Self-Portraits Dog, Meat, Meat

 

Portraits of someone you know

Portraits of someone you do not know

When I go through all the photos I have been shooting, portraits are not really my thing. I guess a part reason for that is I always travel alone. Most of my pictures are landscape from land to sky. In order to take a satisfying photo, I have to pick up a good spot and waiting for light as long as I can. Sometimes, all the works just for a moment and it’s so breathtaking that made me forget camera. But for portraits, the process is very different. I still have to capture that moment but for emotion instead of light. Taking pictures of people is more like a conversation job, I notice that I feel something about someone I know or I do not know, then I want to use my pictures to express that moment between object and me. It’s one thing that people show themselves and it’s another thing I make a record for it. Like Picture 7, I found that guy waved his arms to say big Hi, but if we only read the picture, it more like he was trying to make fun.

 

 

Lee Friedlander, born in 1934, began photographing the American social landscape in 1948. With an ability to organize a vast amount of visual information in dynamic compositions, Friedlander has made humorous and poignant images among the chaos of city life, dense natural landscape, and countless other subjects. Friedlander is also recognized for a group of self-portraits he began in the 1960s, reproduced in Self Portrait, an exploration that he turned to again in the late 1990s, and published in a monograph by Fraenkel Gallery in 2000.

 

Duane Michals (b. 1932, McKeesport, PA) is one of the great photographic innovators of the last century, widely known for his work with series, multiple exposures, and text.

Michals first made significant, creative strides in the field of photography during the 1960s. In an era heavily influenced by photojournalism, Michals manipulated the medium to communicate narratives. The sequences, for which he is widely known, appropriate cinema’s frame-by-frame format. Michals has also incorporated text as a key component in his works. Rather than serving a didactic or explanatory function, his handwritten text adds another dimension to the images’ meaning and gives voice to Michals’s singular musings, which are poetic, tragic, and humorous, often all at once.

 

 

1. Correct exposure, Overexposure, Underexposure

2. Highest ISO setting, Lowest ISO setting

3.  Correct White Balance setting,  Incorrect White Balance setting,  Incorrect White Balance setting

4.  Shallow depth of field, Deep depth of field

5.  Stopping of rapid motion, Blurring of rapid motion

6.  Standard angle of view upon subject, Alternative angle of view of subject

HW-2 Time of Day