Portraits and self-portraits - start looking

I think what makes a good photo is when it either tells a story, makes a statement, or makes you feel what's going on in the photo. Has good detail, FOLLOWS THE RULES OF PHOTOGRAPHY. What I want to do is probably talk a picture of either telling a story or making a statement of some sort.

Print evaluation - My first print

Kiara Dailey, reading silently to herself in her 6th period photojournalism class after finish the days assignment. Kiara picked up and random book and suddenly got very interested in her readings.

1.) Is anything in sharp focus?
Her face.
a.) Describe what is in focus and what is not.
Her face is in focus and the top part of the book-self, you can see the details on her face, the bottom of the book self nothing is in focus, nor her clothes and the the photo is so light that you can barley make out or even see the words on the book.
b.) If not in focus, state the cause.
I wasn't focused on the book self or her clothes I was focusing on her face.
2.) Is there good contrast? (Look for the blacks and whites in the photo)?  The contrast is fine.
a.) If no, state the probable cause?

3.) Are all the rules followed? (Is the photo candid? Does the subject fill the frame? Does the photo contain action? Does it follow composition rules? Does it show "academics"?)
a.) If yes, explain what techniques were used and how you followed them in your photo. 
Yes I did follow the rules, all of the steps worked. The only problem we had was the paper was sort of old and so was the chemistry so the photo is more gray then black and white. How I took the photo was next to the book self there was a latter I just got on the latter until I found a good angle of her, checked the lighting and focus, then took the picture.
b.) If no, how will you correct this next time?

4.) Is there yellowing or are there spots on the print?
No.
a.) If yes, what caused it/them?

5.) Are there print rings or spots?
Yes.
a.) If yes, state the probable cause.
This could have happened during the chemistry part.
 
6.) Are your negatives, contact sheet, test strip and print stored in your folder?
Yes.
a.) If no, explain why.

Ethics in fashion photography

1. List the changes that were made to the model's face in the computer. (Look carefully)

• Made her lips fuller.
• Lifted her neck up
• Made her hair a bit longer, more full, and moved it around.
• Made her eyes bigger
• Slimmed her face some, and bronzed her cheeks.

2. Is it ethically acceptable to change a person's appearance like this in a photo? Why or why not? 

No it is not, I believe a person is beautiful no matter what. I can understand if she mas a few blemishes here and there to fix those or make them go away, but to resize and arrange a person face to make them look better or prettier is wrong. Everyone is beautiful in they're own way, plus if thats what the media feels is the appropriate way to look its not because when a girl gets ready in the morning they don't have the material to change they're appearance like that.

3. Are there circumstances in which it would be more ethically wrong to do this type of manipulation?

Maybe, if the changed everything about a model, like hair eyes, face, neck, body, color ect.
4. What types of changes are OK, and what aren't?

Okay-blemish removing, make up fixing, or applying make up to a person, teeth whitening ect. Wrong-making them look skinnier, or changing any part of they're body that is permanently them, like eyes, nose, face, head shape ect.

5. Explain what you think the differences are between fashion photography and photojournalism.

Photojournalism, you capture a moment, a REAL moment nothing is being fixed edited out or made to look better. Fashion photography is changing a person appearance to enhance them, to sell a product or make the media feel like this is how 'beauty' looks.

6. What relationship does each type of photography have to reality, and how does this affect the ethical practice of each? 

 The relationship between photography of fashion isn't real. Its all fake. The relationship between photojournalism, is like I said to capture a real moment. Fashion photography, will do whatever they want because all they have on their mind is sell sell sell and what more they can do to catch a persons eye, as for photojournalism is to tell facts, what you see is what you get.

Negatives Evaluation

1. From looking at your negatives, how many of your photos do you think turned out well?

5 or 6, but I can't tell that well, because I am looking at them from my film

2. How many of your photos appear like they will not turn out well? Why do you think these photos did not turn out (Ex: Over/under exposed, not focused, bad composition)?

5 and because they weren't in focus.

3. Select the negative image that you think will turn out the best when it is printed. Why do you think this photo will turn out well?

I'm pretty sure it will, its in focus, the lighting in perfect and its a good angle.

4. What technical aspects of photography (focus, exposure, composition) do you think are present in your best negative? What evidence can you provide from the appearance of the negative to support your answer?

Because the picture looks clear, there are no really dark or light parts on the negative photo.

