Mimmo Jodice

Photography: Photos=light, Grapheis=to write

In 1949 Pablo Picasso was visited by Gjon Mili, a known photographer and lighting innovator, who introduced him to some of his photographs of ice skaters with lights attached to their skates. Immediately Picasso started drawing in the air with a small flashlight in a dark room. This series of photos became known as Picasso's "light drawings". The most famous of work of this collection is probably "Pablo Picasso's Flashlight Centaur". These photographs were shot in a dark rooms with a long shutter opening and rapid movements of the source of light in front of the camera.


 

Pablo Picasso's Flashlight Centaur

Profile

Life Gallery of Picasso's Light Drawings 

For more than three decades, Dan Flavin (1933-1996) vigorously pursued the artistic possibilities of fluorescent light. The artist radically limited his materials to commercially available fluorescent tubing in standard sizes, shapes, and colors, extracting banal hardware from its utilitarian context and inserting it into the world of high art. The resulting body of work at once possesses a straightforward simplicity and a deep sophistication.

Rawabi

Madison Dresser - a few photos

Last spring I spent some time studying and traveling throughout Ecuador and the Galapagos Islands. These were some of my favorite shots during the trip. The first photo was taken at night on the streets of Ecuador's capital city, Quito. I set up a tripod and did the exposure at about 3 seconds. The second two I can't remember what I shot at (haha) but they were both taken on an island called San Cristobal, Galapagos.

 "Blue Truck"

 "Island Bird"

"Nightly Leah"

Wide angle lens

Description of a wide angle lens from wikipedia.

http://en.wikipedia.org/wiki/Wide-angle_lens
From a design perspective, a wide angle lens is one that projects a substantially larger image circle than would be typical for a standard design lens of the same focal length; this enables either large tilt & shift movements with a view camera, or lenses with wide fields of view.

More informally, in photography and cinematography, a wide-angle lens refers to a lens whose focal length is substantially shorter than the focal length of a normal lens for the image size produced by the camera, whether this is dictated by the dimensions of the image frame at the film plane for film cameras (film format)[1] or dimensions of the photosensor for digital cameras.

By convention, in still photography, the normal lens for a particular format has a focal length approximately equal to the length of the diagonal of the image frame or digital photosensor. In cinematography, a somewhat longer lens is considered "normal".[2]

There is an easy formula for calculating the angle of view for any lens that produces a rectilinear image. In addition to giving a wider angle of view, the image produced by a wide-angle lens is more susceptible to perspective distortion than that produced by a normal lens, because they tend to be used much closer to the subject.


Heres some examples from flickr

http://www.flickr.com/photos/petecarr/476672999/in/photostream/

Joan Fontcuberta

check out Joan fontcuberta's landscape pictures, or go to his 'landscape without memory's ' exhibition in the FOAM museum in amserdam during your traveling!

Joan FontcubertaLandscapes without Memory26 November – 27 February

For the project Landscapes without Memory Catalan artist Joan Fontcuberta (b. 1955, Barcelona) used software developed by the US Air Force. It translates two-dimensional cartographic data into a simulated three-dimensional image. Instead of feeding maps into the software, in Landscapes without Memory Fontcuberta inserts painted landscapes: from Gauguin to Van Gogh, from Cezanne to Turner and Constable. The software translates them into new, virtual landscapes that Fontcuberta calls ‘post-landscapes’. They form a no-man’s land between the virtual and the real, between truth and illusion.

Ever since the medium was first invented, photography’s relationship with the real world has been as perplexing as it is fascinating. Far more than a medium such as paint, photography was supposed to have a certain level of truth. In recent decades in particular the idea has taken root that truth and reality are ambiguous concepts in photography. The unprecedented digital revolution has brought the potential for manipulation into focus. How much more reliable is the photographic image of the real world? Who and what can we still believe? This juxtaposition of illusion and reality lies at the heart of Spanish artist Joan Fontcuberta’s oeuvre. At the same time, he also refers to the connection between science and truth. Like photography (itself a product of science), we see science as a way of expanding our knowledge of the real world using rational, objective, verifiable methods. Science has a certain authority: what science proves is true. Fontcuberta turns the myth of scientific authority around and manages to persuade the public in many of his projects of the veracity of a purely fictitious narrative - simply by expressing himself in the language of science.

In recent years, Fontcuberta has been especially fascinated by the influence of the digital revolution on the way we communicate and on our use of image. Landscapes without Memory is one such project. He begins here by subjectively interpreting and portraying a landscape, and then using software to interpret and translate the artificial object. The result is a new reality which Foncuberta calls ‘technologically-defined contemporary hallucinations’.

