my inspirational quote

those are my favorite pics by Jerry Uelsmann

My picture of a Jerry Uelsmann

I chose this picture because it represent all those who were unarmed and killed

Abstract photography can produce very dramatic images. It relies on our more primal sense of form, color, and curves than it does on detail. The problem is that most photographers tend to think in terms of detail when evaluating photographic opportunities. However, it takes a different way of looking at our world to perceive the abstract photography opportunities that surround us.

info:

ESSENTIALS

There are three essentials to abstract photography: form, color, and curves. It is paramount that an abstract photographer learns to think in these terms.

Figure 2: Form

Form: Form refers to the shape of the objects in an image. Form serves as the framework upon which an abstract image is created. Basically, form creates the core of an image while color and curves add enhancements. Therefore, it is crucial that an abstract image start off with good form. This is done by choosing objects that have pleasing, interesting, or dynamic shapes.

Now, it might be tempting to want a definition or list of what makes for good form. However, it must be remembered that abstract photography is an instinctual art form — people react to it emotionally not logically. Thus, it is essential that form be approached in the same manner. It is necessary to find objects with forms that create an emotional reaction. When one looks at an object and immediately reacts, “Wow, look at that”, a strong form has probably been found.

 

 

 

 

Figure 3: Color

Color: Color grabs the attention of the viewer and stimulates the viewer’s perceptual system. Color not only grabs the viewer’s attention, it also serves to hold the viewer’s attention for an extended period of time. If the viewer’s eyes do wander, the color tends to bring the attention back.

One way to use color is to use a saturated or intense color (see Figure 3).

Figure 4: Color Contrast

Another method of using color that can produce very dynamic images is to use contrasting color. This approach is shown in Figure 4. The composition of this image is extremely simple. The image depends almost entirely on the color and tonal contrast between the sun and the dark clouds for its impact.

Figure 5: Curves & Center of Interest

Curves: Curves add interest to an abstract image. They do this by controlling the movement of the viewer’s eyes through an image. Now, there are a couple of ways that curves can be used in an image. The first way that curves can add interest to an image is to direct the viewer’s attention to an image’s center of interest. This is shown in Figure 5. In this image, the curves (i.e., the edges of the petals) point toward the colored center of the flower (which is the center of interest in this image). These curves serve to direct the viewer’s attention to the colored area. This strengthens the center of interest and creates a stronger image.

The second way that curves can add interest to an image is a bit more intangible. With this use of curves, the curves do not point at the center of interest. In fact, they do not point at anything in particular. Instead, the curves simply flow through the image in a graceful or dynamic way. How does this help the image? Even though the curves do not point toward any object, they still serve to control the viewer’s eyes. When used properly, the viewer’s eyes will roam back and forth along the curves. Thus, the viewer’s attention has been captured.

Figure 6: Roaming Curves

This use of curves can be seen in Figure 6. In this image, the curves do not point toward any center of interest (in fact, the image has no center of interest). Rather, the lines function to lead the eyes throughout the image with no end point in sight. The viewer’s eyes follow the edges of the leaf as well as the veins in the leaf only to find that one curve simply leads to another.

While this second use of curves works very well in abstract images, it should be used very cautiously in images that are not abstract. In non-abstract images, such use of curves is often distracting.

COMPOSITION

Composition consists of how the objects in an image are arranged with respect to each other. There are many approaches to composition. Carrying out a thorough review of the subject of composition is beyond the scope of this article. However, two aspects of composition, as they relate to abstract photography, will be covered.

• Rule of thirds
• No rules

Figure 7: Rule of Thirds

Rule of Thirds: The rule of thirds requires that an image be divided into thirds both vertically and horizontally. The center of interest should be located where the dividing lines cross. Figure 7 shows an example of the rule of thirds. As can be seen, the end of the flower stem is located where the rule of third lines intersect.

Figure 8: No Rules

No Rules: One of the great things about abstract photography is that it is not necessary to follow the rules. This is the case with composition. It is not always necessary to follow the rule of thirds, or any other composition rule, to create great abstract images. Figure 8 is an example of an image that does not follow the rules. As is obvious, this image does not have a center of interest and does not follow the rule of thirds.

ART OF SUBTRACTION

Earlier, it was stated that people tend to react to abstract photography on an instinctual or emotional level. Therefore, to create great abstract images, all one has to do is remove everything that does not, in some way, strengthen the viewer’s emotional reaction. This is the art of subtraction.

Figure 9: Art of Subtraction — Before

Figures 9 and 10 illustrate the art of subtraction. Figure 9 shows a cluttered image. One’s first reaction might be to move on to a more promising location. On the other hand, a closer examination of the scene shows that it has all three essentials for a good abstract image.

Form: Many of the rocks in the image have interesting form.

Color: The rock is a saturated red.

Curves: There are many curves running through the image.

That is the good news. The bad news is that the scene has a ton of distracting detail. So, the goal becomes to keep form, color, and curves that can contribute to the creation of a good abstract image and remove everything else.

Figure 10: Art of Subtraction — After

Figure 10 shows the scene after all the distracting detail has been removed. The image has isolated the important forms and accentuated them with the color and the curves.

