the mind's eye: writings on photography and photographers pdf research

My OCA ID is 511892 and this is my Learning Log for the Documentary course. You should browse through these and augment them with your own list of readings and photographers. The world is in colour, so B&W is not an accurate depiction of most scenes. photography and on the landscape of place. Washington, DC: National Geographic, 2008. Below you will find each course description and a PDF link to a more detailed curriculum. The Mind’s Eye; writings on Photography and Photographers is a great primer into the philosophies of Henri Cartier – Bresson. Simplistically I divide the use of B&W photography into three broad phases: The first phase is easy to explain. However, this is a retrospective interpretation; as previously noted, B&W was all they had back in the day, so one can’t argue that the limited colour palette deliberately meant anything of the sort. Change ), You are commenting using your Twitter account. (1992) The Art of Black and White Photography . Colour film and processing was simply out of the question, far too pricey. Garrett, J. Cartier-Bresson, H. (1999) The Mind’s Eye: Writings on Photography and Photographers. There is one line in this section that gave me a lead: the brief portion on Gideon Mendel’s work includes the phrase “the blunt potency of his B&W work” (ibid: 39) and the word ‘potency’ got me thinking… more later. It’s a marvellous way of describing the more engaging, thoughtful experience of ‘processing’ B&W images. McCullin, D. (2003) Don McCullin. http://www.oca-student.com/sites/default/files/oca-content/key-resources/res-files/heuvel_discussingdocumentary.pdf (accessed 18/04/2016), http://fkmagazine.lv/2012/01/30/interview-with-anders-petersen/ (accessed 12/05/2016). I will try to articulate it here as well as I can: So there we have it: B&W is good for documentary photography because of its potency. But when you photograph people in black and white, you photograph their souls.” (Grant, source unknown). endstream endobj startxref New York: Aperture Foundation. This Photo is Not Just What It is: Reading the World Press Photo Debate . How did a medium with a significant and self-evident shortcoming in its resemblance to reality gain a reputation for, When B&W was the only or predominant medium, When both B&W and colour film were widely available, When digital photography overtook film photography, Historic: the sheer depth of B&W’s history gave it 100+ years of authority and gravitas that many will have found difficult to shake off, Inspirational (or nostalgic): many practitioners of the 1970s-90s were influenced by one or more earlier generations that they admired and/or studied in their formal photographic education, and sought to replicate the aesthetic (Garrett 1992: 7) – this phenomenon will eventually fade as the body of photographic work gets increasingly diluted with colour, Practical: professional photographers often came from a background of developing their own work, and B&W processing was accessible to the layman in a way that colour processing was not, Outlet preference: until the 1980s newsprint was wholly B&W, Oppositional: by the 1960s documentary photography had hardened its style into cliché: B&W, grainy, unposed, handheld 35mm – in diametric opposition to the garish, stylised, highly constructed colour of fashion and advertising – B&W’s existing claim to authenticity was strengthened because colour was now equated with ‘artifice’ (van den Heuven 2005), Colour is too ‘real’ – too much like a scene from life and therefore too much information to take in all at once, It goes beyond ‘removing distraction’ and into the more active. London: Random House. The Garrett quote above about concentration now makes sense and takes on a double meaning: because the meaning has been distilled down to a, An analogy: a good B&W photograph is like a well-written news report of an event, while a colour photograph is more like a verbatim transcript. Change ). In terms of symbolism, black and white do traditionally represent evil and good. ( Log Out /  [SEE SUBSEQUENTLY ADDED FOOTNOTE]. Black and white assists this concentration, for its artifice confronts the eye in a way that colour pictures often fail to do.” (Garrett 1992: 82). The key to my classroom, however, is to have my students thoroughly enjoy these processes so as to not seem like “work”. ( Log Out /  “To photograph is to hold one’s breath, when all faculties converge to capture fleeting reality. As a technology instructor, my main objective is to foster an environment where students not only expand their creative minds while learning about photography, inventions, applied engineering, or videography, but also to visualize their final result through innovative processes. Ed. Widely recognized as the father of modern photojounalism. London: Mitchell Beazley. Cartier-Bresson, Henri. Introduction to Photography: This course will focus on all aspects of digital photography, including editing in camera dedicated software and Photoshop. 0 The Mind's Eye: Writings on Photography and Photographers; Aperture: London, UK, 1999. This collection of essays is well-chosen by Aperture and provides the enthusiast, student and professional an insight into key moments of Cartier – Bresson’s life as a photographer and artist. This post has been brewing since the start of this section. endstream endobj 245 0 obj <>/Metadata 45 0 R/Pages 242 0 R/StructTreeRoot 94 0 R/Type/Catalog>> endobj 246 0 obj <>/MediaBox[0 0 612 792]/Parent 242 0 R/Resources<>/Font<>/ProcSet[/PDF/Text]/XObject<>>>/Rotate 0/StructParents 0/Tabs/S/Type/Page>> endobj 247 0 obj <>stream As John Garrett puts it, B&W is “an alternative way of seeing reality” (Garrett 1992: 9). One can make as many arguments as one likes about the advantages or distinctive qualities of B&W photography but the fact is that (barring niche colourisation techniques) the choice was non-existent. For this era the photographer had the choice, but ‘serious’ photographers, particularly in the documentary genre, chose B&W. What are the particular qualities of B&W photography that serve documentary photography well? Introduction to Videography: Once students have mastered the skills of still photography, they will move on to the world of video. There is lots on how it has been used, but virtually nothing on why – as in: And as a secondary question I’ve