Art of Photography

LICEUL TEORETIC GRIGORE MOISIL - TULCEA ENGLISH CERTIFICATE PAPER
LUCIA ADINA VALS
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THE ART OF PHOTOGRAPHY
LUCIA ADINA VALS
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The Art of Photography

Contents
I.
Introduction/ argument..2
II.
History...3
a.
Evolution of the camera.
b.
Great photographers in time..
c.
Technical aspects...
III.
Modes of production..
IV.
How to be a good photographer.
V.
Conclusions ...
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I.
.Introduction
Photography is the science, art and practice of creating durable images by recording light or
other electromagnetic radiation, either electronically by means of an image sensor, or chemically by
means of a light-sensitive material such as photographic film.
Typically, a lens is used to focus the light reflected or emitted from objects into a real
image on the light-sensitive surface inside a camera during a timed exposure. With an electronic
image sensor, this produces an electrical charge at each pixel, which is electronically processed and
stored in a digital image file for subsequent display or processing. The result with photographic
emulsion is an invisible latent image, which is later chemically "developed" into a visible image,
either negative or positive depending on the purpose of the photographic material and the method of
processing. A negative image on film is traditionally used to photographically create a positive
image on a paper base, known as a print, either by using an enlarger or by contact printing.
Photography is employed in many fields of science, manufacturing (e.g. photolithography)
and business, as well as its more direct uses for art, recreational purposes, and mass communication.
II.
History
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Precursor technologies
Photography is the result of combining several technical discoveries. Long before the first
photographs
were
made,
Chinese
philosopherMo
Di and
Greek
mathematicians Aristotle and Euclid described a pinhole camera in the 5th and 4th centuries BCE. In
the 6th century CE, Byzantine mathematician Anthemius of Tralles used a type of camera obscura in
his experiments, Ibn al-Haytham (Alhazen) (9651040) studied the camera obscura and pinhole
camera, Albertus Magnus (11931280) discovered silver nitrate, and Georg Fabricius (151671)
discovered silver chloride. Techniques described in the Book of Optics are capable of producing
primitive photographs using medieval materials.
Daniele Barbaro described a diaphragm in 1566. Wilhelm Homberg described how light
darkened some chemicals (photochemical effect) in 1694. The fiction book Giphantie, published in
1760, by French author Tiphaigne de la Roche, described what can be interpreted as photography.
Plate photography
Invented in the early decades of the 19th century, photography by means of the camera seemed
able to capture more detail and information than traditional media, such as painting and
sculpture.Photography as a usable process dates to the 1820s with the discovery of chemical
photography. The first medium was photographic plate. The first permanent photoetching was an
image produced in 1822 by the French inventor Nicphore Nipce, but it was destroyed in a later
attempt to make prints from it.Nipce was successful again in 1825. In 1826 or 1827, he made
the View from the Window at Le Gras, the earliest surviving photograph from nature (i.e., of the image
of a real-world scene, as formed in a camera obscura by a lens).
Film photography
Hurter and Driffield began pioneering work on the light sensitivity of photographic emulsions in
1876. Their work enabled the first quantitative measure of film speed to be devised.
The first flexible photographic roll film was marketed by George Eastman in 1885, but this
original "film" was actually a coating on a paper base. As part of the processing, the image-bearing layer
was stripped from the paper and transferred to a hardened gelatin support. The first transparent plastic
roll film followed in 1889. It was made from highly flammable nitrocellulose ("celluloid"), now usually
called "nitrate film".
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Although cellulose acetate or "safety film" had been introduced by Kodak in 1908, [24] at first it
found only a few special applications as an alternative to the hazardous nitrate film, which had the
advantages of being considerably tougher, slightly more transparent, and cheaper. The changeover was
not completed for X-ray films until 1933, and although safety film was always used for 16 mm and
8 mm home movies, nitrate film remained standard for theatrical 35 mm motion pictures until it was
finally discontinued in 1951.
Films remained dominant form of photography until early 21st century when advances in digital
photography made them largely obsolete. Although 21st century is dominated by digital photography,
film continues to be used by enthusiasts and format lovers.
Black-and-white
All photography was originally monochrome, or black-and-white. Even after color film was
readily available, black-and-white photography continued to dominate for decades, due to its lower cost
and its "classic" photographic look. The tones and contrast between light and dark areas define blackand-white photography.[25] It is important to note that monochromatic pictures are not necessarily
composed of pure blacks, whites, and intermediate shades of gray, but can involve shades of one
particular hue depending on the process. The cyanotypeprocess, for example, produces an image
composed of blue tones. The albumen print process, first used more than 150 years ago, produces
brownish tones.
Many photographers continue to produce some monochrome images, sometimes because of the
established archival permanence of well-processed silver-halide-based materials. Some full-color digital
images are processed using a variety of techniques to create black-and-white results, and some
manufacturers produce digital cameras that exclusively shoot monochrome. Monochrome printing or
electronic display can be used to salvage certain photographs taken in color which are unsatisfactory in
their original form; sometimes when presented as black-and-white or single-color-toned images they are
found to be more effective.
Although color photography has become dominant, monochrome images are still produced
mostly for artistic reasons. Almost all the digital cameras have an option to shoot in monochrome.
Color
Color photography was explored beginning in the 1840s. Early experiments in color required
extremely long exposures (hours or days for camera images) and could not "fix" the photograph to
prevent the color from quickly fading when exposed to white light.
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The first permanent color photograph was taken in 1861 using the three-color-separation
principle first published by physicist James Clerk Maxwell in 1855. Maxwell's idea was to take three
separate
black-and-white
photographs
through
red,
green
and
blue filters.
This
provides
the photographer with the three basic channels required to recreate a color image. Transparent prints of
the images could be projected through similar color filters and superimposed on the projection screen,
an additive method of color reproduction. A color print on paper could be produced by
superimposing carbon prints of the three images made in their complementary colors, a subtractive
method of color reproduction pioneered by Louis Ducos du Hauron in the late 1860s.
Digital photography
In 1981, Sony unveiled the first consumer camera to use a charge-coupled device for imaging,
eliminating the need for film: the Sony Mavica. While the Mavica saved images to disk, the images were
displayed on television, and the camera was not fully digital. In 1991, Kodak unveiled the DCS 100, the
first commercially available digital single lens reflex camera. Although its high cost precluded uses
other than photojournalism and professional photography, commercial digital photography was born.
Digital imaging uses an electronic image sensor to record the image as a set of electronic data
rather than as chemical changes on film. An important difference between digital and chemical
photography
is
that
chemical
photography
resists photo
manipulation because
it
involves film and photographic paper, while digital imaging is a highly manipulative medium. This
difference allows for a degree of image post-processing that is comparatively difficult in film-based
photography and permits different communicative potentials and applications.
Digital photography dominates the 21st century. More than 99% of photographs taken around
the world are through digital cameras, increasingly through smartphones.
Synthesis photography
Synthesis photography is part of computer-generated imagery (CGI) where the shooting
process is modeled on real photography. The CGI, creating digital copies of real universe, requires a
visual representation process of these universes. Synthesis photography is the application
of analog and digital photography in digital space. With the characteristics of the real photography but
not being constrained by the physical limits of real world, synthesis photography allows to get away
from real photography.
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a) Evolution of the camera
19th century studio camera standing on tripod and using plates
Point-and-shoot box camera, the first type of mass-produced film camera, c. 1910s
Compact Kodak folding camera from 1922
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Leica-II, one of the first 135 film cameras, 1932
Contax
of
1949
the
first
pentaprism
Polaroid Colorpack 80 instant camera, c 1975
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SLR
Digital camera, Canon Ixus class, c. 2000.
Nikon D1, the first digital SLR used in journalism and sports photography, c. 2000
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Smartphone
with
built-in
camera
spreads
private
images
globally,
c.
2010
b) Great photographers in time

