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Active Assignment Weekly: Movement and Motion
WIT
I went to the beach tonight with my tripod and took numerous photos of people in motion. I liked this one the best. Black and white conversion with blue filter.
Title: Assignment Helene.
Author: Edward S. Aarons.
Publisher: Gold Medal Books.
Date: 1963.
Artist: Barye Phillips.
Active Assignment Weekly: April 15-22, 2024, Simplicity. To me, simplicity means no distractions. I decided to use two of the many different techniques available to achieve this - fill the frame ("After the Rain") and negative space ("Beach Time"). Both photos were taken at Point Pelee National Park, Ontario. You'll be seeing a lot of pictures from this park, as I am here for two months (it is a bird migration hotspot).
Assignment 52: Create a mood with color
Po, sitting under a tree on the training grounds
(I'm out of town with intermittent internet access & quirky website blocks, & will try to catch up with commenting when I can----)
Gottlieb, William P., 1917-, photographer.
[Portrait of Billie Holiday and Mister, Downbeat, New York, N.Y., ca. Feb. 1947]
1 negative : b&w ; 2 1/4 x 2 1/4 in.
Notes:
Gottlieb Collection Assignment No. 268
Reference print available in Music Division, Library of Congress.
Purchase William P. Gottlieb
Forms part of: William P. Gottlieb Collection (Library of Congress).
Subjects:
Holiday, Billie, 1915-1959
Mister
Women jazz musicians--1940-1950.
Jazz singers--1940-1950.
Boxers (Dogs)--1940-1950.
Fifty-second Street (New York, N.Y.)--1940-1950.
Downbeat
Format: Portrait photographs--1940-1950.
Cityscape photographs--1940-1950.
Film negatives--1940-1950.
Rights Info: Mr. Gottlieb has dedicated these works to the public domain, but rights of privacy and publicity may apply. lcweb2.loc.gov/diglib/ihas/html/gottlieb/gottlieb-copyrig...
Repository: (negative) Library of Congress, Prints & Photographs Division, Washington D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
(reference print) Library of Congress, Music Division, Washington D.C. 20540 USA, loc.gov/rr/perform/
Part Of: William P. Gottlieb Collection (DLC) 99-401005
General information about the Gottlieb Collection is available at lcweb2.loc.gov/diglib/ihas/html/gottlieb/gottlieb-home.html
Persistent URL: hdl.loc.gov/loc.music/gottlieb.04241
Call Number: LC-GLB23- 0424
For this photo, I had Cassidy sit on a stool and then I used photoshop to make it look like she is levitating, without the stool.
"into the light"
baby girl Lyra, 10 mos old
Depth of Field/Focus Assignment
I'm playing catch up on flickr tonight so I hope this works for the dof assignment for Studio 26, it's been a crazy 2 weeks and I sincerely apologize for not participating in the discussions this assignment.
ƒ/2.8 145.0mm 1/125 ISO 400
Won second place in DPS photography contest, Assignment: Abandoned!
It still needs a title. Any suggestions?
-Mission Statement: 0978:- Our most recent assignment brought us to the planet of Talus. -Log on Talus-
Master, for we have no other name for him, claimed that our next target was to be found in the south-western hemepshere of the planet. -Coordinates 06:45:13-
When we arrived it was to no suprise that are target was located in some old ruins. Through an extensive and wasteful search, we could not find our target. Through interrogation of the locals, as protocol, we learned it's location. 451 infiltrated the hide out of the tomb raiders who obtained it. All were disposed of and the target was taken.
-Result-
-Relic Obtained
-Witness' Terminated
-Outpost Destroyed
Gallery Coming soon...
For the final assignment for my film photography class.
Concept:
This is the antithesis of the Ansel Adams type, quintessential landscape photo.
Instead of being perfect and crisp and accurate... instead of using extremely precise exposure with well-defined accuracy using the zone system and other techniques... this photo is everything that those things are not.
This photograph was shot on 35mm in a 120N Holga. However, while that type of photography yields imperfections and "happy accidents", there is still an amount of precision and technique that goes into shooting this way. Because, of course, while you're playing a sort of guessing game, you certainly can't just go into it blindly - it won't work that way. You have to make extremely educated decisions on exposure, perhaps moreso than you do with the zone system and such techniques, because you are, in essence, shooting in the dark.
