Photography

Technology within the last fifty years has evolved drastically because of the introduction of computers. This technology remains changing, mostly for the better as a multitude of public and private corporations do their research and development to elevate mankind’s way of life into another level of advancement. One most notable change in the people’s everyday lives is the evolution of photography.

From bulky cameras, film and hour-long photo development came the instant, flashy, sleek and compact digital cameras that can take photographs and can store them instantly electronically. This paper provides a critique of Thom Hogan’s (2009) article, “How Digital Cameras Work. ” Catching moments and having a souvenir for it are the main points of why people take a photo. People can be sentimental and so, a camera is a gadget that almost every household have. However, there are so many people out there who do not have the zest and passion for photography and the science behind it.

Majority of users do not understand their digital cameras and the author, Thom Hogan, wrote the article to help these millions of people to get to know how a digital camera works and it is often not wise to rely on the adverts or express warranty a manufacturer claims, as more often than not, those claims are not true, scientifically speaking. The opening notes of the article says this much and this is a catchy enough way to get attention of even uninterested users.

The main concern about the article, is that, even though it is written for people without photography background, the terminologies used seem to be strictly for photographers. For instance, a lot of average users of digital cameras do not know the difference between 28mm vs. a 35mm cameras and the author used the “35 mm” term as though everyone would understand what it means. The author could have set up a terminologies page to help the average users understand the article better. That being said, this paper shall now discuss the rest of the article.

The author tackled first the functions of a camera’s sensor. This is of course the silicon chip on a digital camera which has two kinds: CCD and CMOS. CCD and CMOS are explained by author in the next part which is a smart move considering that this article can be used for basic digital photography and some technical terms must be already infused. CCD, according to the author, is an old technology while CMOS is the sensor of today and this sensor shall be the one referred to for the rest of the paper.

The author mentioned one brand that designed a good CMOS sensor and that brand is Nikon. Such mention of brand can raise eyebrows as one would think whether this particular author has been paid by Nikon to advertise the brand’s sensors on a variety of users, after all, who is better to trust than an expert in photography? Next, the author mentioned photosites within the sensors. Photo diodes are the light sensing portion of photosites and they cannot cover the entire sensor as there are “non-light responsive spaces between diodes”.

This statement by the author can be considered a fair warning to digital camera users. As early as this stage, they know about the limitations of digital photography, that not all sensors are good at sensing light, which is essential in taking photographs. Again, the author endorsed Nikon and Fujifilm cameras as exception to the sensor rule. He described how certain Nikon and Fujifilm sensors (actually named camera models) have overcome this limitation in digital photography. The author proceeded to describe light and sensors the way a physicist would.

This is again more confusing to the average reader or even photography novices. Next, the author mentioned that a camera sees in black and white and he described how cameras produce colours in different ways. The different ways the author described are wonderful insights into photography and it can get users more valuable information on how they would like to use their camera sensors. More people tend to prefer photographs with vivid colour. Lastly, the author described how to get data from the sensor of a camera.

Essentially, he told users the more manipulations done to a camera, the more the image gets further from its original form (adjustment of colour, brightness and even simple JPEG conversion). This is another essential information as some user prefer realistic images over bright colours. Overall, the article is highfaluting one, especially for normal, average user with no inkling for photography but it provides valuable information to those with photography background and would like to know more about the art.

1. Create at least three a€? stock images. a€? You may wish to browse a stock site online to see the types of images that are popular. For example, you might take a picture of a person cooking or a picture of a food item. 2. Early photographers took portraits of people. Practice taking portraits of someone. Submit at least two portrait photographs of the person. 3. The ability to create a color photograph was an important point in the history of photography. Practice taking some color photographs. Submit three of your favorite color photographs. 1.

Practice taking some nighttime photographs using what you learned in the unit. Submit two of the photographs that you took. 2. Find a scene or object that youa€™d like to photograph. Take the photograph using three different modes on your camera (even ones that wouldna€™t be ideal for the photograph, such as a landscape mode for a macro shot). Identify which modes you used when you submit the photographs. 3. Take several photographs of the same scene, but change the aperture setting for each photograph. Submit three photographs with different aperture settings. Be sure to note which settings you used. ) 4. Take several photographs of the same moving object, but change the shutter speed setting for each photograph (the object could be players on a soccer field, a waterfall, a pet, etc. ). Submit three photographs with different shutter speed settings. Be sure to note which shutter speed settings you used. 5. Choose one camera mode and practice taking photographs that the mode is best used for. Submit three photographs that you took using the particular mode. The photographs do not need to be of the same subject. 1.