Top 1o most famous photographers of all time :
1)
Ansel Adams is probably the most easily recognized name of any photographer. His
landscapes are stunning; he achieved an unparalleled level of contrast using creative darkroom work.
You can improve your own photos by reading Adams own thoughts as he grew older, when he wished
that he had kept himself strong enough physically to continue his work.
2) Yousuf Karsh has taken photographs that tell a story, and that are more easily understood
than many others. Each of his portraits tells you all about the subject. He felt as though there was a
secret hidden behind each woman and man. Whether he captures a gleaming eye or a gesture done
totally unconsciously, these are times when humans temporarily lose their masks. Karshs portraits
communicate with people.
3)
Robert Capa has taken many famous war-time photographs. He has covered five wars,
even though the name Robert Capa was only the name placed to the photos that Endre Friedman took
and that were marketed under the Robert Capa name. Friedman felt that if you were not close enough
to the subject, then you wouldnt get a good photograph. He was often in the trenches with soldiers
when he took photographs, while most other war photographers took photos from a safe distance.
4) Henri Cartier-Bresson has a style that makes him a natural on any top ten photographer
list. His style has undoubtedly influenced photography as much as anyone elses. He was among the first
to use 35mm film, and he usually shot in black and white. We are not graced by more of his work, since
he gave up the craft about 30 years before he passed away. Its sad that there are fewer photographs by
Cartier-Bresson to enjoy.
5) Dorothea Lange took photographs during the Great Depression. She took the famous
photo of a migrant mother, which is said to be one of the best-known photographs in history. In the
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1940s, she also photographed the Japanese internment camps, and these photographs show sad moments
in American history.
6)
Jerry Uelsman created unique images with composite photographs. Being very talented
in the darkroom, he used this skill in his composites. He never used digital cameras, since he felt that his
creative process was more suited to the darkroom.
7) Annie Liebovitz does fine photographic portraits and is most well known for her work
with Vanity Fair and Rolling Stone magazine. Her photographs are intimate, and describe the subject.
Shes unafraid of falling in love with the people she photographed.
8) Brassa is the pseudonym for Gyula Halasz, and he was well known for his photographs
of ordinary people. He was proof that you dont have to travel far to find interesting subjects. He used
ordinary people for his subjects, and his photos are still captivating.
9)
Brian Duffy was a British photographer who shot fashion in the 1960s and 70s. He lost
his photographic interest at one time and burned many negatives, but then he began taking photos again
a year before he died.
10) Jay Maisel is a famous modern photographer. His photos are simple; he doesnt use
complex lighting or fancy cameras. He often only takes one lens on photo outings, and he enjoys taking
photos of shapes and lights that he finds interesting.
c) Technical aspects
The camera is the image-forming device, and photographic plate, photographic film or a silicon
electronic image sensor is the sensing medium. The respective recording medium can be the plate or
film itself, or a digital magnetic or electronic memory.
Photographers control the camera and lens to "expose" the light recording material to the
required amount of light to form a "latent image" (on plate or film) or RAW file (in digital cameras)
which, after appropriate processing, is converted to a usable image. Digital cameras use an electronic
image sensor based on light-sensitive electronics such as charge-coupled device (CCD) or
complementary metal-oxide-semiconductor (CMOS) technology. The resulting digital image is stored
electronically, but can be reproduced on a paper.
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The camera (or 'camera obscura') is a dark room or chamber from which, as far as possible, all
light is excluded except the light that forms the image. The subject being photographed, however, must
be illuminated. Cameras can range from small to very large, a whole room that is kept dark while the
object to be photographed is in another room where it is properly illuminated. This was common for
reproduction photography of flat copy when large film negatives were used (see Process camera).
As soon as photographic materials became "fast" (sensitive) enough for taking candid or
surreptitious pictures, small "detective" cameras were made, some actually disguised as a book or
handbag or pocket watch (the Ticka camera) or even worn hidden behind an Ascot necktie with a tie pin
that was really the lens.
The movie camera is a type of photographic camera which takes a rapid sequence of
photographs on recording medium. In contrast to a still camera, which captures a single snapshot at a
time, the movie camera takes a series of images, each called a "frame". This is accomplished through an
intermittent mechanism. The frames are later played back in a movie projector at a specific speed, called
the "frame rate" (number of frames per second). While viewing, a person's eyes and brain merge the
separate pictures together to create the illusion of motion.
Camera controls
In all but certain specialized cameras, the process of obtaining a usable exposure must involve
the use, manually or automatically, of a few controls to ensure the photograph is clear, sharp and well
illuminated.
Control
Focus
The
controls
usually
include
but
are
not
limited
to
the
following:
Description
The position of a viewed object or the adjustment of an optical device necessary to

