ass 8

toolbox ass 2 lenses

The larger the lens, the greater the depth of field will be. The smaller the lens, the more focus on the subject there will be. Telephoto is an example of a smaller where wide angle is an example of a larger.

Toolbox ass 1 lenses

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My name is Dakota fry
My interests out of school are sports mostly play hockey and motocross.
I dont have a camera that i use regularly .
I would like to be a fire fighter and this course for me is just for fun.
I learn best by having picuters in front im a visual learner.
& and i dont have admire for photos.

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indoor

out door

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WALKER EVANS made his first serious photographs in 1928, at the age of twenty four. His attempt to become a photographer seems to have been almost a willful act of protest against a polite society in which young men did what was expected of them. His own background and education would seem more likely to have produced a broker, or a publisher, or perhaps an advertising executive, which his father had been.
Evans was brought up in the proper Chicago suburb of Kenilworth, where he enjoyed the temporal comforts allowed by modest affluence, and learned to play a moderately competent game of golf. When his parents separated he moved to New York with his mother, and continued his education at Loomis, Andover, and Williams. He enjoyed Andover; there he discovered literature and first entertained the idea of being a writer himself. He found Williams no challenge. After a year of free and wide ranging reading in the library he dropped out and returned to New York, where he lived with his mother and worked as a night attendant in the map room of the Public Library. In 1926 he went to Paris, where he was an auditor at the Sorbonne. He also read Flaubert and Baudelaire, saw the paintings of the School of Paris, and visited Sylvia Beach's bookshop, where he occasionally saw but never dared speak to James Joyce. I like this image becuase it has very nice colors in the picture it also has a nice scene in the background.

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Roger Fenton (1819-1869) was England’s most celebrated and influential photographer during the 1850s, the “golden age” of this radically new medium. Fenton’s majestic pictures of cathedrals, country houses, and varied countryside were without peer in England—as were his views of the royal castles and Houses of Parliament that embodied Britain’s power But Fenton’s choice of subjects ranged more widely still: he was among the first to photograph the Kremlin and other landmarks of Moscow and Kiev; he was commissioned in 1855 to document the Crimean War, producing early war photographs; and he created theatrical Orientalist costume pictures and a startling series of lush still lifes.

Fenton had first studied law and painting, but soon after he took up the camera he was making photographs that were technically superb and highly original in their handling of composition, perspective, atmosphere, and light. Always he strove to demonstrate that photography could equal the art of painting and even surpass it. He was the force behind the founding of the Photographic Society (later the Royal Photographic Society), which worked to advance the profession and encouraged the exhibition of members’ works throughout Britain. In a career of a single decade, Fenton did much to transform photography into a medium of powerful expression and visual delight.

This exquisitely produced book—the first comprehensive publication on Fenton in almost twenty years—presents eighty-five of the artist’s finest photographs and discusses every

aspect of his work and his remarkable career.