been pondering: The introduction to this section included a couple of phrases that interested me that have not been subsequently addressed: Virtually all of the statements in the course notes since that contain “B&W” would still make the same sense if it were removed; the distinctive nature of B&W photography is not coming through. Create a free website or blog at WordPress.com. a��U��Q� O���|@A���. I’m finding it odd and slightly frustrating that the course notes do not engage in any meaningful discussion about why B&W is sufficiently important to the documentary photography tradition. Step by step procedures illustrate how to use the camera and its functions. My eureka moment came with this experience of viewing the McCullin photographs. Some explanations offered for the superiority of B&W are quite poetic, like Robert Frank’s: “Black and white are the colors of photography. The hands-on projects presented help students develop and further refine basic photographic skills. Cartier-Bresson, H. (1999) The Mind’s Eye: Writings on Photography and Photographers. ( Log Out /  Change ), You are commenting using your Facebook account. Anders Petersen uses an interesting explanation of his preference for B&W: “In black and white you are not caught by the colours, you have your own fantasy and experiences and they are all in colours. Change ). The Life of a Photograph. Its early claim to authenticity makes sense when B&W photography is compared with what else was available at the time: a photograph, albeit one devoid of colour, is more ‘realistic’ than the vast majority of paintings, and it has the added advantage of being a representation of a real subject rather than the imagination of a painter. Garrett gets closest to explaining the power of B&W documentary photography with this (my emphasis): “The essence of successful reportage is to concentrate information and meaning in a single image. The following tabs represent the hard work – and dedication – of the many talented students in each of my classes. Appropriate hands-on experiences dealing with past, present, and future aspects of engineering will be a major component of this course. Michael L Sand. Research Methods for Business Students 7th Edition MOBI Methods for Business PDF ´ for Business Students 7th PDF \ Methods for Business Students 7th PDF or for Business Kindle Ò Research Methods eBook ¿ Research Methods for Business Studentshas been fully revised for this seventh edition and continues to be the market leading textbook in its field guiding … –Henri Cartier-Bresson, The Mind’s Eye: Writings on Photography and Photographers …Welcome and thank you for visiting my blog! The second phase is slightly more involved. On the one hand, it is intended as a visual exploration of the increasingly central role that mobile phones have in our everyday lives. This collection of essays is well-chosen by Aperture and provides the enthusiast, student and professional an insight into key moments of Cartier – Bresson’s life as a photographer and artist. I still hadn’t quite put my finger on it until I sat down with a good book of B&W documentary photography images to note their effect on my mind. Then there are the linguistic connotations of authenticity (“it’s there in black and white”) and simplicity (“it’s a black and white issue”) – which may have originated from written texts but transposed well onto photography, particularly documentary photography. Abstract. We could barely afford black and white! Students will concentrate on all aspects of technical video production, which include recording with mini camcorders and editing with iMovie software. Adams, Ansel. [���헚[��c�]��;���͈�fl���D��������~� The section on Exit Photography Group includes the sentence “The photographers felt that the truthfulness and visual authority of the medium would strengthen the message that they intended to convey.” (course notes: 36) but this ‘truthfulness and visual authority’ is left unexamined. Change ), You are commenting using your Twitter account. …Welcome and thank you for visiting my blog! 16. Photojournalism: The Professionals' Approach is the definitive book on photojournalism, delivering a blend of insightful interviews with professionals, practical techniques, and high-impact photographs. Great that you’ve explored this and provided your own answers. However, such attention to careful composition isn’t necessarily top of mind for the documentary photographer as it might be for practitioners in other genres. ( Log Out /  Boston: Little, Brown, 1983. h�b```e``�g`b`�� € "�,@�q�y������v+�� %Keg{'20H�DL�p1��8�T�tGC���M+��`=��9��d��0��y�*!�w���]Z L;�Dp@�� z����GpGj3����@糯���3�>T��e�0 Lk(( Adams, Ansel. Ansel Adams in Color I’m increasingly realising that on Level 2 you need to! To complicate matters further, Nabokov links the mechanisms of memory in both texts to those of colour photography, which first began to produce realistic results in the 1940s, as experiments with colour-sensitive dyes and layered emulsion began to bear fruit. h��Wmo�6�+�آ��NJ@���u�VM� �Aq4G�c�Z��~�)EV^;Pg��{��=�d�J��c�����c,Ei�Jh!�Ц,01B:bb�.q�0�$/�u� ����{9�����W8;�K�V�>a�x��\5�%���͢c��B��ᡜo�-�Y��Ĕ���%"K$�ԫ���w�@z:�g%O�������夭�Z. So unintentionally you add colours to the black and white photograph.” (FK Magazine, 2012). The Mind's Eye: writings on Photography and Photographers. The constraints and rationale of the past have fallen away and so the use of B&W is an artistic choice. Several months after writing this, I was contacted out of the blue by Paul Trevor, one of the Exit Photography Group: ” “As to their use of B&W, the course notes include the claim: “The photographers felt that the truthfulness and visual authority of the medium would strengthen the message that they intended to convey.” (course notes: 36) – yet maddeningly there is no credited source for this”. New York, N.Y.: n.p., 1999. h�bbd```b``� "{���d��� @���d����n�մ�ok��&4�D�b��_0 � Original submission Tutor feedback Response to feedback Printer-friendly PDF version Submission Joining the dots: … Into the philosophies of Henri Cartier – Bresson change ), you are commenting using your account. Eye ; Writings on Photography and Photographers Cartier-Bresson, H. ( 1999 ) the Art of black and white you... / change ), you are commenting using your Facebook account with this experience of viewing McCullin! 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