produce a clear image: in focus; out of focus.
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Adjustment of the lens opening, measured as f-number, which controls the amount of light
Aperture
passing through the lens. Aperture also has an effect on depth of field and diffraction the
higher the f-number, the smaller the opening, the less light, the greater the depth of field,
and the more the diffraction blur. The focal length divided by the f-number gives the
effective aperture diameter.
Adjustment of the speed (often expressed either as fractions of seconds or as an angle,
with mechanical shutters) of the shutter to control the amount of time during which the
Shutter speed
imaging medium is exposed to light for each exposure. Shutter speed may be used to
control the amount of light striking the image plane; 'faster' shutter speeds (that is, those of
shorter duration) decrease both the amount of light and the amount of image blurring from
motion of the subject and/or camera. The slower shutter speeds allow for long exposure
shots that are done used to photograph images in very low light, including the images of
the night sky.
On digital cameras, electronic compensation for the color temperature associated with a
White balance
given set of lighting conditions, ensuring that white light is registered as such on the
imaging chip and therefore that the colors in the frame will appear natural. On
mechanical, film-based cameras, this function is served by the operator's choice of film
stock or with color correction filters. In addition to using white balance to register natural
coloration of the image, photographers may employ white balance to aesthetic end, for
example white balancing to a blue object in order to obtain a warm color temperature.
Measurement of exposure so that highlights and shadows are exposed according to the
Metering
photographer's wishes. Many modern cameras meter and set exposure automatically.
Before automatic exposure, correct exposure was accomplished with the use of a separate
light metering device or by the photographer's knowledge and experience of gauging
correct settings. To translate the amount of light into a usable aperture and shutter speed,
the meter needs to adjust for the sensitivity of the film or sensor to light. This is done by
setting the "film speed" or ISO sensitivity into the meter.
Traditionally used to "tell the camera" the film speed of the selected film on film cameras,
ISO speed
ISO speeds are employed on modern digital cameras as an indication of the system's gain
from light to numerical output and to control the automatic exposure system. The higher
the ISO number the greater the film sensitivity to light, whereas with a lower ISO number,
the film is less sensitive to light. A correct combination of ISO speed, aperture, and shutter
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speed leads to an image that is neither too dark nor too light, hence it is 'correctly
exposed', indicated by a centered meter.
On some cameras, the selection of a point in the imaging frame upon which the auto-focus
Autofocus
system will attempt to focus. Many Single-lens reflex cameras (SLR) feature multiple
point
auto-focus points in the viewfinder.
Expousure and rendering

