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Series 6 - Teaching Notebooks
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| The teaching notebooks have not been transcribed verbatim. In some instances Model's main points have been summarized; in others, a fuller account is provided. Because Model includes a variety of styles in the notebooks (full sentences, point form, fragments, lists, unrelated words), we have used the dash as the main form of punctuation (as she did herself). Spelling errors have been corrected and spelling has been standardized to reflect current Canadian usage. |
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| | LM.AR6.NOTE Lisette Model: Teaching Notebooks |
| Box | |
| Box 14 | | | LM.AR6.NOTE1 Notebook 1. - no date. - no front or back covers; spiral bound; 10 x 8 inches; 36 sheets; 19 sheets used. |
| | | | | | 1: lenses - pinhole - dispersion - refraction, focal length |
| | | | | | 1b: infinity - aperture |
| | | | | | 2: focal length - focal length divided by diameter of lens |
| | | | | | 2b-3: circle of confusion - depth of field |
| | | | | | 3b: refraction - dispersion |
| | | | | | 4: prism - diagrams - lenses |
| | | | | | 4b: diagram of refraction |
| | | | | | 5-6: defective lenses |
| | | | | | 6b: [blank] |
| | | | | | 7: [page divided into columns] lenses |
| | | | | | 7b: [blank] |
| | | | | | 8: here today to study subject called photography - drawing with light - only 140 years old - where do we see them? - newspapers, magazines, books, advertising, fashion, movies, television |
| | | | | | 8b: medicine, surgery, psychology, astronomy, anthropology - photography is a mass medium, millions of cameras from $2.50 to thousands - a giant industry - find photography in museums, galleries, exhibitions, and art books - with all this is has the reputation to be easy - a world without these images seems inconceivable - let's see how it came into existence - history of photography - camera obscura - the darkroom - in one roll one sees an image upside down - left and right - red projected by light coming through a small window or hole of the opposite wall |
| | | | | | 9: discussion of the camera obscura continued - mid 1600 - portable camera obscura - used by painters - easy to copy nature and perspective - so difficult to draw until then in spite of the eye image which has perspective too - 1725 Heinrich Schulze - observes that silver salts (. . . of a metal and one acid on different metals) are sensitive to light - now there is camera obscura - and silver salts sensitive to light - both separate |
| | | | | | 9b: 1761 Dr. La Roche - French physician and a bad science fiction writer - wrote a book entitled Symphony or the Description of the Earth - in book he invents, in writing, something which is invented only 80 years later - photography - 1802 - Wedgwood and Davy - invents procedure through which it is possible to copy on paper or leather some transparent material - he has the idea that this way it might be possible to retain images of the camera obscura - Davy picks up the idea, works with iodine silver, and searches for a way to fix the image - ammonia has been discovered as a fixer |
| | | | | | 10: 1820 - Niépce - produces the first photograph - he also invents heliography and a ship motor - accidents - Niépce has a nephew - asks him to buy a new camera obscura for him - asks his optician Mr. Chevalier - Chevalier tells him about Daguerre |
| | | | | | 10b: founding of Niépce and Daguerre - Daguerre discovers developing copper plates with mercury - 1839 French government buys photography |
| | | | | | 11: invention belongs to the government - Daguerre gets English patent for the daguerreotypes - sells it there to Talbot - camera of the time costs three times more than today - exposures 3-10 minutes - one develops with mercury - fixes with cooking salt - daguerreotype is a very thin positive on a silver plate - sides reversed - there was only one picture of one photograph - a positive - no negative |
| | | | | | 11b: 1840 - Morse the inventor of the telegraph - now photography becomes a profession - 1866 - Stueuber constructs a planar or combination of two achromats - astigmatic - the lens is free from aberrations - F8 lens the speed is reduced - 1871 - the English physician and amateur Maddox invents procedure for exposing the plate - 1873 H.W. Vogel in Berlin discovers dyes |
| | | | | | 12: bromic silver particles are dyed - Mr. Eastman has anidea - for great industry and business - with plates this is difficult but with celluloid it was soon possible - had a small camera constructed |
| | | | | | 12b: the first roll film camera - lacking international publicity - a word, a name, easy to pronounce in all languages - easy to write and easy to remember - two syllables KO - DAK - Mr. Eastman was the father of amateur photography |
| | | | | | 13: Mr. Eastman killed himself at 77 - "My work is done, why wait" - camera gets smaller, lens larger, or more precise - light longer - 1924 the smallest handiest camera was made: the Leica, by Oskar Barnack - 1929 another principle of construction - the Rolleiflex by Heidecke - the industry will never dictate - the amateur will - he is the creator of this new industry |
| | | | | | 13b-14: [blank] |
| | | | | | 14b: the camera and its lens . . . is a replica of the human eye [diagram of the human eye] - description of vision |
| | | | | | 15: description of vision - box camera [diagram] |
| | | | | | 15b-16b: comparisons between the eye and the camera |
| | | | | | 17: the rangefinder focuses |
| | | | | | 17b: [blank] |
| | | | | | 18: emulsion - emulsion consists of gelatin physical, chemical - silver chlorides |
| | | | | | 18b: film backing |
| | | | | | 19: exposed to light for a long time - exposed to light for a short time - sensitivity - when light his a crystal |
| | | | | | 19b: panchromatic film - sensitive to all colours, also red - more sensitive to blue green - ultra violet than to yellow orange [diagram of a room] |
| | | LM.AR6.NOTE2 Notebook 2. - no date. - no front or back covers; spiral bound; 10 x 8 inches; 40 sheets; 40 sheets used. |
| | | | | | 1: composition |
| | | | | | 1b: in photography we deal with a rectangle and a surface - we also deal with an image of life projected into the camera - central composition, parallel composition |
| | | | | | 2: diagonal composition, circular composition |
| | | | | | 2b: the limitations of rectangle and surface |
| | | | | | 3: infinity - photography should give you an understanding of yourself in relation to nature and human society |
| | | | | | 3b: not to construct but to make an object or subject live |
| | | | | | 4: third course, first session - photography has existed for only 120 years - in this short time it has penetrated almost all fields of social and cultural activity |
| | | | | | 4b: we must recognize and admit that the camera is a monster - mechanical aspects of photography |
| | | | | | 5: the study of photography starts with the study of the camera and its tool |
| | | | | | 5b: talent |
| | | | | | 6: the most objective image comes from the most personal approach |
| | | | | | 6b: [blank] |
| | | | | | 7: the third dimension |
| | | | | | 7b: through our eyes we see the world where each object is placed in space - perspective |
| | | | | | 8: three dimensions in painting - perspective |
| | | | | | 8b: the . . . of perspective is that when the eye looks at the middle of a picture - lines radiating from this point run to the edge of the picture [diagram] |
| | | | | | 9: on our planet the main source of light is the sun, which rises and stays and goes down - this phenomenon of light and dark was from the beginning of time a vital way to . . . and life . . . and . . . get up move and live during the day - sleep during the dark - light became the symbol of life, spirit, God, and the good - night, dark, evil, and death - I have not made our extensive study of light further isolated from the point of view of being seen, felt, and used differently in this civilization. I . . . our photography is made by light. When I take a picture of a |
| | | | | | 9b: person sitting on a chair what we get is the reflected light of every part of this chair, this person - the wall behind is shown on the emulsion produces spots, big dark spots from blue to white - the . . . of these spots = the picture and the object we photographed - we must . . . that everything we see is nothing but light and shade - and objects revealed only by the light falling on it - and what . . . it is |
| | | | | | 10: [diagram of optics/vision] |
| | | | | | 10b: [blank] |
| | | | | | 11: whenever we pick up the camera and look we force composition - composition is not used only in photography - used in P. Scl. Music - it means to put together - combine in certain order, organize - organization not new . . . nature, culture or . . . comes back to photography; we deal with rectangle and surface physical contour - many possibilities - horizontal, vertical, diagonal composition but with an image of life |
| | | | | | 11b: one opinion - five lectures |
| | | | | | 12: aesthetics versus craft or technique |
| | | | | | 12b: argues for studying aesthetics rather than mechanics of photography |
| | | | | | 13: the endurance of images in culture and our memory of them |
| | | | | | 13b: the expressive power of images and "magic" inherent in images |
| | | | | | 14: physical properties of a photograph and illusion of third dimension |
| | | | | | 14b: images as "analogies" of the real world - receptive to the spiritual side of objects |
| | | | | | 15: argues that photographs are "analogies" and not replicas of the objects depicted |
| | | | | | 15b: photographs as "abstracted" images detached from the physical world |
| | | | | | 16: photographs have an independent life and project their own magic |
| | | | | | 16b: explains that her lectures will be based on a series of photographic problems which she will explore - assumes class is familiar with photography |
| | | | | | 17: introduction to the study of a certain problem |
| | | | | | 17b: the phenomenon of the image "lumičre dans la foto pas lumičre d'un objet" |
| | | | | | 18: photographs represent relationships between object and approach |
| | | | | | 18b: through the photograph one can detect the sensitivity of the photographer |
| | | | | | 19: explains that problems in photography will be identified and discussed |
| | | | | | 19b: often technical side of photography disconnects the photographer from his medium |
| | | | | | 20: the spiritual quality invested in images - death, fecundity |
| | | | | | 20b: image has a life of its own and project certain thoughts unexpectedly on to the viewer |
| | | | | | 21: photograph as an abstraction |
| | | | | | 21b: what is striking about photography is likeness mechanics play lesser role than nature |
| | | | | | 22: argues against pictorialism |
| | | | | | 22b: tools of different artists and mechanics following the laws of nature |
| | | | | | 23: pictorialism makes photography artificial |
| | | | | | 23b: [doodles] |
| | | | | | 24: beginnings of photography |
| | | | | | 24b: camera obscura |
| | | | | | 25: development of a mechanical image |
| | | | | | 25b: five lectures - third session - perfection in both the negative and the print |
| | | | | | 26: difficult transition from the image to the final print |
| | | | | | 26b: the decisions a photographer must make before taking the photograph |
| | | | | | 27: one has to master technique in order to be free |
| | | | | | 28: printing on different types of paper, playing with distortion |
| | | | | | 28b: playing with all the technical aspects |
| | | | | | 29: the need to be curious |
| | | | | | 29b: the changeability of photography through its tools |
| | | | | | 30: variety = more sensitivity |
| | | | | | 30b: the ever - changing image is what photography is all about |
| | | | | | 31: if you sterilize by formalizing a photograph it dies |
| | | | | | 31b: by understanding the nature of the image a photographer becomes oriented |
| | | | | | 32: fourth lecture - subjectivity versus objectivity |
| | | | | | 32b: we are the subject, object is the world around us - how to comment |
| | | | | | 33: everyone sees differently |
| | | | | | 33b: fourth session |
| | | | | | 34: camera obscura - light making an image rather than the hand |
| | | | | | 34b: people today use a camera to express their feelings and emotion |
| | | | | | 35: five problems: exposure, development, printing, enlarging, composition |
| | | | | | 35b: the image |
| | | | | | 36: the instant - elements which belong uniquely to the photographic medium |
| | | | | | 36b: exposure and time |
| | | | | | 37: image is produced all at once in a fraction of time |
| | | | | | 37b: photographer has the instant at his disposal |
| | | | | | 38: the mechanical and the "selected" instant |
| | | | | | 38b: photography is the art of the split second |
| | | | | | 39: the ready-made image - many people take pictures |
| | | | | | 39b: unlike other arts photography is easy for the beginner |
| | | | | | 40: for the beginning photographer the image is put together instantly |
| | | | | | 40b: photography as visual Esperanto |
| | | LM.AR6.NOTE3 Notebook 3. - date?. - front and back covers detached; front and back covers buff - coloured; spiral bound; 10 x 8 inches; 49 ruled sheets; 29 ruled sheets used; six unruled sheets inserted at front of book. |
| | | | | | Inserted unruled sheets: |
| | | | | | 1: development of news photography |
| | | | | | 1b: development of news magazine and the "mind guided camera" |
| | | | | | 2: development of chronicle photography |
| | | | | | 2b: development of the small camera enlarges the possibilities of photography |
| | | | | | 3: style - relationship between style and social conditions |
| | | | | | 3b: [blank] |
| | | | | | 4: photojournalism - beginnings of news photography |
| | | | | | 4b: history of news chroniclers |
| | | | | | 5: development of news photography |
| | | | | | 5b: early problems of news photographs |
| | | | | | 6: the ready-made image becomes the universal language |
| | | | | | 6b: authenticity of vision |
| | | | | | |
| | | | | | Attached ruled sheets: |
| | | | | | 1: about the image - just the title no other words |
| | | | | | 1b: mechanics of vision [diagram of the eye] |
| | | | | | 2: mechanics of the camera |
| | | | | | 2b: physical elements of the eye |
| | | | | | 3: focusing with the camera [it seems as though a page has been torn out] |
| | | | | | 3b: physical elements of the eye |
| | | | | | 4: camera duplicating the elements of the eye |
| | | | | | 4b: lenses in both the eye and the camera |
| | | | | | 5: the camera shutter and rangefinder |
| | | | | | 5b: the image - light creates an authentic image - history of image-making |
| | | | | | 6: images were never meant to imitate nature |
| | | | | | 6b: images are interpreted differently by everyone |
| | | | | | 7: physical and mental images are quite different |
| | | | | | 7b: cameras sees in two dimensions and will produce identical images under identical situations |
| | | | | | 8: eye is an organism and the camera is a mechanism |
| | | | | | 8b: difference and similarity between eye image and camera image |
| | | | | | 9: the instantaneous photograph |
| | | | | | 9b: Gernsheim, the outstanding historiographer of Victorian photography |
| | | | | | 10-10b: [blank] |
| | | | | | 11: title of the course is advanced photography - explains what this means |
| | | | | | 11b: expression and aesthetics is the aim of the course |
| | | | | | 12: there should be no fixed ideas of what a photograph should look like |
| | | | | | 12b: history of image making |
| | | | | | 13: the ubiquity of photographs |
| | | | | | 13b: the need to unlearn preconceived ideas about photography |
| | | | | | 14: perspective |
| | | | | | 14b: seeing things we know not to be true - e.g., converging railroad tracks |
| | | | | | 15: the theory of perspective |
| | | | | | 15b: three-dimensional vision of the eye versus two-dimensional vision of camera |
| | | | | | 16: the problem of resolving this translation of three dimensions to two dimensions |
| | | | | | 16b: eye compensates for perspective - camera does not |
| | | | | | 17: one must be aware of the differences when looking through the camera |
| | | | | | 17b: [blank] |
| | | | | | 18: the eye as an instrument of perception |
| | | | | | 18b: [blank] |
| | | | | | 19: effects of light on the eye |
| | | | | | 19b: [blank] |
| | | | | | 20: evolution of the eye |
| | | | | | 20b: [blank] |
| | | | | | 21: development of sight |
| | | | | | 21b: [blank] |
| | | | | | 22-22b: physical components of the eye |
| | | | | | 23: eyes of primates - small diagram |
| | | | | | 23b: function of the cones |
| | | | | | 24: mechanics of vision for humans, fish, insects |
| | | | | | 24b: compound eyes (e.g., the fly or bee), vertical and horizontal pupils |
| | | | | | 25: photographs come into existence through sight, we see through the eyes |
| | | | | | 25b: [blank] |
| | | | | | 26: how to look at photographs |
| | | | | | 26b-27: [blank] |
| | | | | | 27b: how picture is formed - three brief statements |
| | | | | | 28-46b: [blank] |
| | | | | | 47: both the beginner and the most advanced photographer must learn how to see - talent cannot be acquired |
| | | | | | 47b: an artist must have talent - craft is one thing, art is another |
| | | | | | 48: development of the camera obscura |
| | | | | | 48b: need to experiment and not be afraid to make mistakes - train the senses to record photographers effect and expression |
| | | | | | 49-49b: [blank] |
| | | LM.AR6.NOTE4 Notebook 4. - date 1962?. - front and back covers intact; front and back covers buff-coloured; spiral bound; 10 x 8 inches; 54 ruled sheets; 33 ruled sheets used; three unruled sheets inserted after page 10b. |
| | | | | | Attached ruled sheets: |
| | | | | | 1: history of the camera obscura [diagram of an artist] using camera obscura |
| | | | | | 1b: early photography - Pliny to Wedgwood and Davy |
| | | | | | 2: discovery of fixing agent - Niépce |
| | | | | | 2b: Daguerre |
| | | | | | 3: Daguerre's process |
| | | | | | 3b: later history of the daguerreotype introduction to America |
| | | | | | 4: Henry Fox Talbot, 1800-1877 - [rest of page blank] |
| | | | | | 4b: [blank] |
| | | | | | 5: light |
| | | | | | 5b: science and light - light waves and luminosity |
| | | | | | 6: light |
| | | | | | 6b: refraction |
| | | | | | 7: dispersion |
| | | | | | 7b: dispersion [small doodles] |
| | | | | | 8: composition |
| | | | | | 8b: dealing with a rectangle and a square and the infinite possibilities |
| | | | | | 9: composition possibilities, e.g., Coney Island |
| | | | | | 9b: photographer does not compose; the picture makes itself |
| | | | | | 10: certain patterns say more |
| | | | | | 10b: [blank] |
| | | | | | |
| | | | | | Inserted unruled sheets: |
| | | | | | 1: the photographic essay |
| | | | | | 1b: Salomon, Saffranski and Korff, (Ullstein), Flechtheim, Munkácsi, Eisenstaedt, and photojournalism |
| | | | | | 2: top left corner is torn - fashion magazines - Vogue, Vanity Fair |
| | | | | | 2b: photo-essay |
| | | | | | 3-3b: history of printing photographs |
| | | | | | |
| | | | | | Attached ruled sheets: |
| | | | | | 11: photojournalism - history of printing photographs |
| | | | | | 11b: history of news photography |
| | | | | | 12: halftone process - the press photographer |
| | | | | | 12b: history of news photography - Life magazine photo essay |
| | | | | | 13: photojournalism - how photos are chosen |
| | | | | | 13b: two kinds of photographers: pictorialsts and chroniclers |
| | | | | | 14: light - most important tools in photography: light and shadow |
| | | | | | 14b: science - the properties of light |
| | | | | | 15: dispersion, refraction, source of light |
| | | | | | 15b: light and darkness |
| | | | | | 16: different kinds of light for photography |
| | | | | | 16b: the attitude of the photographer towards light and shadow makes photography a creative medium |
| | | | | | 17-17b: photojournalism - a brief history |
| | | | | | 18: Life magazine - photo essay |
| | | | | | 18b: pictorialists and chroniclers |
| | | | | | 19: halftone process - news photography |
| | | | | | 19b: Salomon, Ullstein, Munkácsi, Eisenstaedt, Life magazine |
| | | | | | 20: photojournalism - pictures and words |
| | | | | | 20b: writer, photographer, and editor |
| | | | | | 21-28b: [blank] |
| | | | | | 29: history of photography - Talbot, Holmes, Muybridge, Marey |
| | | | | | 29b: photography and motion - instant |
| | | | | | 30: first official photograph |
| | | | | | 30b: [blank] |
| | | | | | 31: the instant, action, speed, history of photography |
| | | | | | 31b: being able to see motion - Muybridge |
| | | | | | 32: Muybridge experiments, Marey experiments |
| | | | | | 32b: Marey experiments |
| | | | | | 33: Muybridge experiments, criticisms |
| | | | | | 33b: invention of fast gelatin emulsion - Harold Edgerton |
| | | | | | 34: camera goes beyond seeing - the instant |
| | | | | | 34b: speed in photography |
| | | | | | 35: photography as the art of the split second |
| | | | | | 35b: the ready-made image |
| | | | | | 36: workshop for advanced photographers - introduction to picture making |
| | | | | | 36b: history of photography |
| | | | | | 37: photography as an art |
| | | | | | 37b: doing away with preconceptions about photographs |
| | | | | | 38: photography as a mass medium |
| | | | | | 38b-52b: [blank] |
| | | | | | 53: [doodles] art is never an imitation of nature |
| | | | | | 53b: photographer doesn't work in studio but in life |
| | | | | | 54: photography as a link to a deeper understanding of life |
| | | | | | 54b: [blank] |
| | | LM.AR6.NOTE5 Notebook 5. - date?. - front and back covers intact; front and back covers buff-coloured; spiral bound; 10 x 8 inches; 109 sheets; 108 sheets used. |
| | | | | | 1: the eye - its evolution |
| | | | | | 1b: the photographic camera - recording images visible to the eye [diagram of eye] |
| | | | | | 2: the amoeba is all eye - periodicity or change from light to dark - its effect |
| | | | | | 2b: transparent lenses - retina - object, eyeball, mechanics of vision |
| | | | | | 3: in beginning special areas were pigmented - heat sensitive |
| | | | | | 3b: [diagram of a box camera] |
| | | | | | 4: development of the internal eye - reproducing light |
| | | | | | 4b: [diagram of simple form of a box camera] |
| | | | | | 5: complex system of nerve endings - sight an instrument came into existence |
| | | | | | 5b: similarities between the eye and the camera |
| | | | | | 6: two focusing devices - one for air - one for water (in fish) |
| | | | | | 6b: similarities between the eye and the camera |
| | | | | | 7: flies, moths have two compound eyes - vertebrates - eyes which approach our own |
| | | | | | 7b: camera shutter corresponds to eyelid |
| | | | | | 8: the properties of the eye: cornea, membrane, iris, diaphragm, pupil |
| | | | | | 8b: eye construction [rest of page blank] |
| | | | | | 9: crystalline lens, retina |
| | | | | | 10: changing size of pupil - eyesight in wild or domestic birds - vertical pupils |
| | | | | | 10b: eye focuses by changing the convexity of the lenses - shutter in camera controls the duration of light |
| | | | | | 11: rangefinder measures distance from the object |
| | | | | | 11b: the image - through light we perceive the physical world - light transfers image onto emulsion |
| | | | | | 12: vertical pupils: tigers, cats; horizontal pupils: horses, deer |
| | | | | | 12b: [at no stage in evolution of man was the] purpose of a picture to reproduce or imitate nature - always to express the actual state of human understanding of the world and life - images are the only thermometers or measure to understand disappeared cultures and generations |
| | | | | | 13: primates - man and monkey - exercise of convergence - central fixation area |
| | | | | | 13b: human eyes are lenses |
| | | | | | 14: differences between primates and lower animals |
| | | | | | 14b: nerve endings lead to the brain and the image is then interpreted differently by each person |
| | | | | | 15: periphery areas sensitive to light, rods - cones sensitive to form |
| | | | | | 15b: images have very different meanings to different people |
| | | | | | 16: animals below monkeys have divergence of eyes - colour vision seems more developed in man - in man colouring matter is purple |
| | | | | | 16b: physical image is immediately translated into mental image |
| | | | | | 17: bleaching action is common to all eyes |
| | | | | | 17b: 30 cameras set up identically will produce identical image - without selection, without understanding or intelligence the image is mechanical |
| | | | | | 18: analogy between the eye and the camera |
| | | | | | 18b: eye is an organ and the camera is a mechanism - image is mechanical until nerve endings lead it to the brain and make it a mental image |
| | | | | | 19: until the arrival of the modern camera with its electronic diaphragm, the eye was unique because of its self-adjusting pupillary opening - the eye is a neat little instrument |
| | | | | | 19b: we have mental image of the eye, mechanical image of the camera and we have to produce a photographic image using the tools of the medium |
| | | | | | 20: only one difference between the camera and the eye - the camera is focused by moving the lens forward and away from viewfinder |
| | | | | | 20b: photographer works with all the tools of the medium to bring the mental image together with the mechanical image creating the third image which is the photograph |
| | | | | | 21: biological research has discovered more and more similarity between the process of photography and vision |
| | | | | | 21b: eye image and camera image used in making a picture |
| | | | | | 22: retina, rods, and cones act like sensitive film in camera |
| | | | | | 22b: [blank] |
| | | | | | 23: rods receptive to dim light and neutral colour - cones to moderate light |
| | | | | | 23b: [blank] |
| | | | | | 24: cones connected to the brain by a muscle fibre - only the eye is based on the use of the concave mirror - pigment is a colouring matter in plants and animals |
| | | | | | 24b: [blank] |
| | | | | | 25: photography is the art of producing images by the action of light - diagram of cones and rods, retina, light source |
| | | | | | 25b: [blank] |
| | | | | | 26: the instant - speed, action, in the beginning of photography action was not recorded - emulsion was too slow - Fox Talbot, electric flash |
| | | | | | 26b-27b: [blank] |
| | | | | | 28: first photographs where action was stopped were stereoscopic views - 1863, Oliver Wendell Holmes, "On How Man Walks" |
| | | | | | 28b: [blank] |
| | | | | | 29: a foot in midair had never been seen before - people found it [action] ugly |
| | | | | | 29b: [blank] |
| | | | | | 30: 1873, Muybridge - horse galloping |
