http://photoalbumofireland.tumblr.com/

In 1965 Declan Gilroy of the Gilroy family album won a racehorse naming competition led by the Gillette company. The horse’s name was ‘Trouble for Stubble’, pictured here at an unknown racetrack. Trouble for Stubble was handed over to the Gilroy family in the Curragh, County Kildare.

It is easy to forget the wide and complex range of other uses that photography has, quite apart from the self-consciously aesthetic, which make up the large part of how most people produce or consume photographic images. Of course, there is also a considerable body of critical literature that describes how photography is tied up with repression and the ideologies of power. It would also be possible to read this photograph in a similarly negative way, but arguably a more rewarding approach is to consider how it speaks to (and about) a particular impulse - the photograph was made and kept, it was meaningful in some way. This picture is one element in a mosaic of social history that can and indeed should be read in “positive” terms.
- Darren Campion.


http://photoalbumofireland.tumblr.com/

RESEARCH

http://www.closeupfilmcentre.com/

http://www.ubuweb.com/





Under the Influence: John Deakin and the Lure of Soho, explores the hidden corners and colourful characters of 1950s and early 60s London Soho, as seen through the eyes of John Deakin (1912 - 1972).

http://www.thephotographersgallery.org.uk/john-deakin-2

At night time photos (400) These are photos that I took around Limerick City for my ideas. For project "The City"

 

CAMERA EXPOSURE MODES

Most digital cameras have one of the following standardized exposure modes: Auto (), Program (P), Aperture Priority (Av), Shutter Priority (Tv), Manual (M) and Bulb (B) mode. Av, Tv, and M are often called "creative modes" or "auto exposure (AE) modes."
Each of these modes influences how aperture, ISO and shutter speed are chosen for a given exposure. Some modes attempt to pick all three values for you, whereas others let you specify one setting and the camera picks the other two (if possible). The following table describes how each mode pertains to exposure:

Exposure Mode	How It Works
Auto ()	Camera automatically selects all exposure settings.
Program (P)	Camera automatically selects aperture & shutter speed; you can choose a corresponding ISO speed & exposure compensation. With some cameras, P can also act as a hybrid of the Av & Tv modes.
Aperture Priority (Av or A)	You specify the aperture & ISO; the camera's metering determines the corresponding shutter speed.
Shutter Priority (Tv or S)	You specify the shutter speed & ISO; the camera's metering determines the corresponding aperture.
Manual (M)	You specify the aperture, ISO and shutter speed — regardless of whether these values lead to a correct exposure.
Bulb (B)	Useful for exposures longer than 30 seconds. You specify the aperture and ISO; the shutter speed is determined by a remote release switch, or by the duration until you press the shutter button a second time.

In addition, the camera may also have several pre-set modes; the most common include landscape, portrait, sports and night mode. The symbols used for each mode vary slightly from camera to camera, but will likely appear similar to those below:

Exposure Mode	How It Works
Portrait	Camera tries to pick the lowest f-stop value possible for a given exposure. This ensures the shallowest possible depth of field.
Landscape	Camera tries to pick a high f-stop to ensure a large depth of field. Compact cameras also often set their focus distance to distant objects or infinity.
Sports/Action	Camera tries to achieve as fast a shutter speed as possible for a given exposure — ideally 1/250 seconds or faster. In addition to using a low f-stop, the fast shutter speed is usually achieved by increasing the ISO speed more than would otherwise be acceptable in portrait mode.
Night/Low-light	Camera permits shutter speeds which are longer than ordinarily allowed for hand-held shots, and increases the ISO speed to near its maximum available value. However, for some cameras this setting means that a flash is used for the foreground, and a long shutter speed and high ISO are used to expose the background. Check your camera's instruction manual for any unique characteristics.

However, keep in mind that most of the above settings rely on the camera's metering system in order to know what's a proper exposure. For tricky subject matter, metering can often be fooled, so it's a good idea to also be aware of when it might go awry, and what you can do to compensate for such exposure errors (see section on exposure compensation within the camera metering tutorial).
Finally, some of the above modes may also control camera settings which are unrelated to exposure, although this varies from camera to camera. Such additional settings might include the autofocus points, metering mode and autofocus modes, amongst others.

http://www.cambridgeincolour.com/tutorials/camera-exposure.htm

About iso shutter speed and aperture

A photograph's exposure determines how light or dark an image will appear when it's been captured by your camera. Believe it or not, this is determined by just three camera settings: aperture, ISO and shutter speed (the "exposure triangle"). Mastering their use is an essential part of developing an intuition for photography

UNDERSTANDING EXPOSURE

Achieving the correct exposure is a lot like collecting rain in a bucket. While the rate of rainfall is uncontrollable, three factors remain under your control: the bucket's width, the duration you leave it in the rain, and the quantity of rain you want to collect. You just need to ensure you don't collect too little ("underexposed"), but that you also don't collect too much ("overexposed"). The key is that there are many different combinations of width, time and quantity that will achieve this. For example, for the same quantity of water, you can get away with less time in the rain if you pick a bucket that's really wide. Alternatively, for the same duration left in the rain, a really narrow bucket can be used as long as you plan on getting by with less water.
In photography, the exposure settings of aperture, shutter speed and ISO speed are analogous to the width, time and quantity discussed above. Furthermore, just as the rate of rainfall was beyond your control above, so too is natural light for a photographer.