Camera controls are interrelated. The total amount of light reaching the film plane (the
'exposure') changes with the duration of exposure, aperture of the lens, and on the effective focal length
of the lens (which in variable focal length lenses, can force a change in aperture as the lens is zoomed).
Changing any of these controls can alter the exposure. Many cameras may be set to adjust most or all of
these controls automatically. This automatic functionality is useful for occasional photographers in many
situations.
The duration of an exposure is referred to as shutter speed, often even in cameras that do not
have a physical shutter, and is typically measured in fractions of a second. It is quite possible to have
exposures from one up to several seconds, usually for still-life subjects, and for night scenes exposure
times can be several hours. However, for a subject that is in motion use a fast shutter speed. This will
prevent the photograph from coming out blurry.
The effective aperture is expressed by an f-number or f-stop (derived from focal ratio), which is
proportional to the ratio of the focal length to the diameter of the aperture. Longer lenses will pass less
light even though the diameter of the aperture is the same due to the greater distance the light has to
travel; shorter lenses (a shorter focal length) will be brighter with the same size of aperture. The smaller
the f/number, the larger the effective aperture. The present system of f/numbers to give the effective
aperture of a lens was standardized by an international convention. There were earlier, different series of
numbers in older cameras.
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If the f-number is decreased by a factor of 2, the aperture diameter is increased by the same
factor, and its area is increased by a factor of 2. The f-stops that might be found on a typical lens include
2.8, 4, 5.6, 8, 11, 16, 22, 32, where going up "one stop" (using lower f-stop numbers) doubles the
amount of light reaching the film, and stopping down one stop halves the amount of light.
Image capture can be achieved through various combinations of shutter speed, aperture, and film
or sensor speed. Different (but related) settings of aperture and shutter speed enable photographs to be
taken under various conditions of film or sensor speed, lighting and motion of subjects and/or camera,
and desired depth of field. A slower speed film will exhibit less "grain", and a slower speed setting on an
electronic sensor will exhibit less "noise", while higher film and sensor speeds allow for a faster shutter
speed, which reduces motion blur or allows the use of a smaller aperture to increase the depth of field.
For example, a wider aperture is used for lower light and a lower aperture for more light. If a
subject is in motion, then a high shutter speed may be needed. A tripod can also be helpful in that it
enables a slower shutter speed to be used.
For example, f/8 at 8 ms (1/125 of a second) and f/5.6 at 4 ms (1/250 of a second) yield the same
amount of light. The chosen combination has an impact on the final result. The aperture and focal length
of the lens determine the depth of field, which refers to the range of distances from the lens that will be
in focus. A longer lens or a wider aperture will result in "shallow" depth of field (i.e. only a small plane
of the image will be in sharp focus). This is often useful for isolating subjects from backgrounds as in
individual portraits or macro photography.
Conversely, a shorter lens, or a smaller aperture, will result in more of the image being in focus.
This is generally more desirable when photographing landscapes or groups of people. With very small
apertures, such as pinholes, a wide range of distance can be brought into focus, but sharpness is severely
degraded by diffraction with such small apertures. Generally, the highest degree of "sharpness" is
achieved at an aperture near the middle of a lens's range (for example, f/8 for a lens with available
apertures of f/2.8 to f/16). However, as lens technology improves, lenses are becoming capable of
making increasingly sharp images at wider apertures.
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Image capture is only part of the image forming process. Regardless of material, some process
must be employed to render the latent image captured by the camera into a viewable image. With slide
film, the developed film is just mounted for projection. Print film requires the developed film negative to
be printed onto photographic paper or transparency. Prior to the advent of laser jet and inkjet printers,
celluloid photographic negative images had to be mounted in an enlarger which projected the image onto
a sheet of light-sensitive paper for a certain length of time (usually measured in seconds or fractions of a
second). This sheet then was soaked in a chemical bath of developer (to bring out the image) followed
immediately by a stop bath (to neutralize the progression of development and prevent the image from
changing further once exposed to normal light). After this, the paper was hung until dry enough to safely
handle. This post-production process allowed the photographer to further manipulate the final image
beyond what had already been captured on the negative, adjusting the length of time the image was
projected by the enlarger and the duration of both chemical baths to change the image's intensity,
darkness, clarity, etc. This process is still employed by both amateur and professional photographers, but
the advent of digital imagery means that the vast majority of modern photographic work is captured
digitally and rendered via printing processes that are no longer dependent on chemical reactions to light.
Such digital images may be uploaded to an image server (e.g., a photo-sharing web site), viewed on a
television, or transferred to a computer or digital photo frame. Every type can then be produced as a hard
copy on regular paper or photographic paper via a printer.
A photographer using a tripod for greater stability during