Definition : a picture produced with photographic materials, such as light-sensitive paper, but without a camera.

2 artist Man Ray & Christian Schad

SAMPLES:

The idea i have for my photogram would be using the stuff inside my purse to create a picture

1. Dilute the chemicals. Most photographic chemicals come in concentrate form, which needs to be mixed with water. You are going to use the graduated cylinder to measure the chemicals and water, and the gallon jugs to store them.
2. The Developer – 1:3 Chemical to water mix. That is, 1 part developer to 3 parts water. This gives you a “stock” solution. Fill one gallon jug with this stock solution. The stock solution will be diluted more before using it on the film. When you dilute the stock solution, you will have a “working” solution.
3. The Stop Bath – 1:63 Chemical to water mix. Mix the stop bath and water together and store in a gallon jug. This is a working solution.
4. The Fixer – 1:4 Chemical to water mix. Mix the fixer and water together and store in a gallon jug. This is also a working solution.
5. Hypo-Clearing Agent – Mix the full packet (4.4oz) with 1.25 gallons of water. This chemical comes as a powder, and you need to ensure that it is thoroughly mixed. Store in a gallon jug.
6. Once the chemicals have been mixed and stored in the gallon jugs, you need to bring them to the correct temperature. Fill a large sink (like your kitchen sink) with water that is 68 degrees Fahrenheit (20 degrees Celsius). Use the thermometer to get the correct temperature. This is very important. Now put your gallon jugs of chemicals in the sink, floating in the water. These chemicals must be 20 degrees Celsius when you use them. You are going to put them in 68 degree water because the temperature of the water is going to drop a bit while bringing the chemicals to the correct temperature. You really must be very accurate when it comes to the chemical temperatures. More than 1 degree above or 1 degree below 20 degrees can have a big effect on the film. Remember, the final chemical temperature you want is 20 degrees, and you are soaking the chemicals in 68 degree water because the gallon jugs will sit in the water for at least 30 minutes, and the water temperature will drop a couple degrees during that time.
7. Pop open the film canister, remove the film, load the film onto the film reel, and place the reel inside the developing tank. This must be in complete darkness. No light whatsoever. No red safety lights either. Take the scissors, bottle opener, film canister, film reel, and developing tank into a dust free room that you can make light-tight. For the moment, you can have the room lights turned on.
8. Place the tools out in front of you, possibly on a desk. You’re going to be loading the film onto the reel in complete darkness, so make sure you lay the tools out in a way that you can find them in the dark.
9. Turn off the lights. Use the bottle opener to pop the bottom off the film canister, which should be very easy. While only touching the film negative from the edges, pull the film out of the canister. The film will be taped to the center film spool. Make sure you cut it off right at the base of the spool or you’ll be cutting through your pictures. Also cut the tip off the film (the odd shaped piece that sticks out of the canister when you first buy the film) so that it’s flat. You only need to cut about 1 inch off the tip
10. Spool the film onto the film reel. While not touching the surface of the negative, slide the negative into the opening of the reel. Slide about 4 inches of film into the reel. Start walking the film onto the reel by twisting one side of the reel back and forth. To be clear on this, keep your left hand steady, and with your right hand twist the right side of the reel forward, then bring it back. Continue doing this until all the film is loaded onto the reel. If your reel looks like the one in the image, it’s not the auto-loading type, and you will need to trap the loose end of the film under the spring clip in the center, then fit the film into the space between the spiral wires as you rotate the reel. It’s a lot easier to do than it sounds. Squeezing the film to make it slightly curved will help.
11. Place the reel inside the developing tank, and screw the lid onto the tank.The tank is now light-tight, and you can turn on the lights. Even though the developing tank has a hole in the top for pouring in the chemicals, it is in fact light-tight. Pour water into the tank, let stand for 1 minute, this is called pre-wetting and will make the film swell up and accept the developer solution. pour out the water
12. Bring the developing tank to the sink where you have the chemical jugs floating in water. Check the developer chemical with the thermometer. If it’s at 20 degrees Celsius, then you are ready to go. If it is higher than 20 degrees, then keep checking every 10 minutes until it’s ready. If it is below 20 degrees, add some hot water to the sink the gallon jugs are floating in. Pour 1 ounce of the stock developing solution into the graduated cylinder and then add 7 ounces of 20 degrees Celsius water to that. You are making a “working” solution by using a 1:7 chemical to water ratio. To recap, you made a stock solution of the developing chemical by using a 1:3 chemical concentrate to water ratio, and then mixed that stock solution with a 1:7 working chemical to water ratio.
