Photograms – Its easy to get AN image, hard to get THE image.

1. Photograms – Itseasy to get AN image, hard to get THE image. Laszlo Moholy-NagyHungarian, 1895-1946

2. Formal Analysis: Analysis composition. 1st Paragraph = Describe = WHAT do you see = Objects/subject and the art elements 2nd paragraph = Analyze = How the artist arranged composition using the art elements and principles of design. 3rd paragraph = Technical interpretation: = How the artist constructed the image. Photogram, 1926 László Moholy-Nagy (American, born Hungary, 1895–1946) Gelatin silver print

3. Man Ray Drill: Sketch image. Based on your knowledge of photography thus far is this a positive or a negative? Hypothesize how this image was made.

4. Laszlo Moholy-NagyHungarian, 1895-1946

6. Lazslo Maholy-Nagy

7. You may regret to hear but I have freed myself from the sticky medium of paint, and am working directly with light itself, Rayogram

9. Images by contemporary artists

10. Bill Westhiemer

11. Anne Ferran

12. Wendy Mukluk

13. Lauren Hudson

14. Eva Shaderowfsky

15. Things to consider… • Choose the objects with interesting shapes for your photogram. Look for: Jagged edges, holes in the object, variations in contours, some 2-d and some three dimensional • Choose objects of different transparencies • Consider our modern nature juxtaposed against man made • Think carefully about how you place the objects on the paper. Look at both the negative and positive spaces created by the objects. Skinny, linear objects may be used to connect your shapes and create movement through the composition. THINK DESIGN PRINCIPLES! BALANCE EMPHASIS/DOMINANCE CONTRAST/VARIETY/GRADATION UNITY/HARMONY Photograms Link

16. Challenge Examine this student composition. • What objects can you identify? • What art elements are important? • What design principle is used to organize this composition.?

17. Describe the exposure and the results of the can opener images. Speculate on what Fstop and times where used and what happens with a greater exposure.

19. Today • Developing film • Contact Sheets: Light and Shadow • Photoshop Lesson three: Contrast finished and posted to Mahara extra credit • Begin PhotoShop layers assignment 1 • Photoshop Lesson 4 • Researching/inspiration for Photograms.

20. Student Examples

21. Student Examples

27. CRITERIA • Objective: • One unified constructivist composition: NARTURE juxtaposed with MAN MADE. • Composition • Objects touch and go off the edge on 2 or more sides to connect and create a path/movement through the composition • Avoid just “filling” the format, but have arranged objects to create a balance of positive and negative spaces. • Objects are selected for a variety of sizes and opacities and textures to establish contrast/interest • Darkroom Skills and Techniques: • Print has a wind range of values • Uses of contact easel to establish sharp detail (flat objects) • Use of one of the following experimental printing techniques • Contact print: one image is inverted to a positive • Multiple exposure: Moving and exposing objects more than once on the same piece of paper • Experimental overlapping • Presentation Print demonstrates care and craftsmanship, avoiding unwanted marks, chemical stains, scratches, dust or other distracting elements. • Carefully mounted using correct procedures • Scanned on placed in digital portfolio.

28. TODAY • Scanning 35 mm images: 2/8. • Brainstorming ideas for photograms • Developing film for Light and Shadow. • Group A-L photograms due 2/8 • Group M-Z Layer assignments • Statue of Liberty: 2/5 • Face: 2/6 • Surreal : 2/11 • Light and Shadow Contact sheet 2/6 • Mounting photos

30. Cliché Verre Diane Escott, Untitled Landscape, 1973 K.E. Duffin, The Stalwart King., 2005

31. Barbara DeGenevieve

32. Bruguiere, Francis

35. Photograms DRILL Read instructions. Choose objects that have interesting shapes, textures, and/or transparencies. Think about how you want to arrange these objects. Arrange them on plain white paper in the classroom before you go into the darkroom. Set up your contact easel, set the enlarger head to 17, and your f/stop to f8. Focus the light and set your timer for 10 seconds. Try a test strip. Arrange your objects on the photographic paper, and make your exposure on a test strip. Process your paper normally. Assess your test strip. Do you need more time? less time? Laszlo Moholy-NagyHungarian, 1895-1946

36. HOW IT IS DONE • Choose objects that have interesting shapes, textures, and/or transparencies. • Think about how you want to arrange these objects. Arrange them on plain white paper in the classroom before you go into the darkroom. • Set up your easel, set the enlarger head to 17, and your f/stop to f8. Focus the light and set your timer for 7 seconds. • Try a test strip. Arrange your objects on the photographic paper, and make your exposure on a test strip. • Process your paper normally. • Assess your test strip. Do you need more time? less time?

37. DRILL • Sketch the image & record the info • Based on the assignment sheet and presentation, describe the process for creating photograms & cliché verre negatives in your own words Man Ray 1920 Rayograph, “flower & glove • Objective • Students will and apply technical knowledge of the creation of • photographic images.