long exposure. ->
Prior to the rendering of a viewable image, modifications
can be made using several controls. Many of these controls are similar to controls during image capture,
while some are exclusive to the rendering process. Most printing controls have equivalent digital
concepts, but some create different effects. For example, dodging and burning controls are different
between digital and film processes. Other printing modifications include:
Chemicals and process used during film development.
Duration of print exposure equivalent to shutter speed
Printing aperture equivalent to aperture, but has no effect on depth of field
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Contrast changing the visual properties of objects in an image to make them
distinguishable from other objects and the background
Dodging reduces exposure of certain print areas, resulting in lighter areas
Burning in increases exposure of certain areas, resulting in darker areas
Paper texture glossy, matte, etc.
Paper type resin-coated (RC) or fiber-based (FB)
Paper size
Exposure Shape resulting prints in shapes such as circular, oval, loupe, etc.
Toners used to add warm or cold tones to black-and-white prints
III.
Modes of production
Amateur
An amateur photographer is one who practices photography as a hobby and not for profit. The
quality of some amateur work is comparable to that of many professionals and may be highly
specialized or eclectic in choice of subjects. Amateur photography is often pre-eminent in photographic
subjects which have little prospect of commercial use or reward. Amateur photography grew during the
late 19th century due to the popularization of the hand-held camera.
Commercial
Commercial photography is probably best defined as any photography for which the
photographer is paid for images rather than works of art. In this light, money could be paid for the
subject of the photograph or the photograph itself. Wholesale, retail, and professional uses of
photography would fall under this definition. The commercial photographic world could include:
Advertising photography: photographs made to illustrate and usually sell a service or
product. These images, such as packshots, are generally done with an advertising agency, design firm or
with an in-house corporate design team.
Fashion and glamour photography usually incorporates models and is a form of

advertising photography. Fashion photography, like the work featured in Harper's Bazaar, emphasizes
clothes and other products; glamour emphasizes the model and body form. Glamour photography is
popular in advertising and men's magazines. Models in glamour photography sometimes work nude.
Crime scene photography consists of photographing scenes of crime such as robberies

and murders. A black and white camera or an infrared camera may be used to capture specific details.
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Still life photography usually depicts inanimate subject matter, typically commonplace
objects which may be either natural or man-made. Still life is a broader category for food and some
natural photography and can be used for advertising purposes.
Food photography can be used for editorial, packaging or advertising use. Food
photography is similar to still life photography, but requires some special skills.
Editorial photography illustrates a story or idea within the context of a magazine. These
are usually assigned by the magazine and encompass fashion and glamour photography features.
Photojournalism can be considered a subset of editorial photography. Photographs made

in this context are accepted as a documentation of a news story.
Portrait and wedding photography: photographs made and sold directly to the end user of
the images.
Landscape photography depicts locations.
Wildlife photography demonstrates the life of animals.
Paparazzi is a form of photojournalism in which the photographer captures candid images of
athletes, celebrities, politicians, and other prominent people.
Pet photography involves several aspects that are similar to traditional studio portraits. It can
also be done in natural lighting, outside of a studio, such as in a client's home.
The market for photographic services demonstrates the aphorism "A picture is worth a
thousand words", which has an interesting basis in the history of photography. Magazines and
newspapers, companies putting up Web sites, advertising agencies and other groups pay for
photography.
Many people take photographs for commercial purposes. Organizations with a budget and a
need for photography have several options: they can employ a photographer directly, organize a public
competition, or obtain rights to stock photographs. Photo stock can be procured through traditional stock
giants, such as Getty Images or Corbis; smaller microstock agencies, such as Fotolia; or web
marketplaces, such as Cutcaster.
Art
During the 20th century, both fine art photography and documentary photography became
accepted by the English-speaking art world and the gallery system. In the United States, a handful of
photographers, including Alfred Stieglitz, Edward Steichen, John Szarkowski, F. Holland Day, and
Edward Weston, spent their lives advocating for photography as a fine art. At first, fine art
photographers tried to imitate painting styles. This movement is called Pictorialism, often using soft
focus for a dreamy, 'romantic' look. In reaction to that, Weston, Ansel Adams, and others formed the
Group f/64 to advocate 'straight photography', the photograph as a (sharply focused) thing in itself and
not an imitation of something else.
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The aesthetics of photography is a matter that continues to be discussed regularly, especially in