Practice using the Rule of Thirds to compose some photographs. Submit three of the photographs that you think best illustrate the Rule of Thirds. 2. Practice using the guideline of filling the frame. Submit three photographs that you think best illustrate this guideline. 3. Practice taking pictures of lines. Compose photographs that contain at least one horizontal, vertical, or diagonal line. Use the guidelines to help you compose a good photograph with the lines. Submit three of the photographs that you feel best use lines. 4. Practice taking some photographs from new perspectives.

Submit three photographs that you feel best illustrate this guideline. 5. Instead of following the various composition guidelines, deliberately break them. Take two pictures of the same scene: one in which you follow the rules of composition and one in which you deliberately break the rule. Submit at least two sets of photographs (four photos total of two different scenes). 1. Choose one scene or object to photograph. Take at least three photographs of this scene at three different times of day. Be sure to note the times of day that you choose.

Write a brief response about how the light changed in the photograph. 2. Take photographs of someone using frontlighting, backlighting, and sidelighting. You can use the sun or other lighting. 3. Practice taking photographs on a cloudy or rainy day. Turn in three of your favorites from that practice. 4. Take some portrait photographs using a reflector. (Remember that white paper, poster board, sheets, or a wall can all act a reflector. ) Practice moving the subject in different positions relative to the reflector. Turn in three of your favorite photographs. . Practice taking photographs in different lighting conditions (indoors and outdoors, different times of day, different weather, and so on) to help you better understand the impact of light on your photographs. Turn in three of your favorite photographs from your practice sessions. 1. Practice taking some photographs for conversion to black and white. When youa€™ve finished, use photo editing software to convert the images from color to black and white. Submit three of your favorite images. 2. Choose three different scenes or objects to photograph.

When youa€™ve finished, save each color image and create a copy that you will convert to black and white. Submit the three sets of photographs (one color and one black and white) of each scene. Indicate which photograph of the pair (color or black and white) that you prefer. 3. Take at least five photographs and use photo editing software to apply at least one different filter to each photograph. Submit the five photographs that youa€™ve applied a filter to. 4. Take at least ten photographs as you would if you were creating a panoramic shot.

If you have editing software that will stitch the images together, you can try it with the photographs that youa€™ve taken. Submit all of the photographs that you took for the project, showing the tips discussed in the unit. 5. Practice using a tripod or other stable foundation (rock, table, etc. ) to take photographs from. Turn in three photographs that you took using the tripod or stable foundation. 1. Practice taking portraits of people. Turn in three of your favorite portraits from your practice. 2. Take photographs of a child. (Be sure to obtain permission from the childa€™s parent(s) to do so. Turn in three of your favorite photographs of the child. 3. Take some photographs of a group (with three or more people). The group might be a family or a group of friends. Experiment with some different arrangements. Turn in two pictures that show a different arrangement of the people in the photographs. 4. Practice taking some posed photographs of someone. Experiment with different props and portrait looks. Turn in three photographs that you feel are the best. 5. Practice taking some candid shots of someone. Experiment with having the person engage in different activities.

Turn in three photographs from your practice. 1. Practice taking landscape photographs of different scenes. Submit three of your favorite landscape photographs from your practice. 2. Practice taking photographs from each of the three types of landscape photographs. Submit one example of each type of landscape photograph. 3. Chose one of the landscapes discussed in the unit and spend some time photographing in one of these location types. Submit three photographs from your practice that illustrate some of the tips for photographing in that type of landscape. 4.

Chose one location to photograph in. Photograph the scene from different angles and in different lighting. Submit five of your favorite photographs that illustrate some of these differences. 5. Practice taking landscape photographs in which you use different focal points. Submit three of your favorite photographs that use a strong focal point. 1. Practice taking macro photographs of everyday objects that you find. Submit three of your favorite photographs from your practice. 2. Choose one larger subject to photograph (this could be an animal, person, clock, or any other item).

