Having only 12 shots per roll taught him to think before shooting. El Greco led him to learn about zone focusing and relating subject to environment. John Borstel. John Borstel got his start in photography as a student at Photoworks. His award-winning work, combining aspects of photography, performance, and the written word, has been seen in gallery settings throughout the DC area and beyond. Joe Came ron. He went on to teach fine-art photography for thirty-five years at the Corcoran College of Art and Design. Her work in analog and digital media is experimental. Diane Charnov. As a teacher, she enjoys working with students to advance their artistic journey.
From offering portfolio critiques to demystifying the process of writing artist statements, her goal is to help artists get their work into the world. Eliot Cohen coordinated the Photo program at NVCC for 20 years where he received the college's highest award for his teaching excellence.
He was also an adjunct professor at the Corcoran College of Art. Since , Eliot has been teaching independently and through organizations such as the Smithsonian, Photoworks, and the Capital Photography Center. He leads numerous seminar groups in the area as well as photo workshops around the world. In addition to building the occasional camera, printing frame or other useful photographic gadget, he also creates books and presentation portfolios for his prints. Alec Dann. Alec is an artist working in digital photography.
ISBN 13: 9781581152647
Classes at Photoworks helped Alec get started and more recently he has studied with John Paul Caponigro, a highly regarded fine art photography print maker. Scott got his introduction to serious photography after graduating from college, expecting to learn just enough to use it for subject matter for painting and drawing.
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Upon seeing his first print emerge from the developer, he was hooked. Since then, his interests have expanded to include printing in antique and historic processes ranging from platinum and palladium to gum bichromate to wet plate collodion and daguerreotype.
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He has exhibited work locally, nationally, and internationally. Sora DeVore is a documentary and fine art photographer who has photographed for The Washington Post and many other publications. Sora has received numerous grants to teach photography to low socio-economic communities nationally and internationally. Adjunct professor at the University of Maryland.
Rebecca Drobis' award-winning photographs tell the stories of childhood and youth culture. She especially loves photographing children and exploring their wondrous world. She is a passionate teacher who enjoys sharing her love of photography with her students. Min Enghauser has been obsessed with photography since childhood.
She printed in a traditional Black and White darkroom for 12 years then moved into using color film with a digital work flow 14 years ago. She has worked as a black and white lab technician, darkroom instructor, professional framer, digital lab and imaging technician, photographic printer and digital retoucher — all to feed, nurture and hone the fine art photography habit.
Jon Goell. Sarah Gordon. His work focuses on understanding community using a method he calls creative non-fiction. By blending personal narrative with documentary methodology he tries to remove the omniscient narrator from his work to allow viewers to be welcomed participants. The picture was starting to come together. I liked the composition and the light was exquisite, bringing out some great textures. The bright sky, which could be a distraction in the upper right corner, was broken up by a leafless tree. The tree repeated the shape of the shadow on the church, its branches looking somewhat like the looming fence.
I liked the feeling of separation—being so close to the past, yet so far removed. It seemed the best way to visually reinforce that separation would be to use selective focus. The foreground had to remain slightly out of focus. In fine-tuning the composition, I tilted the camera down a little. Instead of lowering the camera, or using a rear rise, I chose to leave the camera like that.
Instead of being perfectly zeroed, the slightly askew camera was causing the fence to keystone just a little. The apparent leaning of the fence helped the picture and also set it apart a little more from a conventional large-format shot. The tree on the right is dodged about 30 percent 4 seconds , then the rest of the top and upper left are burned in for 50 percent 6 seconds. Sometimes, though, I want to overcome them.
The ability to adapt a camera to show what you want is elemental to creative photography. Advantages of 35mm Large- and medium-format cameras are comparable when it comes to controlling film exposure and film developing for creative purposes, often using Zone System methods. Using 35mm cameras to get similar results can be uncommonly hard. I liked the challenge of getting the best quality from the small format.
Photojournalists tend to prefer 35mm cameras for their mobility and ease of use. You can easily carry three camera bodies, several lenses, flash, filters, and plenty of film in the same space a view camera would require. I also consider 35mm cameras to be reactive, that is, they allow me to react very quickly to a changing scene.
This is different from the very contemplative view camera. Instead of quietly studying a scene as I would with a view camera, I move quickly through a location with my 35mm cameras. I look through the viewfinder—changing my angle and framing, frequently changing lenses, trying this filter and that, sometimes shooting black and white and color simultaneously—reacting immediately to what I see. Sometimes a change in light allows me only a few seconds to get the photo I want.
With anything other than 35mm, I would probably miss the shot. In fact, any errors are likely to be magnified with the smaller format. I control shadow detail by film exposure but deal with highlights and contrast in the darkroom. The larger formats should have an advantage when it comes to gradation in the image. The less the enlargement, the smoother the gradation should be. A well-done contact print is often silky smooth in a way that enlargements rarely are. It would be like comparing a dpi dots per inch laser printer with a dpi printer.
If everything else is equal in the image, the dpi printer should yield smoother tones and finer detail.
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Much like laser printers, the primary reason the contact print has a smoother gradation is that the grains of silver are smaller and there are more of them in a given area. By proper testing and matching, the quality of prints from 35mm can approach that which is more easily available from the larger formats. Choice of format is a personal one. Some people will avoid 35mm for the same reasons I prefer it.
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All formats have advantages and drawbacks. Although the format you use can have a big impact on the photograph, there are usually more important considerations. The choices are so varied that some photographers are overwhelmed and never try some of the more creative aspects of photography. A good starting point for someone uncertain of the possibilities is with film—both exposure and developing. Early photographers felt happy just to produce an image. With materials that had a sensitivity equivalent to single-digit film speeds and no meters, they were nonetheless able to achieve stunning results.
The slow materials were as much a help as they were a hindrance. By that I mean slower materials leave more leeway for error.
If the correct exposure for a plate was 5 minutes and you exposed for 6 minutes, you were off by 20 percent. Faster material literally brought the latitude of error down to fractions of a sec- Creative Film Development ond.