Gay Block pairs old and new photographs exploring the passage of time and how it changes us.

Deborah Bright reviewed the depiction of the American landscape.  Whether noble, picturesque, sublime or mundane, the landscape image bears and intense and lasting cultural imprint.  She explained the historical and social significance of the choices or an artist and how, whatever its aesthetic merits, every representation of landscape is also a record of human values and actions imposed on the land over time.  I am really compelled by that because I think the things we create are deeply connected to our values whether we know it or not.  Bright explained that beyond the personal level they reflect collect collective interests and influences, including political, economic, and social values.  That is interesting because sometimes we are unaware of the plethora of influence that surround us daily.

It was interesting to read about the questions she posed about the types of ideologies landscape photographs explore. Who are they creating for?  Why do we still make them?  And why is it so masculine dominated?

Deborah Bright reviewed the depiction of the American landscape.  Whether noble, picturesque, sublime or mundane, the landscape image bears and intense and lasting cultural imprint.  She explained the historical and social significance of the choices or an artist and how, whatever its aesthetic merits, every representation of landscape is also a record of human values and actions imposed on the land over time.  I am really compelled by that because I think the things we create are deeply connected to our values whether we know it or not.  Bright explained that beyond the personal level they reflect collect collective interests and influences, including political, economic, and social values.  That is interesting because sometimes we are unaware of the plethora of influence that surround us daily.

It was interesting to read about the questions she posed about the types of ideologies landscape photographs explore. Who are they creating for?  Why do we still make them?  And why is it so masculine dominated?

Pg. 381-427

            This section talked about digital manipulations.  How to rescale and resize, adjust resolution, contrast and tone. It talked about how to adjust in in photoshop but also how to manipulate those things in the darkroom.  It explained levels and curves.  Digital and analogue burning and dodging.  Color adjustments and hand coloring.

Theory B:  Part II

            Text allows the viewer to question the authenticity that we automatically associate with photography.  Photography us ysed in technicale writing as well.  Conceptual art, speech.  Words can also become the image.

Theory B: Text and Image:           

            This part talked about how text and image are “connected but irreconcilable ways of delivering information.”  Text adds voice, because as Duane Michals said we are story tellers not truth tellers which I think is a fascinating distinction, especially considering photography is often viewed as a realistic documentation means; it is seen as visual testimony.  The question was posed, what is doing the illustrating? The image or the text?  It also addressed photography in selling and marketing.

Theory 4A: Series and Sequence, part II

This section discussed the process of documenting artistic processes as with respect to performance art or journalistic work: how do you capture something ephemeral like that?  The history was really interesting, how before photography became an accepted gallery art form photos were displayed in books which is a traveling vehicle for art.  That is a different dimension that I never thought about before.  It talked about slide shows and timelapse and how they have changes as technology has increased.

Practice 1:Vision: Tools, Materials & Processes

            This section talked about how humans see and how image capturing devices emulate that.  It discussed the camera obscura, different viewing systems (SLR, LCD, ground glass, etc.), different lenses, depth of field and focal length, as well as modes of focus and the different formats.  I learned that there are many more varieties and variations than I was previously aware of.

Practice 3: Reproductive Processes and Tools

            This section talked about how to process film and process prints, but also how to troubleshoot those processes.  It in great detail walked the reader through the steps of making photograms, contact sheets, and test strips.  It discussed the different papers and how to process on other non silver materials which was something I was really unfamiliar with so that was interesting.  It then went on to explain the same processes in a digital output setting.

Theory: 4a: Series and Sequence

            Series and sequence allows for organizationa dn comparison, it allows for a grasp of diversity or information.  It directs the viewer to view each image in a specific pattern, the arranger has great control and must act with incredible deliberateness.  Edition, placement, and cropping all affect the meaning and interpretation.  The artist can control through deliberate ordering and presantation.  Series can also be used to show the passage of time and/or motion.

Theory: Light and Shadow

            To perceive form we need contrast, which comes from light, so the use of light is really important in photography, which literally means: writing with light.  Historically  light represented knowledge and shadow symbolized death.  I thought the theory and the history in this section were very compelling.  It touched on daguerreotypes and cyanotypes and the history of photography.  It also explored quality of light.

Practice: Light and Shadow

            This section talked about the different kinds of light sources and the type or quality of those lights.  It explored natural light vs. artificial light, direct sunlight, open shade, a mix of light and shade, continuous light, momentary light, flash.  It taught brightness, resolution.  It talked about how to light a shot and discussed reflection and balancing lights, metering and brackting.

Wolfe is a wonderful combination of photo journalism and fine art.  Employed by National Geographic, he lives in Seattle. “I learned never to be sedentary,” he says, “never to be easily satisfied, always to push myself in new directions. That’s how you’ll grow as a person and as an artist.”

Gohlke is an American Landscape photographer and writer.