2: Photography as Documentary
- Page ID
- 231791
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Photography was developed to create more accurate representations of the world than was possible through other art forms like drawing or painting. Culturally, the most common use of the medium is to document and share our experiences and observations of the world. In this chapter, students learn the technical skills needed to alter images so that they more accurately represent their subject. Through specific exercises, students are introduced to the retouching workflow, in both Camera Raw and Photoshop, and learn to make test strips and print images. For the chapter assignment, students consider the legacy of photography as objective while creating photographs in the style of documentary photography.
Image Description: A black and white photograph of a window for a corset shop with 11 corsets on display.
Suggested Reading
Cartier-Bresson, Henri. The Decisive Moment. Simon and Schuster, 1952.
Photography as Documentary: Example Artists
LaToya Ruby Frazier
Zig Jackson
An-My Le
Vivian Maier
Mary Ellen Mark
Joel Meyerowitz
Gordon Parks
Jamel Shabazz
Weegee
- 2.1: Overview of Retouching Workflow
- This page emphasizes the significance of workflow in photography, detailing the steps from image capture to editing and sharing. It highlights the necessity of a high-quality image and mindful editing, focusing on color management for consistent appearance across formats. The retouching workflow involves saving copies, making adjustments, cropping, correcting lens distortions, and preparing images for final output.
- 2.2: Retouching Workflow in Camera Raw
- This page covers Adobe Camera Raw, highlighting its role in importing and enhancing raw images through nondestructive editing that preserves quality. It details a structured workflow with global adjustments for brightness, contrast, and color, along with cropping, straightening, and lens corrections. It notes spot removal tools for specific repairs and suggests using Photoshop for local adjustments.
- 2.3: Making and Printing a Test Strip
- This page outlines the procedure for creating a test strip in Adobe Photoshop after image edits. It details essential steps like opening the image, resizing, using the Rectangular Marquee tool to select a portion, and pasting onto a new document. Additionally, it covers print setup, focusing on printer choice, custom paper size, and specific settings to achieve optimal results on Premium Luster Photo Paper.
- 2.4: Assessing Test Prints
- This page discusses how to evaluate test strips or prints, emphasizing the importance of using neutral lighting for accurate assessment of brightness, color, and contrast. It highlights key considerations like detail in highlights and shadows, tone range, overall brightness, temperature, and color balance, along with identifying color casts.
- 2.5: Retouching Workflow in Photoshop
- This page discusses the retouching workflow in Photoshop, noting that global adjustments are made in Camera Raw, while recommending Photoshop for local adjustments utilizing selection tools and layers for nondestructive editing. It details various selection tools and techniques like masking and color correction with grey cards.
- 2.6: Printing from an Image File
- This page step by step instructions for printing photos using Adobe Photoshop. It outlines essential adjustments for image size, resolution (300 dpi), and the color profile (Adobe RGB 1998). The page includes detailed printer settings, paper size, and layout instructions to optimize color management and paper handling, ensuring high-quality prints.
- 2.7: Learning Checkpoint
- This page provides a learning check for photography editing techniques, including workflow, global and local adjustments, and selection tools.
- 2.8: Color Matching Exercise
- This page presents an exercise on color correction that requires students to photograph an object and adjust the print colors to match it. It highlights the importance of both subjective and objective color aspects. Students receive tips on composition, lighting control, and white balance adjustments using a grey card. Assessment focuses on image quality, color accuracy, and technical execution, such as shooting in RAW format and adhering to specific file conventions.
- 2.9: One Perfect Print Exercise
- This page details an exercise on retouching a color photograph using Camera Raw adjustments, requiring instructor approval at each stage. Students enhance exposure, brightness, highlights, and color balance while maintaining appropriate contrast. They utilize healing brushes to remove imperfections, create test strips for color correction, and produce a final inkjet print post-approval. Lastly, digital files must be saved in a specified PSD format.
- 2.10: The Decisive Moment Assignment
- This page outlines an assignment for students to engage in photography by documenting their surroundings. They must take six photos that demonstrate technical skills such as focus and exposure, as well as strong composition and narrative coherence. The images should form a cohesive series, highlighting the connection between the concept and visual representation while meeting specific technical standards.