Take macro photographs of different elements of the subject and take photographs from different perspectives. Submit three of your favorite photographs from this activity. 3. Take macro photographs of flowers, plants, or trees. If you can, try taking photographs of different species, different colors, and different forms. Submit three of your favorite photographs from this activity. 4. Practice taking macro photographs of insects, spiders, or other small creatures. If you can, try taking photographs of different species and from different perspectives.

Submit three of your favorite photographs from this activity. 5. Practice taking macro photographs of people. If you can, try to work with several different age groups/individuals. Submit three of your favorite photographs from this activity. 1. Practice taking photographs of moving subjects (people, animals, cars, etc. ) using the information from the unit to help you. Submit three of your favorite photographs. 2. Practice taking photographs of individuals playing sports (running, soccer, skiing, etc. ). If you can, try photographing several sports.

Submit three of your favorite photographs from your practice. 3. Practice panning in photographs with a moving subject using the information from the unit. Submit three photographs from your practice (Note: your moving subject may not be perfectly in focus. The important thing is to practice the technique. ) 4. Photograph some animals, either pets or wildlife. Submit three of your favorite photographs of animals. 5. Practice documentary photography. You might photograph a party, street scene, event, etc. Submit three of your favorite photographs.

As an independent teenager, I would say that I can do anything I want. I can precede living ordinarily without any disturbance and obstacle. But there are certain things that I can’t live without it. In the other word, my day will be ruined and fidget if I lost or missed the thing.

One example of the thing I can’t live without is my Nikon D90. It is a Digital SLR camera. The camera brings me a lot of memories and sentimental value. I bought it by myself using my very own money and effort. It cost me around RM8,000 excluding the other accessories. The lens only cost me around RM5,000.

What make this camera to be part of my life not just because it is very expensive, but I used the camera to gain extra profit every weekend. I am a part time photographer, so the camera was my primary gadgets to shoot pictures. Usually every weekend I was paid to become a wedding photographer. If there is no wedding on the weekend, I’ll go for an outing with my camera. Anywhere I go, I will bring along my camera including to the toilet and in the examination hall.

. I rather walk alone with my camera than my own girlfriend. But that doesn’t disturb our relationship because she really understands my interest & hobby. What makes the camera very special for me because I felt that I have a talent on capturing pictures. It suits me very well.

The other thing that I can’t live without is my laptop. This laptop was given to me by my father as a present of my 19th birthday. This is my first laptop, and I’m still using it until now. This laptop helps me a lot. One of the purpose of this laptop is for doing my assignment given by lecturers. Before my dad gives me the laptop, I was forced to go to the cybercafé spending some money to do my assignment. Now, I can do my assignment in my house.

Other than doing assignments, I use the laptop for editing. The wedding pictures that I took on the weekend will be edited using my laptop before go for printing. This can be the prove that my laptop was fully used for important purpose, not for streaming and chatting via facebook.

Both things were my precious life. I can’t live without my Digital SLR camera & my laptop. If one of them were missing, my life can be ruined and I might be crazy or dead!

Does a Picture Really Tell A Thousand Words? According to John Berger, photographs from August 6th, 1945, are “images of hell. ” (316) That was the day the US dropped an atomic bomb on Japan, killing countless innocent civilians and severely burning others. In his essay, “Hiroshima,” Berger faces the idea that our culture has “abandoned” the “concept of evil. ” (320) Countless pictures seem to be the only thing left of that day, and from Berger’s perspective, the true meaning of that event has been hidden, even though the facts are still in textbooks.

The concept of horrific pictures being taken plays an important role in Berger’s thoughts about Hiroshima, because those pictures are what initially sparked his interest. However, the idea of sharing of graphing pictures is called into question by Susan Sontag in her essay, “Regarding the Pain of Others,” who points out that war photography should have some form of censorship because of the effect it may have on victims or families who have lost their loved ones. While Berger doesn’t seem to promote graphic photography, it seems that from is point of view, pictures such as these make a reality of what otherwise might just become another page in our history books. “These paintings [by survivors] were shown on Japanese television. Is it conceivable that the BBC would show these pictures on Channel One at a peak hour? ” (319) He makes a strong point that American television would never show those pictures without “ reference to ‘political’ and ‘military’ realities” (319) because it was our country that caused such destruction. Sontag almost reinforces this idea by saying that “the camera brings the viewer close, too close,” (259) but at the ame time contradicts it by implying that war pictures sometimes provide inaccurate information because of new age technology. Cameras and computers today have the ability to enhance the main focus, what the photographer wants you to look at, and blur out other details which may change a picture completely. “The real thing may not be fearsome enough, and therefore needs to be enhanced; or reenacted more convincingly. ” (259) This brings out a good point, although cameras used in 1945 wouldn’t have that kind of technology, but they can still be edited today.