| | | | | | 30b: diagram of Muybridge experiment |
| | | | | | 31: description of Muybridge experiment |
| | | | | | 31b: [blank] |
| | | | | | 32: continued description of Muybridge experiment |
| | | | | | 32b: [blank] |
| | | | | | 33: photos looked ridiculous, ugly - people did not believe it - Muybridge put photos on outside of a disk |
| | | | | | 33b: [blank] |
| | | | | | 34: anticipated the moving picture with his zoopraxiscope - Étienne-Jules Marey |
| | | | | | 34b: [blank] |
| | | | | | 35: made several exposures on the same plate |
| | | | | | 35b: [blank] |
| | | | | | 36: three dimensions versus two dimensions - camera and the eye - revolution in 1839 when photography could be massed-produced |
| | | | | | 36b: [blank] |
| | | | | | 37: the ways the camera and the eye differ - perspective |
| | | | | | 37b: [blank] |
| | | | | | 38: da Vinci's study of the camera obscura - three-dimensional space projected on two-dimensional space |
| | | | | | 38b: [blank] |
| | | | | | 39: perspective - phenomenon of appearance - we see what we does not exist - e.g., railroad tracks converging |
| | | | | | 39b: [blank] |
| | | | | | 40: axiom of perspective - the apparent decrease of an object as it recedes from the eye |
| | | | | | 40b: [blank] |
| | | | | | 41: parallel lines seem to approach at one point called the vanishing point |
| | | | | | 41b: we live, see, and feel in space |
| | | | | | 42: with our eyes we see in space and time - focus in individual objects see in different planes separated by different distances |
| | | | | | 42b: [blank] |
| | | | | | 43: three dimensions projected on two dimensions - third dimension becomes an illusion, not a reality |
| | | | | | 43b: [blank] |
| | | | | | 44: eyes wander from one thing to another - on surface whole image is projected in a fraction of time |
| | | | | | 44b: [blank] |
| | | | | | 45: in painting there were many ways to show depth - - seventeenth-century perspective took over - all other means of showing depth abandoned |
| | | | | | 45b: [blank] |
| | | | | | 46: photographers limited by perspective - often try to escape it by making abstract photographs - in photography the third dimension on a surface is resolved by the tools of the medium - light, tones, sharpness, unsharpness, camera angle, distortion, depth of field |
| | | | | | 46b: [blank] |
| | | | | | 47: use of different lenses, etc. - everything in space is flattened on the surface |
| | | | | | 47b-48b: [blank] |
| | | | | | 49: light is the number one tool in photography - light and shadow in black and white photography - form image on emulsion |
| | | | | | 49b: [blank] |
| | | | | | 50: have you ever watched a tree or house in changing light over 24 hours? - properties of light |
| | | | | | 50b: [blank] |
| | | | | | 51: the visible spectrum - light passing through a prism divided into rays of different colours |
| | | | | | 51b: infrared and ultraviolet filters |
| | | | | | 52: the visible spectrum - infrared and ultraviolet are at opposite ends of the spectrum and are invisible - dispersion: separation of white ray of light |
| | | | | | 52b: [blank] |
| | | | | | 53: refraction [diagram] |
| | | | | | 53b: [blank] |
| | | | | | 54: another way of looking at light - the sun |
| | | | | | 54b: [blank] |
| | | | | | 55: change of light important in man's evolution and productivity - sun gods and forces of the dark - light identified with life and spirit - darkness with death |
| | | | | | 55b: [blank] |
| | | | | | 56: with camera a powerful instrument to express light and shadow - photographers use light and shadow in different ways - Cartier and Abbot, etc. |
| | | | | | 56b: [blank] |
| | | | | | 57: next page [rest of page is blank] |
| | | | | | 57b: [blank] |
| | | | | | 58: outdoor light is easily overlooked - a formula often used for portraiture |
| | | | | | 58b: [blank] |
| | | | | | 59: light bouncing from the wall for portraiture |
| | | | | | 59b: [blank] |
| | | | | | 60: shadows are created by adding light or a general illumination |
| | | | | | 60b: light sources - catch light in the eye, eye glass reflection, long nose, strong chin, hollow cheeks, puffy cheeks - placement of light sources |
| | | | | | 61: not the placement of light but the attitude of the photographer which gives expression to a photograph - ultraviolet rays and infrared rays |
| | | | | | 61b: [blank] |
| | | | | | 62: continuation - instant - Muybridge perfected his experiments |
| | | | | | 62b: [blank] |
| | | | | | 63: Muybridge, horses, nude models, intention to create an atlas for artists - if you photograph an object in motion the object stands still |
| | | | | | 63b: [blank] |
| | | | | | 64: painters tried to copy motion - photographers advised to photograph only aspect that came close to rest, to show only what the eye can see |
| | | | | | 64b: [blank] |
| | | | | | 65: Maddox - gelatin soaked in cadmium bromide in solution plus silver nitrate - development of the Kodak camera |
| | | | | | 65b: [blank] |
| | | | | | 66: Kodak - "you push the button, we do the rest" Driffield and Hurter - 1884 Otto Schott makes lenses with Crown glass |
| | | | | | 66b: [blank] |
| | | | | | 67: 1929 - flash photography, synchronized flash |
| | | | | | 67b: [blank] |
| | | | | | 68: 1931 Harold Edgerton designed an electronic flashlamp |
| | | | | | 68b: [blank] |
| | | | | | 69: light is so intense that a drop of milk or flying bullet can be photographed |
| | | | | | 69b: [blank] |
| | | | | | 70: camera has gone beyond seeing - brought a world of life from the unseen |
| | | | | | 70b: [blank] |
| | | | | | 71: movement and expression unseen yet is stopped |
| | | | | | 71b: [blank] |
| | | | | | 72: from there on in the amount of speed is merely a matter of perfection |
| | | | | | 72b: [blank] |
| | | | | | 73: where and how is speed manifested in photography - speed of shutter, speed of lens, speed of emulsion, speed of chemicals, speed of photographer - develops sixth sense - i.e., Weege, newsreel |
| | | | | | 73b: [blank] |
| | | | | | 74: mechanical speed and selective instant of the photographer |
| | | | | | 74b: [blank] |
| | | | | | 75: instant is new in the history of photography |
| | | | | | 75b: [blank] |
| | | | | | 76: movement and expression unseen are stopped - anticipate action - ready-made image |
| | | | | | 76b: [blank] |
| | | | | | 77: ready-made image is also the reason that photography has become an international visual expression |
| | | | | | 77b: [blank] |
| | | | | | 78: photojournalism - photography and the printing press were connected from the beginning |
| | | | | | 78b: [blank] |
| | | | | | 79: history of photojournalism |
| | | | | | 79b: [blank] |
| | | | | | 80: process of reproducing photographs |
| | | | | | 80b: [blank] |
| | | | | | 81: halftone process or plates |
| | | | | | 81b: [blank] |
| | | | | | 82: great illustrated weeklies used them from time to time |
| | | | | | 82b: [blank] |
| | | | | | 83: Fenton's Crimean War, Brady's Civil War appeared |
| | | | | | 83b: [blank] |
| | | | | | 84: halftone process 1850 - took years to be believed |
| | | | | | 84b-85b: [blank] |
| | | | | | 86: agencies came into existence - picture stories appear |
| | | | | | 86b: [blank] |
| | | | | | 87: picture stories - London Illustrated News, Brady, Nadar's son, etc. |
| | | | | | 87b: [blank] |
| | | | | | 88: in 1892 the Illustrated American - later writing reduced to captions |
| | | | | | 88b: [blank] |
| | | | | | 89: idea revived by Henry Luce in 1936 - Life and Time magazines |
| | | | | | 89b: [blank] |
| | | | | | 90: the photo essay - written and photographed to order |
| | | | | | 90b: [blank] |
| | | | | | 91: pictures became more informal, less posed - during the war Life had a school for army photographers - photojournalism introduced into fashion magazines |
| | | | | | 91b: [blank] |
| | | | | | 92: photojournalism traced back to the penny magazine - painters had a big interest |
| | | | | | 92b: [blank] |
| | | | | | 93: pictorialism flourished - also other motivations - the chroniclers |
| | | | | | 93b: [blank] |
| | | | | | 94: news photography 1840 - Morse: first group picture - Matter in Vienna took a picture of a crowd and of mounted police - Reisner, Flaubert, and Maxime Du Camp |
| | | | | | 94b: [blank] |
| | | | | | 95: the first writer and photographer team |
| | | | | | 95b: [blank] |
| | | | | | 96: editors could not understand the photographs - preferred pictorialism not the chronicle photograph |
| | | | | | 96b: [blank] |
| | | | | | 97: 1914 New York Times added a photogravure section - chronicle photography had become journalistic photography |
| | | | | | 97b: [blank] |
| | | | | | 98: postwar world of mass culture - 1925 the Leica - the small camera stopped action, is more fluid |
| | | | | | 98b: [blank] |
| | | | | | 99: in 1928 comes a great photographer, Salomon - then Ullstein, a great German publication - Salomon with Korff and Saffranski, understood the importance of photography as a means of communication |
| | | | | | 99b: [blank] |
| | | | | | 100: Munkácsi, Eisenstaedt, Life, photojournalism |
| | | | | | 100b: [blank] |
| | | | | | 101: journalism - visual representation of spoken words - experience of two senses increases the reality - coming together of the verbal and the visual medium to photojournalism |
| | | | | | 101b: [blank] |
| | | | | | 102: awareness of communicative result |
| | | | | | 102b: [blank] |
| | | | | | 103: elements of photojournalism |
| | | | | | 103b: [blank] |
| | | | | | 104: photojournalism requires that the photographer be detached - camera not only a reporter but a means of communication |
| | | | | | 104b: [blank] |
| | | | | | 105: developing solutions need four kinds of chemicals |
| | | | | | 105b: accelerators and preservatives |
| | | | | | 106: rinses |
| | | | | | 106b: acid fixing bath, hardening agent |
| | | | | | 107: hardening agent continued, lenses |
| | | | | | 107b: focal point, focal length, high key |
| | | | | | 108: Steichen - my quotation - "I have been asked. . . ." "The camera is an instrument of detection. . . ." |
| | | | | | 108b: questions and answers - "In the field of what is called the arts there is no proof . . . intangible, therefore so much more precise." |
| | | | | | 109-109b [blank] |
| | | | | | back cover: the hidden face, the eye and the camera, the instant, three dimensions versus two dimensions, light, photojournalism, the enlarger, subject matter, chemicals for development, high key, question under my exhibition (Steichen) |
| | | LM.AR6.NOTE6 Notebook 6. - date? (after 1969: reference to moon landing). - front and back covers intact; front cover bright green; back cover buff-coloured; spiral bound; 11 x 8 1/2 inches; 53 sheets; 53 sheets used. |
| | | | | | 1: introduction - took a thousand years for photography to be invented - huge industry which depends on mass production |
| | | | | | 1b: used as a weapon for ideologies - immensity of this medium - as an art form - humans beings understanding their connection with life |
| | | | | | 2: photography deals with optics, chemistry, physics, mechanics, basic and advanced courses |
| | | | | | 2b: expression - the differences from painting and drawing - an advanced course - technique is not neglected but intensified - images not new |
| | | | | | 3: the Egyptians, the Greeks, the Renaissance, modern painting and sculpture |
| | | | | | 3b: 1820 - first official photograph produced - now an instrument to make an image - the camera - Leonardo da Vinci gave the first scientific attention |
| | | | | | 4: as an art form - no rules or regulations, no routine or taboo - it is our task to do away with the presumption that we know or can dictate what to reveal or what to conceal, to dictate, or to do - human activity free and open does not mean anything goes - there is false and there is true - reality versus phoniness, an idea or belief that technique can be learned |
| | | | | | 4b: talent is a God-given gift, given to one in a million - seems to me this is not possible - everybody has talent; it may depend on amount of interest, love and work, perseverance and patience - desire for fast results, success, money, glamour, stardom, are disasters - e.g., Schönberg, Picasso |
| | | | | | 5: exploration of the image of life, not application of accumulated knowledge of thousands of pictures we have seen and imitate, will give results |
| | | | | | 5b: [blank] |
| | | | | | 6: the eye [little stick men drawings - man with bow and arrow and a fish, man lassoing a another person, blob] the eye developed as an instrument of perception [another stick drawing with a man and a lasso and a caricature of a face with the word "moor" in between] evolution of the eye - starts with the amoeba |
| | | | | | 6b: periodicity change from light to dark, day and night - eye became more sensitive to light |
| | | | | | 7: light images produced by receptor cells not just sensations of light - an actual lens systems developed - sight comes into existence - each creature develops an eye best suited for the life it was leading |
| | | | | | 7b: fish developed two focusing devices - insects develop two kinds of eyes |
| | | | | | 8: the vertebrates (animals with backbone) have eyes which approach ours - membrane, pupils, crystalline lens, retina |
| | | | | | 8b: muscles developed in the eye - different eyes - birds, vertical pupils, horizontal pupils |
| | | | | | 9: primates - man and monkey: eyes placed at an angle - exercise of convergence, a central fixation area, sensitivity to light and movement; lower animals sensitive only to light and movement |
| | | | | | 9b: the cones, colour sensitivity |
| | | | | | 10: analogy between the eye and the camera - highly polished transparent lens, adjustable multi - focus lens - emulsion usurped by the retina and cones |
| | | | | | 10b: the eye from lens to darkroom - there is one difference |
| | | | | | 11: the camera is focused by moving the lens forward and backward, away from the film plane; the eye is focused by changing the convexity of the lens; no advance in photography was made by the way the eye functions but biological research has discovered more and more similarities |
| | | | | | 11b: the cones - the rods |
| | | | | | 12: photography is the art of reproducing images by the action of light |
| | | | | | 12b-13: [blank] |
| | | | | | 13b: [blank] |
| | | | | | pink divider: [blank] |
| | | | | | 14: three dimensions versus two dimensions - camera and eye have differences - perspective |
| | | | | | 14b: phenomenon of appearance - we see what we know does not exist, e.g., railroad tracks - theory of perspective has many axioms |
| | | | | | 15: the apparent decrease of an object receding into space - lines converge - meet a point called the vanishing point - planes converge meet at a line called the vanishing line |
| | | | | | 15b: we see with two eyes the camera sees with one - we see in space and time - we see in different planes separated by different distances - we see and feel and live in space, e.g., three dimensional slide drawing |
| | | | | | 16: paper, emulsion, the situation changes to incorporate three dimensions in two dimensions in painting as well as in photography - a great problem |
| | | | | | 16b: before discovery of perspective there were many ways to show depth - in photography depth is inherent - in photography the third dimension of a surface is resolved by using every tool of the medium - light tones, contrast, sharpness and unsharpness, distortion, distance, angle and depth of field |
| | | | | | 17: everything seen in space and time is flattened on a surface, the third dimension being an illusion |
| | | | | | 17b: [blank] |
| | | | | | 18: three dimensions versus two dimensions - camera visions almost a mechanical replica of eye vision |
| | | | | | 18b: railroad tracks converge - axioms of perspective |
| | | | | | 19: seen in space and time - on paper third dimension is there on outline |
| | | | | | 19b: everything seen in space and time is flattened in one fraction of time on a surface and viewed as a unit |
| | | | | | 20: speed in photography = the consequence |
| | | | | | 20b: [blank] |
| | | | | | 21: subject matter - the world is our stage - the photographic image comes almost to what and how the eye sees - in the beginning of photography this aspect was considered miraculous, our enormous achievement - but soon, mainly thanks to the painter's point of view, it was declared unartistic, unaesthetical, mechanical, inferior - what specific importance does subject matter have for the photographer |
| | | | | | 21b: it differs with the photographer - I select what I am attracted to - I don't hesitate, question, analyze, just follow - other photographers think, plan, research and only then go to work - also that in different ways (Cartier, Diane, Lange, Palfi, Evans, Duane Michals, photojournalism) we have pointed out, we use photography to illustrate, to document, or as an instrument of investigation or a weapon - to fight for better conditions, propaganda against war, movie screen - protest, etc. - love, hate, truth, lies - direct - beauty, glamour, disease, etc. - search; to know oneself |
| | | | | | 22: the photographic image comes closest to the image that we see through the eye |
| | | | | | 22b: what does subject matter mean? it's different for different photographers - some react to certain subjects more that others - some to very few - improve social conditions, fight against prejudices - poetry, exploration of anything - self |
| | | | | | 23: [page full of doodles] |
| | | | | | 23b: subject matter - when we photograph through a lens we inevitably force subject matter |
| | | | | | 24: rent $326.14 [rest of the page is blank] |
| | | | | | 24b: [blank] |
| | | | | | 25: telephone [$524.20 is totalled in the middle of the page] |
| | | | | | 25b: [blank] |
| | | | | | 26: Con Edison [$539.93 is totalled in the middle of the page] |
| | | | | | 26b: [blank] |
| | | | | | 27: lawyer, modern accounting, lawyer, taxis, photo equipment, massage, restaurants, magazines, books |
| | | | | | 27b: [blank] |
| | | | | | 28: drugs |
| | | | | | 28b: [blank] |
| | | | | | 29: assistants |
| | | | | | 29b: [blank] |
| | | | | | 30: doctors, income, aperture, tokio [Tokyo?] |
| | | | | | 30b-31b: [blank] |
| | | | | | 32: it took hundreds of years to find and invent photography - a tremendous technological achievement - - without photography no astrology, no computers, no space exploration, no moon landing, |
| | | | | | 32b: but we see also in museums, galleries, books, portfolios, art form - human beings expressing their relation, understanding, connection with themselves and other human beings through the camera - photography deals with optics, physics, and chemistry |
| | | | | | 33: images not new - around for thousands of years - Egypt, Greeks, Renaissance, - modern photographers abandoning eye vision and perspective for abstract |
| | | | | | 33b: [diagrams - perspective?] |
| | | | | | 34: [diagrams - perspective?] |
| | | | | | 34b: 1820 - first photograph |
| | | | | | 35: there are no rules or regulations - no routine or preconceived attitudes, neurotic fantasies - reality - only there is no thermometer - all we have to use: sensing, intelligence, awareness, intuition |
| | | | | | 35b: talent God - given - I don't believe sensitivity can be forced - depending how much interest, love, persistence and courage - success, money, glamour - stardom = disaster - Schönberg: love proof of talent - Picasso: of all the above, success worst - vengeance of God against artist - imitation = lack of confidence in oneself - professional, conditioning |
| | | | | | 36: life image, eye, camera |
| | | | | | 36b-40b: [blank] |
| | | | | | pink divider: [blank] |
| | | | | | 41: three dimensions versus two dimensions - revolution when in 1839 photographs could be mass-produced |
| | | | | | 41b: [blank] |
| | | | | | 42: we have seen in perspective for millions of years but no awareness of it - Leonardo and camera obscura - third dimension is an illusion |
| | | | | | 42b: [blank] |
| | | | | | 43: perspective deals with phenomenon of illusion - railroad tracks |
| | | | | | 43b: [blank] |
| | | | | | 44: with our eyes we see in space and time |
| | | | | | 44b: [blank] |
| | | | | | 45: our eyes wander from one object to another - focusing and refocusing |
| | | | | | 45b: [blank] |
| | | | | | 46: only 30-40 years ago painting rejected - perspective |
| | | | | | 46b: [blank] |
| | | | | | 47: through inventiveness of Daguerre and Niépce, mass production came into existence - see in space and time |
| | | | | | 47b: [blank] |
| | | | | | 48: three dimensions versus two dimensions - the eye image and the lens image - that is why in 1839 could be mass produced - a miracle - Victor Hugo, etc. - lens system developed in the human eye |
| | | | | | 48b: [blank] |
| | | | | | 49: we see in what is called perspective - camera obscura |
| | | | | | 49b: [blank] |
| | | | | | 50: camera obscura - perspective |
| | | | | | 50b: [blank] |
| | | | | | 51: perspective deals with phenomenon of appearance |
| | | | | | 51b: we see in different planes |
| | | | | | 52: let [rest of page is blank] |
| | | | | | 52b: [blank] |
| | | | | | 53: let [rest of page is blank] |
| | | | | | 53b: three dimensions |
| | | | | | inside back cover: introduction - the eye - sequences - subjective, objective - abstract painting versus abstract photography - subject matter |
| | | LM.AR6.NOTE7 Notebook 7. - date?. - front and back covers intact; front cover mottled green; back cover buff-coloured; spiral bound; 11 x 8 1/2 inches; 158 sheets; 17 sheets used. |
| | | | | | 1: composition - word used in photography, painting, sculpture, music |
| | | | | | 1b: [blank] |
| | | | | | 2: in our civilization and work there is organization or order - in photography we inevitably deal with a rectangle or square and a surface - we also deal with our image of life coming through the lens |
| | | | | | 2b: [blank] |
| | | | | | 3: the rectangle, the square, and the surface are merely physical containers - they have names such as central, parallel, diagonal, and circular composition - the image of life |
| | | | | | 3b: [blank] |
| | | | | | 4: on the one hand the photographer faces the small rectangle and the square and struggles with its limitation - on the other side, he gets lost in the infinite aspects of what we called the image of life - how is he going to select in this ocean of images? |
| | | | | | 4b: [blank] |
| | | | | | 5: we can also photograph one object - part of it - any part of it or the sky or the ocean |
| | | | | | 5b: [blank] |
| | | | | | 6: we can photograph infinity or a microbe by sensing, understanding, feeling the meaning of life around - its significance, order, rhythm to connect with it |
| | | | | | 6b: [blank] |
| | | | | | 7: he will have to use all the tools of the medium - and let its subject fall into place instead of organizing it - and by doing so another image will come into life - very different from the image of the eye - the photograph |
| | | | | | 7b-8b: [blank] |
| | | | | | 9: composing is not shifting subject matter around to make it look better or more effective - we let subject matter coordinate itself - fall into place - the picture makes itself - Tudor |
| | | | | | 9b: [blank] |
| | | | | | 10: composition is the result of all tools, including the photographer - understanding attitude brings it about - - it is what you feel about - and say it in terms of photography - no rules, no preconceived ideas, no applied formulas - only what says more |
| | | | | | 10b: no computer, no astronomy, no underwater exploration no space exploration, no moon landing without photography |
| | | | | | 11: introduction - it took man thousands of years to discover, to invent photography - a giant industry - |
| | | | | | 11b: today photography an important tool for the exploration of E.S.P. |
| | | | | | 12: you realize the immensity of this medium - photography as an art, which means: human beings expressing their understanding and their connection with life and with themselves through a new instrument, a new vision - the camera, a small but important aspect of photography |
| | | | | | 12b: photography deals with optics, chemistry, physics, mechanics - the photographer needs special training |
| | | | | | 13: the study of the image in photography - understanding its entirely different structure and existence - be aware of its new aspect and expression - that it has brought a new world, a new understanding of life to man |
| | | | | | 13b: it is not just a good print, but depending on what is needed, the print for what is intended to be conveyed, etc. |
| | | | | | 14: images not new - prehistoric, Egyptians, Greeks, the Renaissance |
| | | | | | 14b: discovering perspective - modern painting and sculpture - discarding subject matter completely - dealing with surface shapes and forms in connection with space and time |
| | | | | | 15: Leonardo - camera obscura |
| | | | | | 15b: when it comes to any art form it is important to realize that there are no rules and regulations, outdated laws, or preconceived ideas - that is our task: to do away with presumption that we know or can dictate what can be revealed or what has to be conceived |
| | | | | | 16: the field of human activity is free - with all this freedom there is one hitch - not everything goes - there is the true and there is the false - to be free does not mean to be sloppy |
| | | | | | 16b: art comes through one's heart - or something coming into existence - it is generally believed that technique can be learned or acquired by anybody - but talent is God-given - you have it or not - I rather believe that awareness, sensitivity, which is talent, can be trained and it can grow and be trained not by accumulation of |
| | | | | | 17: knowledge or acceptance of philosophies but in a different way one can be sensitized - let us try - the picture makes itself - talent: Schönberg; success: Picasso; imitations: photographing what and how one has seen it photographed, not inspired by life and its direct image |
| | | | | | 17b: too much admiration for others leads to lack of self-respect |
| | | | | | inside back cover: (1) composition (2) introduction |
| | | LM.AR6.NOTE8 Notebook 8. - date?. - front and back covers intact; front and back covers mottled blue-green; spiral bound; 11 x 8 1/2 inches; 18 sheets; 18 sheets used. |
| | | | | | 1: [page full of doodles] |
| | | | | | 1b: [doodles] |
| | | | | | 2: [doodles] 136 Houston Street - Cr 72650 - Soltanoff [?] - Delitza 30.75.2 |
| | | | | | 2b: [blank] |
| | | | | | 3: Name: Lisette Model
Address: 137 7th Avenue South, New York, N.Y. 10014
I. Personal history
Present occupation: Freelance Photographer, Instructor of Photography at the New School and private at my studio
Place of Birth: Vienna, Austria
Date of Birth: November 10, 190[?]
Are you an American citizen?