The Photographers of Magnum

http://www.magnumphotos.com/Archive/C.aspx?VP=XSpecific_MAG.StaticPage_VPage&SP=photographers_list&l1=0&XXAPXX=SubPanel10

Robert Mapplethorpe

Exhibiion (not far from JCU)

http://espresso.repubblica.it/multimedia/fotogalleria/27864553

give a look at this link!

Un'amicizia che ha cambiato la fotografia del XX secolo. Quella tra Paul Strand e Walter Rosenblum, rispettivamente maestro e allievo, è una storia durata 25 anni. Il confronto tra due dei più grandi autori degli anni '50 viaggiava tra Parigi e New York e non si limitava alla tecnica fotografica e ai materiali, ma viveva soprattutto delle impressioni sulla vita, terreno d'esperienza e d'ispirazione profonda. Il loro percorso creativo, documentato da oltre cento lettere originali, ha ispirato la mostra "Corrispondenze elettive", che inaugura il 21 January al museo di "Roma in Trastevere". L'esposizione durerà up to March the 20th e, oltre a parte dello scambio epistolare, include alcune delle più importanti immagini fotografiche di entrambi gli artisti, numerosi documenti, libri e una brochure con un saggio di Strand scritto per la mostra di Rosenblum al Brooklyn Museum - di Adele Sarno

syllabus digital

JOHN CABOT UNIVERSITY COURSE CODE: "AS 289-3" COURSE NAME: "Digital Photography" SEMESTER & YEAR: Spring Semester 2011

SYLLABUS INSTRUCTOR: Amato Serafino HOURS: TH 14:15-17:00 TOTAL NO. OF CONTACT HOURS: 45 CREDITS: 3 PREREQUISITES: OFFICE HOURS:

COURSE AIMS: Time, space, light, infinity, and human sensibility. For the last century and a half, photography has been following changes in humankind’s external and internal environments. The core idea of this course is that photography is related more closely to philosophical, literary, and narrative ideas than to art history and the visual arts. The specific aim of the course is to help students evaluate different types of photographic images and to find the genres and types of images closest to their own sensibilities. The theoretical objective of this course is to find techniques to “re-create” any sort of place and space, whether it be exterior or interior. Most lessons are taking place outdoors in and around the city of Rome. We will create individual and group electronic portfolios that will be shared through the class blog. The entire class will have access and be able to upload content to the blog to create one final “product”. Students use digital or film cameras. The teacher will follow them step by step as they produce an original portfolio.

SUMMARY OF COURSE CONTENT: Various genres of photography will be analyzed: Portrait Landscape Reportage Close up Theatre and arts (artists at work) Fine art. 1. Introduction to terms used in photography, both technical and theoretical. 2. Detailed examination and review of the camera and all its mechanisms. 3. Discussion of optical principles, in particular with regard photographic lenses: focal lengths, apertures, etc. 4. Introduction to black and white film, color film, and negatives. Film speed (Iso/Asa). Techniques of film developing. Techniques of photographic printing. 5. Ways of editing and displaying photographic images; presentation in the context of a photographic exhibition. The single image, the series, the essay, etc. 6. The photographic genres 7. Natural and artificial lighting in photography. 8. The course will focus on the relationships and advantages offered by ne tchnologies for traditional film photography. 9. It is highly recommended that students come prepared to class with, if possibile, a laptop.

LEARNING OUTCOMES: The objective of the course is for students to achieve a technical knowledge sufficient to realize images in different contexts. These skills will develop in controlled environments, in order to be verifiable technically and conceptually. Early in the course, a working context will be proposed. This context, or contexts, will be the environments of the theater, of architecture, and also of the studios of visual artists. Among the problems proposed is to photograph actors as they prepare a theatrical performance.

TEXTBOOK: NONE

REQUIRED RESERVED READING: NONE RECOMMENDED RESERVED READING: NONE

GRADING POLICY -ASSESSMENT METHODS: A group project will involve documenting museums or classical sites offered throughout Rome.  Students will organize their own photography projects under the supervision of the professor, in class and/or on site. -ASSESSMENT CRITERIA: Assessment Guidelines for assigning main letter grades: A, B, C,D, and F. A:  Work of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensiveknowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course. B:  This is highly competent level of performance and directly addresses the question or problem raised. There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments. C:  This is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings. D:  This level of performances demonstrates that the student lacks a coherent grasp of the material. Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail. F: This work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant. -ATTENDANCE REQUIREMENTS: Please refer to the university catalog for the attendance and absence policy.

Please refer to the university catalog for the attendance and absence policy.

ACADEMIC HONESTY As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.

STUDENTS WITH LEARNING OR OTHER DISABILITIES John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE