Photography Experience

12,183 views

Published on

Photographic Experience: Learning and practicing photography while practicing and using English.
• Teacher: Victor Athayde
• Yázigi Limeira – July, 12th and 19th, 2014

Published in: Art & Photos
4 Comments
297 Likes
Statistics
Notes
  • Camera can be used as an important tool for capturing evil doers, who thinks they are hiding under cover.
       Reply 
    Are you sure you want to  Yes  No
    Your message goes here
  • It is my hope that, I will also have a camera some day, so that I could take a shot during coverage and I will add pictures to my stories, because pictures normally tells stories.
       Reply 
    Are you sure you want to  Yes  No
    Your message goes here
  • Actually, I have never taken photos during my course of work, as a Journalist, because I don't have a camera.
       Reply 
    Are you sure you want to  Yes  No
    Your message goes here
  • i thought it was a lot easier to take photos, but now i see that it takes a lot of effort
       Reply 
    Are you sure you want to  Yes  No
    Your message goes here
No Downloads
Views
Total views
12,183
On SlideShare
0
From Embeds
0
Number of Embeds
290
Actions
Shares
0
Downloads
256
Comments
4
Likes
297
Embeds 0
No embeds

No notes for slide

Photography Experience

  1. C O U L D I TA K E A P H O T O G R A P H ? A P H O T O G R A P H I C E X P E R I E N C E
  2. A n s e l A d a m s ( F e b . 2 0 1 9 0 2 — A p r. 2 2 , 1 9 8 4 ) , p h o t o g r a p h e r a n d e n v i ro n m e n t a l i s t , w a s b o r n i n S a n F r a n c i s c o , C a l i f o r n i a . A d a m s g re w u p i n a h o u s e s e t a m i d t h e s a n d d u n e s o f t h e G o l d e n G a t e . W h e n A d a m s w a s o n l y f o u r, a n a f t e r s h o c k o f t h e g re a t e a r t h q u a k e a n d f i re o f 1 9 0 6 t h re w h i m t o t h e g ro u n d a n d b a d l y b ro k e h i s n o s e , d i s t i n c t l y m a r k i n g h i m f o r l i f e . N a t u r a l s h y n e s s a n d a c e r t a i n i n t e n s i t y o f g e n i u s , c o u p l e d w i t h t h e d r a m a t i c a l l y “ e a r t h q u a k e d ” n o s e , c a u s e d A d a m s t o h a v e p ro b l e m s f i t t i n g i n t h e v a r i o u s s c h o o l s t o w h i c h h i s p a re n t s s e n t h i m . A s a re s u l t , h i s f a t h e r a n d a u n t t u t o re d h i m a t h o m e . ! T h e m o s t i m p o r t a n t r e s u l t o f A d a m s ’s s o m e w h a t s o l i t a r y a n d u n m i s t a k a b l y d i ff e re n t c h i l d h o o d w a s t h e j o y t h a t h e f o u n d i n n a t u re , a s e v i d e n c e d b y h i s t a k i n g l o n g w a l k s i n t h e s t i l l - w i l d re a c h e s o f t h e G o l d e n G a t e . ! W h e n A d a m s w a s t w e l v e h e t a u g h t h i m s e l f t o p l a y t h e p i a n o a n d r e a d m u s i c . S o o n h e w a s t a k i n g l e s s o n s . F o r t h e n e x t d o z e n y e a r s t h e p i a n o w a s A d a m s ’s p r i m a r y o c c u p a t i o n a n d , b y 1 9 2 0 , h i s i n t e n d e d p ro f e s s i o n . A l t h o u g h h e u l t i m a t e l y g a v e u p m u s i c f o r p h o t o g r a p h y, t h e p i a n o b ro u g h t s u b s t a n c e , d i s c i p l i n e , a n d s t r u c t u re t o h i s f r u s t r a t i n g a n d e r r a t i c y o u t h . A N S E L A D A M S h t t p : / / w w w. a n s e l a d a m s . c o m
  3. A G O O D P H O T O G R A P H I S K N O W I N G W H E R E T O S TA N D .
  4. P H O T O G R A P H Y I S M O R E T H A N A M E D I U M F O R FA C T U A L C O M M U N I C AT I O N O F I D E A S . I T I S A C R E AT I V E A R T.
  5. A T R U E P H O T O G R A P H N E E D N O T B E E X P L A I N E D , N O R C A N I T B E C O N TA I N E D I N W O R D S .
  6. T H E R E A R E N O R U L E S F O R G O O D P H O T O G R A P H S , T H E R E A R E O N LY G O O D P H O T O G R A P H S .
  7. Y O U D O N ’ T TA K E A P H O T O G R A P H , Y O U M A K E I T.
  8. Y O U D O N ’ T TA K E A P H O T O G R A P H , Y O U M A K E I T.