If you are naturalized give date and place of naturalization: July 20th, 1944, Southern District of New York
Number of dependants other than yourself: one, my husband
What is your estimated income from other sources in the year or years in which you will be working on your project? about $4,000 earned from photography assignments, teaching, and selling photographs to museums and collectors
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| | | | | | 3b: II. Academic and Occupational Background
Summarize your academic background listing colleges, universities, or other institutions of learning attended with degrees, diplomas, and certificates: private tutoring: . . . eight years including Latin, Greek, higher mathematics, etc. trained musician: Studied composition with Arnold Schönberg - the piano with late pianist Eduard Steuermann (late professor, Julliard School of Music) and singing - continued studies in Paris with Marya Freund and speak and write four languages
Summarize your occupational background indicating your position held and dates of tenure: Photographer - worked for Harper's Bazaar from 1941 to 1954 - freelancing for Look magazine, Ladies Home Journal, Vogue, U.S. Camera, Popular Photography, Modern Photography, Saturday Evening Post, Creative Camera London, Infinity, Camera (Switzerland), Instructor in Photography - San Francisco School of Fine Arts - New School (1951-1970) - and in my studio - visual arts, Pratt, Washington, Baltimore, Providence, Chicago, and San Francisco
List of fellowships and scholarships: John Simon Guggenheim Memorial Foundation Fellowship - awarded March 17, 1965 - Project: photographic studies of the social and artistic history of our time
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| | | | | | 4: The Boscop Foundation Grant $500 for the continuation of the project - Merril Foundation
List your publications giving title, publishers, and date of publication of each: Harper's Bazaar, all magazines; photographs appeared in the following books: Photographs of the World, Poet's Camera, 20th Century Photography, Encyclopedia of Photography, two U.S. Camera annuals, Harper's 100 Years of Fashion, Museum of Modern Art Calendars, The Family of Man, History of Photography Beaumont Newhall; citation: Society of Magazine Photographers; Honorary member: for her great and lasting contribution "as a photographer as well as a teacher" April 1968
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| | | | | | 4b: Exhibitions: Museum of Modern Art - 30 Photographs - 40 Photographs 15 Photographs - One-Man Traveling Show - In and Out of Focus - The Family of Man - Seventy Photographers Look at New York - represented in the Steichen Art Center, Rochester, George Eastman House, Smithsonian Institution, White House Festival 65 - Forum Gallery, The John Simon Guggenheim Memorial Foundation Fellow in Photography, Philadelphia College of Art, University of Wisconsin, Milwaukee, The Fifteen Most Important Photographers; One - man shows: Chicago Art Center, California Palace of the Legion of Honor, Carl Siembab Gallery, Boston; collections: Museum of Modern Art, Smithsonian; private collections: Abbott . . . Sherwood, Davies, Ansel Adams
Represented in books: U.S. Camera Annuals; Photographs of the World; Poet's Camera - American Studio Books; Photographs of the 20th Century - George Eastman House; The Family of Man; 100 Years of the American Female - Harper's Bazaar Calendars (collection of the Museum of Modern Art 1963, 1967
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| | | | | | 5: need information - Cartier, Diane, Marion, Lange, Evans, Duane Michals: death - sex, photojournalism - like everything else can say the truth, reveal or lie, conceal |
| | | | | | 5b: how much is true and original - how much conditioned, imitated - subject matter has its fashion in different areas - abstract, portraits, landscapes, scientific photographs, self-knowledge - selection of subject matter important - often reveals the photographer |
| | | | | | 6: the problem of privacy and the law - quote: I have been often asked etc. - photographing new subject matter opens sometimes a new world - unaware of |
| | | | | | 6b: [blank] |
| | | | | | 7: the instant - 1851 Fox Talbot - Oliver Wendell Holmes - the instantaneous photograph - demonstrate human walking motion |
| | | | | | 7b: [blank] |
| | | | | | 8: positions and aspects were very different from what people were used to seeing in drawings and in paintings - a foot in mid-air - people shocked and found it ugly - Muybridge showed a horse galloping |
| | | | | | 8b: [blank] |
| | | | | | 9: Muybridge made experiments - silhouettes of galloping horses |
| | | | | | 9b: [blank] |
| | | | | | 10: Muybridge experiment |
| | | | | | 10b: [blank] |
| | | | | | 11: photos looked ridiculous - people did not believe it - Étienne-Jules Marey - used only one camera |
| | | | | | 11b: [blank] |
| | | | | | 12: moved against a black background |
| | | | | | 12b: [blank] |
| | | | | | 13: painters tried to copy but everything seemed frozen - 1884 Otto Schott makes lenses with Crown glass - open flash photography - |
| | | | | | 13b: [blank] |
| | | | | | 14: synchronized flash - Harold Edgerton |
| | | | | | 14b: [blank] |
| | | | | | 15: camera has gone beyond seeing - photography is the art of the split second |
| | | | | | 15b: [blank] |
| | | | | | 16: the amount of speed is only a matter of perfection - - photographer develops a sixth sense |
| | | | | | 16b-18: [blank] |
| | | | | | 18b: [upside down] the camera is basically a device for recording images visible to the human eye - this organ eye is undoubtedly the basis of photography - the similarity becomes evident by making a direct comparison - lens, iris, pupil |
| | | LM.AR6.NOTE9 Notebook 9. - date?. - front and back covers intact; front cover yellow, pink, green, and blue striped pattern; back cover white; spiral bound; 10 1/2 x 8 inches; 40 sheets; 34 sheets used. |
| | | | | | 1: book - the eye developed originally as a tool of perception for the purpose of survival - evolution of the eye - pigmented eye spots |
| | | | | | 1b: with time the spots lost their sensitivity - internal structure of the eye - lens system came into existence - complex system of nerve endings - sight - - |
| | | | | | 2: each creature developed an eye best for the life it was leading - fish, fly, vertebrates - the cornea - the iris |
| | | | | | 2b: pupil, crystalline lens, retina - as evolution proceeded, muscles were developed both inside and outside the eye chamber - horizontal and vertical pupils - small eyes for slow - moving animals - - |
| | | | | | 3: muscles, blood vessels, and nerves - primates - - convergence of eyes |
| | | | | | 3b: animals below monkeys and men - divergence of eyes - colour vision more developed in man - development of cone vision |
| | | | | | 4: analogy between the eye and the camera |
| | | | | | 4b: the eye from lens to dark room |
| | | | | | 5: these similarities go beyond optics and involve chemistry and physics |
| | | | | | 5b: cones, rods, membrane - photography is the art of producing images by the action of light |
| | | | | | 6: light - the number one tool in photography |
| | | | | | 6b: when the camera came into existence we had a powerful instrument to use light and shadow in a creative way - - |
| | | | | | 7: every photographer has a special light condition - Cartier, Abbott, etc. |
| | | | | | 7b: [blank] |
| | | | | | 8: three dimensions versus two - see in perspective |
| | | | | | 8b: perspective - deals with the phenomenon of appearance |
| | | | | | 9: seeing with two eyes - see in space and time |
| | | | | | 9b: three dimensions projected on two dimensions |
| | | | | | 10: in painting before the event of perspective and after there are many different ways of showing depth |
| | | | | | 10b: everything seen in space is flattened on a surface |
| | | | | | 11-11b: [blank] |
| | | | | | 12: photojournalism - from the beginning photographs and the printing press were linked |
| | | | | | 12b: 1880 the halftone process - at the same time a technological revolution in photography took place - - |
| | | | | | 13: news photography - the press photographer thinks in terms of one photograph - 1936 Henry Luce - The Showbook of the World: Life |
| | | | | | 13b: [blank] |
| | | | | | 14: these pictures are brilliant material for cultural class and economic history of the last 30 years - all images are projected to show the grander behaviour and social conditions of the time when they were taken - the individual aspect of man was not important in the structure of states in the strive for power and to the aspect that each country wanted to appear to the human race - and it is still going on - art at any time was associated to emphasize size, the glory, beauty, power, of established function of the state - it is related to the influence of social power and religious power - - martyrs, saints - misery today still is connected to the ideological concept of Christ - that is injustice toward human beings |
| | | | | | 14b: since then injustice, too, is glorified as necessary for human beings to overcome - misery goes on and punishment goes on - Egypt: pharaohs . . . of slaves, most of all glorification of odalisque, slaves . . . chains [doodles] |
| | | | | | 15: composition |
| | | | | | 15b: we face the image of life projected through the camera |
| | | | | | 16: we can show infinite space or a microbe |
| | | | | | 16b: we let subject matter coordinate itself - fall into place - understanding and attitude bring composition about - composition is not the best effect or decoration or a pleasant pattern one composes this way because it looks better - only because it says more |
| | | | | | 17: sensitivity or speed of emulsion - with any emulsion it is the time of exposure and the intensity of light we must consider |
| | | | | | 17b: density and emulsions [diagrams and example] |
| | | | | | 18: [diagram of a print] we have three tones which correspond visually and emotionally in black and white to the eye image in colour |
| | | | | | 18b: correct exposure: the negative reproduces the tone values of the subject matter as closely as possible |
| | | | | | 19: let us give an exposure of 1/2 [diagrams] |
| | | | | | 19b: for any emulsion there is a minimum and or maximum exposure which will produce or print - in which the relationship of tones corresponds to those of the subject - distortions caused by under- or over-exposure - concerns not highlights and shadows only, but every tone in the print |
| | | | | | 20: the idea of a purely photographic magazine was revived in 1936 by Henry Luce - Life - Time; a show book of the world - life content - spot news, feature stories - both written and photographed to order - out of this comes the photo essay; a story is decided - everybody becomes an idea man - photographer does not know what he will find |
| | | | | | 20b: laboratories are processing film and printing - the printed words are visual representations of the spoken word - hearing is related to reading - photojournalism makes use of both words and pictures - the experience of senses increases reality - the picture is seen in one fraction of time, the whole in one glance - pictures and words are read in different time and different ways |
| | | | | | 21: photojournalism says: the fusion occurs in the readers mind, not on the page - association eye, ear, and mind - photojournalist is not alone |
| | | | | | 21b: the photograph sees more than the eye - sees everything - eye is selective - the photographer can express only the emotions of what he photographs, not his own |
| | | | | | 22: composition |
| | | | | | 22b: the rectangle, square, and surface |
| | | | | | 23: the image of life |
| | | | | | 23b: we can photograph one house, several houses, or one whole city - Coney Island |
| | | | | | 24: we can photograph the ocean, the sky, outer space - how are we to compose, organize? - I think it is by feeling, sensing, relating, and understanding consciously and unconsciously the significance |
| | | | | | 24b: the meaning - in order to come to our expression we will need every tool in photography |
| | | | | | 25: another order of life has to be created through using three dimensions in two so that photography is created |
| | | | | | 25b: we do not fabricate composition - composition is what you feel about a subject matter - understanding and attitude bring the organization about - Abbott |
| | | | | | 26: the story of light is the story of life - light is the physical cause of our sensation of sight |
| | | | | | 26b: light |
| | | | | | 27: refraction, the spectrum |
| | | | | | 27b: dispersion, visible spectrum, another way of looking at light - half our life is spent in light |
| | | | | | 28: when camera came into existence man had a powerful instrument |
| | | | | | 28b: in nature we cannot create light but nature itself is created through light - it is not merely the existence of light and shadow that makes a photograph - rather the attitude and understanding of light that makes photography a creative medium |
| | | | | | 29: it took humanity thousands of years to produce, to understand, and to want to come to this specific image making |
| | | | | | 29b: [blank] |
| | | | | | 30: [signature of Lisette Model 22 times] |
| | | | | | 30b: [blank] |
| | | | | | 31: Leonardo da Vinci - principles of the camera obscura |
| | | | | | 31b: it is important to realize that when it comes to any art form, there are no rules and regulations - nobody can tell what a photograph ought to look like - it will be our task to do away with preconceived ideas, approved conceptions, rules, and established methods - but not anything goes |
| | | | | | 32: there is such a thing as truth or reality - lies . . . and phony - difficult sometimes to discern but in photography as in art, expression is what art is |
| | | | | | 32b: existence through the human connection of the photographer and the medium [?] |
| | | | | | 33: wherever we point camera at subject or object, or look through viewfinder problem arises - not only used in photography but in M.P.S.E, design, architecture . . . [?] - it means organize, put together, combine, put in an order - when we look through viewfinder, we never truly face rectangle, square, and surface - this recognition comes whenever we point the lens [at] let's call [them] the images of life |
| | | | | | 33b: on the one hand we have limitation of rectangle - but on the other - the infinity of what life brings into lens - I walk closer |
| | | | | | 34: composition is the result of all tools of the medium used in photography |
| | | | | | 34b: it is what you feel about and say it in terms of photography |
| | | | | | 35-40: [blank] |
| Box | |
| Box 15 | | | LM.AR6.NOTE10 Notebook 10. - date?. - front and back covers intact; front cover hot pink; back cover buff-coloured; spiral bound; 10 1/2 x 8 inches; 28 sheets; 12 sheets used. |
| | | | | | 1: light - every tool is a physical vehicle to express ourselves and the world through the medium of photography - light is the number one tool in photography |
| | | | | | 1b: scientific explanation of the properties of light - dispersion |
| | | | | | 2: refraction |
| | | | | | 2b: there is another way of looking at light - light symbolizing spirit and life - darkness = evil and death |
| | | | | | 3: see how differently they use light - Cartier, Abbott, Levinstein |
| | | | | | 3b: it is not only light and shadow that created photography, but the selection of light and shadow that makes photography a creative medium |
| | | | | | 4: photojournalism (Goethe) - history of photography - had to be combined with type |
| | | | | | 4b: from the beginning there were two kinds of photographers: the painters and the chroniclers - the beginning of news photography in 1840 |
| | | | | | 5: the inventor Henry Horgan - art director of the New York Herald |
| | | | | | 5b: but until and after World War I the word was dominant - the picture disappeared more and more - the event of the Leica, Rollei, Small Camera in 1925 |
| | | | | | 6: in January 1928 Salomon photographs political events - politicians' meeting - he brings high prestige to the medium - Ullstein, a great publication or, later, publishing house, whose chief editors Korff and Saffranski were the first to understand the importance of the photo as a means of communication - they realized that many photographs can make a story |
| | | | | | 6b: Luce with Life magazine - creates photojournalism - or better, the photo essay |
| | | | | | 7: haphazard taking of pictures was replaced by the misguided camera - of this comes the photo essay - procedure of the photo essay - team of writer, photographer, and editor |
| | | | | | 7b: philosophy of photojournalism - the printed words are a visual representation of the spoken word |
| | | | | | 8: the picture is seen in a fraction of time - words are read in different times and in different ways - the fusion takes place in the mind of the reader - eye + ear + mind |
| | | | | | 8b: the photographs sees: indiscriminately everything |
| | | | | | 9: the word is important - where, when, who - but mostly captions and text tell the story |
| | | | | | 9b: [blank] |
| | | | | | 10: the world is our stage - everything can be photographed - is there such a thing as subjective and objective? |
| | | | | | 10b: subject matter has its fashions - through photography to know oneself |
| | | | | | 11: selection of subject matter can reveal the photographer - we work consciously, subconsciously, with intuition, sensitivity, and intelligence - Duane Michals - all one should photograph is nothing |
| | | | | | 11b: photography direct (eye view) and yet revealing other dimensions - Cartier - concentration, commitment, dedication |
| | | | | | 12: subject matter |
| | | | | | 12b-28: [blank] |
| | | | | | 28b: [doodles] |
| | | LM.AR6.NOTE11 Notebook 11. - date?. - no front or back covers; 10 x 7 1/2 inches; 54 sheets; 54 sheets used. |
| | | | | | 1: the image - second session advanced - it is through light that our eye perceives the physical world and it is light that traces the image on the emulsion history of picture making |
| | | | | | 1b: history of image making |
| | | | | | 2: today a new medium has come up - photography - the human being sees with two eyes - the camera sees with one eye |
| | | | | | 2b: the physical picture of the eye is immediately transformed into a mental image the eye sees in three dimensions - the camera sees in two dimensions but without selection, without understanding or feeling or intelligence - it is a mechanical image |
| | | | | | 3: in no time and in no civilization are images concerned with imitation of nature |
| | | | | | 3b: every image is the result of an impression and the thought, the understanding, of the artist |
| | | | | | 4: what makes the photographic image different from others? authenticity, inherent perspective, speed, contrast, image of light and silver, sharpness and unsharpness, mass production |
| | | | | | 4b: the emulsion and silver chloride |
| | | | | | 5: our emulsion consists in finely divided insoluble silver salts suspended in gelatin - when this emulsion is exposed to light the action of this light results in a change known as latent image, invisible to the eye until we develop the image chemically |
| | | | | | 5b: refinements, gelatin |
| | | | | | 6: chemically, colloid, albumen |
| | | | | | 6b: silver chlorides - light-sensitive salts of silver |
| | | | | | 7: double coating, film backing |
| | | | | | 7b: anti-halation backing applied to the back for film support |
| | | | | | 8: sensitive emulsion - film consists of a supporting base, glass, celluloid, paper on which is spread an emulsion (a mixture in which one component is distributed or dispersed so that separation does not occur) - silver halides |
| | | | | | 8b: silver chloride - action of light - metallic silver |
| | | | | | 9: gelatin (same as previous), sensitivity |
| | | | | | 9b: exposure - in any exposure the amount of crystals which become developable depends on the length of exposure and the intensity of light falling on the emulsion - time and intensity of exposure |
| | | | | | 10: exposure |
| | | | | | 10b: physical and chemical description |
| | | | | | 11-12: exposure examples, intensity of light, reflected light |
| | | | | | 12b-13b: underexposure - overexposure |
| | | | | | 14: [blank] |
| | | | | | 14b-15b: chemistry and physics of film |
| | | | | | 16-16b: three dimensions versus two - image of the camera lens - perspective |
| | | | | | 17: perspective - appearance and reality |
| | | | | | 17b: illusion |
| | | | | | 18: binocular vision |
| | | | | | 18b: three dimensions versus two dimensions |
| | | | | | 19: time, depth |
| | | | | | 19b-20b: light, tones, focus, angle, |
| | | | | | 21: high key - intensity and development of negatives - distance |
| | | | | | 21b: solarization |
| | | | | | 22: the instant/speed/action (Newhall page 103) Fox Talbot - Oliver Wendell Holmes - human locomotion |
| | | | | | 22b: Muybridge |
| | | | | | 23: movement |
| | | | | | 23b: Marey |
| | | | | | 24: Maddox - human and animal locomotion |
| | | | | | 24b: different kinds of cameras - see page 111 History Newhall about gelatin - kodak camera, roll film |
| | | | | | 25: 1884 Otto Schott - Crown glass developed lenses page 117 - flash - development of technology |
| | | | | | 25b: the instant |
| | | | | | 26: time - instant - emulsion |
| | | | | | 26b: revolution of picture-making through photography |
| | | | | | 27: different kinds of flash - Edgerton |
| | | | | | 27b: the anticipation of action |
| | | | | | 28: composition - definition - in nature |
| | | | | | 28b: photography and composition/viewfinder as container |
| | | | | | 29: subject matter and composition |
| | | | | | 29b: quantity i.e., house, city - Weegee - Model - Coney Island |
| | | | | | 30: tonality, light, camera angle - how to order these elements |
| | | | | | 30b: stages of photographic composition - composition is the result of the use of all photographic tools including the photographer - understanding and attitude brings the organization about [quote Abbott?] |
| | | | | | 31: abstract photography - Coburn, |
| | | | | | 31b: Schad - Man Ray - light - rayograms |
| | | | | | 32: Moholy-Nagy - Kepes - solarization |
| | | | | | 32b: manipulation of the negative i.e., reticulation, distortion |
| | | | | | 33: scientific photography has made visible the unseen - - Talbot, electron microscope, astronomy |
| | | | | | 33b: telescope, aerial photography |
| | | | | | 34: [blank] |
| | | | | | 34b: aerial, solarization |
| | | | | | 35: painting on canvas, representationalism, abstraction, non-objective |
| | | | | | 35b-36: [blank] |
| | | | | | 36b: painters as photographers, Cezanne, surrealism, |
| | | | | | 37-39: Moholy-Nagy, Man Ray "photography is not an art" - - Siskind from introduction to book - reference to Aperture 7:2 1959 Anton Ehrenzweig "Psychoanalysis of artistic vision and learning" quoted extensively |
| | | | | | 39b: abstraction |
| | | | | | 40-40b: introduction to photography |
| | | | | | 41: introduction to photography continued, naive photography, development of art |
| | | | | | 41b: camera as machine |
| | | | | | 42: uses of photography, fashion, education, etc. |
| | | | | | 42b: history of photography, da Vinci |
| | | | | | 43: scientific knowledge in the prehistory of photography |
| | | | | | 43b: scientific knowledge in the prehistory of photography - - Wedgwood |
| | | | | | 44: Daguerre |
| | | | | | 44b: scientific knowledge in the prehistory of photography - and process |
| | | | | | 45: scientific knowledge in the prehistory of photography - - to explain process and impact of daguerreotype |
| | | | | | 45b: spread of photography and professional roots |
| | | | | | 46: evolution of technology |
| | | | | | 46b: Eastman Kodak technology |
| | | | | | 47: Leica invention |
| | | | | | 47b: the amateur in photography technique versus expression |
| | | | | | 48: the camera and the eye |
| | | | | | 48b: light - number one tool in photography - science - - radiant energy |
| | | | | | 49: light waves - wavelengths |
| | | | | | 49b: prism - refraction |
| | | | | | 50: source of light for our planet - cosmic understanding of light |
| | | | | | 50b: learning to perceive light |
| | | | | | 51: continuation of discussion of light - nuances of light and shadow - reflections |
| | | | | | 51b: indirect light - light and printing - effects of light on different surfaces, eg., glass, metal |
| | | | | | 52: daguerreotype |
| | | | | | 52b: exposure |
| | | | | | 53-53b: [blank] |
| | | | | | 54: introduction to advanced photography - always being compared to other visual arts - emphasize that this image is produced by very specific medium made possible through science and technology - brings new seeing, feeling, and understanding of life |
| | | | | | 54b: telephone number and address of Seymour Jacobs - telephone number of Joyce Jaffe insert 1: composition - definition
insert 1b: [blank]
insert 2: composition - determined by the viewfinder
insert 2b: [blank]
insert 3: composition - the image of life projected through the lens on the emulsion
insert 3b: [blank]
insert 4: selection of subject and limitation of rectangle and square
insert 4b: [blank]
insert 5: one house, many houses, city
insert 6: how is the photographer to select his image? - by connecting by sensing, by feeling, by understanding, the meaning and significance of life around, its order and rhythm
insert 6b: [blank]
insert 7: use all the tools of the medium - let subject matter fall into place
insert 7b: [blank]
insert 8: composing is not shifting subject matter around to make it look better - the picture makes itself
insert 8b: [blank]
insert 9: composition the result of all the tools of the medium including the photographer - understanding and attitude brings it about
insert 9b: [blank]
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| | | LM.AR6.NOTE12 Notebook 12. - date?. - front cover detached; back cover intact; front and back covers brown; spiral bound; 8 1/2 x 7 inches; 35 sheets; 31 sheets used. |
| | | | | | 1-1b: composition of paper emulsion, contact paper, enlarging paper |
| | | | | | 2: filters, chemicals for processing paper |
| | | | | | 2b: optics - description of how image is formed on film, light |
| | | | | | 3: refraction |
| | | | | | 3b: prism - description of refracted light [diagrams] |
| | | | | | 4: lenses and light [written partly in French] |
| | | | | | 4b: lens and focal length [additional material in French] |
| | | | | | 5: lenses: concave, convex |
| | | | | | 5b: light sensitivity of emulsion - paper |
| | | | | | 6: light sensitivity of emulsion - paper ["German" explanation] |
| | | | | | 6b: how an enlarger works [diagram] |
| | | | | | 7: cross-section of physical composition of film - light-sensitive nature of film |
| | | | | | 7b: developing film |
| | | | | | 8: terminology of over- and under-exposed film |
| | | | | | 8b: light, how light travels |
| | | | | | 9: how light travels through a lens and how we focus |
| | | | | | 9b: [diagram of focusing] light waves |
| | | | | | 10: [blank] |
| | | | | | 10b-11: developing chemicals |
| | | | | | 11b: process of developing film or paper |
| | | | | | 12: hardening agent |
| | | | | | 12b: enlarger and how it works - steps involved in enlarging |
| | | | | | 13: inserted page - 12 sessions on photography - evolution of image making - defence of photography |
| | | | | | 13b: [diagrams] people, trucks, spiral - the importance of the image and the capacity to see |
| | | | | | 14: sensitivity of emulsion |
| | | | | | 14b: action of light on the emulsion |
| | | | | | 15: philosophy about learning to read a photograph - tools of photography - light, emulsion, exposure, development, printing, composition, camera angle, intelligence, perception, emotion, and speed |
| | | | | | 15b: this means: mechanics, optics, physics, chemistry - - technique and expression - argues for a holistic point of view technique and expression |
| | | | | | 16: camera as first machine used in art |
| | | | | | 16b: enlarging is not just to make a larger picture - composition is not standardized rules but camera angle, etc. |
| | | | | | 17: enlarging - different formats and proportions - active enlarging is an act of contemplation for photographer: "he can change not only what he missed but what the taking of the picture cannot produce for instance action" |
| | | | | | 17b: why photography is a powerful form of expression - enlarger |
| | | | | | 18: selective capacity of the enlarger - use enlarger to show you how to photograph with the camera - enlarger stimulates understanding |
| | | | | | 18b: construction of the enlarger |
| | | | | | 19: what it means to see - relationship between the medium and the eye - education - emotional reactions - character structure - limitation to freedom of creativity |
| | | | | | 19b: conventions in photography - importance of photographer's character - convention dictated by who we are |
| | | | | | 20: nature of photography - break out of familiar and explore what we do not know - example of photographing a clock - the object - how does a child see? how do we get corrupted? |
| | | | | | 20b: individualism in photography - camera is not at all objective - relationship of camera and photographer |
| | | | | | 21: human vision - perception - human hands just a tripod - personal imprint of our gestures onto the camera image - even with most imperceptible personal characteristic - everybody produces something different - sensitivity of photographer - most photographs display conventional prejudices |
| | | | | | 21: human vision - perception - human hands just a tripod - personal imprint of our gestures onto the camera image - even with most imperceptible personal characteristic - everybody produces something different - sensitivity of photographer - most photographs display conventional prejudices |
| | | | | | 21b: most photographs are driven by routine - this tells us something about our civilization - tells us about the way we are educated and influenced - this convention stops us to see the means to react with our body and mind |
| | | | | | 22: sensitivity of the photographer is not only philosophical but is also concrete because it influences everything - it is the number one tool for anyone intending to be a photographer - it comes before anything else |
| | | | | | 22b: introduction to seeing in photography - what is photography about and what it means to see |
| | | | | | 23: pervasiveness of photographs - demands of commercialism - physical condition of the eye - surroundings, taste, aesthetics - style of beauty |
| | | | | | 23b: subject matter is nature and man-made objects - do we photograph what we know or what we don't know? symposium drawings - [doodles] - musical staff head of a woman - to deeply [understand] oneself means to be part of the whole - when to be |
| | | | | | 24: oneself does not mean to be part of the whole means to be sick in [French] - where the eyes perceive the senses function too |
| | | | | | 24b: what choices do photographers have? lens/angle, position of the camera |
| | | | | | 25: free choice - light - we choose film, paper, chemicals, diaphragm, the instant sharpness and unsharpness |
| | | | | | 25b: movement, mood, choice of how we will deal with background light - the mood is the right moment of movement - relationship of things to each other - composition - choice comes by sensing |
| | | | | | 26: fine-grain developers - different kinds of developers - use of flash |