artistic circles. Many artists argued that photography was the mechanical reproduction of an image. If
photography is authentically art, then photography in the context of art would need redefinition, such as
determining what component of a photograph makes it beautiful to the viewer. The controversy began
with the earliest images "written with light"; Nicphore Nipce, Louis Daguerre, and others among the
very earliest photographers were met with acclaim, but some questioned if their work met the definitions
and purposes of art.
Clive Bell in his classic essay Art states that only "significant form" can distinguish art from
what is not art.
There must be some one quality without which a work of art cannot exist; possessing which, in
the least degree, no work is altogether worthless. What is this quality? What quality is shared by all
objects that provoke our aesthetic emotions? What quality is common to Sta. Sophia and the windows at
Chartres, Mexican sculpture, a Persian bowl, Chinese carpets, Giotto's frescoes at Padua, and the
masterpieces of Poussin, Piero della Francesca, and Cezanne? Only one answer seems possible
significant form. In each, lines and colors combined in a particular way, certain forms and relations of
forms, stir our aesthetic emotions.
On 14 February 2004, Sotheby's London sold the 2001 photograph 99 Cent II Diptychon for an
unprecedented $3,346,456 to an anonymous bidder, making it the most expensive at the time.
Conceptual photography turns a concept or idea into a photograph. Even though what is depicted
in the photographs are real objects, the subject is strictly abstract.
Science and forensics
The camera has a long and distinguished history as a means of recording phenomena from the first
use by Daguerre and Fox-Talbot, such as astronomical events (eclipses for example), small creatures and
plants when the camera was attached to the eyepiece of microscopes (in photomicroscopy) and for
macro photography of larger specimens. The camera also proved useful in recording crime scenes and
the scenes of accidents, such as the Wootton bridge collapse in 1861. The methods used in analysing
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photographs for use in legal cases are collectively known as forensic photography. Crime scene photos
are taken from three vantage point. The vantage points are overview, mid-range, and close up.
By 1853, Charles Brooke had invented a technology for the automatic registration of instruments
by photography. These instruments included barometers, thermometers, psychrometers, and
magnetometers, which recorded their readings by means of an automated photographic process. Science
uses image technology that has derived from the design of the Pin Hole camera. X-Ray machine are
similar in design to Pin Hole cameras with high grade filters and laser radiation. Photography has
become ubiquitous in recording events and data in science and engineering, and at crime scenes or
accident scenes. The method has been much extended by using other wavelengths, such as infrared
photography and ultraviolet photography, as well as spectroscopy. Those methods were first used in the
Victorian era and improved much further since that time.
IV.
How to be a good photographer
How do I take better photos?

