A workshop b y Dr Mark Ingham 2014 When was the first photograph taken Enhanced version of Nicéphore Niépces View from the Window at Le Gras 1826 the earliest surviving photograph of a scene from nature taken with a camera ID: 594990
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Slide1
Pose!
A workshop
b
y
Dr. Mark Ingham
2014Slide2Slide3
When was the first
photograph
taken?Slide4Slide5
“Enhanced
version
of
Nicéphore
Niépce’s
View
from the Window at Le Gras
(1826), the earliest surviving photograph of a scene from nature taken with a camera
obscura
”Slide6Slide7
The year 1839 is generally regarded as the year that photography, as we know it, commenced. There had been some earlier experiments, but problems with long exposure times and difficulties in fixing the image. But it was in 1839 that both Daguerre and Talbot announced their discoveries.Slide8
In an 1828 letter to his partner, Nicephore
Niepce
, Louis Daguerre wrote,
"
I am burning with desire to see your experiments from nature
.”
Burning with Desire: Conception of Photography
by Geoffrey
Batchen
(
Batchen
, G, (1999)
Burning with Desire: Conception of
Photography
. The MIT Press)Slide9
Daguerre's discovery
The Daguerreotype
7 January 1839
Louis-Jacques-
Mandé
Daguerre’s discovery of his Daguerreotype photographic process was announced in The Literary Gazette and in La Gazette de France on 7 January 1839.
The public announcement giving details of the Daguerreotype process was not made until 19 August 1839
i.e. after the French Government had bought the rights to the process, and the process had been patented in England and Wales.Slide10
Talbot' discovery
Photogenic Drawing
25 January 1839
William Henry Fox Talbot displayed the results of his negative/positive process to the Royal Institution in London on 25 January 1839.
He then presented a Paper to the Royal Society on 31 January 1839, describing his process as “photogenic drawing”Slide11Slide12Slide13Slide14Slide15Slide16Slide17
1-minute Portrait
What was it like posing for an early photographic portrait?
Recreate the experience by timing yourself sitting completely still for one minute.
Have someone photograph you at the end of that time.
Reflect.
Look at the photograph. What does your facial expression and body language convey? How did it feel to be that still for that long?Slide18
In a sentence describe what is happening in the next photograph.Slide19
What is happening in this photograph?Slide20
How does the next image change how you think about this photograph?Slide21Slide22Slide23
Do you know what context this photograph was taken in?Slide24Slide25
What was you initial reaction to this photograph? And has it now changed?Slide26
ROBERTO SCHMIDT/AFP/Getty Images
–
British
Prime Minister David Cameron, Denmark’s Prime Minister
Helle
Thorning
Schmidt and President Obama take a
selfie
during the memorial service
for
Nelson
Mandela
.Slide27
Is this the first
s
elfie
?Slide28Slide29
Or was this?Slide30Slide31
Robert Cornelius
self-portrait,
Oct. or Nov. 1839,
approximate quarter plate daguerreotype.
The back reads,
"The first light picture ever taken.”Slide32
What do you think the difference is between a
‘self-portrait’
and a
‘
selfie
’?Slide33
Can you try and take an un-posed ‘self-portrait’. Slide34
C
apture yourself in a photograph unawares?Slide35
Now take the most posed
‘
selfie
’ you can
.Slide36
Next take a photograph of someone taking a photograph of themselves.
One Posed and then one Un-posed.Slide37
Have a close look at the next set of photographs and then write down your initial reactions to them. Slide38Slide39Slide40Slide41Slide42Slide43
How do you think these photographs were taken?Slide44
“To
create his Heads series,
diCorcia
rigged a powerful strobe light to a scaffold high above the street in New York’s Times Square. He activated the strobe by radio signal and captured unwitting pedestrians in a flash of light from over 20 feet away. Remarkably, the strobe was imperceptible to his subjects since the photographs were taken in broad daylight. Using this technique, the figures appear to emerge from inky darkness, spotlighted and haloed and as if there was almost no distance between the camera and the subject. Over the course of two years
diCorcia
took more than 4,000 of these photographs, though he chose only 17 for the series
.”