| | | | | | 26b: origins of the flash bulb - Ostermeier |
| | | | | | 27: to express technique is to produce the photographic image - you can't be a photographer by learning technique alone |
| | | | | | 27b: the photographer is what is important - the photo league - 15 years ago I came the photo league - talking, analysis, discussion - has advantages - but be careful with it because it will not make you produce as an action in itself |
| | | | | | 28: the most important thing is to train to see - seeing is the result of working not talking - working in photography means train your eye, nerves, body - I have one more way to train myself - against fear, against routine |
| | | | | | 28b: questions: why is the picture reversed - 12 important questions regarding technique and equipment that Model attempted to answer in this course |
| | | | | | 29: enlarging important for seeing detail - part of negative - technical information on enlarging |
| | | | | | 29b: tilting |
| | | | | | 30: qualities of light - how to maintain your negatives - different kinds of paper |
| | | | | | 30b-35: [blank] |
| | | | | | 35b: Chicago Photochemical Products |
| | | LM.AR6.NOTE13 Notebook 13. - date?. - front and back covers intact; front and back covers mottled blue; spiral bound; 9 x 6 1/4 inches; 80 sheets; 14 sheets used. |
| | | | | | 1: perspective - camera obscura - history |
| | | | | | 1b: [blank] |
| | | | | | 2: perspective - camera obscura |
| | | | | | 2b-3b: [blank] |
| | | | | | 4: perspective - phenomenon of appearance - train track - a cube |
| | | | | | 4b: [blank] |
| | | | | | 5: perspective - illusionism |
| | | | | | 5b: [blank] |
| | | | | | 6: binocular vision - personal perception of space - - illusionism of three-dimensional object projected onto a two-dimensional surface - projection of the object on the surface occurs in a fraction of time |
| | | | | | 6b: [blank] |
| | | | | | 7: painting and photography share problem of three dimensions |
| | | | | | 7b: [blank] |
| | | | | | 8: 1981-1982 [financial breakdown] |
| | | | | | 8b-9b: [blank] |
| | | | | | 10: [financial breakdown] |
| | | | | | 10b: [blank] |
| | | | | | 11: [financial breakdown] |
| | | | | | 11b: [blank] |
| | | | | | 12: [financial breakdown] |
| | | | | | 12b: [blank] |
| | | | | | 13: [financial breakdown, including private teaching] |
| | | | | | 13b-80: [blank] |
| | | | | | 80b: 1954/00 |
| | | LM.AR6.NOTE14 Notebook 14. - date?. - front and back covers intact; front and back covers mottled red; spiral bound; 9 x 6 1/4 inches; 67 sheets; 67 sheets used. |
| | | | | | 1: subject matter - either man-made or natural - no limit "the world is our stage" - photography comes closest to the eye image |
| | | | | | 1b-2: [blank] |
| | | | | | 2b: painting and photography |
| | | | | | 3: invention of photography - inventions related to photography - fields using photography |
| | | | | | 3b: photography as propaganda - in the school, home, advertising, movies, television, and E.S.P. |
| | | | | | 4: continuation of its usage - also form of expression of human understanding and connection with life between themselves and other human beings - camera plays a small but very important part |
| | | | | | 4b: photography deals with optics, chemistry, physics - - training and experiences required - basic course - be acquainted with the camera - study of the image |
| | | | | | 5: study of the image - in the beginning getting acquainted with craft - prehistoric and Egyptian times |
| | | | | | 5b: Roman, Greek, Renaissance periods |
| | | | | | 6: important to realize that there are no rules and regulations - outdated laws, taboos - routine - no preconceived ideas - there is the true and the false |
| | | | | | 6b: to be free is not to be sloppy - labour versus talent |
| | | | | | 7: imitation is a disrespect |
| | | | | | 7b: [blank] |
| | | | | | 8: history of image-making |
| | | | | | 8b: illustration, documentation, communication - E.S.P. - basic image of movies and television - human beings expressing their understanding and connection |
| | | | | | 9: basic requirements for photography |
| | | | | | 9b-10b: study of photography - history of image-making |
| | | | | | 11: sources for originality - difficult because no thermometers |
| | | | | | 11b: [blank] |
| | | | | | 12: millions of years to discover photography - nothing without it |
| | | | | | 12b-13: difference between basic and advanced courses |
| | | | | | 13b: [blank] |
| | | | | | 14: strong personalities - intensification [doodles] photograph makes itself strongest types - glamour |
| | | | | | 14b: [blank] |
| | | | | | 15: slide lecture introduction [?] |
| | | | | | 15b: see: subject matter |
| | | | | | 16: lecture - five points - (1) what do I know; (2) subject matter differs; (3) how I became a photographer; (4) massive forms - intensification magnification; (5) excessive subject matter - Riis, Palfi, photojournalism, Eliot Porter, Walker Evans - half-conscious, half not conscious - people, window reflections, running legs, glamour |
| | | | | | 16b: [blank] |
| | | | | | 17: people, windows, glamour - nothing is planned it works by attraction - glamour project |
| | | | | | 17b-18: [blank] |
| | | | | | 18b: slide lecture |
| | | | | | 19: lecture - introduction again - difficult to describe oneself |
| | | | | | 19b: physically, not psychologically - the subconscious |
| | | | | | 20: slide lecture - nothing that hasn't been photographed - photography as ideological weapon |
| | | | | | 20b: continuation of lecture |
| | | | | | 21-21b: [blank] |
| | | | | | 22-23b: photojournalism |
| | | | | | 24-25: photography and printing press - photojournalism |
| | | | | | 25b: photojournalism - photo essay |
| | | | | | 26: three dimensions versus two dimensions |
| | | | | | 26b: camera-eye relationship - differences between camera and eye - perspective |
| | | | | | 27: perspective - Leonardo - railroads |
| | | | | | 27b: perspective |
| | | | | | 28: binocular vision |
| | | | | | 28b: binocular vision - effect of light on paper and film |
| | | | | | 29: in photography the third dimension is resolved with every tool [doodles] |
| | | | | | 29b: [doodles] |
| | | | | | 30: eye and camera similarity - differences |
| | | | | | 30b: perspective - cube - illusionism |
| | | | | | 31: how we see in space and time - planes separated by distance |
| | | | | | 31b: depth is illusion |
| | | | | | 32: camera versus eye - perception of depth |
| | | | | | 32b: three dimensions - all tools come into play |
| | | | | | 33: light, shadow, and object |
| | | | | | 33b-35: perception of objects in changing light - light as radiant energy - physics of light |
| | | | | | 35b: photography and light differ - compare Abbott, Brandt, Levinstein, and myself |
| | | | | | 36: portraiture lighting conditions |
| | | | | | 36b-37b: [blank] |
| | | | | | 38: [list of cameras and light meters belonging to her?] in Manufacturing Bank, 6th Avenue |
| | | | | | 38b: [blank] |
| | | | | | 39: [list of cameras in Chase Manhatten Bank, 23rd Street at 5th Avenue] |
| | | | | | 39b: [contents of] wallet: birth certificate, marriage [?], old passport - Guggenheim awards - invitation to White House |
| | | | | | 40: introduction - first semester October 16th - evolution of the photographic image |
| | | | | | 40b: uses of photography |
| | | | | | 41: basic components of photographic medium - study of photography - basic, semi-advanced, and advanced |
| | | | | | 41b: photography as medium of individual expression - [doodles] |
| | | | | | 42: early image-making - leading up to photography - |
| | | | | | 42b: principle of camera obscura |
| | | | | | 43: art free, open to constant change - doing away with outdated concepts - no rules - - |
| | | | | | 43b: free = not sloppy - importance of working from life - developing own vision |
| | | | | | 44: subject matter - photographic image and the image of the eye - early response to photography - being both factual and miraculous |
| | | | | | 44b: thanks to painters, photographic image was declared unartistic, unaesthetical, mechanical, and inferior to other images |
| | | | | | 45: subject matter - selection - dependence on photographer - select through attraction or contemplation - other photographers think about it, plan and then start to work - projects - Diane, Cartier, Marion Palfi, Duane Michals, Riis, poverty, Dorothea Lange, farm administration, Evans, American photojournalism |
| | | | | | 45b: [blank] |
| | | | | | 46: photography as investigative and illustrational medium, propaganda, publicity |
| | | | | | 46b: relationship between photographer and subject - photographers identification with subject - how to distinguish between work that is good and original and work that isn't - glamour, beauty, sex - "in focus years of out |
| | | | | | 47: of focus" (Brodovitch) - pictorialism - imitation, therefore destructive - be true to yourself |
| | | | | | 47b: privacy - the loner - what is photographed - social conditions, wars, pro- contra-discrimination for or against, advertising, lying, truth - ideas put into use and misuse - photography as propaganda |
| | | | | | 48: portraits are the likeness, essence of a person - - scientific photography leads into exploration - selection of subject matter can reveal the photographer - Duane Michals - all you can photograph is nothing |
| | | | | | 48b: [blank] |
| | | | | | 49: three dimensions versus two dimensions - camera image versus image of the eye - perspective |
| | | | | | 49b: Leonardo and the camera obscura |
| | | | | | 50: three-dimensional space projected onto two-dimensional space - railroad tracks, the cube |
| | | | | | 50b: perspective and illusion |
| | | | | | 51: binocular vision - reflected light |
| | | | | | 51b: [blank] |
| | | | | | 52: illusion - living space - eyes wander - every tool is used incorporating two dimensions into three dimensions - always a problem in painting and photography |
| | | | | | 52b: [blank] |
| | | | | | 53: number one tool in black-and-white photograph is light and shadow - reflected light |
| | | | | | 53b: see house in changing light |
| | | | | | 54: other ways to look at light - main source of light is sun |
| | | | | | 54b: lighting for portraits? |
| | | | | | 55: number one tool - light - changes of light - mood |
| | | | | | 55b: dispersion - source of light |
| | | | | | 56: introduction - evolution of image-making |
| | | | | | 56b: uses of photography |
| | | | | | 57: connecting with life, self, and others through camera - - great experience to perform - photography needs special training |
| | | | | | 57b: light is the number one tool in photography - watch a tree or a house in changing light - light as radiant energy |
| | | | | | 58: visible spectrum - white light |
| | | | | | 58b: dispersion - light ray going through medium of different density changes direction - importance of light - forces of darkness |
| | | | | | 59: light identified with life spirit - dark with evil and death - incident light |
| | | | | | 59b: light creating form - ultraviolet light |
| | | | | | 60-65: [blank] |
| | | | | | 65b-67b: [written upside down - starting on 67b, reading back to 65b] - three dimensions versus two dimensions |
| | | | | | 67: three dimensions versus two dimensions - optical perception - focus - - |
| | | | | | 66b: three dimensions versus two dimensions - phenomenon of appearance - cube and railroad - perspective |
| | | | | | 66: the reversal of the image in the camera |
| | | | | | 65b: the eye image and the image of the camera - close but differences |
| | | LM.AR6.NOTE15 Notebook 15. - date ?. - front and back covers intact; front and back covers mottled green; spiral bound; 9 x 6 1/4 inches; 104 sheets; 104 sheets used. |
| | | | | | on recto of blue flyleaf: "Evsa Model" [in Lisette's handwriting] |
| | | | | | 1: what is the origin of the image? - Evsa Model - votive images - history of art |
| | | | | | 1b-2: [blank] |
| | | | | | 2b: photography - eye image - fantasy versus reality - - fashion conditioning - uses of photography |
| | | | | | 3: categories of photography |
| | | | | | 3b: privacy - perception - problems of fear and the unknown - art encompasses an audience |
| | | | | | 4: Schönberg: (1) sequences - assignment; (2) print quality - Ansel's letter; (3) field trip; (4) in and out of focus; (5) abstract photography; (6) objective, subjective Goethe, Nancy, S.F. photography [doodles] |
| | | | | | 4b: [blank] |
| | | | | | 5: different kinds of 19th century photo-engraving methods |
| | | | | | 5b: halftone |
| | | | | | 6: Crimean War photography - history of photojournalism |
| | | | | | 6b: Luce |
| | | | | | 7: photography influenced by painting - photojournalism |
| | | | | | 7b: news photography - photojournalism - Salomon - Life magazine |
| | | | | | 8: subject matter |
| | | | | | 8b: realism of photography versus art |
| | | | | | 9: subject matter in photography - LM selects by attraction - like by a magnet - and then I don't question or hesitate - others think in advance what subject matter they want - study them and decide upon, research, and go to work, for example: Diane, Cartier, Palfi - civil rights |
| | | | | | 9b: Riis: poetry, Dorothea Lange, farmers' condition, Walker Evans - photography as social documentary - photographer's obsession, for example Capa, war, Diane, but it is always the photographer's relationship to the subject - what it takes is interest and passion and endless patience - not ambition to succeed fast |
| | | | | | 10: photography as mass media - mass production of photographers - difficulty of making a living through photography - photography as a way of life - photography as a way of understanding ourselves and life on this conflicting planet on which we are living |
| | | | | | 10b: the evolution of the photographic image |
| | | | | | 11: photography as mass industry - the pervasiveness of the photographic image |
| | | | | | 11b: the immensity of the medium - appearance in museums, galleries - photography as an art form - humans expressing, understanding, and connecting with life |
| | | | | | 12: photography deals with optics, physics, chemistry, mechanics - basic versus elementary and advanced courses |
| | | | | | 12b: difference between painting and photography is advanced - study of photography starts with the camera - photography starts with the projection of the photographer into the image |
| | | | | | 13: importance of technique - images are not new - history of image-making |
| | | | | | 13b: history of photographic image from camera obscura - no rules or regulations |
| | | | | | 14: no laws, etc. - there is a true and a false - no thermometer - only instinct, intuition, and awareness |
| | | | | | 14b: talent can be learned - just as technique can be - - fast success, fast results, money, glamour, stardom, lead to emotional disaster - Schönberg, Picasso imitate other people's vision because it is successful |
| | | | | | 15: more advanced = more basic and more elemental - often we find this quality in children - and then again but very rarely in the same innocence in real artists - exploration, stumbling, versus accumulation of information |
| | | | | | 15b: [blank] |
| | | | | | 16: three dimensions versus two dimensions - camera eye versus the eye - perspective |
| | | | | | 16b: perspective and the camera obscura - appearance versus reality |
| | | | | | 17: railroad and cube - illusion and perspective |
| | | | | | 17b: perspective and space |
| | | | | | 18: two-dimensional and three-dimensional perceptions |
| | | | | | 18b: illusionism |
| | | | | | 19: composition of emulsion |
| | | | | | 19b: emulsion |
| | | | | | 20: description of speed of emulsion |
| | | | | | 20b: description of physical make-up of film |
| | | | | | 21: exposure and chemical development |
| | | | | | 21b: exposure and relationship to light and time |
| | | | | | 22: physical and chemical reactions on film relative to the subject |
| | | | | | 22b: light and exposure |
| | | | | | 23: light is the number one tool in photography - image formed by light and shadow |
| | | | | | 23b: science says light is radiant energy |
| | | | | | 24: the visible spectrum |
| | | | | | 24b: illustrated description of how light travels |
| | | | | | 25: light, symbolically and physically |
| | | | | | 25b: spirit, darkness, evil, death - different kinds of light conditions personal choice of photographer |
| | | | | | 26: artificial light - there is a difference between being free and being sloppy |
| | | | | | 26b: promotes encountering new subject matter as enriching the medium - criticizes the knowledge of professionals in the field |
| | | | | | 27: takes an anti-intellectual stand - these belong in other fields - doing versus talking - professional non-doers |
| | | | | | 27b: force subject matter - photography = eye - importance of selection |
| | | | | | 28: intuition - subject matter - then planning - some study then photograph |
| | | | | | 28b: photography is always in relation to something - either connection or disconnection |
| | | | | | 29: light - its composition |
| | | | | | 29b: scientific analysis of light |
| | | | | | 30: visible spectrum - explanation |
| | | | | | 30b: refraction - diagrams |
| | | | | | 31: illumination - sun symbolic meaning of sun and darkness |
| | | | | | 31b: light and shadow as a medium of expressing feeling and understanding - different methods of lighting |
| | | | | | 32: light sources - in portraiture - facial features |
| | | | | | 32b-33: [blank] |
| | | | | | 33b: light sources |
| | | | | | 34: light sources and outdoor lighting |
| | | | | | 34b: [blank] |
| | | | | | 35: different ways of lighting |
| | | | | | 35b: [blank] |
| | | | | | 36: thousands of times man makes images of himself - how? paintings, drawings, sculpture, and photography - in the intimacy of his home or in public life and places - he has shown himself in simple everyday portraits to be remembered only by his family or he has shown himself with all the insignia of status and dignity |
| | | | | | 36b: in this self-image he pointed out how to believe, how to move - how a prince should look - or a general, or bourgeois - but when we observe these images we can see something strange: that there is a conflict, a tension, very rarely do human beings see this real face |
| | | | | | 37: and there is a conflict between the individual and the general aspects - mostly even in individual portraits there is a great deal of the general - in Egyptian art we can see that the pharaoh is more half god than individual - what was shown in history - general or personal approach - Greeks - gods in human beings |
| | | | | | 37b: Rousseau's personal power, drive, brutality, vanity, tiredness - Middle Ages - portraits individual but it is important to be a saint and a prophet - popular martyrs - Gothic - Renaissance - portraits - Rembrandt, Hals, lots of general . . . |
| | | | | | 38: man has to hide not out of shame - insecurity - to belong to something general - lasting - church, military, community, establishment - his clothes are part of belonging to a class - poverty, status, Catholicism |
| | | | | | 38b: suffering, Christ - literature follows - Victor Hugo, Zola, fighting social conditions, causes - today, hippies, rags, poverty, dirt, eccentricity - Victorian, modern, sex, equality of men in clothes and looks - glamour |
| | | | | | 39: last session - images conditioned - status versus individual image in all visual arts - objective versus subjective - Goethe, Abbott, Sanders, Salomon, Cartier, Atget, Riis, versus . . . Brodovitch, Avedon, Buttfield, Avedon's father - composition - conclusion - use of tools, light, perspective, composition, printing, developing - instinctive original means not subjective - contrary |
| | | | | | 39b: explore truth - sloppy is not genius - neurosis is not an individual picture |
| | | | | | 40: [blank] |
| | | | | | 40b: photography - working, exploring life - relation to life includes ourselves and connecting through the medium, not just talking or indulging in philosophy and group therapy - psychology is all over not invented by Freud or therapy |
| | | | | | 41: when two people meet in the street, working together, psychology comes into action - we will try to find out who photographs what and how - how much is conditioned, imitated, derivative |
| | | | | | 41b: the source of each vision - exists mostly covered up - is not the real reason millions of people pick up the camera - to find her - - or himself - if one can get something universal in an individual way or essence - then moving closer |
| | | | | | 42: advanced - study of image - aesthetics - photographer starts with camera - projection of photographer with image - prehistory - stones - catacombs - Egyptians, Greeks, Renaissance |
| | | | | | 42b: when we have selected the subject - we deal with three dimension into two - perspective - instant - spots - form - what is called composition - how light is used - at the same time intuition and intelligence - free and disciplined - the work comes from learning not use of will power - how deeply we go into subject matter |
| | | | | | 43: not flip over it - it is fragmented - observed - project - every object, house, window all clothes belong to an era - one reason old photographs or antiques are so fascinating - don't overlook significance of everything man-made - nature - - observing macro - , microphotography - both facts, sensitize, to look, see, be aware "my quotation" |
| | | | | | 43b: whatever is photographed the whole world is in an example - little girl - part = whole |
| | | | | | 44: it took man or humanity thousands of years to discover and to invent photography - a tremendous technological achievement - photography is a huge industry based on mass production - - |
| | | | | | 44b: photography plays an important part in E.S.P. - ghost pictures - photography is also a form of art - human beings expressing their understanding of the world through the camera - photography deals with light, chemicals, mechanics, physics - and the photographer needs special and serious training and great experience |
| | | | | | 45: camera beginning - knowing the tools - starts with knowledge of tools - starts with the projection of the photographer into the image - a new very different image from painting or completely different aesthetics - well understood - history of image-making |
| | | | | | 45b: modern abstract imitation of photography of the other image - do away with regulations and rules - with routing nobody can see what can be revealed or what is concealed - what has to be trained is sensitivity and intuition - to recognize the true from the false, the neurotic self-centred photographer from reality and truth |
| | | | | | 46: talent - children's painting - techniques advanced and basic - exploration not application - seeing from the vision to reality - from life to image |
| | | | | | 46b: subject matter - scientific tool, human relations tool, how do we select? - for war against human conditions, justice, propaganda - the camera says the truth and lies |
| | | | | | 47: condensed - the eye - the eye developed originally as a tool of perception - for survival - the eye enabled man to fish, to hunt, to defend himself - the evolution of the eye |
| | | | | | 47b: always an awareness of light and dark - continuation of the evolution of the eye |
| | | | | | 48: producing light images by receptor cells - lens system - evolution of sight |
| | | | | | 48b: amoeba - evolution of sight |
| | | | | | 49: evolution of sight - insects |
| | | | | | 49b: evolution of sight - vertebrates |
| | | | | | 50: the lens, the retina, muscles |
| | | | | | 50b: the eye - primates |
| | | | | | 51: the eye - rods and cones |
| | | | | | 51b: colour vision - eye, camera |
| | | | | | 52: eye, camera |
| | | | | | 52b: more similarity beyond optics - chemistry - eye, camera |
| | | | | | 53: cones for bright light - rods for dim light |
| | | | | | 53b: light - in black-and-white photography subjects and objects are nothing but light and shadow - form the image on the emulsion - watch a house |
| | | | | | 54: science says - physics of light - visible spectrum |
| | | | | | 54b: the visible spectrum - dispersion |
| | | | | | 55: other phenomenon - light passing through objects changes direction |
| | | | | | 55b: another way of looking at light - the sun rises and goes down - periodicity |
| | | | | | 56: gods of light - forces of darkness - light is identified with life and spirit |
| | | | | | 56b: express and reveal through light and shadow - - photographers use light in different ways - Cartier, Abbott, Bill Brandt, Walker Evans |
| | | | | | 57: artificial light - photographers move several lights around the model |
| | | | | | 57b: beginning in complete darkness, giving shape and form |
| | | | | | 58: the hidden face - thousands of times did man make images of himself - in this self-imagery he always pointed out again and again in which way to behave or move |
| | | | | | 58b: how a prince has to look, or a general, or a bourgeois - human beings very rarely let their inner real face be seen - and in the history of man it comes to a tension between the individual and the general appearance and mostly even the individual aspect in images retains a great deal of general portraiture |
| | | | | | 59: already in Egyptian art we notice tension between the individual self and the hiding of the self - what in the course of history was stronger - the personal or the general aspect? the Greeks avoided the individual aspect - instead they showed their gods in form of human beings - the Romans are personal: vanity, brutality, corruption - power drive comes through |
| | | | | | 59b: the Middle Ages - Giotto has objective images - it is not important that one is this or that way - important that he is saint, prophet, or pope - Gothic art - there is society - community art in which clothes, behaviour, movement are represented |
| | | | | | 60: this is more important than the individual - the personal face - in the Renaissance there is the individual portrait - high status is shown, individualization is rare - Tizau [Tissot?], Hals, Rembrandt - had developed knowledge of human nature and the power to express it - have a great deal of conventionality |
| | | | | | 60b: completely open images of man like Van Gogh, Kokoschka . . . are shocking when people run or . . . man wants to hide his face - the instability of passing by of time - what remains - he becomes part of religious community - in other works of the establishment |
| | | | | | 61 the accepted, the ethical - from the glaciers of solitude he flees into the warmth of family life - therefore he makes you acquainted with his work, activities, to have a right of public acclaim |
| | | | | | 61b: man does not hide his individual face out of shame, but out of need of security - conventions - Christ the portrait of the Middle Ages - poverty, unhappiness, misery, in this world for the first time |
| | | | | | 62: glamorized - 19th century literature - when we look at our time is it different? - fashion, glamour, Hollywood - the hippies look alike, Hollywood men and women look alike - sex photographs the same - people wearing rags, being unwashed, wild beards, men dressed like women |
| | | | | | 62b: the general not the individual - portrait of the executive, society, etc. |
| | | | | | 63: photojournalism - traced books back to the penny magazine in London - eight years before Daguerre - in 1832 came out with the announcement of photography - painters took over - at the same time another kind of photography - motivation - information rather than optics |
| | | | | | 63b: these are the chroniclers - the beginning of news photography - 1840 - Morse - Flaubert, Maxime Du Camp - journalists without a journal |
| | | | | | 64: took humanity thousands of years to invent photography - no human activity without photography |
| | | | | | 64b: space, under the ocean, for propaganda - sociology - - illustration, documentation, photography the basic image of movies and television - immensity of medium |
| | | | | | 65: see photography - museums, galleries, exhibitions, books, collectors - it is considered art - human beings use their new medium to express their relation with others and themselves - this is the part of photography we are concerned with - a small part - important - photography deals with optics, physics, mechanics, chemistry |
| | | | | | 65b: photographer needs special training and great experience - study divided - intermediary to get acquainted with the camera - how to first develop a print - the tools - to get acquainted with camera - the study of the image in photography is unique, different from the other arts |
| | | | | | 66: new aspect for image completely new vision developed - it is not as black and white, defined - from beginning we express and to the [end] we learn the tools - image-making is not new |
| | | | | | 66b: Egypt: painting, drawing, sculpting, with their exceptional vision, no misunderstanding; Greeks: human body specific proportions; Renaissance: introducing perspective; modern painting, Impressionism, abstract: dealing with form and shape |
| | | | | | 67: connected with surface - image done with eye, hands, muscle - 1820 - first photograph made with a machine - Leonardo observes - when it comes to any art form it is important to realize that there is no such thing as |
| | | | | | 67b: rules and regulations - outdated laws - nobody can tell you what to reveal or what to conceal - the field of human activity is free - not anything goes - real and false - we have to go by senses - a kind of a built - in knowledge - free is not sloppy |
| | | | | | 68: or playing games - technique - talent - trained in both - no division - accumulation, explanation - Schönberg, Picasso - ambition - success - imitations, influence |
| | | | | | 68b: [blank] |
| | | | | | 69: children's paintings - balance harmony, universe - - put negative in enlarger, look how many images you can find - cropping - negatives in stiff shapes - 641 5th Ave - Eubeuse 51st 23E [doodles] |
| | | | | | 69b: [blank] |
| | | | | | 70: when point at subject, object, through viewfinder and ground glass we face another problem - composition - word used in painting, sculpture, drawing, music, chemistry, etc. - basically it means put together, combine, organize, arrange in certain order - and this is not an isolated condition - nature day, night, seasons, all activities of work organized - we deal with a surface [drawing of a square and a rectangle] |
| | | | | | 70b: image of life comes through - rectangle = physical construction - geometry - possibilities infinite [doodles] - image of life - what do we see? - we feel limited by . . . look, we shall overcome - how to select |
| | | | | | 71: how in this ocean of [images do we select] - combining feeling, understanding the significance and using all of the tools - we don't construct, put together, calculate - let it fall into place |
| | | | | | 71b: wherever we point our lens at subject, object, look through viewfinder ground glass - observe - composition |
| | | | | | 72: back to photography - dealing with the rectangle - image of life - what do we see? cityscapes, Statue of Liberty, houses, people illuminated by moving in a certain light |
| | | | | | 72b: one notes limitation - one often lost in an ocean of subjects - we can photograph one house, group, street, city - one object a small part of it - how to select - being sensitive to feeling, being, understanding |