13. With stopwatch in hand, pour the working developer into the hole in the top of the developing tank. Do this very quickly and start the stopwatch as soon as you’ve poured all the developer into the tank. Smack the developing tank on a counter a few times to dislodge any bubbles that might be clinging on to the film. Agitate the tank for 30 seconds. Do this by swirling the tank around. You are going to leave the film in the developer for as many minutes is appropriate for your film type (<a href=”http://www.digitaltruth.com/devchart.php” target=”_blank”> check the mas dev chart</a>). Agitate the film for 5 seconds every 30 seconds. Agitation is very important.Do not neglect to agitate the developing tank. The developing chemicals become exhausted very shortly after coming in contact with the film. The agitation ensures that fresh chemicals are touching the film. However, this exhaustion of the chemicals is an important part of the process. Over-agitating can give negative results or positive results. It depends on the “look” you are going for. Too much agitation increases the contrast in the image but often you will damage the film and see sprocket marks if you have over agitated. If you want more contrast consider push processing.
14. When the stopwatch has reached 10 seconds from the end of your time, start pouring the developer out of the top of the tank and into the sink drain. Do not take the lid off the developing tank.
15. For the stop bath you can use water at 20 degrees Celsius. Pour the water in the canister agitate for a couple seconds and pour out, repeat 4 times. Or, alternatively you can use the stop bath chemical. With stopwatch in hand, quickly pour the stop bath into the top of the developing tank until the tank is full. There is no need to dilute the stop bath more, so you can pour straight from the gallon jug. Start the stopwatch when you’ve filled the tank up. Once again, smack the tank against a counter a couple times to dislodge any bubbles. You are going to leave the film in the stop bath for 1 1/2 minutes. The purpose of the stop bath is to neutralize any remaining developer left on the film, and arrest the developing process.
16. When the stopwatch has reached 1 minute and 20 seconds, start pouring the stop bath out. Some stop bath solutions, like the Kodak Indicator Stop Bath, can be re-used. If this is the chemical you are using, then pour the stop bath back into the gallon jug for later use. The word “indicator” in Kodak Indicator Stop Bath means the chemical indicates when it is no longer any good. The chemical, when mixed with water, is yellow. As long as the stop bath remains yellow in color, it is good to use.
17. Next, pour the fixer into tank until it is full. Assuming your fixer is prediluted, there is no need to dilute the fixer more, so you can pour straight from the gallon jug. Start the stopwatch once the tank is full. You are going to leave the film in the fixing solution for 6 minutes, as few as 4 for rapid fixer. Smack the tank against the counter to dislodge any bubbles. Agitate the film for 3 seconds every 30 seconds. Some people don’t agitate during the fixing process. It is safe to open the tank completely after 3 minutes.
18. Once the stopwatch has reached 6 minutes, pour the fixer out of the tank.Do not re-use the fixer. You can now unscrew the top of the developing tank and expose the film negative to light. Once the film has been “fixed”, it is no longer light sensitive. The rest of the process is done with the lid of the developing tank off.
19. Pour the hypo-clearing agent into the tank (with the lid off). There is no need to dilute the hypo-clearing agent more, so you can pour straight from the gallon jug. Smack the tank against the counter to dislodge any bubbles. You are going to leave the film in the hypo-clearing agent for 1 1/2 minutes. You can agitate the film a little bit if you like.
20. While the film is in the hypo-clearing agent, start running some water and bring the running water to 20 degrees Celsius. After 1 1/2 minutes, dump out the hypo-clearing agent. Do not re-use this chemical. Put the developing tank under the running water. It’s time to wash all the chemicals off the film. You are going to leave the film under the running water for 10 minutes. The water should fill up the developing tank and overflow. Let it overflow. Every couple of minutes, dump out the water and let the tank fill back up with fresh running water. You want to keep fresh 20-degree water pouring into the developing tank. This final washing part of the process is very important. Ten minutes is the minimum time to wash the film, but you can do it longer. It is also important that you are washing the film with 20 degree water. Using hotter or colder water can affect the final picture.
21. After the 10 minutes is up, lift the film reel out of the tank and lightly shake off any remaining water. Turn the reel clockwise (could be counter-clockwise, depends on how you’re holding the reel, so try them both) until the top half of the reel comes apart from the lower half of the reel. Now use one of the film clips and clip it onto the end of the film negative. Some clips have small “hooks” on them. You can run the hooks through the square holes running down the sides of the film, and thus avoid puncturing the film negative. By lifting up the clip, pull the film up out of the reel. If everything went well, you should see your pictures on the negative. Clip the other film clip onto the bottom of the negative. This will act as a weight. Hang the negative up to dry in a room temperature, dust free room. Leave the negative to dry for at least 2 hours.
22. That’s it! You’re all done. You can now take the negatives to a store and have prints made, make your own prints, or scan the negatives and order prints online. it also very good

These steps came from      http://www.wikihow.com/Develop-Black-and-White-Film

Video:   http://www.cleanvideosearch.com/media/action/yt/watch?v=Vu0Ul_wsYO8

 It was very hard to do because it wont color what u want it to color

POP ART : Art based on modern popular culture and the mass media, especially as a critical or ironic comment on traditional fine art values.

Who: The artists were Edward Hopper, James Gill, Robert Indiana, Jasper Johns, Roy Lichtenstein, Claes Oldenburg, Robert Rauschenberg, Andy Warhol and Tom Wesselmann.

Where: the mid-1950s in Britain and in the late 1950s in the United States 

when:  the 50’s

Examples of pop art:

by Andy warhol 

 By Roy Lichtenstein 

 By James Gill  

Link to pop art tutorial: http://www.photoshopessentials.com/photo-effects/pop-art/