PHOTOGRAPHY

Emily Fitts

Abby Givens

Roberts 4B

“The art of process of producing images on a

sensitized surface by the action of light”

REALISM-

Reproduce the surface of reality

with minimum distortion

Valued Aspects• Simplicity• Spontaneity• “rough look”• Too pretty= false

“How things really look”

August and Louis Lumiere – “Fathers of

Modern Realism”

“LA SORTI DE L'USINE LUMIERE A LYON”

“WORKERS LEAVING THE LUMIERE FACTORY” (1894)

http://www.youtube.com/watch?v=HI63PUXnVMw

Style Exemplified: Realism

CLASSICISM

Mainstream fiction films

Commercially produced to appeal

to the masses- “Hollywood Styles”

Valued Aspects• strong in story• character depth• production value

Edwin Porter

THE GREAT TRAIN ROBBERY (1903)

Style Exemplified: Classicism

http://www.youtube.com/watch?v=

Bc7wWOmEGGY

FORMALISM

Manipulate images to express

directors own personal view

Makes viewer aware that he/she

is watching a movie

George Melies

LE VOYAGE DANS LA LUNE (1902)

THE VOYAGE TO THE MOON

http://www.youtube.com/watch?v=_FrdVdKlxUk

Style Exemplified: Formalism

VOCABULARY

Classical Cinema- a term used to designate the style of mainstream fiction films produced in America from the midteens until the late 1960’sShots- Images recorded continuously from the time the camera starts to the time it stopsClose-up- A detailed view of a person or objectTelephoto Lens- A lens that acts a telescope, magnifying the size of objects at a great distanceExtreme Long Shot- A panoramic view of an exterior location photographed from a great distanceLong Shot- A shot that includes an area within the image that roughly corresponds to the audience’s view of the area within the proscenium arch in the live theaterFull Shot- A type of long shot that includes the human body in full Extreme Close-up- A minutely detailed view of an object or personDeep Focus Shot- A technique that permits all distance planes to remain clearly in focus

Establishing Shots- An extreme long or long shot offered at the beginning of a scene, providing the viewer with the context of the subsequent closer shotsEpic- A film genre characterized by bold and sweeping themes, with the protagonist ideally representing a religious, national, or regional cultureThree-shot- A medium shot, featuring three actorsOver-the-shoulder Shot- A medium shot of two people, with the camera placed just behind the shoulder of one character, directed at the face of the opposite characterWide-angle Lens- A lens that permits the camera to photograph a wider area than a normal lensAngle- The camera’s angle of view relative to the subject being photographed

VOCABULARY

Low Angle Shot- A shot in which the subject is photographed from belowOblique Angle- A shot photographed by a tilted cameraSetup- The positioning of the camera and lights for a specific shotCrane Shot- A shot taken from a device called a crane, which carries the cameraTelephoto Lens- A lens that acts as a telescope, magnifying the size of objects at a great distance. A side effect is its tendency to flatten perspectiveWide-angle Lens- A lens that permits the camera to photograph a wider area than a normal lens. A side effect is its tendency to exaggerate perspectiv Fast Stock- Film stock that’s highly sensitive to light and generally produces a grainy imageSlow Stock- Film stocks that are relatively insensitive to light and produce crisp images and sharpness of detail

VOCABULARY

Eye Level Shots- The placement of a camera corresponding to the height of an observer on the sceneBirds-eye View- A shot in which the camera photographs a scene from directly overheadHigh Angle Shot- A shot in which the subject is photographed from above

VOCABULARY

SHOTS

Amount of subject matter included within the

frame

Types:1. Extreme Long Shot

2. Long Shot3. Full Shot

4. Extreme Close-Up5. Deep Focus Shot

ANGLESCamera’s angle of view relative to the subject being

photographed

Determined by where the camera is placed, not by

moving the actual subject

Types:1. Bird’s-Eye View

2. High Angle3. Eye-level Shot

4. Low Angle5. Oblique Angle

LIGHT AND DARK

Lighting fluctuates based on the emotion and genre of the

film, know as lighting key

ex) Comedies- high key (bright and even

illumination, few shadows)

ex) Mysteries- low key (dispersed shadows,

strategic pools of light)

Achieved by changing contrast, exposure, etc.

COLOR

Became commercially used in films in the 1960’s

Often used for symbolic purposes• Cool colors= tranquility and aloofness• Warm colors= aggressiveness and stimulation

Tends to be a subconscious element in film• Appeals to emotions• Usually more atmospheric than intellectual

LENSES, FILTERS, AND STOCKS

Lenses:

Standard (non-distorted) range

Telephoto Lens (Long lens)• Close-up from extreme distances, often used

for creating blurry images by focusing on further away objects (selective focusing)

Wide-Angle Lenses (Short Lens)• Deep focus shots, linear and spacial images,

distances are exaggerated

LENSES, FILTERS, AND STOCKS

Filters:

Placed in front of the camera lens

Alters shapes, colors, and lighting intensities

Distorts quality of light• Can be used for purely cosmetic purposes• ex. Refracting light to create a diamond-like

sparkle

LENSES, FILTERS, AND STOCKS

Stocks:

Two Basic Categories• Fast

• Commonly associated with documentaries• Highly sensitive to light• Can register images with almost no illumination

• Slow• Relatively insensitive to light• Requires 10 times more illumination than fast

stocks

THE DIGITAL REVOLUTION

Starting in the 1980’s, digital technology has

replaced the celluloid technology majorly used in the

motion picture industry for nearly a hundred years.

Film went from being a chemical and mechanical

medium to becoming a combination of computer and

television technologies

Makes movies easier and cheaper to produce

THE CINEMATOGRAPHER

A cinema is a collaborative enterprise, involving artists,

technicians, and businesspeople.

It is the cinematographer’s job to prepare the cameras

for each scene, determining what lenses, lighting, and

angle is best for a situation.

Directors and Cinematographers have to collaborate in

order to make sure a film conveys the intended message

or emotion.

CITATIONS

The Godfather. Dir. Francis Ford Coppola. By Francis Ford Coppola and Mario Puzo. Prod. Albert S.

Ruddy. Perf. Marlon Brando, Al Pacino, James Caan, Richard Castellano, Robert Duvall, Sterling

Hayden, John Marley, Richard Conte, and Diane Keaton. Paramount Pictures, 1972.

The Great Train Robbery. S.n., 1903.

Harry Potter and the Chamber of Secrets. Dir. Chris Columbus. Prod. David Heyman. By Steven

Kloves. Perf. Daniel Radcliffe, Rupert Grint, Emma Watson, and Richard Harris. Warner Bros.

Pictures, 2002.

Inception. Warner Bros., 2010.

La Sorti De L'usine Lumiere A Lyon. Dir. Auguste Lumiere and Louis Lumiere. 1894.

Psycho. Dir. Alfred Hitchcock. Shamley Productions, 1960.

The Sound of Music. Films Inc., 1965.

Star Wars. Twentieth-Century Fox Corp., 1977.

A Trip to the Moon Le Voyage Dans La Lune. S.n., 1902.