| | | | | | 73: being aware of significance - using all tools of the medium - exposure, developing - we let subject matter fall into place instead of calculating its best effect |
| | | | | | 73b: picture makes itself - we don't shift subject matter around to make a better composition - it looks better, more effective - subject, object in space and light - through the use of the tools are brought together in a new order - the photographer needs understanding and attitude to bring it about - what you feel and say in terms of photography |
| | | | | | 74: the image in photography comes the closest of all man-made images to how we see - because of perspective - the strange thing is man has always seen in perspective but |
| | | | | | 74b: without being able to reproduce this vision in his images, drawings, paintings - only in the Renaissance when Leonardo not only observed but . . . perspective became the vision in the visual - art totally accepted and everything else was rejected until modern painting came along instead |
| | | | | | 75: since man has developed an internal lens system we see in perspective a phenomenon of appearance - we see what we know does not exist - railroad tracks - cube |
| | | | | | 75b: there are many explanations to explain perspective scientifically |
| | | | | | 76: lines converging at one point - vanishing point - - but we see with two lenses and the camera sees with one lens - we see in space and time |
| | | | | | 76b: three dimensions onto two dimensions - what happens to the other dimension? - depth? - the third dimension is an illusion |
| | | | | | 77: how to incorporate the third dimension can make or break the picture - all tools of photography come into action - everything seen in space is flattened on a surface |
| | | | | | 77b-78: [blank] |
| | | | | | 78b: from all images produced by man, the photograph comes closest to what we see - similarity and differences between the eye and the camera |
| | | | | | 79: perspective - camera obscura |
| | | | | | 79b: three dimensions versus two dimensions |
| | | | | | 80: number one tool in photography is light - science says light = radiant energy |
| | | | | | 80b: visible spectrum - dispersion |
| | | | | | 81: other way of seeing light - main source of light on this planet is the sun - rises and goes down - this change called periodicity - god of light and forces of the dark |
| | | | | | 81b: light identified with life - darkness with evil - different photographers use light differently |
| | | | | | 82: source of illumination = sun one of the most important conditions for development and understanding of the world |
| | | | | | 82b: is the number one tool - have you ever seen a tree under 24 hours of changing light? the infinite aspects and moods from dawn to sunset |
| | | | | | 83: visible spectrum - light passing through a prism - dispersion |
| | | | | | 83b: the main source of illumination is the sun - periodicity - change of light to darkness - understanding the world - |
| | | | | | 84: one of the most important conditions of the development of the evolution and understanding of the world - light and darkness |
| | | | | | 84b: light = sun and spirit - darkness = danger even death - natural light and studio light |
| | | | | | 85: number one tool in black-and-white photography is light and shadow - dawn to sunset - expressive aspects - mood - science another way of looking at light |
| | | | | | 85b: not to look too much how other people photograph, to look at life - your subject matter - what life is all about - not little pieces or fragments that make a good picture |
| | | | | | 86: we're substantial, elemental, meaningful - instant misused - not looking, using not projecting neuroses and all personal problems - with photography the opposite [doodles] |
| | | | | | 86b: [blank] |
| | | | | | 87: introduction - it took thousands of years to discover, to invent photography |
| | | | | | 87b: photographs used in politics, for war, against war, for peace, in schools - realize the immensity of this medium - photography is an art which means human beings exploring their understanding and connection with life and with other human beings - a new instrument - a new vision |
| | | | | | 88: the camera - photographer deals with optics, mechanics, chemistry, physics - usually the photographer needs special training |
| | | | | | 88b: study usually divided into basic, intermediate, and advanced courses - to handle all the tools belongs to a basic course - the study of the image in photography - understanding its entirely different structure - be aware of its new aspect and expression - that this new visual medium has brought a new world and new understanding of life - an advanced course |
| | | | | | 89: a basic course makes us acquainted with the tools to be used - photography starts with the projection of the photographer - his understanding of life and himself into the picture - we are no longer concerned with a good or bad print but the print for what is unintended to be conveyed |
| | | | | | 89b: images not new - they were around for millions of years - we know prehistoric drawings and paintings - Greeks using human bodies and specific proportions - Renaissance |
| | | | | | 90: modern painting - Impressionistic - abstract painting - also painting from nature - non-objective painting - discarding subject matter - dealing with surface and forms in connection with space and time - 1820 the first photograph made - the instrument of the new picture making was a machine - the camera - reflected light form object or subject - camera obscura |
| | | | | | 90b: camera obscura |
| | | | | | 91 when it comes to a medium of art it is important that we realize that there are no rules or regulations - no preconceived ideas - our task is to do away with the presumption that we know or can dictate how to do or what can be revealed or concealed |
| | | | | | 91b: this field of human activity is free - open to constant change - there is the true and there is the false - originality versus false |
| | | | | | 92: knowledge is not right word - instinct - talent is God-given - you have it or you don't - awareness sensitivity can be cultivated, which is talent, and can come into existence and grow - not by accumulation of information - over there applying it - no division - Schönberg - success - Picasso - photograph not inspired by life, its a direct image of life - other people's work |
| | | | | | 92b: infinity - basic versus advanced |
| | | | | | 93: number one tool is light - thousands of years to discover - tremendous achievement - giant industry |
| | | | | | 93b: document, illustrate, communication, social conditions, museums, immensity of medium |
| | | | | | 94: special training - great experience - camera obscura |
| | | | | | 94b: be open to change - versus true/false - phony - teacher, experience - division, confidence, imitation, conditioned - life is the force |
| | | | | | 95: subject matter - the problem of privacy - what can and what cannot be photographed - what we see (practical to orient ourselves) - the visible world is transformed - subconscious - handwriting, forms, lines, tones, light - Cartier: silver light - what is called style - complex transformation - projection through subject matter - |
| | | | | | 95b: everything can be abused - instinct - Duane Michals - all you should do is to photograph nothing - new subject matter: sex, nudity, self-portraits - subject matter - surrealism - what - from what to how - that may be the key - form may lead into the expression . . . "weltbild" conception of the world or life - serves photojournalism |
| | | | | | 96: projection into everything - or only into certain subjects - certain forms, shapes, light - geometrical, biological - changing nothing from eye view, revealing other problems, aspects - concentration |
| | | | | | 96b: [blank] |
| | | | | | 97: we all know that there is a great similarity between the image of the eye and the camera - similarity and differences |
| | | | | | 97b-98b: [blank] |
| | | | | | 99: examine closeness of eye vision and camera vision - - perspective |
| | | | | | 99b: Leonardo da Vinci - perspective - deals with phenomenon of appearance - railroad tracks - |
| | | | | | 100: lines meeting vanishing point - perspective - seeing in space and time |
| | | | | | 100b: in living space eyes wander - on a surface whole image project in one fraction of time and seen with one fraction of time as a unit - important difference - three dimensions versus two dimensions |
| | | | | | 101: [blank] |
| | | | | | 101b: Leonardo - perspective - similarities and differences between the eye and the camera |
| | | | | | 102: with eye three dimensions - describe room - focus, unfocus - in space different objects separated by different distances |
| | | | | | 102b: incorporate three dimensions on two = great problem |
| | | | | | 103: three dimensions versus two dimensions - perspective |
| | | | | | 103b: infrared filters - deep red almost black - filter holds back almost all visible light, lets only infrared - film - sensitivity extends to infrared rays of spectrum - used with infrared filter |
| | | | | | 104: Assignments:
1. photograph something never done before
2. close and far
3. light
4. perspective explore
5. a face not conventional
6. self - portrait
7. instant (speed)
8. abstract
9. sequence
10. nature in New York
11. animals, zoo, people and pets
12. groups of people, crowds
13. statues
14. objects unanimated
15. museums
16. traffic vibrations of big city - 1976
17. Wall Street skyscrapers
|
| | | | | | 104b: Brahmins and bully boys - G. Frank Radway's Boston Album - photographs collected with an introduction and narrative by Stephen Halpert and Brenda Halpert - Houghton Mifflin Company, Boston, 1973 - 68 shops incorporated - corporate seal 1971, New York |
| | | LM.AR6.NOTE16 Notebook 16. - date? - front and back covers intact; front cover green-blue; back cover buff-coloured; spiral bound; 8 1/2 x 7 inches; 10 sheets; 10 sheets used. |
| | | | | | 1: tensor bandage, attached clip, four-inch bandage |
| | | | | | 1b: [blank] |
| | | | | | 2: took humanity thousands of years to discover and to invent photography |
| | | | | | 2b: pictures and images not new - so far images produced by hand - it is important to realize that in any art there are no rules or regulations |
| | | | | | 3: everybody has talent - always learning from everywhere and not only courses - other people, works, etc. - eye developed originally as a tool of perception for survival - to think, hunt, defend - evolution of the eye |
| | | | | | 3b: evolution of the eye - different eyes for different creatures |
| | | | | | 4: 272-9899 (403) - eyeball spherical body - eyelids - primates - different sensitivities in different eyes |
| | | | | | 4b: analogy - eye/camera - rods and cones |
| | | | | | 5: it took humanity thousands of years to discover and invent photography - a tremendous technological achievement |
| | | | | | 5b: study of photography usually divided into basic and advanced |
| | | | | | 6: the study of photography starts with the camera, with the projection of the photographer into the image |
| | | | | | 6b: the one using is a physical vehicle for the expression - important to realize no rules or regulations |
| | | | | | 7: in other words art is an eternal exploration which does not mean that everything goes - talent - some feel it is God-given - teaching - not to imitate, not to be in awe of what others do - to love, to like it yes - but to rely on our own capacity for feeling - to be independent and self-reliant - does not mean one does not have to learn on the way - learning has no end and one can learn from everyone |
| | | | | | 7b: thousands of years to discover photography |
| | | | | | 8: history of subject matter - in 1873 Vogel in Berlin discovers dyes - one adds to the emulsion so that . . . - so far only sensitive to blue are now sensitive to other colours (except for red) - silver bromide particles are dyed: the dyes form a kind of colour filter around the silver bromide molecule and wall on certain parts of light - thus orthochromatic plates came into existence - only years [later] was the orthochromatic material commercialized and the great mass of amateur photographers has come into existence - photography can be made available to the masses; celluloid band, long rubber-covered white emulsion - the first roll film camera - KODAK |
| | | | | | 8b: (1) wherever we point the camera, problem situation - composition; (2) this work not only used for photography - used for painting, sculpture, music, chemistry, many other activities; (3) it means to put together, combine wording in a certain order; (4) this again is not an isolated situation - nature = composition - night and day - cycle of the moon - subject matter beyond how it is done - it is mine - some people work instinctively, they don't know why and don't want to know [half of the page covered in doodles] |
| | | | | | 9: the camera gets smaller, the lens larger, better, more light-sensitive - in 1824 the smallest handiest camera was made by Oskar Barnack - the Leica - Barnack made home movies before the First World War - no light meter available - in 1929 another principle of construction came about, the Rolleiflex - twin lens ground glass - 12 pictures, 2 1/2 x 2 1/2 - the amateur is the creator of the industry and takes over |
| | | | | | 9b: then there is nothing on this planet that cannot be photographed - for the photographer, the world is his stage - subject matter is limitless - we have discussed in the first session where photography today can be seen, where it is used - respectability - for almost general purposes, whether on a huge scale - education, science, newspapers, magazines, advertising, business of all sorts - propaganda for and against peace, for war, environs, national and international purposes - but here we will try to find out mostly personal and psychological motivations and find out how much the choice of subject matter is significant to find oneself and how much this is in connection with the overall aspect of our world |
| | | | | | 10: as we know, reality is not absolute - it is culturally determined . . . the world has been rendered coherent by description - taboo [?] - everyday familiar and unfamiliar environment, or exciting and new places . . . known and unknown, truth, lies, on subject matter, abstract, my subject matter, beauty, ugliness, healthy, sick, fashion, landscape, portraits, daguerreotypes, street scenes, social conditions, 20th, 30th, 40th - now nudity, sex, toilets [doodles] |
| | | | | | 10b: film: grain; retina: grain, film: silver bromide crystals - retina, receptor cells, rods, cones; rods: dim light; cones: medium and strong light; rods and cones connected - rods: always; cones: finer grain |
| | | | | | inside back cover: [doodles, numbers] |
| | | LM.AR6.NOTE17 Notebook 17. - date? - front and back covers intact; front and back covers buff-coloured; spiral bound; 7 3/4 x 5 inches; 21 sheets; 21 sheets used. |
| | | | | | inside front cover: play, stop, now, stop, eyes |
| | | | | | 1: a photograph (or most photographs) is a sensitive fragile image of light - is there mostly badly reproduced - or 99% badly reproduced - put into the straightjacket of book form - I have given many courses - workshops - the unique interpretation with words of the visual - haphazard kind of thing -translation of image of eye into perceived - difficult to explain |
| | | | | | 1b: not that I feel that it is so sacrosanct - but - besides when it comes to one's own pictures it is like looking at one's self optically only - I mean and to see one's self from all angles - camera a means of detection |
| | | | | | 2: I have given many courses and workshops in the last 20 years - working with students - the immediate give and take from both sides is natural for me - when it comes to show and talk about my own photographs, I so far have refused, feeling that one sees less clearly one's own work - because also if one would have to see one's self from many different angles and distances |
| | | | | | 2b: all sides it would be almost impossible but easy for everybody else - photographs are not subject matter - but the translation of the eye image which already is an image of the subject, not subject itself but photographic image - meaning what we see in space and time is projected on two-dimensional surface in black and white |
| | | | | | 3: and through all the tools of photography, e.g., duotones, contrast, selection, etc. transformed into and entirely different image - about myself - I may venture to tell you how I became a photographer or got acquainted with photography |
| | | | | | 3b: my training was as a musician - one day in 1937 . . . it was really like . . . the photography was secondary - an accident, no interest in . . . and maybe . . . |
| | | | | | 4: the camera is our instrument of detection - we photograph what we know but also what we don't know - when I point my camera at something I am asking a question - and sometimes the photograph = the answer - I don't want to prove anything - I am the one who gets the lesson |
| | | | | | 4b: I feel that these are people of great strength and vitality, whose life experience is not held back but comes strongly to the surface of their bodies and expression - the world is not the thing and often replaces, takes one's direct perception |
| | | | | | 5: (1) it took thousands of years; (2) photography is a huge industry; (3) art form |
| | | | | | 5b: [blank] |
| | | | | | 6: photography - optics, chemistry, physics - great training - basic and advanced |
| | | | | | 6b: [blank] |
| | | | | | 7: art = to realize - no rule, regulations, outdated laws, routine, preconceived ideas |
| | | | | | 7b-8b: [blank] |
| | | | | | 9: awareness, sensing, intuition, talent |
| | | | | | 9b: security, study . . . |
| | | | | | 10: mass production, technology |
| | | | | | 10b: A [rest of page is blank] |
| | | | | | 11: thousands of years - technological development [rest of page is blank] |
| | | | | | 11b: light is the number one tool - whenever we see = light |
| | | | | | 12: thousands of years to develop, immensity of medium, art form, optics, physics, chemistry |
| | | | | | 12b: images not new - 1820 first photograph - instrument, machine, camera - Leonardo - no rules, outdated laws - talent |
| | | | | | 13: thousands of years to invent them - classes: elementary, advanced |
| | | | | | 13b: no rules or regulations - routine - free |
| | | | | | 14: (1) light number one tool in photography; (2) light and shadows; (3) have you ever watched the light and shadow changing on a tree or house at sunset? |
| | | | | | 14b: science says light is radiant energy - travels in waves or vibrations - visible spectrum |
| | | | | | 15: visible spectrum - ultraviolet - dispersion |
| | | | | | 15b: light rays going medium different density - refraction changes direction - ultraviolet has filter, keeps all colour except ultraviolet - light rays exclude all colours - flash |
| | | | | | 16: number one tool in photography: (1) in black-and-white photography the reflected light of object or subject hits the emulsion forms in light and shadow; (2) science says light = radiant energy |
| | | | | | 16b: rays, colour length, bending, infrared |
| | | | | | 17: different way of looking at light - main source of light is the sun - periodicity - gods of sun, spirit, forces of darkness |
| | | | | | 17b: light and shadow - different - different photographers |
| | | | | | 18: [top of page ripped out] science - light radiant energy - we see 400-700 visible spectrum - when light goes through prism divides |
| | | | | | 18b: [blank] |
| | | | | | 19: light number one tool in photography - reflection of object, subject, all intensities |
| | | | | | 19b: ultraviolet - refraction |
| | | | | | 20: periodicity, sun main source of illumination - gods of light, forces of darkness |
| | | | | | 20b-21: [doodles] |
| | | | | | 21b: [blank] |
| | | | | | back cover: [doodles] |
| | | LM.AR6.NOTE18 Notebook 18. - date? - front and back covers intact; front and back covers buff-coloured; spiral bound; 7 3/4 x 5 inches; 31 sheets; 31 sheets used. |
| | | | | | 1: the image - picture-making is not new - enumerate: cave, Greeks, Renaissance - today painting: camera - images never imitation - 30 people same eyes - 30 cameras - consequence - if what eye sees is connected with photography - nervous system, intelligence, understanding - and there to use knowledge of photography, mechanics, tools, to translate this = photographer |
| | | | | | 1b: photographic image comes very close to eye image - either mechanical or disconnected fantasy - or . . . different for different photographers - association, memory, etc., the thing itself Goethe, Krishnamurti |
| | | | | | 2: characteristics of photographic image - authenticity - inherent perspective - contrast - gradation - sharpness and unsharpness, mass production, sees more than eye - three dimensions versus two - camera almost a replica of the organic eye - we see perspective - man probably has always seen that way - but did not realize it - we don't see what we know to be - converging lines |
| | | | | | 2b: seeing in time and space - on a surface the whole image is projected in one fraction of time - and then viewed if in right size and distance in one view |
| | | | | | 3: this projection in one fraction of time is responsible for the speed in photography - the instant unique to this medium - from one foot to 1,000 feet - question of perspective - there is always depth in different tones - third dimension is an illusion - natural space = deep - picture space = deep and flat |
| | | | | | 3b: speed - no speed beginning - emulsion slow - 1851 Talbot . . . on fast turning wheel - how man walks - Oliver Wendell Holmes - based on instantaneous photograph of human walking, then horse - Muybridge - Marey - human locomotion - new unbelievable aspects - a new imagery - more speed - the instant - photography art of the split second - moment captured that was never before and never will be again |
| | | | | | 4: movement, expression unseen by the eye is stopped - the now = permanent - instant of shutter mechanical - selected instant of the photographer - instant = new in the history of picture making - difference between photography and painting vision - instant reveals new world - not action shots - everything in photography = speed - shutter, lens, emulsion, chemicals, speed of photographer |
| | | | | | 4b: sixth sense of the news photographer - example of a photograph of people in a split second - unknown -composition - whenever we point our camera at something a problem arises - composition - this word is not only used for photography but other art media - painting, sculpture, drawing, music, etc., also in many human activities - it means to put together, to combine, to arrange, in a certain order to organize |
| | | | | | 5: when we look through the viewfinder we face a rectangle or a square surface - we also face an image of life projected on this surface - the rectangle and the square are merely a container - the possibilities of these rectangles and squares and surfaces are unlimited - image of life projected through the lens on the emulsion - what do we see? - nature, landscapes, ocean, cities, streets, people, illuminated by the sun moving in space in certain order or rhythm |
| | | | | | 5b: on the one side the photographer struggles with the limitation of the rectangle, the square, and surface - on the other side he struggles against the infinity of images that stream through the lens onto the emulsion - but we can see concerning the limitation that we can photograph - one house, many houses - then how in this ocean of objects and confusion is the photographer to select? |
| | | | | | 6: being able to use every tool and express it in terms of photography we bring objects, subjects in space though light, angle, and direction, etc. so that a new order of life, a photograph, is created - composition is what you feel about a subject matter and how you say it in terms of photography - Abbott - you do it this or that way not for better effect but because it says more |
| | | | | | 6b: abstract photography - in 1913 Coburn exhibits five photographs - views looking down, distorted perspective - he emphasized the abstract pattern of street, houses - he said: "It is almost as phantastic in its perspective [as] a cubist phantasy? But why should not the camera break away from the worn out conventions that in its short time of existence have begun to cramp and restrict this medium - and drain the freedom of expression which any Art must have to be alive." In 1917 Coburn produced the photograph, completely non-objective |
| | | | | | 7: photographs were made with three mirrors in a triangle - all kinds of objects glass, wood, on a table lens, projected into it - he said: "There was a time or notion the camera could not be abstract and I was out to disprove it." Shad in 1918 produced an abstraction without a camera - he laid on photographic paper flat objects, cut out paper on exposure-recorded designs like cubist collages - 1921 Man Ray - Moholy-Nagy rayograms - photograms - three-dimensional objects on paper - translucent objects |
| | | | | | 7b: shadows - texture recorded, also moving lights, moving objects, glass, sand, salt, design on glass, as variation - Moholy-Nagy found that photograms open unknown perspectives - it's the most dematerialized medium - entirely new - the photogram is closely related to abstract painting - it was created by painters - solarization - heavy negatives overexposed - printed - one grade more contrasty - light is opened (take developer off carefully so there are no streaks when held to light) - solarization was considered a technical failure |
| | | | | | 8: Man Ray used it controlled - solarization is a gross overexposure - or different exposure to light - the sensitive material begins to bleach until it is a positive - change begins at the edges - film solarized = negative when printed has dark runs on the edges - Man Ray made negative prints - reticulation - texture is introduced into emulsion through rapid changes of temperature - net-like structure - gelatin is melted, the image sags (negative) - a negative and transparent positive printed together slightly shifted - relief effect |
| | | | | | 8b-9: [blank] |
| | | | | | 9b: scientific photography - microphotography - has made the invisible visible - great beauty - 1839 Talbot could record image of the microscope - small electronic microscope - astronomy - all through photograph - telescope = camera with a mechanism - that the moving stars remain unmoved - microscope has become a camera - telescope = camera - stars exposed - put for hours on the emulsion - thousands of galaxies have been discovered that way - aerial camera - makes surface or parts of the surface of the earth visible to the eye - automatic camera makes exposures every seven inches |
| | | | | | 10: everything looks like abstract paintings or has similarity to scientific photography - one says that artists have been stimulated by scientific photographs - solarization - reversal of the image/negative or print - giving short exposure to light - sun photographed is black not white when overexposed - overexposure produces solarization of the silver chlorides - representational means - recognizable subject matter - abstracted from nature - the artist is interested in the formal aspect of the object - gives abstract or nonobjective - when the artist invents forms, lines, shapes, in connection with the rectangle |
| | | | | | 10b: two-dimensional surface - photography invented by a painter - takes over - he cannot compete with the speed, detail, likeness the photographer gives - the painter changes - Cézanne - first to abstract from nature - this leads into cubism - surrealism - Man Ray - my principle is to avoid everything forbidden - changed the optics of my lens - photography is still in prehistoric stage |
| | | | | | 11: [doodles - a cross and a heart] |
| | | | | | 11b: [blank] |
| | | | | | 12: the medium of photography deals with mechanics, physics, optics, chemistry - for this reason the study of photography |
| | | | | | 12b: how does the eye see and what is the eye? - similarities and differences between the camera and the eye - how does the image of the camera come into existence and get transformed by the inner rim of the eye, senses, etc. |
| | | | | | 13: camera is a device for researching images visible to the eye - cameras are mechanical replicas of the human eye - this organ is undoubtedly the basis of photography - without having been intentionally initiated in the eye - the eye is a light, tight, spherical, almost egg-shaped body - the inside coloured purple |
| | | | | | 13b: in front, camera: (a) a transparent lens highly curved; (b) cones or membrane that can expand and contract - the iris acting as a diaphragm, for controlling the amount and intensity of light - in the centre of the iris is an opening, the pupil - light strong, slower, etc. - behind the iris - cones - another lens - focusing device - membrane |
| | | | | | 14: retina |
| | | | | | 14b: instead of silver bromide - rods and cones |
| | | | | | 15: eye and camera - lens system - camera moving lens forward and backward - lenses control intensity - film receives images - shutter |
| | | | | | 15b: eyelid - darkroom - images produced - picture-making always present - never to imitate nature, always to express man himself and the world around him |
| | | | | | 16: 30 people with no . . . same image on return - transformed depending on intelligence, world, etc. - eye image transformed depending on person |
| | | | | | 16b: image project eye transformed - present when we look through camera - by using tools of the camera we can change - but we don't look, not aware of what we see - if we can see for ourselves |
| | | | | | 17: from beginning photographs could be reproduced - daguerreotypes were made into printing plates - different methods [description of different kinds of printing plates] - but type and photos could not be put together - type is relief - |
| | | | | | 17b: highlights depressed - chroniclers - beginning of news photography - 1840 crowd police - [18]41 Parade Linz - 1850 railroad workers, balloon invention, daguerreotypes - 1849 Flaubert and Maxime Du Camp - 1880 - first halftone process |
| | | | | | 18: economy of photography - Horgan - editor of the New York Herald - tried - but before 1889 kind of journalism - series of photographs - Civil War - Lincoln conspirators - scientist Chrevruel - but editors did not like photographs - public forced - words dominant until the First World War |
| | | | | | 18b: mass production - mass culture - everything can be photographed - E. Salomon, Ullstein, Saffranski - Luce, Life |
| | | | | | 19: show book of the world - spot news, weekly events, captions, articles, - haphazard taking of pictures - misguided camera - photographs more important than text - laboratories take over - developing and printing |
| | | | | | 19b: team - photographer + writer + researcher + art director + picture editor + editor + . . . + publisher - policy of the magazine - photographer and writer together or separate - not best picture selected, which is important for the story - problem |
| | | | | | 20: picture seen in fraction of time - words read in time and space from left to right - distance - life says good - two senses in action - seeing and hearing at different times - photographer more than eye |
| | | | | | 20b-21: [blank] |