5. What advanced composition techniques (Ex: rule of thirds, leading lines) that you have learned in class are present in your favorite negative?

Rule of thirds.

Photo Manipulation and Ethics

A. Summarize the main points of the story in 1-4 sentences.

These photographer went around messing with other photographers photos. Telling false stories that didn't happen. 1 was the rocket ships, the original photo (what really happened) the 3rd rocket didn't launch, but those photographers edited the photo and made it seem like every rocket had launched, therefore telling false stories.

B. Explain why you think this type of photo editing is unethical or acceptable.

Its unethical, because one these photographers had no right going around messing with photos which didn't belong to them, especially if its for a story. Changing the story, to make people believe its true when its not isn't a good thing.

_________________________________________________

A. Post the manipulation that you think was the most unethical, and explain why you think it was unethical.

 Before..

After..

This one told a false report making it seem like the that solider was going to hurt the man with the child.

B. Post the manipulation that you consider the least unethical, and explain why you think it is not as bad as others. 

This photo is not that bad at all, the only thing that was done to this photo was moving the pyramids closer together to make the photo look better behind the camels.

Making a Black and White print

 Definitions

Emulsion-a composition sensitive to some or all of the actinic rays of light, consisting of one or more of the silver halides suspended in gelatin, applied in a thin layer to one surface of a film or the like.
Aperture-an opening, as a hole, slit, crack, gap, etc. Also called aperture stop . Optics . an opening, usually circular, that limits the quantity of light that can enter an optical instrument.

Masking easel-A darkroom device used to hold paper flat while exposing it to light from an enlarger. An easel creates a white border surrounding a print because its "arms" block light from striking the print paper's edges.
Exposure-the act of presenting a photosensitive surface to rays of light.

the total amount of light received by a photosensitive surface or an area of such a surface, expressed as the product of the degree of illumination and the period of illumination.

the image resulting from the effects of light rays on a photosensitive surface.

Safe light-a darkroom light with a filter that transmits only those rays of the spectrum to which films, printing paper, etc., are not sensitive.

Dodging-(in printing) to shade (an area of a print) from exposure for a period,  

while exposing the remainder of the print in order to lighten or eliminate the area (sometimes fol. by out )
Burning-Basically, a darkroom process that gives additional exposure to part of the image projected on an enlarger easel to make that area of the print darker.

Materials

• Safe light

• Paper 

• Liquid Measurement Devices (graduate)

• Tongs
  

• Thermometer

• Squeegee

• Hanging Clips

• Darkroom

• Enlarger, 

• Easel, 

• Processing Trays (at least three, preferably five),

• Sink

• Rubber gloves, 

• A length of string or sturdy cord to hang prints from when drying, 

• Tacks or push pins to attach the string to the walls, 

• Plastic or wooden clips to attach the prints to the string.

•  Timer

Chemicals

Developer  Stop Bath and  Fixer.

 

 

  Switch on the enlarger light. Place a masking ease on the baseboard.

Place a used piece of photographic print paper white-side-up on the easel. Switch on enlarger light. Scale and focus image. Create a border around the image by sliding the easel arms up to the edge of the image so it just overlaps. Switch off the enlarger light and place a sheet of unused print paper emulsion-side-up on the easel. Close the top of the easel so that the arms are centered on the page. Select a filter if using variable contrast paper. Filters are usually placed inside a slot in the enlarger head and come in five grades, 1 being low-contrast and 5 being high-contrast. Place filter in filter holder and close securely. Set the aperture and timer using the test-strip as a guide. Switch on timer. After exposing the print paper, place it in the developer tray and proceed with processing. 

 

  Place the exposed print paper in the developer tray. (Time varies by paper type. Resin-coated paper stays in the developer 1 minute, while fiber-based paper stays in for 2 or more minutes.) Take the paper out of the developer with tongs. Let all excess liquid drain off of the paper before placing it in the stop bath tray. Place in stop bath tray, leaving resin-coated paper in the stop bath for 15 seconds and fiber-based paper for 30 seconds. Take paper out of the stop bath and place in fixer for 1 to 2 minutes for resin-coated paper and 2 to 10 minutes for fiber-based paper. Remove from fixer and place in wash for 2 to 5 minutes when using resin-coated paper and 30 to 60 minutes when using fiber-based paper.Take out of wash and place on drying cabinet.