This is something that I have been working on a lot during the past month or so - and I feel it is developing into somewhat of a personal language. This lo-fi, imperfect, accidental experimentation with photography is wonderful - I have fallen very much in love with it. I gave up my other idea - to revisit the self-portrait - for this. Alternative landscape, at its best. :o)
Process (thought I would add this in case anyone was curious):
35mm Kodak 125PX black and white film in a 120N Holga. It's really easy, and doesn't really require any extra manipulation to the Holga.... you just have to tape up the window really well, using a few pieces of cardboard and loads of tape. Tape alone will not work - you'll get light leaks.
You should wind about 28-30 clicks between frames - you can do less or more depending. It will yield you about 16 shots. Once you're done with the roll, you have to leave it in the Holga and take it out in a darkroom. In the darkroom, you can unwind it from the spool that was in the Holga and wind it back into the cannister, and then process it yourself, or take it somewhere.
To print this, you need a glass plate in the enlarger, in place of a negative carrier. Using a negative carrier won't show the sprocket holes. When you print it, it will always be just a little shorter than your paper, if you print for the entire length.
For these images, I printed on glossy fiber paper, and then sepia toned them. You need bleach and sepia toner to do this. This also brings out the numbers, I found. In black and white, it was somewhat difficult to see the numbers.
Assignment PCA78 - FOOD PHOTOGRAPHY
Deadline: Aug 31 - Sept 13 2009 (two weeks)
Image Tag: pca78
From: MichelleL
WIT: Wow, the two weeks for this assignment went by fast. My biggest challenge for this assignment was thinking of some photographic foods. I defaulted to some oreo cookies, at night. I tried a few arragements and liked this one the best, although I wish the row of cookies lined up with the grain of the table better. Light was provided by a flashlight. Cropped and converted to black and white.
Today, I was given the greatest treasure. My mother gave me my grandmother's Bible. I always remembered my grandmother being a spiritual person. I didn't realize how much until I saw her Bible. I have never seen a Bible so worn and studied in my life. She made the cross bookmark. This Bible is filled with her thoughts and verses that were important to her. Plus all kinds of poems and newspaper clippings she used as bookmarks. Not to mention the family history she recorded in it. I have a great start to researching my family tree. This book is so fagile and delicate. It means the world to me.
Assignment Suicide, by Edward S. Aarons
Gold Medal D1539, 1965 reprint
Cover artist's signature is indistinct (Lou somebody)
#3 in the Sam Durell "Assignment" series
Assignment 52: Reflections
(Only had my iPhone with me at the time, but sometimes they do come through---)
Assignment Tokyo, by Edward S. Aarons
Fawcett Gold Medal 449-02390-075, 1971
Cover art by Robert McGinnis
#32 in the Sam Durell "Assignment" series
Top Left (Frank Stella (USA) 1976 BMW 3.0 CSL), Top Right (Andy Warhol (USA) 1979 BMW M1 Group 4 Race Version), Bottom Left (Roy Lichtenstein (USA) 1977 BMW 320i Group 5 Race Version), Bottom Right (Robert Rauschenberg (USA) 1986 BMW 635 CSi)
I'm not alone when I say that I view many cars as art. BMW has produced plenty of cars that fit into this category (take a look at a 70's era 3.0 CSI or an 80's era 635 CSI and you'll know what I'm talking about). In 1975 BMW decided to put their artwork into the hands of major artists to turn the cars into one-of-a-kind vehicles called BMW Art Cars. I look at it as art squared.
The BMW Art Car Project was originally conceived by the French racecar driver Hervé Poulain, who in 1975 commissioned American artist Alexander Calder to paint his BMW racing car. Since then, prominent artists throughout the world have designed sixteen BMW Art Cars, based on both racing and production vehicles.
I'm really excited that I'll be able to view and photograph four of these special cars at the Los Angeles County Museum of Art (LACMA). Cars designed by Andy Warhol, Frank Stella, Roy Lichtenstein, and Robert Rauschenberg will be briefly on display from Feb 12 to Feb 24, 2009 outside at the BP Grand Entrance. Get there soon before they race off! - Lydia Marcus
As seen on my blog: fotonomous.blogspot.com/2009/02/motoring-imagination.html
LACMA is the first U.S. venue stop in a major, worldwide tour of the cars; they next appear in New York City's historic Grand Central Terminal before heading to a three-city museum tour in Mexico.