| | | | | | 21b: rule - photographer detached - writer writes for and into photographs - new - so far picture illustrates text - word important - where, when, who - captions tell story not photograph |
| | | | | | 22: film - technology - celluloid - gelatin - |
| | | | | | 22b: chemistry of emulsion [diagram of strip of film] |
| | | | | | 23: in order to take a picture I have to select subject matter - light - I dislike people so? - photography, nature, flowers, animals - windows in and out, objects, their existence, light, not people, I have been there, I . . . it - the picture is a possession of it - Charlie Pratt |
| | | | | | 23b: [blank] |
| | | | | | 24: subject matter - the world is the stage - almost everything can be photographed - why do we photograph? - why select? - how much is true? - how much is conditioned? - imitated? - not reality but fantasy - connecting with life or escape? is there such a thing as subjective, objective, universal? we use photography to illustrate documents, events, photojournalism - or to fight for better living conditions - parades, protests, antiwar, war photography, using it as a weapon - we photograph what we like, love, hate, to promote or propagandize - saying the truth or lie |
| | | | | | 24b: advertise, publicity - without photography no computers, no space, no moon trips - we photograph what we call beauty or ugliness - we escape or contact -subject matter has its fashion - eras where nature, landscapes were etc. - eras where people came on the scene - try to understand, to communicate, destroy, or to discover or uncover social conditions - to do away with recognizable subjects or objects and deal with light, forms, shapes, texture, design, - the camera can say the truth, reveal or lie |
| | | | | | 25: portraits, likeness essence of human being - landscapes to commune with nature - generally felt human beings are one thing, nature is something else - scientific photography leads to . . . |
| | | | | | 25b: [blank] |
| | | | | | 26: composition, used in all of the arts - definition - in nature - dealing with a rectangle or a square |
| | | | | | 26b: the image of life is projected through the lens on the emulsion - this rectangle or square and surface is a physical element or geometry - possibilities are limitless - now image of life - we can see cities, landscapes, the sea, the sky, objects illuminated by the sun or artificial light - moving in space and time in a certain rhythm and order |
| | | | | | 27: photographer deals with the rectangle, square, and surface and struggles with its limitation - on the other hand we deal with the infinity of subject matter - the image of life - the image of life projected onto the camera - one object - part of it - detail so small - we can photograph ocean or sky or outer space - on a negative 35mm we can show a microbe or infinity in a split second |
| | | | | | 27b: question: how in this multitude of objects, subjects and space, light, movement is the photographer to select and organize? - sensing, feeling, understanding, consciously and unconsciously, the significance of life around us and in connection with us - and use every tool in photography to translate this living image with a photographic image |
| | | | | | 28: it rather coordinates itself - magnet - we follow what is needed - composition is what you feel about subject matter and how you say it in terms of photography - understanding and attitude bring the organization about - Abbott: (1) whenever we point the camera - composition; (2) word used for the other arts; (3) word used in human activities; (4) it means . . . (5) nature, work organized - when we look through viewfinder - rectangle, square, surface, which is a container - physical element |
| | | | | | 28b: at the same time: image of life projected through the lens - rectangle and surface = container - possibilities of the surface - image of life - limitations and other side, infinity of subject - select |
| | | | | | 29: light, angle, distance, proportion, tones, contrast, three dimensional, two dimensional - and creating another life, another order - we do not manufacture composition or the subject matter - we follow what is needed - magnet - composition = what you feel about the subject matter |
| | | | | | 29b: [blank] |
| | | | | | 30: everything = subject matter - nature as well as man-made - camera with lens: unavoidable where we point |
| | | | | | 30b: [blank] |
| | | | | | 31: different photographers - different light - phot. bad - granted - routine - new look - light sources - umbrellas - observe tools |
| | | | | | 31b: every tool = study vehicle - light - spectrum |
| | | LM.AR6.NOTE19 Notebook 19. - date? - front and back covers intact; front and back covers buff-coloured; spiral bound; 7 3/4 x 5 inches; 72 sheets; 72 sheets used. |
| | | | | | 1: light is the number one tool in photography - what we see in the image of black-and-white photographs is nothing but light and shadow - highlight to the deepest shadows - have you ever watched a house changing light over 24 hours? - science says light is radiant energy |
| | | | | | 1b: travels in waves or vibrations - visible spectrum - rays of different colours |
| | | | | | 2: visible spectrum - the separation of a white light ray is called dispersion |
| | | | | | 2b: refraction [diagram of refraction] - infrared |
| | | | | | 3: there is another way of looking at light - main source of illumination on this planet is the sun - the sun rises and goes down - periodicity |
| | | | | | 3b: gods of light and the forces of darkness - light - life - spirit - darkness with evil, danger, death - different photographers use light and shadow in many different ways - Cartier, Abbott, etc. |
| | | | | | 4: outdoor light is easily overlooked - we run after subject matter not watching the light - artificial light - light indoors - routine comes in - you can't go wrong - in fashion very diffused light reflected from umbrellas - for portraits not far from the lens - another far away from the lens |
| | | | | | 4b: the subject or . . . at an angle of 45 degrees - some photographers use different lights, push them around and or move the subject until they find a light - a movie technique . . . in producing sufficient light to then give different accents here and there - the shortcoming is instead of starting in complete darkness and with one light creating form and shape, shadows are produced by adding light on a general illumination |
| | | | | | 5: it is the photographers attitude or feeling of light that gives the expression - light sources: (1) catch light - eyes - main light moved until it shows and appears; (2) eye glasses reflections - light high or far to one side; (3) long nose: light: low light not in profile; (4) large ears: head sideways; (5) strong chin: light below subject high; (6) hollow cheeks; no side light, no high light; (7) puffy cheeks: light high in front - camera light is important - face image: lens chin height; head and shoulder image: camera waist level |
| | | | | | 5b: [doodles] high key [doodles] |
| | | | | | 6: composition - whenever we point our camera at a subject or an object and look through the viewfinder or the ground glass we face a problem: composition, what it means |
| | | | | | 6b: composition in both civilization and in art - dealing with a rectangle, a square, and a surface - we also deal with an image of life coming through the lens - the rectangle, the [square], and the surface |
| | | | | | 7: are a physical container, a geometry - the possibilities of using this rectangle, square, or surface are limited - before they even had names coming from painting - rules - still in use in pictorial photography - let us go back to what we called the image of life - projected through the lens on the |
| | | | | | 7b: film - what do we see? landscapes, cities, the ocean, streets, people, etc. illuminated by the sun, moving in space in a certain rhythm or order - on the one hand the photographer had the small rectangle or square and struggles with the limitation - on the other side he gets lost in the infinite aspects of the image of life - how is he going to select in this ocean of images? |
| | | | | | 8: but let us look closer into this limitation of rectangle and square and what we can see in it - we can photograph one house, many houses, or a city - or one person, a group of people, or a crowd of one million people - Coney Island - we also can photograph one object or any part of it |
| | | | | | 8b: how is the photographer to select? - by connecting, sensing, feeling, understanding, the meaning and significance of life around - its order and rhythm |
| | | | | | 9: he will have to use all the tools of this medium - and be aware of the resulting spots and lines which form the image - and let its subject matter fall into place instead of organizing it - and by doing so another image will come into existence very different from the image of the eye - the photograph |
| | | | | | 9b-10: [blank] |
| | | | | | 10b: composing is not shifting subject matter around to make it look better, or more effective - we don't make a composition, we let subject matter coordinate itself, fall into place - through its meaning |
| | | | | | 11: the picture makes itself - understanding and attitude brings it about - Abbott - it is what you feel about and say it in terms of photography - no rules, formulas, no preconceived ideas |
| | | | | | 11b: only what says more - composition is balance, harmony, children painting, cosmic or universal, balance, equilibrium - Abbot's photographs: free in space - example: enlarger looks at what was in an image - idea with cropping - different shape of negatives |
| | | | | | 12: light sources - [see page 5 of this notebook] |
| | | | | | 12b: lighting for portraits |
| | | | | | 13: light for portraits - flats are large white or silver reflectors mounted on wheels - the surface is used |
| | | | | | 13b: bounced light or fill in - bounced light has direction like direct light - a surface from which light is bounced becomes the direction of light; the light source - room will then become flat - subject can be moved - with a large light source the light direction is less critical - old conception - there is a model: don't move main light, fill in |
| | | | | | 14: today light and mode is moveable - outdoor light effect depends on subject and camera angle - large reflector is harder than bounced light - an umbrella over a flat loses less light - a white umbrella or reflector diffuses the light more than a silver reflector - spotlight is hard - harsh sharp shadows used for hair and |
| | | | | | 14b: back lighting - many fashion photographers use contrasty light, to emphasize form and line rather than shapes and tones and depth - contrast makes two-dimensional effects also not contrasty - lights are used - flats - and then printed on 4,5,6, paper Kodalite |
| | | | | | 15: the hidden face - thousands of times did man make images of himself - in paintings, drawings, and in photography, in the imitating of the home or in public places - he has shown himself with all the insignia of status - or in simple everyday portrait - to be remembered only by members of his family - in this drive of self-imagery he did not tire of pointing out again and again, how to move or to behave |
| | | | | | 15b: how a prince has to look, or a general, or a bourgeois - but then something strange can be observed - that human beings very rarely let their inner real face be seen and in the history of man it comes to a tension between the individual and the general aspect - and mostly even the individual aspect retains a great deal of general portraiture |
| | | | | | 16: already in Egyptian art we notice a tension between the individual self and the hiding of the self - what in the course of history was stronger? - the personal or general aspect or approach? the Greeks avoided the individual aspect - instead they showed gods in the form of human beings |
| | | | | | 16b: the Middle Ages - again there is the objective image (Giotto) - it is not important that one is this way or that way, but that he is a saint or a martyr or prophet - in Gothic art there is society or community art in which clothes, behaviour, movement, court dances are more important than the individual |
| | | | | | 17: personal face - only in the Renaissance is the individual portrait the main aim of art - but in a limited way - excessive, open, personal individual images are rare |
| | | | | | 17b: Tizian [Titian], Hals, Rembrandt, who had a deep knowledge of human nature and the power to express it, have a great conventionality - completely open images of man - like Van Gogh, Munch, Kokoschka, Soutine - made us afraid - we run when we see it - because man wants to hide his face in the instability of passing by of things |
| | | | | | 18: he seeks to retain what is stable - or what remains - he becomes part of a religious community or a political community - in other words, the establishment - he seeks the accepted, the ethical - from the glaciers of solitude he runs into the warmth of family life - he makes you acquainted with his work, or activities as a bus driver, worker or scientist, or whatever - artist |
| | | | | | 18b: journalist to have a right of publication - man does not hide in art his individual face out of shame but out of a need for security - by doing so he follows old conventions - Christ is the portrait of the Middle Ages - misery, poverty, unhappiness, glamorized |
| | | | | | 19: in life, nature and images in photography - Alrai Hotel 378 64 RH 4-0200 Berenice |
| | | | | | 19b: [blank] |
| | | | | | 20: introduction - it took man (humanity) thousands of years to discover and to invent photography - which is a tremendous technological achievement - |
| | | | | | 20b: uses of photography |
| | | | | | 21: television - you can realize the intensity of this medium - photography as an art form - human beings expressing their understanding of and connection with life . . . and other human beings through the camera |
| | | | | | 21b: photography deals with optics, chemistry, physics, mechanics - consequently the photographer needs special training and great experience - so the study of photography is generally divided into basic, semi- advanced, and advanced courses |
| | | | | | 22: to get acquainted with the camera, exposure, development, with printing - in other words to be able to handle and use the tools, belongs to a basic course - the study of the image in photography, by producing and understanding it to be aware of the entirely different aspect of this image, its new expression - the difference between a photograph and a drawing belongs to an advanced course |
| | | | | | 22b: we could say the study of photography starts with the camera and the tools of the medium - photography starts with the projection of the photographer into the image- that does not mean technique in an advanced course will be neglected or ignored - on the contrary, rather intensified but not just a good print, or always a normal negative |
| | | | | | 23: depending on what is needed to express, depending on what a specific photographer has to say - images are not new - they were made thousands, even millions, of years [ago]: prehistoric paintings and drawings - cave paintings - scratching with rocks or painting with earth colours - the Egyptians, sculpting with their extraordinary vision - so far from the eye vision - the Greeks, sculpting their gods in white marble |
| | | | | | 23b: using the human body - inventing the ideal proportions - used for centuries - the Renaissance - going back to antiquity in their sculpture and painting but discovering perspective and chiaroscuro - modern painting and sculpture - discarding subject matter seen with the eye view and perspective and introducing the abstract |
| | | | | | 24: and then in 1820 the first official photograph was produced - so far images were made with the eye - with the hands - the picture-making instrument of the new medium photography was a machine - the camera |
| | | | | | 24b: the reflected light from objects or subjects projected through a window of a room or a black box - [camera obscura described] ["Evsa Model" written at bottom of page] |
| | | | | | 25: when it comes to any art form it is important to realize that there are no rules or regulations, no outdated laws or preconceived ideas - instead no routine, or taboos - it is our task to do away with presumptions that we know or can dictate what to reveal or what to conceal - or how to do - in other words - this field of human activity is free, open to constant change and new approaches but that does not mean |
| | | | | | 25b: that anything goes because there is the true and the false - the neurotic fantasy or reality - it exists, like in everything else, but we have no thermometer - only awareness, sensing, intuition - what more can one want? there is one idea or let us say a supposition that technique can be learned by everybody - takes application and work - but when it |
| | | | | | 26: comes to "talent" this is a gift of the gods - one in a million has received as a gift by nature - it seems to me that this is not possible - everybody has everything - it may depend on the amount of interest, love, and passion, courage - to be slow and patient, fast results, success, money, glamour, and stardom is a disaster - Picasso and Schönberg said not to be impressed by what others do - love it, yes - but not imitate |
| | | | | | 26b: because it means one has no confidence to find one's own way - to come back to basic and advanced courses -the downfall of the professional successful photographer can be that he has abandoned the basic, the elemental, in his work - the more advanced an artist is, the more basic he will be: Picasso - and often we find this quality in a beginner |
| | | | | | 27: but not too often - even they are conditioned by the thousands of pictures they have seen - and easily adopted - the images of life are the inspiring force to make us take photographs - not imitation of somebody else's visions - these will be stillborn - not application but exploration - application of accumulated knowledge but exploration of life - transfer into image - photograph and photographer = mass production - economical contradiction - what is the meaning |
| | | | | | 27b: life itself is the inspiring force to come to a photograph - not the imitation of somebody else - vision of life - put in a photograph - imitation photographs are stillborn - to respect and to admire others personally as well as work may lead to not respecting oneself - life and camera are all one needs |
| | | | | | 28: the eye - the eye developed originally as tool of perception for survival - evolution of the eye |
| | | | | | 28b: evolution of the eye |
| | | | | | 29: evolution of the eye - nerve system |
| | | | | | 29b: evolution of the eye - the eyes of insects |
| | | | | | 30: the evolution of the eye - the vertebrates |
| | | | | | 30b: evolution of the eye - different eyes |
| | | | | | 31: horizontal pupils - primates |
| | | | | | 31b: evolution of the eye - man and monkey alone have a central fixation area - lower animals |
| | | | | | 32: colour sensitivity in different animals |
| | | | | | 32b: the analogy between the eye and the camera |
| | | | | | 33: retina, rods, and cones - nerve endings as individual receptors |
| | | | | | 33b: the eye from lens to darkroom - eye and camera: both have a lens - the film in the camera - the retina in the eye - in both the opening of the lens is regulated by an iris |
| | | | | | 34: the similarities go beyond optics - involve chemistry and physics |
| | | | | | 34b: receptor cells, rods, and cones act like silver bromide - the rods are very receptive to sunlight and to neutral colour sensation |
| | | | | | 35: the cones begin to function at moderate light - cones in the retina are converted to the brain by a single fibre of the optic nerve |
| | | | | | 35b: pigments - colouring matter in plants and animals - photography is the art of producing images by the action of light |
| | | | | | 36: the photographic camera is basically a device for recording pictures or images visible to the eye - this origin is undoubtedly the basis of photography - the similarity of the eye and the camera becomes evident by direct comparison - human eye, section view [diagram] |
| | | | | | 36b: description of the mechanics of sight [diagram of a single box camera] |
| | | | | | 37: simple form of a box camera [diagram and description] |
| | | | | | 37b-38: comparison of the eye and the single box camera |
| | | | | | 38b: [blank] |
| | | | | | 39: the instant - speed - action - in the beginning of photography action was not recorded - the emulsion was too slow - but in 1851 Fox Talbot photographed by a sudden flash (electric) a page of a London Times fastened to a rapidly moving wheel - it was sharp - the first photos where action was stopped were stereoscopic, of people in the streets or landscapes - Oliver Wendell Holmes in an essay, "On How Man Walks," - in 1863, tells of basing his theory on a new source accessible only in the last years, namely, the instantaneous photograph - drawings were used from instantaneous photos to |
| | | | | | 39b: illustrate human walking or locomotion - a foot in the air had never been seen this way - people were shocked and found this very ugly - the eye cannot detect attitudes which last only fractions of seconds - consequently they were never seen before - it was believed that at a gallop all four legs of a horse were off ground at the same time - stretched out - Muybridge took instantaneous photographs to prove the point |
| | | | | | 40: he made the following very difficult experiment - description of experiment |
| | | | | | 40b: description of experiment - results |
| | | | | | 41: in 1880 Muybridge projected a similar view on the screen - anticipating the moving picture - he called the zoopraxiscope - Étienne-Jules Marey - a French physiologist specialized in human locomotion . . . successive phase of action |
| | | | | | 41b: Muybridge later on perfected his equipment - in 1887 Muybridge's work was published - description of his work |
| | | | | | 42: immediately there was objection - if an object is photographed in motion all feeling of motion is lost: the object stands still - painters tried to copy motion - it did not work either - photographers were advised to photograph only aspects that came close to rest - to show what the eye can see - what cannot be seen is ugly and unartistic - Maddox, an English physician, invented an emulsion soaked in water cadmium bromide in solution plus silver nitrate |
| | | | | | 42b: this solution was flowed on glass and dried - photographers were freed from making their own plates - it also could be processed later - at that time cameras could be held by hand - detective cameras |
| | | | | | 43: "you push the button we do the rest" |
| | | | | | 43b: [blank] |
| | | | | | 44: subject matter - when we photograph through a lens we inevitably force what is called subject matter - the images of subjects and objects in front of our eyes - there is practically nothing that can't be photographed - the world is our stage - from all the man-made images, paintings, drawings, sculptures, the photographic image is the closest to the image of the eye - in the beginning of photography this aspect was considered an enormous achievement, a kind of miracle |
| | | | | | 44b: but very soon it was thought of as an inferior non-artistic situation - because how great and artistic can a man-made image be (one can see practically identically through the eye) without creating it? - but coming back to subject matter - what specific importance does the selection of subject matter have for the photographer - or does it not make any difference what he photographs? - I think it differs with the photographer - some react to certain subjects only - others |
| | | | | | 45: have a wide range they connect with - I personally select through attraction, attracted like a magnet - and then I don't question or hesitate - others think about different subjects - decide upon, study them, research and then go to work, Example, Diane, Cartier, Marion Palfi: Civil Rights; Riis: poverty; Dorothea Lange: farm conditions; Walker Evans: America - non-acceptance of social conditions, helping through our visual awareness to change them - sometimes the subject is a chair or tree, a flower |
| | | | | | 45b: or house - not the document, the physical appearance, or the social statement - it goes far beyond - it goes beyond into another plane like words can become poetry - but whatever it is, whatever the subject, it always is the photographer in relation to his subject, and the subject means what? to the photographer - it is not possible to say - how I am to discover my subject matter - what it takes is interest, passion, and endless patience - what's the hurry? You have a lifetime - ambitious success [book turned sideways] - subject photographed in many different ways |
| | | | | | 46: the hidden face - thousands of times man made images of himself and his surroundings - painting, drawing, sculpture, and photographs - he has shown himself with all his status in public life or in his home - every portrait to be remembered or (in his self-imagery) he points out how to look, how to behave - a prince, a general or a bourgeois |
| | | | | | 46b: but very rarely does he let his real face be seen in history of image-making it comes to the problem between the individual or the general aspect - even individual has a lot of general - in Egyptian art tension between individual self and hiding of self - what shown in history, individual or general? - Greeks provided individual sculpted gods in human beings - Renaissance - some individual portrait unimportant |
| | | | | | 47: portrait is Christ - portrait belongs to a special class - society shown in cloth fashion and surroundings - Titian, Hals, Rembrandt great insight into human beings - power of expression but conventional - open images - Van Gogh , Munch, Kokoschka . . . man wants to hide his face - reason - instability, insecurity - he wants to retain what is stable or what remains |
| | | | | | 47b: thousands of years - technical advancements - immense medium - mass production, technical expression - basic exploration |
| | | | | | 48: thousands of times did man make pictures of himself - painting, drawing, sculpture - in public places - intimacy of home - his status, dignity - or everyday portrait to be remembered |
| | | | | | 48b: Egypt, Greece, Renaissance, Romans: personal vanity, power, corruption; Middle Ages: unimportant how one looks personally - martyr saints, popes, politicians, church, society, art, community, clothes, behaviour, not personal force - man wants to hide his face - |
| | | | | | 49: not out of shame, out of insecurity - wants to retain stable ethics, what remains - establishment - family life - well-dressed to be remembered by children - family snapshots show family life - status - Sanders |
| | | | | | 49b: [blank] |
| | | | | | 50: high key: (a) negative of a very uncontrasty subject; (b) well-developed; (c) printed in a developer that has been diluted three times; (d) 10 times development time; (e) some potassium bromide to make it hard |
| | | | | | 50b: [blank] |
| | | | | | 51: emulsion - today the light-sensitive material used consists of silver salts suspended in gelatin - it is called an emulsion - film and paper emulsions are very similar - when this emulsion is exposed to light there is a change invisible to the eye: the latent image - but there are many more ingredients in an emulsion than silver salts and gelatin - there are compounds to speed up the film |
| | | | | | 51b: compounds affecting colour sensitivity: (a) double coating; (b) overcoating; (c) film backing; (d) antihalation backing; (e) [?] against ultraviolet radiation - characteristics: gelatin: colloid, non-crystalline - (1) gelatin swells into a semi-solid state over a high range of temperatures; (2) holds the silver grains apart so that they do not clump - (silver grains |
| | | | | | 52: are attracted to each other) - only light-reflected grains become developable - emulsion: mostly silver bromide, chloride, iodide; double coating extends the latitude of the film: there is a fast and slow emulsion; overcoating: protection from scratches; film backing: a clear gelatin coating of hardened gelatin on the back of the film - to avoid curling when drying - balances expansion and contraction |
| | | | | | 52b: anti-halation backing: light passes through the emulsion - reflected back in a slightly different angle - and causes diffused light; halo: light-absorbing dye is used; irradiation: reflects light of grains with development centres mostly through overexposure; sensitivity: when silver grains are exposed to light for a long time they blacken completely for a short time; latent image: |
| | | | | | 53: when exposed to light, silver crystals change into metallic silver - this is not a change in colour but a mechanical change - description of developing |
| | | | | | 53b: discussion of light and emulsion |
| | | | | | 54-57: the hidden face [see above] |
| | | | | | 57b: [blank] |
| | | | | | 58: three dimensions versus two dimensions - we are once more concentrating on the image of the eye and the image of the camera - the closeness of eye and camera - the camera almost a mechanical replica of the organ eye |
| | | | | | 58b: perspective - da Vinci, camera obscura - |
| | | | | | 59: perspective - deals with the phenomenon of appearance - we see what we know does not exist - the theory of perspective has developed from one axiom: |
| | | | | | 59b: apparent decrease in size of an object as it recedes from the eye - parallel lines converging, parallel planes seem to approach and meet at infinity at one line |
| | | | | | 60: with our eyes we see in space and time - suppose we have to give a description of a room or kind of itinerary - how would we proceed? - first we focus on one object - focus and refocus - we see in space and time - we see in different planes separated by different distances - we see in space, live in space, and feel in space - our eyes wander from one thing to another |
| | | | | | 60b: on a surface - two dimensions - the whole image is projected in one fraction of time and viewed in one unit - this is a very important difference - to incorporate three dimensions into two - in painting, drawing, as well as photography - is a great problem - in painting before and after the discovery of perspective there were many ways to show depth |
| | | | | | 61: in the seventeenth century perspective took over - all other means of showing depth were abandoned - only 30 to 40 years ago modern painting rejected perspective - depth is always present on a surface - abstract photography often tries to escape the image of perspective - in photography the third dimension resolved by using every tool of the medium |
| | | | | | 61b: light, tones, sharpness, unsharpness, camera angle, distance, depth of field, use of different lenses - when the reflected light of an object or a subject strikes a surface everything seen in space is flattened on a surface - the third dimension is present as an illusion |
| | | | | | 62-64: the hidden face [see above] |
| | | | | | 64b: [blank] |
| | | | | | 65-66: the hidden face |
| | | | | | 66b: the hidden face - Christ was the portrait of the Renaissance - poverty, misery, suffering, unhappiness are glamorized - also the saints suffering, sacrificing their lives - this is followed in literature |