That being said, a picture can be inaccurate in more ways than one. While the Hiroshima pictures are heartbreaking to look at, Berger fails to address the fact that not all war pictures tell the full story, along with what may have happened before and after the picture was taken, and some may be taken completely out of context. Sontag brings in this idea by talking about a famous picture of a South Vietnamese General shooting a Vietcong suspect, which turned out to be staged. This idea calls Berger’s argument into question, because it is unknown which pictures are “real” and which are mainly for ublicity purposes. We don’t know what happened before, after, or even what’s going on outside the frame on a picture just by looking at it. Only the photographer and the people present at that moment know the whole truth. Although Sontag brings in some point that were missed by Berger, Sontag reinforces Berger’s speculation that US television and newspapers only show what the government wants the public to see, and nothing more. She adds that the military promoted “images that illustrated America’s absolute military superiority over its enemy. ” (260) in the Gulf War in 1991.

This idea really brings the true motives of our nation out, which is really what Berger’s entire argument is based off of. He tries to make the US look like bullies, killing innocent people to scare their government so that we look like a strong country that defeats the bad guys and protects its citizens. “It was not a miscalculation, an error, or the result of a situation deteriorating so rapidly that it gets out of hand. ” (319) This quote proves that, from Berger’s perspective, the US purposely caused such an event, which was preplanned , not a defense mechanism.

While Sontag doesn’t specify an opinion about why the US only shows pictures that make ourgovernment look good, she does mention that “the use of cameras at the front for nonmilitary purposes have become much stricter as war has become an activity prosecuted with increasingly exact optical devices for tracking the enemy. ” (260) This would explain why we don’t see many pictures of the war going on right now, even though it’s been going on for many years already. Berger aims his focus on Hiroshima alone, while Sontag looks at the big picture of war photography in itself.

Sontag would assumingly agree with Berger about the issue of Hiroshima, how horrifying it was and how those pictures play such a big role. At the same time, I think this would further promote her idea that war photography is sometimes too harsh, even though without seeing those pictures, one might not be able to imagine such horror. However, Sontag might not agree with Berger when he says “the memory of these events should be continually before our eyes. ” (320) A lot of pictures should be continually before our eyes, and unfortunately Hiroshima is only an example of events hat would be forgotten without visual aids to remind us. He himself is an example, not interested in the book on his desk until he opened it and was reminded of such an event. But like Sontag says, “to display the dead, after all, is what the enemy does. ” (259) In many third world countries, people see death and sickness all the time. Civilians in places like Iraq and Afghanistan probably see death more than anyone, and we, the enemy, are the ones showing it to them. For us, war pictures hit too close to home, especially for amilies that have loved ones overseas fighting for our country, but what about people that have to witness it firsthand? They don’t always have a choice. Berger, who is British, calls his friend from America, the one he talks about in the beginning, “innocent,” saying that she looks at a “nuclear holocaust without considering its reality. ” (321) But in a way, many Americans do that. We could “google” many kinds of pictures, graphic or not, whenever we feel like it, but do we really think about what it would be like to be there?

This is the problem with Sontag’s idea about war photos not being shown; without them, many Americans would probably be even more naive than they already are. If I told you a bomb was dropped on Japan and many people were killed and burned, you would probably feel sympathy, but you would probably go on with your day, as would a lot of people. But seeing pictures, children burned, dead bodies, that would make it more real, and that’s why Berger says we should constantly see things like that. Unfortunately, that can’t be publicly shown, especially on television, where verything has to be “family oriented. ” There’s a downside to both arguments: we can’t constantly be reminded of such horrible things like Hiroshima, but we also can’t be completely out of the loop. War photography is a controversial topic, but it’s one that will most likely always be part of life. As long as there’s wars, there will be people trying to expose the events and realities of it. Works Cited Berger, John “Hiroshima” Fields of Reading, 2010, Bedford/ St. Martin’s Sontag, Susan “Regarding the Pain of Others” Fields of Reading, 2010, Bedford/ St. Martin’s