I was extremely lucky to have many talented and generous photographers take me under their wing
to show me the ropes. Without their valuable advice there is no way I would have become the
photographer I am today. Ironically, the number one question I now get asked as an Open producer is
How do I take better photos?
So along with some tips that Ive picked up over the years, Ive recruited some outstanding
snappers across Australia to share their own secret techniques about how they take their photos to the
next level.
1. Get in close
It was the famous photojournalist Robert Capa who once said If your photographs arent good
enough, youre not close enough. He was talking about getting in amongst the action. If you feel like
your images arent popping, take a step or two closer to your subject. Fill the frame with your subject
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and see how much better your photo will look without so much wasted space. The closer you are to the
subject, the better you can see their facial expressions too.
2. Shoot every day
The best way to hone your skills is to practice. A lot. Shoot as much as you can it doesnt really
matter what. Spend hours and hours behind your camera. As your technical skills improve over time,
your ability to harness them to tell stories and should too. Dont worry too much about shooting a certain
way to begin with. Experiment. Your style your voice will emerge in time. And it will be more
authentic when it does. Leah Robertson.
Leah Robertson is a super talented Melbourne based photographer and videographer, specialising
in music and documentary photography.You can see her work here.
3. See the light
Before you raise your camera, see where the light is coming from, and use it to your advantage.
Whether it is natural light coming from the sun, or an artificial source like a lamp; how can you use it to
make your photos better? How is the light interacting with the scene and the subject? Is it highlighting
an area or casting interesting shadows? These are all things you can utilise to make an ordinary photo
extraordinary.
4. Ask permission
When photographing people, especially while in countries with different cultures and languages, it
can be hard to communicate. In certain countries if you photograph someone you are not supposed to
photograph, it can get ugly and rough very quickly if you are not careful. So out of respect you should
always ask permission. I have started shooting a series of school children in Pakistan. These are all
posed portraits and they are looking down the lens. My guide helps me with the language and I limit
myself to smiling, shaking hands, giving hi-five and showing them the image on the back of my
camera once it is done. You would be amazed how quickly people open up. Andrea Francolini .
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Andrea Francolini is a well known Italian born, Sydney based sports photographer. He is also the
founder of My First School, as trust which has the aim to facilitate educations in Northern Pakistan. You
can see his work here.
5. Use flash during the day
You might think that you should only use flash at night time or indoors, but thats not the case at
all. If it is an extremely bright day outside and the sun is creating harsh shadows on your subject, switch
on your flash. By forcing extra light onto your subject, you will be able to fill in those ugly shadows and
create an even exposure.
6. ISO
There are questions to ask yourself when deciding what ISO to use:
What time of day are you shooting? If you are shooting outside during the middle of the day you
will need to use a lower ISO such as 100 or 200. If you are shooting at night time without a tripod you
will have to increase the ISO to a higher number to be able to record the light on the cameras sensor.
Will the subject be well lit? If your subject or scene is too dark you will need to use a higher ISO
such as 800 or 1600.
Do you want a sharp image or an image with more movement in it? Using a high shutter speed to
capture fast movement might mean that you need to use a high ISO to compensate. Likewise, if youre
using a slow shutter speed to capture blur you will need a low ISO to compensate.
Dont forget, increasing your ISO increases the grain or pixel size in your photo. So dont use an
ISO of 3200 or 6400 if you dont want a photo with a lot of digital noise.
7. f/4
f/4 is my go to aperture. If you use a wide aperture with a long lens (200mm-400mm) youre able
to separate the subject from the background. This helps them stand out. Works every time. Peter
Wallis
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Peter Wallis is a sports photographer extraordinaire, working for The Courier Mail in Brisbane.
You can see his work here.
8. Youve got to be joking
A well timed joke will always yield a more natural smile, than simply saying smile Dean
Bottrell
Dean Bottrell is a Emerald based photographer who specializes in portraiture. You can see his
work here.
9. Buy books, not gear
Having expensive camera equipment doesnt always mean that youll take good photos. Ive seen
some absolutely amazing images shot with nothing more than a smart phone. Instead of having ten
different lenses, invest in some fantastic photography books. By looking at the work of the masters, not
only do you get inspired, you come away with ideas to improve your own photos.
10. Read your cameras manual
The best way to know what to do with your camera is to actually read the manual. So many people
miss this really important step on their photographic journey. Every camera is different, so by reading
the manual youll get to know all the funky things its capable of.
11. Slow down
Take time to think about what is going on in the viewfinder before pressing the shutter. How are
you going to compose the shot? How are you going to light it? Dont jump straight in without giving it
some thought first. Brad Marsellos.
Brad Marsellos is the Wide Bay ber Open producer. You can see his photos, videos and musings
on life here.
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12. Stop chimping (checking the photo on the back screen)
Its a bad habit digital photographers can develop. Time and time again I see photographers take a
photograph and then look at the back of the screen straight away. By doing that you could miss all the
special moments. You can look at your photos later. You can miss the shot and it affects the flow of
your work, so just keep shooting! Marina Dot Perkins.
The lovely Marina Dot Perkins is a news, travel and wedding photographer who worked for The
Canberra Times and is now based in Newcastle.
13. Framing
This is a technique to use when you want to draw attention to something in your photograph. By
framing a scene or a subject, say with a window or an archway, you lead the viewers eye to the primary
focal point.
14. Shape with light
Never shoot with the sun directly behind you. It creates boring, flat light on the subject. If you
shoot with the light source to the side or behind the subject, you are able to shape with the light, creating
a more interesting photo. Patria Jannides
Patria is not only a talented news photographer, she is also my long term friend, mentor, and
personal cheer squad. She even helped me to land my first job as a paid photographer. Thanks for
everything P xxx
15. Watermarks
This tip isnt in direct relation to TAKING photos, but it does affect the look of photos. When it
comes to watermarks, the smaller the better. And if you can avoid using them, do.
Chances are, unless you are a paid professional, theres not much of a chance of your photos
getting nicked. But in reality, they wont prevent your images from getting stolen. They only distract
from the fabulous image that youve created, because once youve slapped a watermark all over it, thats
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all the viewer will be looking at. The only way you can prevent your images from being stolen is to not
publish them on the internet.
Read Open producer Luke Wongs blog post on watermarks here.
16. Be present
This means make eye-contact, engage and listen to your subject. With the eyes lower that camera
and be human. Bring the camera up for a decisive shot. But remember to lower it, like youre coming up
for air, to check in with your subject. Dont treat them like a science experiment under a microscope.
Being there with your subject shows them respect, levels the playing field in terms of power dynamics,
and calms them down. Youll get much more natural images this way. Heather Faulkner
Heather Faulkner is a photographer who convenes the ePhotojournalism major at QCA, Griffith
University. She is also the executive director of The Argus, a student-run, visual journalism online
magazine. See her personal work here.
17. Shutter speed
Being aware of your shutter speed means the difference between taking a blurry photo and a sharp
photo. It all depends on what you are after. If you are shooting a sporting event or children running
around in the backyard, you probably want your subjects to be in focus. To capture fast action you will
have to use a shutter speed over 1/500th of a second, if not 1/1000th to 1/2000th. On the opposite end of
the scale, you might want to capture the long streaks of a cars tail lights running through your shot.
Therefore you would change your cameras shutter speed to a long exposure. This could be one second,
ten seconds, or even longer.
18. Charge your batteries
This seems like a simple one, but pretty much every photographer on the face of the planet has
been caught out before. Including myself. The trick is to put the battery onto the charger as soon as you
get home from your photo shoot. The only thing then is to make sure you remember to put it back into
the camera after it has been recharged
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19. Focal length