| | | | | | 67: Victor Hugo, Zola, Dostoyevsky etc. - the camera - fashion, hippies, rag-pickers, dirt, fight against social conditions, youth communes their castle - eccentricity, mixture of Middle Ages and Victorian fashion, and nudity, equality of sexes - same clothes, or reversed - man long hair, wearing woman's apparel - woman, pants, boots, and masculine look - and then everything is glamorized |
| | | | | | 67b: [blank] |
| | | | | | 68: from beginning mass media - produced photography - in masses |
| | | | | | 68b: [blank] |
| | | | | | 69: quotation: "I have been often asked what I wanted to prove with my photographs. I don't want to prove anything. The camera is an instrument of detection. We photograph what we know but also what we don't know. A moment is caught that was and never will be again. We are surrounded by numbers of images everywhere, most |
| | | | | | 69b: of them invisible to our eye because we are blinded by routine - conditioned." |
| | | | | | 70: statement: "I have been often asked what I would like to prove with my photographs. The answer is I don't want to prove anything. The camera is an instrument of detection. We photograph not only what we know but what we don't know. A moment is caught that was and will never be again and lives on in the picture. We are surrounded by thousands of images everywhere. Most of them invisible because we are blinded by routine. But pointing the lens at something I am asking a question, |
| | | | | | 70b: and the photograph . . . may be the answer. In other words, I am not the one who knows or wants to prove. On the contrary, I am the one who learns the lesson." |
| | | | | | 71: development solutions: need four kinds of chemicals - commonly used developers or reducers are: (a) . . . ; (b) metal; (c) elon; (d) pyro; (e) amidol; accelerators: developers in order to become active need an alkali to accelerate chemical action - the more alkali the more vigourous the action |
| | | | | | 71b: the experimental and the so-called stronger non-experimental - photographer - silver salts, gelatin, film, paper |
| | | | | | 72: types of emulsions [see above] |
| | | | | | 72b: what we are born in or conditioned to - status, different classes, the whole scale from misery, poverty, middle class, wealthy, high society, aristocratic - not in use of subject matter but all of this can be used - the artist's only condition is the human condition - he cannot be conditioned |
| | | | | | inside back cover: (1) light; (2) composition; (3) light sources; (4) statement - the eye - Frederick Frank? |
| | | | | | outside back cover: 587-7124 |
| | | LM.AR6.NOTE20 Notebook 20. - date? - front and back covers intact; front and back covers buff-coloured; spiral bound; 7 3/4 x 5 inches; 48 sheets; 48 sheets used. |
| | | | | | 1: photography and the printing press - were connected from the beginning - daguerreotypes were made into printing plates - Donné - made metal plates print table - silver areas were etched out and highlights built up by electrotype process - ink could be held in this plate and it became printable - Fizeau (1840) improved this method - he sprinkled the plate with powdered resin, which resulted in breaking up middle tones in minute divisions of white and black tones - Talbot 1852 and 1858 - 1866 another method, Woodbury |
| | | | | | 1b: history of photojournalism |
| | | | | | 2: history of photojournalism, half-tone process, news photography |
| | | | | | 2b: history of photojournalism |
| | | | | | 3: history of photojournalism - Illustrated London News - O'Sullivan, Brady |
| | | | | | 3b: history of photojournalism - Nadar's son and Chevruel, 1886, 1892 the Illustrated American - planned to use its magazine for the purpose of these photographs - in its first issue they published six photos of the Navy, two photos of the Kennel Club, six historical sites, ten photographs of fashion - but it was abandoned soon - the same thing happened to other magazines - writing was reduced to captions - and after the First World War feature articles had just become |
| | | | | | 4: dominant, very often illustrated by drawings - the idea of a purely photographic magazine was revived by Henry Luce in 1936 - Life Time - it was envisaged as the show book of the world - mind guided camera - Life: content - spot news - feature stories written and photographed to order - cooperation of editors and photographers |
| | | | | | 4b: the laboratory develops and prints material - the editors choose which photographs will best tell the story - generally the captions tell the story alone -picture less posed, more informal - fashion magazines were among the first to use photographs - fashion personalities, Vanity Fair |
| | | | | | 5: photojournalism is traced back to the Penny magazine in London - 1832 - history of photojournalism |
| | | | | | 5b: history of photojournalism - the camera is born of a liaison of science and art - the photographer is not a scientist; he is an artist - photography is an aesthetic not a scientific product - photographers at that time lived and dressed like bohemians - the chronicler was considered an artist, also a journalist but without a journal |
| | | | | | 6: technology was not advanced - an artist had to make a replica - history of photojournalism continued |
| | | | | | 6b-8b: history of photojournalism |
| | | | | | 9: history of photojournalism - the photographer can express directly only the emotions of others - he cannot express an emotion of his own - it is sensitivity to the emotions of others that photojournalism requires of the photographer |
| | | | | | 9b: photographer should be detached - if at the end his own emotions remain unimportant, can find expression at the hands of the writer with whom he deals - words necessary - where? when? who? - in photojournalism the picture is made first - not reversed as before, when picture served to illustrate words - artist photographer in the beginning considered photography superior to painting - camera not only a reporter also a commentator |
| | | | | | 10-11b: analogy between the eye and the camera |
| | | | | | 12: analogy between the eye and the camera - we have said that there is nothing new about picture-making - prehistoric, etc. - until camera - the ways of drawing have changed - in every stage of civilization picture making is present - when we study this production carefully and closely one thing becomes obvious - in no stage of man's evolution were images made to reproduce or to imitate nature - but always to express the state of the condition of human thought |
| | | | | | 12b: for following generations art is the only measure or the record of passed disappeared cultures and civilizations - let us come back to eye seeing and photographic seeing |
| | | | | | 13: eye image and camera image - when we look at something the image is already transformed |
| | | | | | 13b: but by using the tools of photography now we have two images: the mental image of the eye and the mechanical image of the camera |
| | | | | | 14: photographic image and eye image - similarities and differences - we are conditioned - we like routine |
| | | | | | 14b: we imitate - forced originality - child sees art - the young paint what they see - what they have liked - so do great artists - by miracle escaped routine - concentration camps - originality - origin means coming from the source - and this again is one of the rarest miracles to occur - we have all been badly trained - but there also is some good left and that we shall try to retain here |
| | | | | | 15: David is an independent photographer - he photographs what attracts his eye, his whim, no matter what it is - he has no . . . of how to do it - like children's play - everything is valid - a spoon, a chair or glass, streets at night or day - he makes people's portraits - the image seems to come |
| | | | | | 15b: out of the photographer - a daydream yet for that he had to be wide awake - child's play |
| | | | | | 16: simple and without fuss - photographs are subtle, refined, loving, young - they have sleep - incorrupt and incorruptible - light: condition for the life of the subject matter selected - there is nothing . . . |
| | | | | | 16b: David himself as young as simple - direct courageous and incorruptible as his pictures are - also as nonviolent - also as loving |
| | | | | | 17: abstract - 1913 Coburn - five photographs: New York from its pinnacles - nonobjective photos - three mirrors - Schad - Dada - photo without camera - 1921 Man Ray - Moholy-Nagy - photogram, rayogram - Talbot 1833 - Man Ray - solarization - positive, negative - reversed - reticulation network - distortion, sagging, relief |
| | | | | | 17b: stroboscopic photographs - Edgerton - aerial photography - photographs of fire, lightning, smoke, of zinc oxide - electronic microscope - X-ray photos - telescopic photos of sky, stars - my ideas: |
| | | | | | 18: (1) in the beginning everything was there; (2) everyone 1840 announces phot. camera production, (3) two kinds of photographers: (4) pictorialists, chroniclers; (5) chroniclers produce photos of events, etc. - history of photojournalism |
| | | | | | 18b: picture comes first - history of photojournalism |
| | | | | | 19: photojournalism |
| | | | | | 19b: [blank] |
| | | | | | 20: the study of photography generally divided into basic or elementary course and advance courses - this division to a certain degree is justified because photography deals with optics . . . mechanics, and so forth and therefore needs specific training and great experience - to get acquainted with the camera, exposure, development - belongs to a basic course - the study of the photographic image, its entirely different aspect, expression, and aesthetics is the aim of this course |
| | | | | | 20b: this includes, not as one would think, neglect or disregard of technique but on the contrary, awareness of technique will be intensified but may be from a different point of view than the laboratory course - I would say that the study of photography starts with the understanding of the camera and its tools - photography starts with the self-projection of the photographer - we all know where we can see Photographs - in newspapers, magazines, publicity, advertising |
| | | | | | 21: education, science, war illustration and documentation - approximately every branch of human activity - photography from the beginning was an industry - today is a giant mass medium - it is the basic language of the movies and of television - it has taken proportions that through this image presidents can be made - and people speak of their image - this image has very much to do with the photographic image - but besides all the . . . aspects of where the photograph is used |
| | | | | | 21b: we can see photography exhibited in art galleries and in museums, which means it has made the grade and finally is considered an art |
| | | | | | 22: the study of photography is divided into basic or elementary - discussion of technique and aesthetics |
| | | | | | 22b-23: discussion of technique and aesthetics |
| | | | | | 23b: but in 1820 the first photograph was produced - the name of the instrument called camera - we have a combination of science and art |
| | | | | | 24: the camera with its tools belongs to science - the result: the photograph belongs to the field of art - where are photographs used? |
| | | | | | 24b: discussion of where photographs are used |
| | | | | | 25: (1) plug machine in; (2) take rollers out; (3) put old liquid in; (4) put rollers back; (5) put top on; (6) put bottles in; (7) turn machine on for several seconds |
| | | | | | 25b: (8) expose; (9) warm up 5 seconds; (10) put paper through; (11) turn machine off |
| | | | | | 26: (1) plug out; (2) take bottles away; (3) take rollers out; (4) wash them; (5) liquid in other bottles; [no number (6)] (7) wash tray; (8) change Kleenex; check on rubber band |
| | | | | | 26b: [blank] |
| | | | | | 27: photographs workshop by Lisette Model [doodles] |
| | | | | | 27b: a course for advanced students - knowledge of darkroom procedures is required - exploration of the medium and inventiveness of the student to find his own original style |
| | | | | | 28: from the beginning of history and before - man made millions of images of himself - in painting, sculpture, drawing, and photographs - he has pictured himself in many different ways |
| | | | | | 28b: man making images of himself |
| | | | | | 29: Egyptians, Greeks, Romans |
| | | | | | 29b: Middle ages, Renaissance |
| | | | | | 30: Rembrandt - images of people all over the world were national - they looked different in different countries and continents - China, India, Japan - Europeans in France, Germany, and England - had different cultures costumes, fashions - but even the face was the individual style of the time - hairdo, etc. was predominant - very rarely do we find images where these people show themselves |
| | | | | | 30b: Van Gogh was rejected because he showed the distressed - most people hide behind an image - the inner real face is dangerous to be exposed - When photography came into existence and instantaneous photographs would be taken - there was an uproar - people did want to be caught unaware - they sat quiet and respectable - for themselves - the family and posterity - bourgeois, rich, poor, including peasants - best clothes, family, friends, offices |
| | | | | | 31: everybody wants to be glamorized - nobody wants to look his age - everybody wants to be accepted - women are shown as brides, mothers, and as a decoration for the male's vanity - so far! - there is another aspect that as much as I know came into existence with Christ - that is the coming into existence of suffering, misery, injustice - Christ the martyr, the saints, the persecuted - later on the proletarian riots in Europe - sweatshops, modern slaves of |
| | | | | | 31b: industry - discrimination - exposure - glorification of the underprivileged as a weapon against the state and the church - again an objective aspect of the man - with all its diversity - photojournalism - politics - how about self expression? as much as it may seem to be self-expression we cannot get away from being a part of the human condition - even if today it looks like a unique artist - if his work is valid it will be objective |
| | | | | | 32-33b: emulsion |
| | | | | | 34: exposure |
| | | | | | 34b: sensitivity of film and exposure |
| | | | | | 35: exposure |
| | | | | | 35b: under bright parts more development centres have been formed than under less bright parts - after development the opaque deposit of black metallic silver will be densest under the bright part of the image, less heavy under the less light parts [diagram of a flower in a pot] - background black: no reflection - daylight is streaming through a window, illuminating the flower, the stem, and red pot regularly |
| | | | | | 36: here is a film strip scheme [diagram of a film strip] - (a) we open the shutter of the camera and light is coming through the lens forming an image on the emulsion; (b) this image is very bright in the flower pot, less bright in the stem part, least bright in the red pot part - for example, we open the shutter for 1/25 of a second - the reflected light of the image can rest on the emulsion and development centres can be formed - obviously more development centres will be formed under the white flower, less on the stem |
| | | | | | 36b: and least on the red pot - discussion of lighting and film |
| | | | | | 37: the negative [diagram of film strip] - discussion of lighting and film |
| | | | | | 37b: underexposure - [diagram of film strip] |
| | | | | | 38-38b: overexposure - [diagrams of film] |
| | | | | | 39: exposure [diagrams] |
| | | | | | 39b: exposure - distortions, density, characteristic curves |
| | | | | | 40: development, contrast |
| | | | | | 40b: 421-3198 Steve Sondheim [doodles] |
| | | | | | 41: something strange can be discovered - human beings don't want their face to be seen - [hidden face see above] |
| | | | | | 41b-42: hidden face |
| | | | | | 42b: hidden face - psychology seems to . . . individuals but it does not search for remedies |
| | | | | | 43: composition: (1) whenever we point the camera: composition; (2) this word also used in painting, sculpture, drawing, music, architecture, chemistry; (3) it means: put together, organize, combine, put into a certain order, rearrange - this again is not an isolated situation - nature, day, night, sun rises, goes down - most human activities, work, are organized on civilization |
| | | | | | 43b: back to photography - composition |
| | | | | | 44: selection of subject matter |
| | | | | | 44b: composition |
| | | | | | 45: the picture makes itself - composition |
| | | | | | 45b: photography: no rules, no formula, prescribed ideas -the only thing that counts is what expresses more |
| | | | | | 46-48: [blank] |
| | | | | | 48b: [page turn upside down] -79th and 3rd - 71 Deep Wood Drive, Chautauqua, New York - Marty Forsher - 5 - chiropractor Paul Mathis, 2067 Broadway between 71 and 72 St. - Tr7-5520 |
| | | | | | insert: an advertising supplement from the Midnight Globe December 19, 1978 on arthritis |
| | | LM.AR6.NOTE21 Notebook 21. - date? - front and back covers intact; front and back covers buff-coloured; spiral bound; 7 3/4 x 5 inches; 48 sheets; 48 sheets used. |
| | | | | | 1: (1) thousands of years to discover, invent photography, (2) technological achievement; (3) no comp. space, astronomy, under ocean, E.S.P. - importance of photography |
| | | | | | 1b: importance of eye image - difference - elementary and advanced |
| | | | | | 2: routine, doing away with old concepts, formulas, preconceived taboos |
| | | | | | 2b: questions: (1) enumerate all tools coming into workshop; (2) eye, camera, similarity, consequences historically until today; (3) perspective, its discovery, consequences until today; (4) subject matter - immense importance: what has happened to and with it; (5) image portraits through the centuries; (6) composition; (7) light; (8) emulsion, exp., development; (9) looking through enlarger; (10) abstract photograph versus abstract painting sequences; (11) the instant; (12) is photography less "spiritual" than the other arts? |
| | | | | | 3: (1) eye, camera, perspective; (2) image through the centuries, subject matter; (3) composition, light; (4) emulsion, exp., development, darkroom; (5) instant, sequence, abstract, surrealistic photography - photojournalism, the ready-made image - in and out of focus - printing, unconventional, the image in the air - image on paper without limit in goal[?] |
| | | | | | 3b: [blank] |
| | | | | | 4: subject matter - I have often been asked what I wanted to prove with my photographs |
| | | | | | 4b: I am the one who gets the lesson |
| | | | | | 5: invention of photography - immensity of the medium |
| | | | | | 5b: study of photography - basic and advanced |
| | | | | | 6: do away with rules, regulations - free in constant movement and open to change - not everything goes |
| | | | | | 6b: subject all over |
| | | | | | 7: subject matter - when we photograph through the lens we inevitably force subject matter - through the lens the light rays reflected by subjects or objects, nature or man-made, strike the emulsion - there is practically nothing that cannot be photographed either with highly complicated scientific equipment or with small rapid cameras - in spite of differences we shall discuss later, the photographic image |
| | | | | | 7b: comes closest to what the eye sees - painting, drawing, etc. - in the beginning of photography this aspect was considered an enormous achievement or kind of miracle - not just technically but also artistically - but very soon, thanks to jealousy business-wise and to the preference of painters and critics, photography was considered an unaesthetic image - because how great can it be if one can see it with the eye identically |
| | | | | | 8: and how ugly are aspects seeing more than the eye can see - but coming back to subject matter let us find out what specific importance the selection has on the photographer and the photograph - or does it not make any difference what is photographed? it differs with the photographer - as we can see by looking at the work of different photographers, some react to certain |
| | | | | | 8b: and few subjects and others can photograph, not illustrate, practically everything - wide range - there are photographers who plan in advance - study the project carefully - people they want to picture - get in personal touch with them in advance - and only then can they function - they often, but not always, are concerned with social conditions, civil rights, the camera becoming a weapon to better the |
| | | | | | 9: world or the opposite (Hitler, Eva Braun, etc.) - Cartier, I have heard, studies before he goes to a new city, country, etc. - Diane, research - Riis did not even want to photograph, only fight poverty - the same thing is true of Lewis Hine and Dorothea Lange - and many others - great pictures came out of this approach - then there are photographers who work by sheer attraction, not caring what it is but relying on instinct that leads them |
| | | | | | 9b: photography is used for thousands of purposes, good and bad - propaganda - capitalism - or communistic - for or against war - publicizing or non-acceptance of all kinds of conditions - sensationalism - the way crime and sex are shown |
| | | | | | 10: to divert people from boredom - the abstract photographers who heavily lean on the development of modern painting - the young very sensitive photographers through whom the object is a projection of this inner world - everybody is right as long as the photograph is true - Goethe |
| | | | | | 10b: [page upside down] on the one hand limited by the rectangle - other side gets lost by the infinite aspects of what life projects onto the lens - how is he going to select - we can photograph one house or many houses |
| | | | | | 11: [page upside down] square and surface - the image of life |
| | | | | | 11b: [page upside down] discussion on composition |
| | | | | | 12: [page upside down] problem of selection |
| | | | | | 12b: [page upside down] instead of organizing as fast and spontaneous as it may seem - let subject matter fall into place - manifestation of life |
| | | | | | 13: introduction - thousands of years to invent photography |
| | | | | | 13b: where photographs are used |
| | | | | | 14: the immensity of this medium - photography as a form of art |
| | | | | | 14b: human beings expressing their understanding and connection with life, themselves, and other beings through the camera |
| | | | | | 15: photography deals with optics, chemistry, physics, mechanics - study of photography divided into basic and advanced |
| | | | | | 15b: the study of the image of photography - advanced course |
| | | | | | 16: images are not new |
| | | | | | 16b: Egyptians, Greeks, Romans, Renaissance, modern painting, abstract - 1832 first official photograph |
| | | | | | 17: man used eyes, hands, and muscles of body to build image in space and time - in photography the picture- making instrument is a machine - camera obscura |
| | | | | | 17b: camera obscura |
| | | | | | 18: the reflected light - do away with rules and regulations |
| | | | | | 18b: preconceived ideas, old-fashioned assumptions, routine or taboos - to do away with the idea that we know or can dictate; what is right, what is wrong, or what to reveal and what to conceal - in other words, this field of activity called art is free - open to constant change, new approaches |
| | | | | | 19: when it comes to any art form it is important to realize that we have to do away with preconceived ideas old fashioned concepts, routine, taboos |
| | | | | | 19b: that does not mean that everything goes - there is such a thing as true and false - interest, love = talent |
| | | | | | 20: imitation, self-reliance, basic and advanced - children's painting |
| | | | | | 20b: images not new - do away with preconceived ideas and routine |
| | | | | | 21: we have to realize that our task to do away with outdated rules - nobody can tell what to reveal, what to conceal - but not everything goes |
| | | | | | 21b: eye - developed tool of perception for survival - evolution of the eye |
| | | | | | 22: evolution of the eye |
| | | | | | 22b: pigments in eye [diagrams] - evolution of the eye |
| | | | | | 23: sensitivity of eye to light - evolution of the eye - eye, camera, rods and cones |
| | | | | | 23b: [blank] |
| | | | | | 24: the instant: (I) first photograph action was not stopped; (1) one thousand years to discover; (2) no computers; (3) . . . image of movies, television; (4) where to see photographs, immensity of the medium; (5) we see photographs in museum, etc.; (6) phot. study - [divided into] basic and advanced courses; (7) nothing new in making images; (8) when we deal with art medium realize no rules or regulations, routine, or taboos; |
| | | | | | 24b: (9) technique not neglected - technique versus expression - basic, advanced, artists, children's painting; (10) exploring |
| | | | | | 25: introduction: (1) it took thousands of years to discover and invent photography |
| | | | | | 25b-26: where photographs are used |
| | | | | | 26b: photography as an art form |
| | | | | | 27: photography deals with optics, chemistry, physics, and mechanics - photographer needs special training and great experience to be able to perform in this medium |
| | | | | | 27b: the study of the image in photography and the study of the camera's tools |
| | | | | | 28: but technique should not be disregarded |
| | | | | | 28b: camera machine - pinhole - reflected rays of light from subject - Leonardo - no rules or regulations |
| | | | | | 29: no outdated laws or concepts - it is our task to do away with presumptions that we know, that we can dictate |
| | | | | | 29b: not anything goes - there is as in everything the true and the false - reality - fantasy - fantasizing - no thermometer only sensing awareness instruct to recognize - the technique versus talent - depends on love, interest - Schönberg - ambition results in recognition, success, stardom |
| | | | | | 30: not impressed by what others do - interested, loving, but doing one's own thing - have confidence in your own untapped potential - advanced, demanding - greater artist more basic - images of life - one's own life inspiration - not images of other people's lives - not application, exploration - [not] application of accumulated knowledge of other people's pictures but |
| | | | | | 30b: exploration of life and one's own vision - no rules or regulations |
| | | | | | 31: the eye originally developed as a tool of perception for survival - today the evolution of the eye starts with a pigmented area sensitive to L and C [light and colour] |
| | | | | | 31b: evolution of the eye |
| | | | | | 32: eye ball - retina - components of the eye |
| | | | | | 32b: [blank] |
| | | | | | 33: it took thousands of years to discover and invent photography |
| | | | | | 33b: importance of photography |
| | | | | | 34: photography deals with optics, chemistry, physics - so we divide courses - elementary, advanced, master |
| | | | | | 34b: images - not new - photography comes closest to eye image - cameraobscura - no rules or regulations |
| | | | | | 35: do away with routine - convention - the idea that we know how to do it - not everything goes |
| | | | | | 35b: awareness, sensing, intuition - technique |
| | | | | | 36: subject matter - through lens - subject matter, meaning - everything can be photographed - the world is a stage - weapon, act, war, peace |
| | | | | | 36b: equality, discrimination, justice, lying, fooling - Riis, Lange, Palfi, Diane, Cartier, Sanders, poets - always photograph relation [between] himself [and the] world - interest, passion, patience |
| | | | | | 37: from the beginning photography was mass medium - in other words mass produced - that is not new - but what is new is that the photographer is now mass produced - so much surprising because the commercial part has diminished and has disappeared - photojournalism, advertising, magazines, Harper's, Vogue, they are provincial, nothing compared to before - photography as an art product is on the market, but the possibilities for a great number to live on it are very down |
| | | | | | 37b: less money one can get out of photography - professions, occupations, jobs are abandoned for photography - how do we understand that - not so in painting - thousands of painters in the Renaissance - commercial - let us talk about outlet - searching - but teachers are born, can be trained, but few artists like to teach - forced to have handicap for their work [doodles] |
| | | | | | 38: introduction - it took man thousands of years to discover or invent photography - a tremendous technological achievement - without photography . . . |
| | | | | | 38b: without photography |
| | | | | | 39: photography an art form |
| | | | | | 39b: photography divided into elementary and advanced |
| | | | | | 40: does not mean technique is neglected - images not new |
| | | | | | 40b: evolution of image-making |
| | | | | | 41: camera [diagram] - now mechanical image-making - no rules or regulations |
| | | | | | 41b: no rules |
| | | | | | 42: imitation |
| | | | | | 42b-43: thousands of years to invent photography |
| | | | | | 43b: everybody's pictures look alike - importance, loving good pictures, personally satisfied - admire certain phot. style - imitation - idea - be published, exhibited, written up, famous, status, and money - art: relationship with life, other human beings, oneself - express with camera - photograph terms of photography - as Abbott says: "emotion serving" - next session, subject matter |
| | | | | | 44: [page upside down] - Goethe says: few people have the imagination for reality - Abbott: photography does not teach you to express your emotions - it teaches you how to see - mass production versus art - piece of each? negatives are thrown out or reduced to few prints and then destroyed |
| | | | | | 44b: [page upside down] photography has brought world new understanding of life - to be free, not to be sloppy - no games, neurotic fantasies - talent = awareness, sensitivity |
| | | | | | 45: (1) photography through the lens forces subject matter - subject and object - image seen through the eye, man-made or nature; (2) nothing one cannot photograph - world is a stage; (3) from man-made images - painting, drawing, sculpture, photography = closest to eye image - beginning great - Hugo . . . Anage enthusiasm - soon opposite - unartistic - what eye sees - detail; (4) . . . |
| | | | | | 45b: depends on photographer - some [much] subject matter - some [little] subject matter - I work - others plan think, organize - purpose: social fight, propaganda - for, against - true, lies, cover up - Diane, Palfi - Duane Michals, Riss, Hine, Lange, etc. - investigate, illustrate, propagandize - truth, lie, escape - poetry; (5) whatever subject, always relationship between photographer and subject matter; (6) often right subject leads into photographic style |
| | | | | | 46: subject matter in fashion, landscapes, portraits, people, glamour, beauty, infocus 64, out of focus - imitation - painting - privacy - but subject matter not photographs - all tools used: light, contrast, distance, tonality, angle = image |
| | | | | | 46b: introduction - photograph with images - subject - enumerate - privacy |
| | | | | | 47: everything photograph - what subject means - endless |
| | | | | | 47b: lens = images - subject endless - closest to eye - photograph . . . deals with privacy [doodles] |
| | | | | | 48: [blank] |