For Andy Warhol, the actual painting of the car became a performance piece, done by his own hand live before cameras as a publicity event. Warhol approached the car with a carefree spirit and an uncharacteristic interest in a sort of "action painting." The car, a BMW M1, is covered with multicolored areas of paint that suggest movement (blurred particularly at racing speeds), but also perhaps individual side panels taken from different cars. This greatly oscures the overall form of the car. With the handle edge of the brush, Warhol scraped lines into the painted surfaces, implying wind moving over the surface but also further de-materializing the surface of this fine racing car. "I adore the car," Warhol said after he'd finished. "It's much better than a work of art." Certainly from a formal perspective much differs from Warhol's paintings, which were often achieved with the use of stencils or silkscreens with a prescribed order. - Christopher Mount, Design Historian and Curator (From the LACMA catalogue BMW ART CARS February 12-24, 2009)
Robert Rauschenberg took a completely different approach, not attempting to play with the materiality or non-materiality of the car or suggest speed, wind, or movement like the others. Instead his painting is static and approaches a painted car from an almost educational point of view. "I think mobile museums would be a good idea," he said. "This car is the fulfillment of my dream." Renowned for his use of collage and a multiplicity of materials and forms, Rauschenberg employed a kind of appropriation in his BMW 635 CSi. The most humorous of the automobiles, Rauschenberg painted the hubcaps as though they were fragile antique plates and reproduced Bronzino's famous Portrait of a Young Man on one side of the car and Jean-Auguste-Dominique Ingres' Le Grande Odalisque on the other. In a reference to the posssible ecological damage caused by the proliferation of automobiles, the artist included his own photographs of flowers, trees, and swamp grass to the hood and roof. - Christopher Mount, Design Historian and Curator (From the LACMA catalogue BMW ART CARS February 12-24, 2009)
A car enthusiast and collector, Frank Stella employed the most rational approach to the painting of his BMW 3.0 CSL. "My design is like a blueprint transferred to the bodywork," he said, and in fact the graph paper-inspired decoration suggests a two-dimensional drawing inflated to three dimensions. Stella sought inspiration from the car's technical drawings and found this to be the "most agreeable solution." However, this is not truly a technical exercise, and Stella references his own sculptures and drawings with the recurring appearance of the French curve and other forms taken from an architect's drawing table. - Christopher Mount, Design Historian and Curator (From the LACMA catalogue BMW ART CARS February 12-24, 2009)
Like the Stella, Roy Lichtenstein's automobile (BMW 320i) incorporates an artistic vocabulary familiar to him (including Benday dots and flat areas of color), but also adapts to the unusualness of the assignment. He said, "I pondered on it for a long time and put as much into it as I possibly could....I wanted the lines I painted to be a depiction, the road showing the car where to go." Again the modulated strip of color indicates movement and wind traveling from front to back of the car. However, Lichtenstein goes further conceptually: "the design also shows the countryside through which the car has traveled....One could cal it an enumeration of eveyrthing a car experiences - only that this car reflects all of these things before they actually have been on the road." On one side a rising sun, and over the rest a depiction of the natural and physical forces that car encounters on its daily journeys. - Christopher Mount, Design Historian and Curator (From the LACMA catalogue BMW ART CARS February 12-24, 2009)
9x36 strip softbox at rear (directed at background)
24x32 softbox on left directed at subject
black reflectors on sides of image
Assignment 52: On the Street Where You Live
I had something else in mind for my last shot, but when I walked out the door, I saw this wide-eyed guy on the newel post.
Trying to take a nice picture of my "48 star" USA flag I have had since I was a child.
As you notice, I had a helper!! LOL
This week’s assignment is to find a quiet place
Don’t – none, just take a break from your busy days and go shooting!
Dare – add people (same as last week, sorry I just love pictures of people)
My husband and I went to Colonial Williamsburg yesterday just to stroll around. It's about 1 1/2 hours from our house. On the way home we stopped at this wonderfully quiet place on a river bank. My husband is off in the distance and I'm in the corner (shadow).
WIT - Adjustments in LR basic panel
Assignment White Rajah, by Edward S. Aarons
Fawcett Gold Medal T2391, 1970
Cover art by Robert McGinnis
#29 in the Sam Durell "Assignment" series
University Assignment Season! Hogging Power Points and Bashing up the Keyboard on both my Mac and iPhone!
Assignment Maltese Maiden, by Edward S. Aarons
Fawcett Gold Medal T2635, 1972 PBO
Cover art by Robert McGinnis
#34 in the Sam Durell "Assignment" series
Cover art was not credited anywhere in this book; confirmed as McGinnis in "The Paperback Covers of Robert McGinnis" by Art Scott & Dr. Wallace Maynard.