /  Cyanotype Over Platinum-Palladium Print

Part 1 - Quality of Light Hard Light 1/60  5.6  ISO6400 Soft Light 1/40  5.6  ISO6400 Part 2 - Direction of Light Light from Above (Hard Light) 1/30  5.6  ISO6400 Light from Below (Hard Light) 1/30  5.6  ISO6400 Light from the Front (Soft Light) 1/40  5.6  ISO6400 Light from the Side (Soft Light) 1/40  5.6  ISO6400 Light from Behind (Hard Light) 1/30  5.6  ISO6400

Descriptive NASA, Iberian Peninsula at Night, 26 July 2014 https://www.nasa.gov/content/iberian-peninsula-at-night Accessed: 23 October 2017 This photo can be classified as descriptive as its only purpose is to demonstrate what the Iberian Peninsula looks light at night from space. Explanatory Etienne-Jules Marey, Movements in Pole Vaulting , 1885 http://www.diptyqueparis-memento.com/en/mareys-motionless-progress/ Accessed: 23 October 2017 This photo can be classified as explanatory as it explains what a pole vaulter looks like as he moving. It explains exactly how he jumps and the position of his body. Interpretive Tommy Ingberg, Stone Part I, Date Unknown http://www.photographyoffice.com/blog/2011/10/reality-rearranged-black-and-white-surrealist-photography-by-tommy-ingberg Accessed: 23 October 2017 This photo can be classified as interpretive as it is a su...

Complementary Colour 1/125  5.6  ISO800 Monochromatic Colour 1/60  5.6  ISO400 Patch of Colour 1/80  4.5  ISO200

Contrast 1/60  5.6  ISO800 Line 1/80  9.0  ISO400 Repetition 1/60  5.0  ISO1600 Rule of Thirds 1/80  4.5  ISO800 Shape 1/60  5.6  ISO400 Texture 1/60  5.6  ISO1600

Criticizing Photographs By Terry Barrett (Page 78-91)             In this section of Criticizing Photographs , Terry Barrett defines two more of the photographic categories: interpretive photographs, and ethically evaluative photographs. He defines interpretive photographs as photos that explain how things are, with the photographer finding personal and subjective interpretations. This makes interpretive photos different from explanatory ones, as they do not have to be scientifically accurate or prove a factual point. They are artistic interpretations where the photographer makes all of the specific choices. They give you an eye into the photographers mind and make you interpret their specific meaning.             Ethically evaluative photos are focused on creating thought or discussion about aspects of society. Many photographers choose to focus on topics such as war, ...

Depth of Field Part 1 - Focus Distance Close to Subject 1/320  5.6  ISO100 Far from Subject 1/320  5.6  ISO100 Depth of Field Part 2 - Aperture Shallow Depth of Field 1/400  5.6  ISO100 Deep Depth of Field 1/80  36  ISO800 Bonus Shallow Depth Field & 18mm Lens 1/400  3.5  ISO200  18mm Deep Depth of Field & 55mm Lens 1/60  22  ISO1600  55mm In the first photo, when I zoomed all the way out with the lens (to 18mm), I was able to see a more expanded background compared to the second photo. Also the depth of field was much more shallow in the first photo due to the lower number aperture. I honestly had a very hard time creating a second photo with a large number aperture and zoomed in lens (at 55mm). This was because none of the photos I took resulted in a composition that looked the same as t...