Assignment #4 is Multiple Exposure.

Duane Michals -Magritte with Hat

For this assignment, I want you to experiment with long shutter speeds, blurs, and double exposures. Hand in 6 images of your choosing, concentrating on interesting accidents, compositions and juxtapositions of subject matter. You will be graded on the print quality as well as the creativity you present.

Remember the grey card test and how you were asked to shoot without looking through the viewfinder? Think along those lines, when you are shooting, but always looking for interesting and unusual subject mater to layer on top of one another. Look for contradictions in texture, light and subject.

Here are some ideas on how you can create these affects:

BULB

When you press down on the bulb feature, your camera’s shutter remains open until you release it. Some cameras have a lock you can use to keep the bulb open while you run around and paint with light…

There are many ways to utilize the painting with light idea. You should make these pictures either at night outside, or in a darkened room inside. Take some images with the camera stationary and some with the camera moving.

For the stationary version, set up the camera on a tripod or solid object, if your camera does not lock in the bulb position, get a friend to help or go with a very long exposure (5 seconds or whatever your meter might say the ambient light is). Walk into the scene and flash (with a small hand strobe or a flashlight) objects or people in that scene. If the scene is dark enough, you can leave the shutter open long enough to light much of the scene. Be careful of exposure- overexposing could ruin the affect.

Another way to use bulb involves moving the camera. Hold the camera shutter open on bulb and walk around in a dark room or outside and flash in something. In other words, you could open the shutter on a city or street scene outside keeping your finger on bulb, cover the lens move the camera and either shoot some other scene (on top of the old one) or flash in something into the scene.

Experiment with these ideas and see what you can come up with. I would like to see your subject matter transcend daily existence and become fantasy, poetry and down right strange! Three prints to hand in with any technique that excites you.




Joseph Galli (Bulb assignment -camera stands still- Spring 2007)



Nightmare (bulb-camera moves) Levon Parian

RE-SHOOT A ROLL

After shooting a roll of film, re-shoot it by pulling out the leader, and loading it again. If you want the frames to match up, mark your camera and roll of film where the teeth of the take-up roller and your sprocket holes meet. Do this the first time you load it, so the second time you shoot the roll you have a guide to match up all the frames.

Mind Ray (film marked and re-shot to keep frames consistent) -Levon Parian

Swedlund's Barn, 1979 (Re-shot with unmatched frames) -Levon Parian

DOUBLE PRINTING YOUR PAPER

For added interest, you can double expose your paper under the enlarger. Find two images that work together and print them on the same piece of paper making them into a single image. The way I would want you to work this technique is to sandwich two negatives on top of each other in your negative holder. Do this on the light box so you can see what might happen... remember to place highlights over shadows to get interesting combinations and be careful not to pick up every piece of dust on the light table, also be careful of fingerprints.

Hope (sandwiched negatives) -Levon Parian

Hand In The Sand (Double exposure in camera and sandwiched negative) -Levon Parian


Let's see what kind of great stuff you can come up with! This should lead you into your final series project. Hand in 6 images of your choosing in one folder.

Historic - Oscar Gustave Rejlander:  https://www.youtube.com/watch?time_continue=15&v=gPGLTtINJBU
For reference check out Jerry Uelsmann's multiple printing technique and work:
https://www.youtube.com/watch?v=TCQQlFYbH4w&feature=fvwp&NR=1
His short explaination:
https://www.youtube.com/watch?v=MsVDXjthsaU

This is a good video on Uelsman's history:
https://www.youtube.com/watch?v=iyR65PeAEEg

Maggie Taylor:  https://vimeo.com/72831294
https://www.youtube.com/watch?time_continue=15&v=NNBnvVfMBIY

Here is some information on technique (not sure if I like the image made, but it's a rare example of how to:)  https://www.youtube.com/watch?v=-LPEqTVeg-Y&list=RDMsVDXjthsaU

