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| A photograph in which there appears to be little or no visual resemblance to the subject. |
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| taking an image from its original context and using it for another purpose. |
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| A lack of sharpness in a photograph caused by incorrect focus either during exposure in the camera or during enlargement. |
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| photographic journal, founded by stieglitz. went through 50 issues. most reproductions were printed separately on fine papers and hand-tipped into the magazine |
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| merging of two or more negatives into a single print |
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| (to glue). combining different visual materials, photographic or not, on a common support. |
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| describes a photograph that displays an incrememnt of tonal change from the darkest possible tone to the lightest possible tone-a gradation of grays bewteen black and white |
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| associated with 35mm street photography. associated with henri cartier-bresson. |
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| the area in front and behind the plane of critical focus in a photograph that is acceptably sharp. |
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| Photographs made to record or interpret a subject, often with a preconceived viewpoint or purpose in mind. |
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| Making more than one exposure on a single negative in a camera. |
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| A term first used by Alfred Stieglitz referring to a photograph used as a visual metaphor. In other words: showing one thing in a photo but symbolizing another |
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| organized by edward steichen in moma. 500 photographs from sixty country. wanted to illustrate the "essential oneness of mankind throughout the world" |
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| the distance from the center of a lens to the point where light passing through the lens come into focus |
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| standard black and white photographic print |
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| Instantaneous Photography |
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| A term used in the 19th century to describe exposures made in less than one second. |
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| provided illumination for indoor or night photography. Jacob Riis used this |
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| Any manual alteration or intervention in the photographic process after the initial camera exposure. |
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| When the subject or content of a photograph transcends mere description to serve as a symbol. |
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| refers to the combination of two or more negatives into one print. |
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| A complementary movement of Neue Sachlichkeit photography marked by experimentation that while accepting photography's inherent realism, also explored the medium in terms of abstraction, collage, montage, and cameraless photographs. In europe (Laszlo Moholy-Nagy, Andre Kertesz) |
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| A general term used to identify a photographic image made without a camera |
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| A group of photographers, organized by Alfred Stieglitz in 1902, who promoted photography as art. |
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| essentially a miniature camera obscura |
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| This art is not illustrated by a particular style but rather by a collection of ideas about how art functions within the contemporary culture. it is directly addressed to issues of self, race gender, class, environment, politics, etc. |
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| A photographic approach codified by jerry uelsmann. Photography is open to experimentation and receptive to a re-visualization of the image at any point in the entire photographic process |
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| a photographic approach in which the photographer "visualizes" how the print will look before the negative is exposed |
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| an approach to photography in which non-photographic manipulations of the photographic negative or print image are sunned or kept to a minimum for reasons for truthful documentation or aesthetic choice. (WESTON, STRAND, ADAMS, WALKER EVANS) |
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| referring directly to Alvin Langdon Coburn's abstract photographs. made using three mirrors arranged like those found in a kaleidoscope beneath the lens of a photographic enlarger. (the vortex of modern life) |
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1. perfection of halftone process
2. Smaller cameras w/ faster optics
3. 35mm roll film with increased sensitivity |
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| reasons for the Rise of the Picture Press |
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| a photographic reproduction (as in a newspaper or magazine) created on a printing press from a metal plate. |
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| a series of related photographs made to tell a narrative or story usually presented in conjunction with an explanatory text/ commentary. |
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| example of photographic essay |
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| weegee shot what type of photos |
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| tabloid photography/ paparazzi |
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| characterized by a highly subjective view of the city in the 50's and 60's. saul leiter is a part of this. |
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| print qualities from the new york school |
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| use of harsh contrasts, odd juxtapositions and framing, technical manipulations such as blur, over/under exposure. the photographs become a visual metaphor of psychological displacement, fragmentation and alienation. |
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| social documentary photography |
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| shows us people at grips with conditions that are "neither permanent nor necessary" |
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| the two levels of social documentary photography |
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1. Its intellectual dimension makes clear what the facts are, why they came about, and how they might be changed for the better.
2. emotional dimension which works by moving the viewer to act to change the condition presented. |
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| social documentary photographers |
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| jacob riis and lewis hine |
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| used the halftone process |
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| Farm Security Administration photographers |
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| arthur rothstein, walker evans, dorothea lange |
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| used manipulative photography |
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| another name for straight photography |
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| "This then, to photograph a rock, have it look like a rock, but be more than a rock" |
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| pictorialist/ pictorialism |
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| photographers who thought of themselves as artist using photography as a means of making rather than taking pictures |
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| "The truth lies somewhere between the documentary and the fictional" |
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| man ray and paul outerbridge |
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| explored surrealism in photography |
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| “Words, photographs, paintings and sculpture are symbols of what you see, think, and feel things to be, but they are not the things themselves” |
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| “Life itself is not the reality” |
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| “The subject is all important” |
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| “Photograph things for what else they are” |
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| Robert Frank & Saul Leiter |
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| A part of the new york school, working on personal documentary |
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| Garry Winogrand, Albuquerque, New Mexico |
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| From this image get somewhat of a grim view of emerging suburban American life. Suburbia represented the ideal environment in which to raise children |
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| photography is “witnessing in a special way” |
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| “Everything you see is in the mind, everything you hear is in the mind”” |
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| He would take popular magazines and silkscreen images of soft porn and the vietnam war onto them. |
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