| | | | | | 48b: objects in movement - photography = in movement - unexpected aspect [doodles] |
| | | | | | inside back cover: 212-428-5321 Joe Cuomo, Queens College |
| | | LM.AR6.NOTE22 Notebook 22. - date? - front and back covers intact; front and back covers buff-coloured; spiral bound; 7 3/4 x 5 inches; 22 sheets; 22 sheets used. |
| | | | | | 1: in nature we cannot create light - but nature is created through light |
| | | | | | 1b: (1) catch light in eyes - move main fill-in until the catch light appears; (2) eye glass reflections - light high - or far to one side; (3) long nose or shortened lowering camera - shooting front not profile; (4) strong chins: shooting from below; double chin: subject set high, lean forward; (5) large ears: head sideways, ear faces camera |
| | | | | | 2: (6) hollow cheeks: no side light, no high light; (7) puffy cheeks: main light high, front shot - old photographs - Cooper Helwitt - gaslight tube - soft green - pale green; (1) main light 45 degrees from nose - higher than subject - little black shadow under the nose; (2) fill in light - same strength - lighting for portraits |
| | | | | | 2b-3b: lighting for portraits |
| | | | | | 4: emulsion |
| | | | | | 4b: [blank] |
| | | | | | 5: (1) film consists of a supporting base, celluloid or paper on which an emulsion is spread; (2) in an emulsion the dispersed particles are a mixture of silver salts, silver bromide, silver iodide, or silver chloride; (3) silver halide or salt undergo a change - silver salts are sensitive to light - emulsion |
| | | | | | 5b-9b: emulsion |
| | | | | | 10: emulsion - characteristic curve |
| | | | | | 10b: development |
| | | | | | 11: exposure |
| | | | | | 11b: [blank] |
| | | | | | 12: developing solutions - accelerators |
| | | | | | 12b-13: acceleration |
| | | | | | 13b-14: acid-fixing bath |
| | | | | | 14b: gelatin - transparent colloid - overcoating, double coating, etc. |
| | | | | | 15: gelatin |
| | | | | | 15b: light - tool physical vehicle to express the medium - light number one tool in photography |
| | | | | | 16: [page turned sideways] science says - light =radiant energy - travels in vibrations or waves - |
| | | | | | 16b: [page turned sideways] dispersion, refraction |
| | | | | | 17: [page turned sideways] another way of looking at light - the main source of light on the planet is the sun |
| | | | | | 17b: [page turned sideways] it is important to be aware of how differently photographers use light |
| | | | | | 18: [page turned sideways] movie technique - illuminate the place with sufficient general diffused light so that negative responds but without character and force, and then give more light for different accents - it permits fast working, but it is not forming of subject through light - on the contrary, lightening up future shadows - photographer does not create light and shadows as he feels it - if one would start with many lights one would have to take some away gradually, to create shadows - in nature we cannot create light, only select - but nature itself is created through light |
| | | | | | 18b-21: [blank] |
| | | | | | 21b: [diagram - light? camera? pinhole?] |
| | | | | | 22: [blank] |
| | | | | | 22b: [diagram - light through a prism?] |
| | | LM.AR6.NOTE23 Notebook 23. - date? - front and back covers intact; front cover coloured cartoon of UFOs; back cover orange with designs; 8 x 6 inches; 33 sheets; 26 sheets used; one page ripped out and inserted. |
| | | | | | 1: anecdote about a frightened bank robber who tried to rob a bank but was told that they only spoke Spanish and that he would have to be patient while they used an interpreter |
| | | | | | 1b: [blank] |
| | | | | | 2: it took humanity thousands of years to discover and invent photography |
| | | | | | 2b: discussion of where photographs are used |
| | | | | | 3: human beings expressing themselves through the camera |
| | | | | | 3b: photographer needs special and thorough training |
| | | | | | 4: basic and advanced courses |
| | | | | | 4b: photography starts with the projection of the photographer - there is nothing new in picture making - images are not new |
| | | | | | 5: Egyptians, Greeks, Renaissance |
| | | | | | 5b: so far artists worked with their eyes and hands - invention of photography |
| | | | | | 6: no rules or regulations |
| | | | | | 6b: freedom is not to be mistaken for sloppiness - talent - Schönberg - I don't believe everybody has even amount of passion, interest, commitment, courage to fail |
| | | | | | 7: results - success - failure - imitation - we like what somebody else has done because we have no confidence in our own perception |
| | | | | | 7b: without photography |
| | | | | | 8: No A282 8636 Number Bel Sito Tel. 23-365 S Marco 2517 Purlator - Aperture - 212 759-4516 - Chuck 966-3844 |
| | | | | | 8b: [doodles] |
| | | | | | 9: subject matter - when we photograph through the lens we force, inevitably, what is called subject matter |
| | | | | | 9b: sees [rest of page blank] |
| | | | | | 10: in the beginning of photography this aspect of the image was considered miraculous - an enormous achievement - but very soon, thanks as usually to the painters, the eternal discrimination . . . [against] photography was declared - unartistic, unaesthetical, mechanical, inferior, how could an image be artistic if the lens could see the identical image the eye sees, and even more so - we will come to this point some other day - what specific importance does subject matter have for the photographer - or does it not make any difference what he photographs? |
| | | | | | 10b: [blank] |
| | | | | | 11: I think it differs with the photographer: some react only to certain subjects - others work in a wide range - I select by attraction - just follow my appetite - other photographers think, plan, organize, work on projects, research - Cartier - enormous range - Duane Michals, Lange, social conditions, pathology, Palfi, justice, Man Ray, abstract, surrealist introducing new vision mostly initiated from modern painting but not only - we have pointed out that we use photography to illustrate, to document, to investigate, to reveal also to eye - advertising, publicity, the fight for better living conditions |
| | | | | | 11b: [blank] |
| | | | | | 12: influence people, subconscious projecting - God knows what, without this awareness of seeing - we photograph beauty, glamour, disaster, disease, since the event of the small camera there is nothing that cannot be photographed - Walker Evans America - Riis, poverty, exploration also of the self - subject matter used like poetry, poets use words - subject matter has its fashion, certain times - landscapes, formal portraits, interiors, self-portraits, glamour |
| | | | | | 12b: [blank] |
| | | | | | 13: sex, obscurity, direct image, manipulated image - mixed media - the world is our stage - everything can be photographed - how much is true original? - how much conditioned imitation? - fantasy not reality - constructing with life not escaping from - photography can be a weapon - we dislike - we try to say the truth or we lie on purpose, as with everything else |
| | | | | | 13b: [blank] |
| | | | | | 14: photographer also tries to do away with recognizable subjects and deals with forms, with light, shapes, texture - comes to design rather than realistic constant - portrait = essence of likeness - landscape to communicate with nature - scientific photography led into space exploration - self-exploration - selection of subject matter can reveal the photographer |
| | | | | | 14b: [blank] |
| | | | | | 15: subject matter is not the photographer - the problem of privacy - the law - photograph looks like eye image but reveals other dimensions - concentration, commitment, dedication - taboo, privacy, changes with time |
| | | | | | 15b: [blank] |
| | | | | | 16: I have often been asked what I wanted to prove with my photographs - the answer is: I don't want to prove anything - the camera is an instrument of detection: we photograph what we know and what we don't know - when I point my camera I am asking a question, and sometimes the photograph is the answer |
| | | | | | 16b: in other words I am the one who gets the lesson |
| | | | | | 17: light is the number one tool in photography |
| | | | | | 17b: [blank] |
| | | | | | 18: visible spectrum |
| | | | | | 18b: [blank] |
| | | | | | 19: visible spectrum continued |
| | | | | | 19b: [blank] |
| | | | | | 20: refraction |
| | | | | | 20b: [blank] |
| | | | | | 21: there is another way of looking at light |
| | | | | | 21b: [blank] |
| | | | | | 22: light and shadow - different photographers use it differently |
| | | | | | 22b: [blank] |
| | | | | | 23: artificial light - diffused light |
| | | | | | 23b: [blank] |
| | | | | | 24: light and portraiture |
| | | | | | 24b: [blank] |
| | | | | | 25: portraiture and light |
| | | | | | 25b: dispersion, refraction |
| | | | | | 26: periodicity - gods of light |
| | | | | | 26b-33: [blank] |
| | | | | | insert (recto): subject matter - nothing we cannot photograph |
| | | | | | insert (verso): privacy, law, we can relate or escape |
| | | LM.AR6.NOTE24 Notebook 24. - date? - front and back covers intact; front and back covers black; 8 3/4 x 6 3/4 inches; 51 sheets; 25 sheets used. |
| | | | | | 1: my God: It is certainly a difficult decision after artist existence with those brilliant festivities this kind of life offers us daily - in the highest point, in possession of one's capacities to say: this is the end, and to retire into isolation and sudden non-existence with patience - to resign all glory, success, and to postpone this love of taking leave until it is too late and the cruel truth hammered into your ear: you are nothing any more, you aren't anything, nobody wants you, you have failed to protect your once-great name |
| | | | | | 1b: and then, my God, looking back from the high point of old age, resignation, and . . . when one thinks it over what a tremendous price one had to pay for this glory and success - with incessant work, restless giving, ambition, untold nervous stress, and excitement - haste limiting the world, fear of failure that one could . . . or through completion - when every evening one had again to fight for fame, use one's elbows, defend oneself
|
| | | | | | 2: show one's teeth - never ever come to rest - these one can see, realize, understand how expensive this little fame is bought, which in no time is gone - the next morning still registered in the newspapers and then no more - nothing - resignation and thoughts - the American Conspiracy - Marilyn Ferguson |
| | | | | | 2b: [blank] |
| | | | | | 3-4: information on the Stanislavksy Museum |
| | | | | | 4b: [blank] |
| | | | | | 5: (1) about a great actress of our generation - she is built small, harmonious, and strong - her head is large and well formed - her face is small, soft - her forehead high and her lips forceful |
| | | | | | 5b: [blank] |
| | | | | | 6: Sept. 9, 1982 received two prints - frame - one print LES series - seven portraits = 10 - G. Sander |
| | | | | | 6b: [blank] |
| | | | | | 7: introduction - it took humanity thousands of years to discover and invent photography |
| | | | | | 7b: [blank] |
| | | | | | 8: newspapers - magazines - education, science - where photographs are used |
| | | | | | 8b: [blank] |
| | | | | | 9: we can realize the immensity of this medium |
| | | | | | 9b: [blank] |
| | | | | | 10: the camera - photography deals with optics, physics, chemistry, mechanics |
| | | | | | 10b: [blank] |
| | | | | | 11: basic and advanced courses |
| | | | | | 11b: light, composition, perspective, subject matter, how the eye sees, how the camera sees, the instant |
| | | | | | 12: photography starts with the projection of the photographer - his understanding of the mechanism - life and himself into the picture - it is by no means as black and white as here mentioned - technique is never neglected - on the contrary - very much intensified - it is not just a good print we are after but the specific print |
| | | | | | 12b: [doodles] |
| | | | | | 13: subject matter - when we photograph through the lens we inevitably face what is called subject matter |
| | | | | | 13b: [doodles] |
| | | | | | 14: subject matter: (1) when we photograph through the lens we face inevitably what is called subject matter; (2) images of subjects and objects - man-made or images of nature; (3) from all the man-made images . . . the photographic image comes closest to the eye image - to what and how the eye sees; (4) in the beginning of photography this aspect was considered miraculous, an enormous achievement - but soon, as usual because of the influence of painters, |
| | | | | | 14b: [blank] |
| | | | | | 15: who declared: what can be so great about an image one can see naturally through the eye and nothing is changed or added - when we photograph it is practically identical - the photographic image is declared unartistic, unaesthetical, mechanical, inferior - in other words there was nothing creative about it - to come back to subject matter - what importance [does] subject matter (specific subject matter) have for the photographer |
| | | | | | 15b: [blank] |
| | | | | | 16: or does it make any difference what is photographed - it differs very much with the photographer - some have a wide range of subject matter - some specific subject matter - we have said photography is our instrument of investigation - sometimes a weapon - propaganda, fight for better conditions, publicity - we can say the truth was love, hate, beauty, glamour, discovered |
| | | | | | 16b: [blank] |
| | | | | | 17: when we photograph through the lens we force, inevitably, what is called subject matter - objects and subjects, man-made or nature - there is practically nothing that cannot be photographed - the world is our stage - from all the man-made images - painting, sculpture, drawing, etc. - the photographic image comes closest to the eye image - in the beginning it was considered a miracle - but soon many declared the influence of painters |
| | | | | | 17b: [blank] |
| | | | | | 18: Victor Hugo |
| | | | | | 18b: [blank] |
| | | | | | 19: subject matter |
| | | | | | 19b: [blank] |
| | | | | | 20: some photographers react to many subjects - Cartier, Sanders, Abbott, others to name a very few - I work by attraction - others research, plan, study, home projects - there is nothing that is not photographed |
| | | | | | 21: related to the photographer - subject matter has its fashion - people, landscapes, sex, etc. photographers work on single pictures or on sequences or series - photography can be direct, manipulated, surrealistic, abstract |
| | | | | | 21b: [blank] |
| | | | | | 22: three dimensions versus two dimensions - the image of the eye and the image of the camera |
| | | | | | 22b-51: [blank] |
| | | | | | 51b: [page turned upside down] polaroid - open: pull top, close on the side, right side pushed front pops up - put film in - follow colour - with film - [doodles] |
| | | LM.AR6.NOTE25 Notebook 25. - date? - front and back covers intact; front cover deep turquoise; back cover buff-coloured; 6 x 3 inches; 51 sheets; 12 sheets used. |
| | | | | | 1: manual exposure - the exposure must be long enough to allow the least bright part of the reflected light of the subject matter - exposure |
| | | | | | 1b: underexposure |
| | | | | | 2: overexposure |
| | | | | | 2b: the characteristic curve |
| | | | | | 3: [page turned sideways] filters - a device of glass or other materials put between the film and the scene photographed in order to reduce or eliminate light of certain colours |
| | | | | | 3b: [blank] |
| | | | | | 4: [page turned sideways] contrast filter: |
| | | | | | 4b: [page turned sideways] neutral density - no colour correction - all light rays are held back |
| | | | | | 5: [page turned sideways] green corrects oversensitivity - violet blue, red to normalize - infrared holds back almost all visible light - light passes through infrared rays |
| | | | | | 5b: ultraviolet - yellow |
| | | | | | 6: complementary colours - red:green; yellow:green, violet; yellow:blue |
| | | | | | 6b: Regine Koruer Mauerkirch Strasse, 170 N-8000, Munchen 81 Tel. 089/98/85/261 - No. 0501 5/10 79, Lisette Model - Rockville Management N.Y. Fileria MIT - Tasse Riscosse 670 200 870 |
| | | | | | 6b: Regine Koruer Mauerkirch Strasse, 170 N-8000, Munchen 81 Tel. 089/98/85/261 - No. 0501 5/10 79, Lisette Model - Rockville Management N.Y. Fileria MIT - Tasse Riscosse 670 200 870 |
| | | | | | 7: George Krause 701-394 Patrigui - Roberto Salbitani 041 88-506 - Palazzo Fortuny - Krauss Gallery, 3012 Venezia San Marco 2034, Ponte San Mosé Tel. 35004 |
| | | | | | 7b: 68.2.50-136 440 170.00 [doodles] cette amie cela ne fon pas |
| | | | | | 8: 100 L 5 50 L 15 10 |
| | | | | | 8b: [doodles] |
| | | | | | 9: 608402 Schneider Kremzenack Xecoetar 1:35/75, 5199327 - Leica M4-2 Leitz Wetzlar: 2678400 Snomicron 7:2 C 40 Leitz Wetzlar 2570851 - Elmar 1:4/90 Ernst Leitz Gmb11 Wetzlar Summicron 5 cm 1: 2 No. 1510907 |
| | | | | | 9b: [doodles] |
| | | | | | 10: [doodles] |
| | | | | | 10b: [blank] |
| | | | | | 11: 21-444-423; 921-033-969; SG-13-119088; RG 21444-430; RG 21444-42; RD 94-033-966; RD94033-965; DD 94033-970,71,72,73,74,75, |
| | | | | | 11b: EG 13-119; 070,071,072,073,074,075,076,077,078,079 |
| | | | | | 12: [blank] |
| | | | | | 12b: H. Nelson, P.O. 192 Evergreen, Colo. 80439 - Marie Wheeler, Rocky Point, Box 335, East Marion, R.I. - N.Y. 11931 Edina Bennett |
| | | | | | 13-51: [blank] |
| | | LM.AR6.NOTE26 Notebook 26. - date? - front and back covers intact; front cover green; back cover buff-coloured; 7 1/2 x 5 inches; 16 sheets; 16 sheets used. |
| | | | | | inside front cover: [doodles] |
| | | | | | 1: Hazela Nelson, P.O. Box 192, Evergreen, Colo. 80439 - Vestal 203 266-7225 [page torn, bottom right corner] |
| | | | | | 1b: [doodles] |
| | | | | | 2: (1) to speak to photographers very difficult - (wrong) - images - photography, painting, sculpture, drawings are visual expressions (brain) - silent art - speaking about it - explanation - when it comes to one's own work it is even more difficult - photography particularly difficult because of importance of subject matter - photograph not the subject matter - subject matter becomes a photograph - we realize: |
| | | | | | 2b: there is a great difference between what the eye sees and what the camera sees - three dimensions, two dimensions - space and time - photograph is a fragment selected from an enormous subject matter - we rationalize that which we see in the eye - what is in the photograph - woman sitting on bench - photograph of man |
| | | | | | 3: sitting on bench - black and white - three dimensions in two dimensions - fragment taken out of enormous view - photographer selects light, angle, distance, contrast, to express into this subject his understanding of world in terms of photography - so if I show you some of my pictures I shall not explain only tell you where, place, etc. - not aesthetic - that should come home |
| | | | | | 3b: come out of image and understood visually - and as little as possible intellectually, because what an image says words cannot say, etc. - should be revised visually, sound with the ear - possibly different nerve centres come into action - how could I come to a photographic exhibition |
| | | | | | 4: it is very difficult to speak to photographs - more so to one's own - to try to explain images I think is a mistake to make in philosophy of art - and one's own works - photographs, like all images, are visual manifestations - should be understood, sensed though vision - not words - not analyzed if possible - visually sized up like music, through hearing |
| | | | | | 4b: in photography we have particularly another difficulty - mostly we photograph subjects around us - life - and easily we see mostly the subject matter - not the subtle transformation of subject matter into a photograph of the subject matter |
| | | | | | 5: there is no dog, no house, it is a photograph of it - and how photographer has proceeded to use the tools of the medium to transform the subject into the photograph [doodles] |
| | | | | | 5b: [doodles] |
| | | | | | 6: when it comes to photography and words, I feel it should be kept to a minimum - except, of course, when photographs are documents or illustration - of course education or advertising, etc., or photographs [as] journalistic stories and essays told with words - images - there the images cannot be understood without words - or travelogues - etc. - but when it comes to the understanding of images in generald |
| | | | | | 6b: words are distracting because images are not words - we know that . . . finally when we look at something or create images and the subject matter goes through the retina - whole eye reaches nerve ends, which lead to the brain - and these images affect different parts of the brain - it comes to different parts |
| | | | | | 7: of the brain - one affected by images - music, words, etc. - I will show you some of my slides so I am sorry that they are mostly the same as those in the book - and that you may have seen them already |
| | | | | | 7b: in a month or so I shall have a different set of slides but they are not ready - maybe I should tell you how I came to be a photographer - I was trained as a musician from early childhood - on violin, piano, singing, and then in my early teens I met and studied with the composer Arnold Schönberg, the most important influence in my life - but then something went wrong with my |
| | | | | | 8: voice and I turned to painting on my own - one day in 1937 I met a well-known composer, also student of Schönberg, in a coffee house in Paris - he asked be me what I was doing - I said I was . . . but I also had started to paint - he was horrified - don't you realize war is coming and you have nothing in your hands to make a living - I . . . |
| | | | | | 8b: my sister was an excellent amateur photographer who studied with Ergy Landau - I met several of the young women who were not photographers but laboratory workers - and then and there I decided I could learn how to do that in case I had to make a living - I bought a camera and enlarger to develop prints - soon after that I went to Nice where my mother lived |
| | | | | | 9: and took the pictures of Promenade des Anglais, having no idea [whether] they were good or bad - soon I came to the United States - that was the beginning - the field of photography as was known to me, as what is going on now |
| | | | | | 9b: 741-8923, Parson Darkroom - Bob Deshin, 6 Wingate Place, Great Neck, Long Island, New York 11021 - 516 HV 76804 |
| | | | | | 10: 4,200, 12,000 [list of numbers crossed out] |
| | | | | | 10b: film developers - Mike, 254-9046 - Chinze, 777-2874 - Box 1 film development |
| | | | | | 11: Ziva Krause, Corso Duro 46, Venezia 30123, Italy - I am ill, cannot travel before one month - will call again - Love, Lisette - L.M., 137 7th Avenue South, New York City 10014 |
| | | | | | 11b: Marty Forsher, strobe check - shoes, brassieres (repair) - cleaner: light winter coat, skirt, blouse - sweaters: old, new - laundry - cane - closets in order - letters - in touch with Con. Ed. Telephone Company, landlord - 226-3154, Molli |
| | | | | | 12: skulls angels 457-7777 - 673-0600 - 0777 |
| | | | | | 12b: [page turned sideways] was out of town - many thanks - will be Paris beginning November - four weeks - very anxious meeting you |
| | | | | | 13: [blank] |
| | | | | | 13b: [doodles] |
| | | | | | 14: [blank] |
| | | | | | 14b: 925-0560, Arthur Moner - 661-9600, Hotel Roosevelt -Lisa 24-25 - [doodles] |
| | | | | | 15: 741-8923, Bob Parson - 215-473-9259 Allan |
| | | | | | 15b: vertebra tera pente |
| | | | | | 16: René Louis Addibbi, New York Hospital - Madame Mary Doyle [doodles] |
| | | | | | 16b: L.M. - grandma terrible - folleument doucée - Arles 90-96-7606 - Arles Bea, 30th, 19 Italy |
| | | | | | inside back cover: DMFO - arthritis |
| | | LM.AR6.NOTE27 Notebook 27. - date? - writing tablet of white paper; front cover blue with design; back cover missing; 7 1/4 x 5 1/2 inches; 70 sheets; 14 sheets used; page numbering begins at end of writing tablet. |
| | | | | | 1: [one sheet is loose - not attached to writing tablet] (1) light - is the number one tool in black-and-white photography; (2) objects and subjects we see with our eyes are nothing but light and shadow; (3) the image is formed by the refracted light and shadows from the highlights to the deepest |
| | | | | | 1b: [blank] |
| | | | | | 2: shadows, including all the intermediary tones, and projected on the emulsion; (3) [sic] have you ever watched for 24 hours or 12 hours the light on a tree or a house and the changing expression, aspects, and moods that come about |
| | | | | | 2b: [blank] |
| | | | | | 3: (4) science says light is a radiant energy - travels in waves or radiation - these range from thousands of miles to one millionth of a [millimetre] called a millimicron; (5) our eyes see only from 400 millimicrons to 700 millimicrons - this is called the visible spectrum |
| | | | | | 3b: [blank] |
| | | | | | 4: (6) where a light ray passes a prism - this light ray is divided - into rays of different colours, different lengths, different bending |
| | | | | | 4b: [blank] |
| | | | | | 5: the visible spectrum goes from red (700 millimicrons), orange, yellow (600 millimicrons), to green (500 millimicrons), blue green, blue (400 millimicrons) - at the end is ultraviolet - invisible |
| | | | | | 5b: [blank] |
| | | | | | 6: above is infrared - invisible - the separation of a white light ray going through a prism is called dispersion |
| | | | | | 6b: [blank] |
| | | | | | 7: when a light ray goes through another medium of different density it changes direction - refraction - glass, water, pencil - light travels 186,000 miles in the air - ultraviolet filter extend only ultraviolet rays = less blue |
| | | | | | 7b: [blank] |
| | | | | | 8: infrared - excludes all colours except infrared -sky = dark - green - another way of looking at light - the main illumination on this planet is the sun - the sun rises and sets - under natural conditions half of our lives ought to be lived in light the other half in darkness |
| | | | | | 8b: [blank] |
| | | | | | 9: the change of light and darkness is one of the most important conditions for the development or evolution of man, animals, and plants - it is called periodicity |
| | | | | | 9b: [blank] |
| | | | | | 10: we have all heard of the gods of light - the forces of darkness - light identified with life, spirit - darkness with evil, death - when the camera black and white came into existence we had a powerful instrument in our hands |
| | | | | | 10b: [blank] |
| | | | | | 11: to express and to reveal and whatever it implies - light and shadow of subject, object - nature and man-made - different photographers use light and shadow in many different ways - examples: Cartier, Abbott, Engel |
| | | | | | 11b: [blank] |
| | | | | | 12: outdoor light is easily overlooked, taken for granted - artificial light, routine - angle 45 degrees - fashion: diffused light reflected from umbrellas - portraits: light higher up not far from lens - another far away weaker 45 degree angle |
| | | | | | 12b: [blank] |
| | | | | | 13: different light pushing them until right - or sufficient light to give a reading and then accents - best: starting one light in complete darkness - shadows produced by adding - it is the photographer's attitude of feeling of light that gives the |
| | | | | | 13b: [blank] |
| | | | | | 14: expression - eye glass reflection: light high or far on one side; long nose: low light, not profile; large ears: head sideways; strong chin: light low; puffy cheeks: light high, front; face: chin height; head and shoulders: waist level |
| | | | | | 14b-70b: [blank] |
| | | LM.AR6.NOTE28 Notebook 28. - date? - front and back covers intact; front and back covers mottled purple; 4 x 3 1/4 inches; 77 sheets (two torn in half); two sheets used. |
| | | | | | 1: drugs, meat? vegetables? mashed potatoes, blotter, blouse, coat, socks, soap, cookies, juice, cheese, soup [doodles] |
| | | | | | 1b: letters Harold, Nata, Pirkel, blotter - new sessions - the snapshot - tape Cartier - concentration - abstract surrealistic - ph. - William Laughlin - sequences |
| | | | | | 2: projects - La Roche, translate - subjective, objective photography - inmate photos [doodles] |
| | | | | | 3-77: [blank] |
| | | LM.AR6.NOTE29 Notebook 29. - date? - front and back covers intact; front and back covers mottled purple; 4 x 3 1/4 inches; 69 sheets; seven sheets used. |
| | | | | | 1: L.I. - subject matter - whenever = subject - object - nothing we cannot photograph, world = stage |
| | | | | | 1b: instrument of propaganda for war [or] against - social improvement - abolishment of bad conditions - different photographers, different ways of photographing - some respond to |
| | | | | | 2: specific subject matter others . . . or wide range - Cartier, Palfi, Abbott, Sander, Atget, Smith, Capra, Diane, Eliot Porter, Evans etc. - Abbott, when subject matter found |
| | | | | | 2b: photojournalism or instant - or the hidden face or snapshot - lumičre et hombres - modernizer [?] experiments, sequences |
| | | | | | 3: library, MoMA - La Roche - surrealism - abstract - Siskind - modern machines - colour |
| | | | | | 3b: paint shop - plastic - corduroy - measurements - small cushions in colour - black, red, green, yellow, violet - green, black, and violet |
| | | | | | 4: studio - paint boxes [doodles] |
| | | | | | 4b: assignments - Arles - photojournalism, to read, restrict, sprouts, onions - front - never done before - project - light |
| | | | | | 5: instant - sequence - nudes (Duane Michals) - force - close-up - groups - flowers - animals - new way of composition - contemporary - abstract - Siskind |
| | | | | | 5b: Smeil Zabr. - Al. Christ. - telephone, rent, Con Ed. - soup, eggs, Sanka, apple - Siskind, Duane Michals - Allan - wire - shoot in interior - flowers, museum, tripod, colour, Rolleiflex attachments |
| | | | | | 6: [doodles] - shooting from the hip - Bruce's photo - M. Forscher - plastic mat. - Marie Claire |
| | | | | | 6b: Marty Forscher - Film Photo Gallery - bank - lawyer - contract - I.C.P. - Zabriskie - work prints - exhibition prints - slides - letters and pills - Munich - Wechsler - Arles - Con. Ed - telephone - rent |
| | | | | | 7: Long Island University - plastic material - corduroy measure - 20 x 24 prints - 16 x 20 prints - work print - slides - income tax - Sander lawyer - Nadler |
| | | | | | 7b: Con. Ed. - history of photography - S. money - shoes, dress - Marie Claire |
| | | LM.AR6.NOTE30 Notebook 30. - front and back covers intact; front and back covers brown and beige; spiral bound; 8 1/4 x 7 inches; 48 sheets; Insert: nine sheets. |
| | | | | | Note: Notebook has not been transcribed. |
| | | LM.AR6.NOTE31 Notebook 31. - front and back covers intact; front and back covers buff-coloured; 8 1/2 x 7 inches; 48 sheets. |
| | | | | | First 19 pages of notebook are LM's handwritten criticisms of and retorts to Phillip Lopate's text. For typewritten version see LM.AR2.PU1.16 |
| | | | | | Note: Notebook has not been transcribed. |
| | | LM.AR6.NOTE32 Notebook 32. |
| | | | | | Hand-drawn diagrams illustrating optics and mechanics of camera |
| | | LM.AR6.NOTE33 Notebook 33. |
| | | | | | Loose sheets with LM's hand-written and typewritten lecture notes |
| | | | | | Note: Notebook has not been transcribed. |
| | | LM.AR6.NOTE34 Notebook 34. |
| | | | | | Two photographic montages of Model's work used for teaching purposes; on verso of one "Perspective" is inscribed in LM's handwriting |