Also look at these and even add some of your own:
https://www.google.com/search?biw=1390&bih=1091&tbm=isch&sa=1&ei=JmULWrjxE9GojwPzsZfIBw&q=B%26W+double+exposures&oq=B%26W+double+exposures&gs_l=psy-ab.3...24085.28514.0.28851.16.16.0.0.0.0.75.1028.16.16.0....0...1.1.64.psy-ab..0.2.143...0j0i67k1j0i8i30k1j0i24k1.0.MAWEStWEyuc#imgrc=4jYUotcHGXA54M:

Assignment #5 Narrative or Non-Narrative Series

Vlad Artazov-Nail Photography Series (non-narrative)

Victor Perez- Coffee (narrative)

Jordon Ross-Favorite Desert (non-narrative)

Create a series of 6-12 photos that are related in a narrative or non-narrative way. This assignment is about coming up with an idea and following through with final prints. "Making" pictures rather than just "taking" them. Keep your idea simple and "do-able". Look around you for interesting objects and people. Make stories revolving around them. Think out and draw your idea to see how you can represent it visually. Look for interesting angles that will enhance your story and still make each image interesting in itself. Use what you learned about depth of field to isolate your subject and use the rule of thirds to make your viewer's eye search through your image for more clues to the story... Create ghosts and mysteries with long exposures... The more layers of information you create, the more impactful the images.

A narrative story has a beginning, middle, and end. So if you were to take 5 shots of some kind of event that the sequence needed to be in a specific order; 1-5 to get the story across, that would be a narrative series. One example would be if you photographed someone who went to the market to get groceries and then came home, put some of the groceries away and then cooked dinner for a friend who came and ate the meal-- that would be a narrative series.  Also think about Duane Michael's photo fictions like, "Death comes to the lady" or his miniature bathroom series.

A non-narrative series would be independent images that do not exist on a time line but have something in common binding them together. Usually you could rearrange the order of these images and the meaning would not be affected. For example: 6 photographs of surfers on the beach each with a different type of surfboard. The order of these images could be rearranged and still have the same meaning. So the topic or subject of the non-narrative series is important. It could be the lighting of the subject, or the way the photo is taken, but there must be some consistency to the images for the viewer to realize that they are a series. Distance from subject or size of the subject in the frame is also a factor in consistency. Overall the story takes place in each individual image and when combined they convey a consistent idea. Unlike the linear progression of images of the narrative.

Come up with something that interests you and also is easy to accomplish. I am more interested in seeing expressive camera angles, and the use of depth of field and shutter blurs to make simple ideas come to life! You will present your series in class December 7 or 8 depending on if you have class on Monday or Tuesday. 

Ryan Alberts- soldier boy (narrative)

István Halas: The answer, 1987 (non-narrative)

How to Make a Storyboard

1. Step 1: Create a Template. Draw a series of rectangles on a piece of paper, as if you were creating a comic strip. ...
2. Step 2: Give the shot description under each rectangle that corresponds to that scene.
3. Step 3: Sketch Out the Story. ...
4. Step 4: Add Notes.
   

The top row that I drew on the board is a narrative  with a linear time line. (can't rearrange these in order)

The bottom row is a non- narrative series. These can be rearranged without ruining the story because each image represents the idea internally.

Remember you are "making" images, not "taking" them.

Storyboard from class

Directionality of light defining surface

This is a series of images representing variations of light on a stucco wall. Notice the differences and how they affect the definition of the surface in B&W.
Early morning, slightly directional but mostly flat light- sun just over the left shoulder.
Same time as above, but camera moves 45% to the right, giving the sun more angle in relation to the wall. Moving around your subject changes your angle of view and the relationship of highlight and shadow.
Later in the day, sun is at a right angle to camera. The light is scraping along the edge of the wall defining every variation in texture. This light is called "directional" or "side" lighting.
Shade. Notice that texture is mostly defined by color variation. Even in shade there are highlights and shadows, but they are less intense, compressing the gray scale.
Shade with bounced (reflected) light from a sidewalk. Notice the added spark of highlight which gives life to the texture and stretches the gray scale out towards the highlights.