Keep it simple. I shoot with two prime lenses and one camera; A 28mm and a 35mm. For
everything. I use the 35mm lens 70% and the 28mm lens 30% of time. It takes some time to get used to
it, but once you work it out, shooting primes is the only way to go. It means you have to work with what
you have and you cant be lazy. Basically, this means more pictures and less fiddling around with
zooming and maybe missing moments. It also helps for consistency. If youre working on a project or a
series, keeping the same focal lengths is a great way to maintain a powerful sense of consistency.
Justin Wilkes
Justin Wilkes quit his job in Sydney this year to cover the political and social change in post
revolution Egypt. He has since had his photographs published in The New York Times, TIME magazine,
and The Jakata Globe to name but a few. You can see his amazing documentary work here.
20. Be part of a photographic community

Like ABC Open! Not only will you be able to publish your photos for the rest of the country to see,
youll be part of an active group that offers feedback on how great you are going. You can learn new
things to help you improve your technique, and you might even make some new photography buddies.
Bibliography & Resources
1.
http://en.wikipedia.org/wiki/Photography
2.
http://www.picturecorrect.com/tips/top-10-most-famousphotographers-of-all-time/
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3.
http://petapixel.com/2014/01/24/40-tips-take-better-photos/
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Art of Photography

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LICEUL TEORETIC GRIGORE MOISIL - TULCEA ENGLISH CERTIFICATE PAPER

LUCIA ADINA VALS

THE ART OF PHOTOGRAPHY

LICEUL TEORETIC GRIGORE MOISIL - TULCEA ENGLISH CERTIFICATE PAPER

LUCIA ADINA VALS

THE ART OF PHOTOGRAPHY

LICEUL TEORETIC GRIGORE MOISIL - TULCEA ENGLISH CERTIFICATE PAPER

The Art of Photography

Evolution of the camera.

Great photographers in time..

How to be a good photographer.

LUCIA ADINA VALS

THE ART OF PHOTOGRAPHY

LICEUL TEORETIC GRIGORE MOISIL - TULCEA ENGLISH CERTIFICATE PAPER

THE ART OF PHOTOGRAPHY

LICEUL TEORETIC GRIGORE MOISIL - TULCEA ENGLISH CERTIFICATE PAPER

THE ART OF PHOTOGRAPHY

LICEUL TEORETIC GRIGORE MOISIL - TULCEA ENGLISH CERTIFICATE PAPER

LUCIA ADINA VALS

THE ART OF PHOTOGRAPHY

LICEUL TEORETIC GRIGORE MOISIL - TULCEA ENGLISH CERTIFICATE PAPER

LUCIA ADINA VALS

THE ART OF PHOTOGRAPHY

LICEUL TEORETIC GRIGORE MOISIL - TULCEA ENGLISH CERTIFICATE PAPER

a) Evolution of the camera

19th century studio camera standing on tripod and using plates

Compact Kodak folding camera from 1922

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THE ART OF PHOTOGRAPHY

LICEUL TEORETIC GRIGORE MOISIL - TULCEA ENGLISH CERTIFICATE PAPER

Leica-II, one of the first 135 film cameras, 1932

Polaroid Colorpack 80 instant camera, c 1975

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THE ART OF PHOTOGRAPHY

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Digital camera, Canon Ixus class, c. 2000.

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THE ART OF PHOTOGRAPHY

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b) Great photographers in time

THE ART OF PHOTOGRAPHY

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THE ART OF PHOTOGRAPHY

LICEUL TEORETIC GRIGORE MOISIL - TULCEA ENGLISH CERTIFICATE PAPER

The position of a viewed object or the adjustment of an optical device necessary to

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THE ART OF PHOTOGRAPHY

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THE ART OF PHOTOGRAPHY

LICEUL TEORETIC GRIGORE MOISIL - TULCEA ENGLISH CERTIFICATE PAPER

auto-focus points in the viewfinder.

Expousure and rendering

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THE ART OF PHOTOGRAPHY

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