From:
MoMA
Learning
HeadsSlide45
DiCorcia’s Heads series was at the
center
of a debate between free speech advocates and those concerned with protecting an individual’s right to privacy. In 2006, one of
diCorcia’s
subjects sued the artist and his gallery for exhibiting, publishing, and profiting from his likeness, which was taken without permission. While critics claim that the project violated his subjects’ right to privacy,
diCorcia
explained that he did not seek consent because, “There is no way the images could have been made with the knowledge and cooperation of the subjects.
”
From:
MoMA
Learning
HeadsSlide46
Free speech advocates argue that street photography is an established form of artistic expression and that the freedom to photograph in public is protected under the first amendment to the United States Constitution. The lawsuit was eventually dismissed, but the presiding judge suggested the complex nature of this issue, stating, “Even while recognizing art as exempt from the reach of New York’s privacy laws, the problem of sorting out what may or may not legally be art remains a difficult one.
”
The
debate rages on
.
From:
MoMA
Learning
HeadsSlide47Slide48
http://www.youtube.com
/
watch?v
=OA3DCtLB-wo
PHILIP-LORCA DICORCIA. PHOTOGRAPHS 1975-2012Slide49Slide50
“Examining
the themes of presence and absence, the relationship between photography and theatre, history and death, these 'reflections on photography' begin as an investigation into the nature of photographs. Then, as Barthes contemplates a photograph of his mother as a child, the book becomes an exposition of his own mind
.”
Camera Lucida: Reflections on Photography
by Roland Barthes
Slide51
“What the Photograph reproduces to infinity has occurred only once: the Photograph mechanically repeats what could never be repeated existentially.”
(Barthes 2000:4)
Barthes, R. (
2000/
1980)
Camera Lucida: Reflections on Photography
. Vintage.Slide52
“The Photograph then becomes a
bizarre medium
, a new form of hallucination: false on the level of perception, true on the level of time: a temporal hallucination, so to speak, a modest
shared hallucination
(on the one hand 'it is not there,' on the other 'but it has indeed been'): a mad image, chafed by reality.
”
(Barthes, 2000:115)Slide53Slide54Slide55
“
To photograph people is to violate them, by seeing them as they
never
see themselves, by having knowledge of them that they can never have; it turns people into objects that can be symbolically possessed. Just as a camera is a sublimation of the gun, to photograph someone is a subliminal murder - a soft murder, appropriate to a sad, frightened time.”
(Sontag 1979:14-15)
On
Photography
by Susan Sontag.
First published in 1977, from
essasy
written in 1971, 1974 & 1977
Sontag, S. (1977/1979)
On Photography
, Penguin Books.Slide56
“All photographs are memento
mori
. To take a photograph is to participate in another person's (or thing's) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's relentless melt.”
(
Sontag 1979
:15)
On Photography
by Susan Sontag.
First published in 1977, from
essasy
written in 1971, 1974 & 1977
Sontag, S. (1977/1979)
On Photography
, Penguin Books.Slide57Slide58
“The
photograph proceeds by means of the lens to the taking of a veritable luminous impression in light – to a
mold
....But photography is a feeble technique in the sense that its instantaneity compels it to capture time only piecemeal. The cinema...makes a
molding
of the object as it exists in time and, furthermore, makes an imprint of the duration of the object
.” (Bazin 1967:95-124)
b
y
André Bazin
(An influential film critic and theorist, André Bazin was the founder of the
reknowned
and pioneering film journal, Cahiers du
cinéma
.)
Bazin, A. (
1967)
Theater
and Cinema (Part Two
)
,
in What is Cinema?
University
of California
Press.
Berkely
.Slide59Slide60Slide61Slide62
“This is the story of a man
marked
by an image
from
his childhood.”
La
Jetee
by
Chris MarkerSlide63Slide64
http://alaskapirate.com
/
lajetee
/