The directionality of light defines the look of your image. Walk around your subject and see how light bounces and reflects off of it. An interesting idea must be defined by interesting light.

How to buy a new or used camera

Some students have been asking me about purchasing cameras, what to look for etc. From my experience, Canon and Nikon have been the preferred cameras because of their optics, but Olympus, Pentax and Minolta, are not bad (usually better priced). With most new cameras you will have LED readouts. Make sure that you are getting a “film” camera and not a digital one. And make sure it is a 35mm format SLR with at least a 50mm (normal) manual focusing lens (zooms are fine). Also make sure that the camera allows both “shutter” and “aperture” (f-stops at ½ stop increments) manual control. If you don’t know what this means, ask your sales person.

Shop around and ask a lot of questions, ask about used cameras as well as new ones. Next pick up each of your possible camera candidates and adjust the f-stops and the shutter speeds. Keep in mind that as you shoot in the manual mode, you want these actions to be fluid and easy. Take a shot; adjust the f-stop 1/2 stop up and then 1/2 stop down. Change your shutter speed and make sure there is a “B” (bulb) setting. For a used camera, open the back of the camera and look for ware and tear (especially look for dents on the outside indicating the camera has been dropped). While the back of the camera is open fire the shutter and advance it making sure that it advances and is working smoothly. Also while the back is open fire the shutter at a slow speed and then fire it again at a faster speed, making sure there is a recognizable difference. Also while the back is still open go to a slow shutter speed and while looking through the film opening fire the shutter a few times while changing the lens's aperture (f-stop) settings, making sure that the size of the hole changes from f-stop to f-stop.

Compare the ease of use for each camera especially the metering system, does the camera tell you what f-stop and shutter speed you are at in the viewfinder? Then try the focus in the manual mode, see if the camera can focus "macro" and try it out. See how close you can get to something in focus. Then if it is a zoom lens extend it to the most telephoto mode and focus in and out with the manual focus (Can you easily tell when you are in focus?) When comparing the lenses of the different cameras check what the smallest f-stop number and the largest f-stop numbers are (An f-4 lens should cost less than an f-2.8 lens from the same manufacturer, but the f-2.8 would be more desirable if you are shooting in low light conditions). Next how does it fit in your hands and is the viewer easy to look through and does the camera fit comfortably to your face. Also check to see if the camera has a “hot shoe” or cord attachment for an external flash (not mandatory, but a nice option to have).

If you are still not sure look the camera model up on line and see what consumer groups say about that particular model. There is a glut of good used “film” cameras on the market since many photographers are switching to digital, shop around for the best deal.

Also, get a written guarantee that if the camera cannot be used in a fully manual mode for this class, that the store will refund your money if you return it within one week or so. That way I can look it over in class. With used cameras make sure that you get a 90-day warranty that the store will refund or replace the camera. A used camera will do you no good if it’s in the repair department for 6 or 8 weeks!

I hope that helps you choose. Don’t worry if you are still confused, we will go over all this in class. But you must have a camera to use by the second week of class.

Here are some websites that can help give more info:

http://blog.epicedits.com/2008/06/20/your-guide-to-buying-old-film-cameras/
http://www.wikihow.com/Use-Almost-Any-35mm-Film-Camera
http://www.epinions.com/Film_Cameras

The Zone System

The following information is from 'The Zone system - A Basic Explanation' by Arsene Baquet and Steve Holtz. The Zone System is a method of understanding and controlling the exposure and development of the negative, and how to vary that exposure to get the results you want.

Exposure, developing, and printing, are all interrelated. The results of any one can (to an extent) be affected by the others. This provides flexibility. However, the more precise your exposure, the less you will have to compensate during the developing and printing process.

The Zone System was developed by Ansel Adams and Fred Archer as a simple and straightforward method by which they could control exposure. Before Adams and Archer, the photographic industry had already standardized f-stops and shutter speeds as controls of light. But, those standards still left the photographer with the question: "How much light must fall on the negative in order to get the photograph I want?"

