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Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside into the landscapes. There is only the big spotlight in the sky to work with, and it decides where it will be, not us. bert Adams rth Jetty, mouth of the Columbia River ver on left, ocean on right 90

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Page 1: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Lighting:While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside into the landscapes. There is only the big spotlight in the sky to work with, and it decides where it will be, not us.

Robert AdamsNorth Jetty, mouth of the Columbia RiverRiver on left, ocean on right

1990

Page 2: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Lighting:While the light may be beyond our control to move, it is not beyond our control to predict its behavior, and be ready of the subtle changes in lighting effect it offers us.

Robert AdamsSouthwest from the South Jetty, mouth of the Columbia River

1990

Page 3: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Lighting:We know, for example, that the sun moves around the sky from east to west. It is at its maximum height at noon, when it shines from the south. We know that it rises and falls as the day progresses, and we know that the color changes as it sets.

Robert AdamsUntitled, Denver

1970-74

Page 4: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Robert Adams Untitled, Denver 1970-74

Page 5: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Lighting:Although we cannot alter the natural movement of the sun, we can move ourselves and our cameras relative to the sun, thus dramatically changing the visual (lighting) effect we capture in our pictures.

Robert AdamsUntitled, Denver

1970-74

Page 6: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Lighting:Deciding what to do with the sun and the reflections or shadows it creates is central to creating mood in landscapes.

Robert AdamsUntitled, Denver

1970-74

Page 7: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Robert Adams

Untitled, Colorado1994

Page 8: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Robert Adams

Untitled, Colorado1994

Page 9: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Lighting:We are not in the business of showing what a place looks like, but rather of interpreting how we feel about the landscape, or relate to it. To achieve these less easily definable results, the creative and considered use of light is essential.

Robert AdamsEdge of the San Timoteo Canyon, San Bernardino County, California1978

Page 10: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Lighting:There are two forms of sunlight. Firstly there is the direct light from the sun itself. Secondly, there is the reflected light which reaches us the long way by bouncing off the blue sky before lightening up those areas the direct sunlight cannot reach.

Robert AdamsUntitled, Colorado

1994

Page 11: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Robert Adams Remains of old growth forest, Washington 1990

Page 12: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Robert Adams Untitled, Denver 1970-74

Page 13: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Lighting:Soft lighting can be used to create wonderfully low key monocromatic images.

Manuel Alvarez BravoPortrait of the Eternal

1935

Page 14: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Manuel Alvarez Bravofire workers

1935

Page 15: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Manuel Alvarez Bravo First Solitude 1956

Page 16: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Manuel Alvarez Bravo Somewhat Gay and Graceful 1942

Page 17: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Manuel Alvarez Bravo Landscapes with grass 1940s

Page 18: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Manuel Alvarez Bravo Laughing Mannequins 1930

Page 19: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Manuel Alvarez Bravo Running boy 1950s

Page 20: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Manuel Alvarez Bravo El color 1966

Page 21: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Manuel Alvarez Bravo Striking Worker, Assassinated 1934

Page 22: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Lighting:In this photograph the shadows play a key role in creating the drama.

Manuel Alvarez BravoMan from Papantia

1934

Page 23: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Manuel Alvarez BravoFrida Kahlo in Alvarez Bravo's Studio

1930s

Page 24: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Tina ModottiCampesinos

1926

Page 25: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Tina ModottiMexican peasants reading El Machete 1928

Page 26: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Tina ModottiHands of the puppeteer

1929

Page 27: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Tina ModottiWoman of Tehauntepec carrying jecapixtle

1929

Page 28: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Tina ModottiMother and child, Tehuantepec

1929

Page 29: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Tina Modotti

Diego Rivera and Frida Kahlo in the May Day march 1929

Page 30: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Tina Modotti

Woman with olla 1926

Page 31: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Tina Modotti

Stadium, Mexico City c. 1927

Page 32: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Tina ModottiStaircase, Mexico

1925

The photograph is entitled "Staircase," but it is only in the most abstracted sense an architectural photograph; it is concerned with a different kind of structure, related perhaps to folded paper birds and geometric puzzles. It is a picture of space becoming pattern – a construction of lines and triangles stretched very tightly toward two dimensions - in which depth is both precisely described and subtly denied.

Page 33: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Tina ModottiBandolier, corn, guitar

1927

Page 34: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Tina ModottiJulio Antonio Mella's typewriter

1928

Page 35: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Tina ModottiTelephones wires 1925

Page 36: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Paul StrandBlind

1916

Page 37: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Paul Stranduntitled

1916

Page 38: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Paul Strandchurch1944

Page 39: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Walker Evanschurch1944

Page 40: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Paul StrandCity Hall ParkNew York

1915

Page 41: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Paul StrandThe Family, Luzzara, Italy1953

Page 42: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Paul StrandHarold GreengardTwin Lakes, Connecticut1916

Page 43: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Paul StrandLathe No. 3,Akeley Shop, New York

1923

Page 44: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Paul StrandLeaves ii

1929

Page 45: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Paul Stranduntitled 1915

Page 46: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Paul StrandWall street 1915

Page 47: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Paul StrandPortrait, Washington Square Park

1916

Page 48: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Paul StrandWhite Fence

1916

Page 49: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 50: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 51: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 52: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 53: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 54: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 55: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 56: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 57: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 58: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 59: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 60: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 61: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 62: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 63: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 64: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 65: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 66: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography

Page 67: Photography Lighting: While we have had control over lighting in the studio, it may at first seems that no such controls are available once we go outside

Photography


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