  9. Y O U D O N ’ T TA K E A P H O T O G R A P H , Y O U M A K E I T.
  10. W E M U S T R E M E M B E R T H AT A P H O T O G R A P H C A N H O L D J U S T A S M U C H A S W E P U T I N T O I T, A N D N O O N E H A S E V E R A P P R O A C H E D T H E F U L L P O S S I B I L I T I E S O F T H E M E D I U M .
  11. W H E N I ’ M R E A D Y T O M A K E A P H O T O G R A P H , I T H I N K I Q U I T E O B V I O U S LY S E E I N M Y M I N D ' S E Y E S O M E T H I N G T H AT I S N O T L I T E R A L LY T H E R E I N T H E T R U E M E A N I N G O F T H E W O R D . I ’ M I N T E R E S T E D I N S O M E T H I N G W H I C H I S B U I LT U P F R O M W I T H I N , R AT H E R T H A N J U S T E X T R A C T E D F R O M W I T H O U T.
  12. Function Camera Eye Protection Focus UV filter and lens Cornea and lens Light Diaphragm Pupil/Iris Image Sensor Retina L E T ' S C O M PA R E O U R E Y E S W I T H O U R C A M E R A
  13. L E T ' S C O M PA R E O U R E Y E S W I T H O U R C A M E R A lenses mirror Function Camera Eye Protection Focus UV filter and lens Cornea and lens Light Diaphragm Pupil/Iris Image Sensor Retina
  14. E Y E T E X T U R E R A Y T R A C E R http://www.vill.ee/eye/
  15. R U L E O F T H I R D S The rule of thirds is a guideline which applies to the process of composing visual images such as designs, films, paintings, and photographs. The guideline proposes that an image should be imagined as divided into nine equal parts by two equally spaced horizontal lines and two equally spaced vertical lines, and that important compositional elements should be placed along these lines or their intersections. Proponents of the technique claim that aligning a subject with these points creates more tension, energy and interest in the composition than simply centring the subject would.
  16. H e n r i C a r t i e r - B r e s s o n ( A u g u s t 2 2 , 1 9 0 8 – A u g u s t 3 , 2 0 0 4 ) w a s a F r e n c h p h o t o g r a p h e r c o n s i d e r e d t o b e t h e p h o t o j o u r n a l i s m ’s f a t h e r. H e w a s a n e a r l y a d o p t e r o f 3 5 m m f o r m a t , a n d t h e m a s t e r o f c a n d i d p h o t o g r a p h y. H e h e l p e d d e v e l o p t h e s t r e e t p h o t o g r a p h y o r l i f e re p o r t a g e s t y l e t h a t w a s c o i n e d T h e D e c i s i v e M o m e n t t h a t h a s i n f l u e n c e d g e n e r a t i o n s o f p h o t o g r a p h e r s w h o f o l l o w e d . H E N R I C A R T I E R - B R E S S O N h t t p : / / w w w. h e n r i c a r t i e r b re s s o n . o rg /
  17. I T I S A N I L L U S I O N T H AT P H O T O S A R E M A D E W I T H T H E C A M E R A … T H E Y A R E M A D E W I T H T H E E Y E , H E A R T A N D H E A D .
  18. W H I L E W E ’ R E W O R K I N G , W E M U S T B E C O N S C I O U S O F W H AT W E ’ R E D O I N G .
  19. T O M E , P H O T O G R A P H Y I S T H E S I M U LTA N E O U S R E C O G N I T I O N , I N A F R A C T I O N O F A S E C O N D , O F T H E S I G N I F I C A N C E O F A N E V E N T.
  20. P H O T O G R A P H Y I S A N I M M E D I AT E R E A C T I O N , D R A W I N G I S A M E D I TAT I O N . P h i l i p p e H a l s m a n : D a l i A t o m i c u s , 1 9 4 8
  21. " M Y A S S I S TA N T S A N D I W E R E W E T , D I R T Y , A N D N E A R C O M P L E T E E X H A U S T I O N - O N LY T H E C AT S S T I L L L O O K E D L I K E N E W. ” P H I L I P P E H A L S M A N
  22. B A R A K A " I F E E L T H AT M Y W O R K H A S E V O LV E D T H R O U G H K O YA A N I S Q AT S I , C H R O N O S A N D B A R A K A . B O T H T E C H N I C A L LY A N D P H I L O S O P H I C A L LY I A M R E A D Y T O D E LV E E V E N D E E P E R I N T O M Y FAV O R I T E T H E M E : H U M A N I T Y ' S R E L AT I O N S H I P T O T H E E T E R N A L ” . R O N F R I C K E A M E R I C A N F I L M D I R E C T O R A N D C I N E M A T O G R A P H E R , M A S T E R O F T I M E - L A P S E P H O T O G R A P H Y A N D L A R G E F O R M A T C I N E M A T O G R A P H Y
  23. V I C T O R AT H AY D E v i c t o r. b a t h a y d e @ g m a i l . c o m

×