Adams and Archer took the spectrum of print values, from black to white, and, using f-stops as the standard of measurement, simply assigned a Zone to each value that each f-stop of exposure produced. This results in a Zone Scale, which is a visual representation of PRINT values from black to white. Zones are always represented in Roman Numerals.

Keep in mind that light meters average the value of all light they see. Based on that average they offer suggested settings (f-stop/shutter speed combinations), all of which result in the same exposure. That exposure is for a mid-gray Zone V.

A one-degree spot meter is advantageous as it allows you to read a single small object from a distance, or, a small portion of your overall scene.

Obviously, print values (from black to white) can be divided into as many, or as few Zones as one wishes. However, eleven is the standard by which most photographers work. This has the advantage of placing the mid-gray Zone V, the meter reading, in the middle of the scale. The Zones are numbered 0 through X. Zone 0 represents the maximum black that the print can produce. Zone X represents pure paper-base white - no image. The nine zones between are each equivalent to one increasing f-stop of exposure. Therefore, Zone III is lighter in value than Zone II, and darker in value than Zone IV, etc.

It is at this point that some students become confused by assuming that a Zone is a specific exposure. Not quite. A Zone is the print value (tone) that will be produced when the film is properly exposed and developed for that Zone. YOU determine the exposure, the exposure determines the Zone you get. Your starting point is the meter's suggested exposure for the value of Zone V.

Picture the gray scale in your mind, starting with the black step (Zone 0) and progressing up to the pure paper base white step (Zone X). With the known exposure to render your subject Zone V (the exposure settings your meter will give you) you can adjust your exposure to "place" the subject in any Zone desired, up or down the scale. This helps you to previsualize the value you want, and adjust the exposure to get it.

Let's review a few points before going further:

1. The Zone scale is a progressive series of tone values, each value being the equivalent of one full f-stop.
2. The light meter provides exposure settings for Zone V, giving you a correct exposure for a known Zone. That's your starting point.
3. By adjusting exposure you can place the subject in any Zone, up or down the scale, from your starting point. The subject will assume the tone value of the Zone in which it is placed.

Lets go through the motions of using the Zone System.

Your camera is loaded, you have your spot meter, light, and an egg. Meter the egg. Set your camera controls according to one of the suggestions offered by the meter. Now, stop! Consider what you are doing! The egg is off-white, it probably should be a Zone VII in the photo, and that's how you want it. But, the meter is giving you settings for a Zone V egg. You will have to give the egg MORE exposure than indicated by the meter (more light on the film, more light in the printed image.) Opening the lens two f-stops from the suggested exposure will "place" the egg in Zone VII.

Now grab that eggplant you just happen to have handy (as long as we're on the subject of eggs). It's not black, but it's dark. Maybe you would like to show it in the print as a Zone III. Again, your meter gives exposure suggestions for a Zone V. By giving two f-stops LESS exposure than indicated, the eggplant will be placed in Zone III.

When changing exposure, you are establishing the tone values in the finished print. In real life, the subject remains the same. It is helpful to mentally visualize the changes in the tone values of the print as you change exposure - moving up and down the Zone scale.

In essence, you have just used the Zone System in its simplest form. However, there are a few more things to cover.

Up to this point, our use of the Zone System has been limited to a single object. In the real world, our scenes often have many values.

Assume you are metering an outdoor scene. You see some good shadow details you want to record, and you place them in Zone III. Now you read your highest scene value and it's only a VII. If you want it to be a VII, then shoot the scene, and that's what you will get. On the other hand, what if you want that Zone VII to be rendered a Zone IX?

That answer is the second part of the Zone System. We can also control Zone placement (to an extent) by controlling development of the negative.

Let's consider for a moment what happens to negative density when we change developing time. As developing time is increased, negative densities increase. But, highlight densities will increase the fastest. Therefore, contrast also increases with increased developing time.

