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>> Every Photo is a Story >> Part 4
Before getting started:
Watch "Every Photo is a Story" Part 4: Explore the Photographer's Era
Review the Top Tips for Part 4: Explore the Photographer's Era:
Camera angle: Camera’s position in relation to the subject.
Composition: Arrangement of the subject elements in an image.
Contrast: Relative difference between the lightest and darkest part of an image.
Depth of field: Range of distances in which the photographic subject can be captured visually with sharpness.
Enframement: “The arrangement of a view through a cut vista-opening or between foreground trees may give pictorial enframement…The fundamental effect produced is concentration of the observer’s attention…” Source: Henry Vincent Hubbard and Theodora Kimball, An Introduction to the Study of Landscape Design (New York: The Macmillan Company, 1917), 90.
Perspective: Technique of representing depth, especially on a two-dimensional surface, through the use of vanishing points, foreshortening, and aerial effects. Source: Richard Pearce-Moses, A Glossary of Archival and Records Terminology (Chicago: Society of American Archivists, 2005.)
Point of view: The photographer’s perspective or relationship to the image.
Sequence: Serial arrangement of images that presents a story, explains a process, or documents an activity.
* Unless otherwise noted, glossary definitions adapted from: Mary Lynn Ritzenthaler and Diane Vogt-O’Connor, Photographs: Archival Care and Management, (Chicago: Society of American Archivists, 2006.)
In Part 4: Explore the Photographer's Era, we looked at how Johnston framed views in the garden, similar to the enframement diagram found in a landscape design book of that era.
We compared the diagram to two photos in the Johnston lantern slides, including this one.
1. Find three more examples in the Johnston lantern slides where she frames the view similarly to either of the enframement diagrams. Explore the entire collection of Frances Benjamin Johnston lantern slides.
2. After you locate three examples, study each image carefully. In your opinion, what makes this an effective composition? After you complete Exercise 2, come back and think about the similarities and differences between the enframement diagrams and the perspective diagram.
In Part 4: Explore the Photographer's Era, we also looked at how Johnston captured views similarly to a perspective diagram of an alley of trees found in a book on composition from that era.
We compared the diagram to a photo in the Johnston lantern slides below.
1. Find three more examples in the Johnston lantern slides where she frames the view similarly to the perspective diagram showing the alley of trees. (Remember, the image doesn't have to include trees or a road. Think about what other landscape features can create the same effect.) Explore the entire collection of Frances Benjamin Johnston lantern slides.
2. After you locate three examples, study each image carefully. In your opinion, what makes this an effective composition? What similarities and differences do you see from the enframement diagrams in Exercise 1?
In Part 4: Explore the Photographer's Era, we introduce the idea of landscape plans as a tool for researchers trying to understand a garden.
1. Look closely at the plan of the Blue Garden of Newport, Rhode Island. (Printing the plan is recommended for the next phase of the exercise.)
3. With the plan in hand, can you find each photograph's place on the map? Start with physical landmarks on the photos and try to match them to the map. (Printing the photos may be helpful as well.) Can you map the garden through Johnston's slides?
4. After you match as many photographs as you can to locations on the garden plan, think about the sequence of the slides. How would you show these slides to an audience in order to tell the story of the Blue Garden?
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