EXPOSURE TRIANGLE: APERTURE, ISO & SHUTTER SPEED

Each setting controls exposure differently:
Aperture: controls the area over which light can enter your camera
Shutter speed: controls the duration of the exposure
ISO speed: controls the sensitivity of your camera's sensor to a given amount of light
One can therefore use many combinations of the above three settings to achieve the same exposure. The key, however, is knowing which trade-offs to make, since each setting also influences other image properties. For example, aperture affects depth of field, shutter speed affects motion blur and ISO speed affects image noise.
The next few sections will describe how each setting is specified, what it looks like, and how a given camera exposure mode affects their combination.

SHUTTER SPEED

A camera's shutter determines when the camera sensor will be open or closed to incoming light from the camera lens. The shutter speed specifically refers to how long this light is permitted to enter the camera. "Shutter speed" and "exposure time" refer to the same concept, where a faster shutter speed means a shorter exposure time.
By the Numbers. Shutter speed's influence on exposure is perhaps the simplest of the three camera settings: it correlates exactly 1:1 with the amount of light entering the camera. For example, when the exposure time doubles the amount of light entering the camera doubles. It's also the setting that has the widest range of possibilities:

Shutter Speed	Typical Examples
1 - 30+ seconds	Specialty night and low-light photos on a tripod
2 - 1/2 second	To add a silky look to flowing water Landscape photos on a tripod for enhanced depth of field
1/2 to 1/30 second	To add motion blur to the background of a moving subject Carefully taken hand-held photos with stabilization
1/50 - 1/100 second	Typical hand-held photos without substantial zoom
1/250 - 1/500 second	To freeze everyday sports/action subject movement Hand-held photos with substantial zoom (telephoto lens)
1/1000 - 1/4000 second	To freeze extremely fast, up-close subject motion https://www.youtube.com/watch?v=UecPqm2Dbes

ANNA ATKINS

ANNA ATKINS WORK

 

 

I love Anna's work!

They're pretty amazing!

I planned on doing something

like Anna's work for my project!

 

unfortunately I'm a little bit behind from

other students!

my work will be post up this weekend!

 

 

 

 

 

 

 

 

 

Trained as a botanist, Anna Atkins developed an interest in photography as a means of recording botanical specimens for a scientific reference book, British Algae: Cyanotype Impressions. This publication was one of the first uses of light-sensitive materials to illustrate a book. Instead of traditional letterpress printing, the book's handwritten text and illustrations were created by the cyanotype method. Atkins printed and published Part I of British Algae in 1843 and in doing so established photography as an accurate medium for scientific illustration.

Atkins learned directly about the invention of photography through her correspondence with its inventor, William Henry Fox Talbot. Although she owned a camera, she used only the cameraless photogenic drawing technique to produce all of her botanical images. With the assistance of Anne Dixon, Atkins created albums of cyanotype photogenic drawings of her botanical specimens. She learned the cyanotype printing method through its inventor, the astronomer and scientist Sir John Herschel, a family friend

 

https://www.youtube.com/watch?v=UqON44CLaQM

 

 



ETHAN JANTZER

ETHAN JANTZER'S WORK

 

 

All his work are amazing. I love the way he worked with colours

when you see colours.. they bring a bit of colourful in our lives

 

 

 

 



MAN RAY

MAN RAY'S WORK

 

 

 

 

 

 

Man Ray was best known in the art world for his avant-garde photography. He is noted for his photograms, which he renamed “rayographs” after himself.

• A photogram is a photographic image made without a camera by placing objects directly onto the surface of a photo-sensitive material such as photographic paper and then exposing it to light.
• The result is a negative shadow image varying in tone, depending on the transparency of the objects used.
• Areas of the paper that have received no light appear white; those exposed through transparent or semi-transparent objects appear gray.

In 1999, ARTnews magazine named him one of the 25 most influential artists of the 20th century, citing his groundbreaking photography as well as “his explorations of film, painting, sculpture, collage, assemblage, and prototypes of what would eventually be called performance art and conceptual art“.


http://edknepleyphoto.com/2011/10/17/man-ray-made-me-do-it/




PHOTOGRAMS

I really enjoyed this project! it was so different! no need to camera like we are using these days!

Photograms

The photogram represents a unique art form requiring only the action of light on a photosensitive substrate.
The history of photography is punctuated by practitioners who have developed a technique or style that has become a part of art history.  The first period of “photogram” exploration was to gain scientific record of natural objects (e.g. Anna Atkins).  The second period was a rediscovery of the artistic potential as illustrated by Christian Schad, Man Ray and Lazlo Moholy-Nagy in the Dada, Surrealist and Constructivist periods of art, respectively.
More recently, photogramists have utilized the photogram as a means of artistic expression to produce a wide variety of designs and surreal imagery.
This imagery is being created using traditional silver-gelatin black and white materials and other photosensitive media including cyanotype that are now considered alternative methods. Others are using both negative and positive acting color photographic materials to create photograms.




http://www.deviantart.com/morelikethis/99688136?view_mode=2




http://www.mariaperez.co.uk/page8.htm