Shadow density is controlled predominately by exposure. Highlight density is controlled predominately by developing time.



Logic dictates that with additional developing time we will "overdevelop" the highlights to push them up a Zone or two. Conversely, "underdevelopment" will lower highlight densities, bringing them down a Zone or two.

Per above, your highest scene value is Zone VII, and you want it to be a IX. You can't stretch it with exposure, but you can with development. A little additional development will NOT significantly affect shadows, but will push highlights up the scale. Push them up one Zone you have achieved Plus 1 development. This is referred to as N+1, "normal development plus additional development to achieve one additional Zone." N+2 implies two additional Zones.

The reverse is also true. With lesser development, you can halt the process before highlights mature. You can arrest development while a potential Zone VIII has only reached a Zone VI. Again, shadow areas will basically remain unchanged. This is called Minus development, represented as N-2, indicating "normal development time reduced the equivalent of two Zones." Plus and Minus development is also referred to as "Expansion and Contraction" development.

NOTE: Not all film/developer combinations will give the same Plus/Minus control range.

With experimentation, you should be able to achieve at least two Zones of highlight density change in each direction from normal. Changes beyond that depend upon the particular combination of materials you are using, and your techniques in handling them.

Keep in mind that with Plus or Minus development, you will also be altering the contrast of your negative. The overall results may prove perfect, or may require compensation during the printing process.

"Fine", you say, "but I shoot rollfilm and cannot develop each negative separately." Very true. The Zone System was created with the use of cut film in mind. Each negative is developed separately. So what of us who use rollfilm? Plan to shoot your roll complete under set lighting conditions, that way each roll of film can be labeled for specific development and treated like one sheet of film.

Some videos that can help you understand:

https://www.youtube.com/watch?v=IWeFSfQsNU0

Here he says there are 10 zones, but he is not counting 0 and there are actually 11:

https://www.youtube.com/watch?v=x_k2iAgZfGs

Student Gallery Spring 2011

Here are some images that stood out for me this semester.

Gabriela Melara -boyfriend series

Amanda Nevarez -Motion

Aida Kazemi -people and their animals series

Antoine Bandele- Pan

Joanne Phothikham -Self Portrait

Anna Garcia -Multiple Image

Brian Crandall -Narrative Series

Xelene Aviles -Environmental Portrait

Jeffrey Zide -Multiple Exposure "Ghost"

Taylor Moore -Religions series

Rosario Lopez -Multiple Image

Andrew Raymond -Non-narrative series

Some Images From Class

FROM  A PREVIOUS CLASS:
Here are some images your classmates have made. 

Let these help inspire you for your final series.

Remember "the journalist wants to capture the moment, but the artist wants to re-create it." Jeff Wall

In the process of "making" pictures for your final project, you become both the artist and the journalist by organizing a performance and then capturing moments within the performance to create a series.

Stephanie Novikoff- multiple

Stephanie Novikoff- Bulb

Stephanie Novikoff- multiple

Maria Alcantara -portrait

Maria Alcantara

Laila Alghareeb- multiple

Laila Alghareeb- multiple

Laila Alghareeb- close-up

Kayla Bush -environmental

Kayla Bush -multiple exposure

Kaila Gallo- environmental portrait

Kaila Gallo- multiple exposure

Kaila Gallo- multiple exposure

Kaila Gallo- multiple exposure

Jose Oreliana- closeup portrait

Jose Oreliana- environmental portrait

Jessica Plascencia- multiple exposure

Jessica Plascencia- multiple exposure

Jonathan Wong- multiple exposure

Jonathan Wong- multiple exposure

Jonathan Wong- multiple exposure

Jessica Acevedo- self-portrait

Jessica Acevedo- multiple exposure

Ashely Grant- portrait

Ashely Grant- from multiple image series

Ashely Grant- portrait

Amir Morales- portrait

Amir Morales- multiple exposure

Alfred Cortez- multiple exposure

Alfred Cortez- multiple exposure