English for Photographers. Хрестоматия для студентов 1-2 курсов специальности 071301 «Народное художественное творчество», специализации «Фототворчест

ББК 81.2Англ(я73)

Щ64

Рецензенты:

доцент кафедры фото-видеотворчества Кемеровского государственного университета культуры и искусств Е. Ю. Светлакова,

и. о. заведующей кафедрой иностранных языков Кемеровского государственного университета культуры и искусств, кандидат культурологии М. В. Межова

Утверждена на заседании кафедры иностранных языков 08.11.2010 г., протокол № 3.

Рекомендована к изданию учебно-методическим советом Социальногуманитарного института 23.11.2010 г., протокол № 3.

Щербинин А. А., Трифонова Т. С.

Щ64 English for Photographers [Текст]: хрестоматия для студентов 1–2 курсов специальности 071301 «Народное художественное творчество», специализации «Фототворчество». – Кемерово: КемГУКИ, 2011. – 108 с.

В хрестоматии представлены тексты на английском языке по тематике фототворчества. Рекомендуется студентам, изучающим фотографию, а также для повышения профессиональной квалификации фотографов.

ББК 81.2Англ(я73)

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Holography………………………………………………………………… 28 Dispersions and digital era (1990 – now)……………………….………… 28 The digital revolution …………………………………………….……….. 28

Portrait …………………………………………………………………..… 49

IV. Photographic image-forming devices…………………………..…… 51 Camera……………………………………………………………….……. 52 Camera obscura ……………………………………………………..…….. 54 Video camera ……………………………………………………………… 55 Major components ………………………………………………………… 58

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ВВЕДЕНИЕ

Данная хрестоматия представляет собой пособие по чтению на английском языке и предназначена для студентов 1–2 курсов специальности 071301 «Народное художественное творчество», специализации «Фототворчество».

Цель хрестоматии заключается в получении дополнительной информации по специальности посредством знакомства с аутентичными текстами. Задачей хрестоматии является закрепление, развитие и совершенствование навыков чтения на иностранном языке, усвоение специальной лексики.

Следует отметить, что тематика текстов хрестоматии – фотография́ (фр. photographie от др.-греч. φως / φωτος – свет и γραφω – пишу; светопись – техника рисования светом) – это процесс, заключающийся в получении и сохранении статичного изображения на светочувствительном материале (фотоплёнке или фотографической матрице) при помощи фотокамеры. Подобранные тексты представляют актуальную информацию по истории и характерных чертах фототворчества.

На современном этапе развития человечества чтение, по мнению С. К. Фоломкиной, является одним из важнейших средств получения информации. Научить читать на иностранном языке означает не только создать предпосылки для расширения исполнения общего образования, но и дать возможность каждому специалисту своевременно получать новую информацию, что в современной науке и технике является условием успешной профессиональной деятельности. Обучение чтению на иностранном языке является одной из основных задач курса «Иностранный язык» в неязыковом вузе.

В неязыковом вузе обучаемые овладевают языком разных жанров научной и справочной литературы (монографии, статьи, инструкции, бюллетени, патенты, техническая и другая документация и т. д.). Умение работать с литературой является базовым умением при осуществлении

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любой профессиональной (практической и научной) деятельности, а самостоятельная работа по повышению квалификации или уровня владения иностранным языком чаще всего связана с чтением.

По структуре хрестоматия состоит из следующих разделов: «Фотография», «История фотографии», «Типы и стили фотографии», «Фототехника», «Как стать профессиональным фотографом», «Выдающиеся фотографы». Хрестоматия сопровождается списком литературы, англорусским словарем терминологического характера, который можно использовать при чтении текстов, входящих в хрестоматию.

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I. PHOTOGRAPHY

Photography is inextricably interwoven into modern life. Photographs are all around us; we see them everywhere, and, since cameras have become a commonplace feature of cell phones, we are increasingly taking photographs on a daily basis. But photography is not just about pictures – much of technology relies on photographic processes. The creation of microprocessors, circuitry, and the masks used in manufacturing microchips and processors – writing with light onto a light-sensitive substrate – is fundamentally photographic.

Photography’s capacity for immediacy of impact and honesty of presentation gives it the power to enhance our understanding of situations and influence our opinions. This is because of the primacy of visual perception: we depend on sight more than on any other sense for our survival. Moreover, a photograph can convey almost any human emotion, even complicated interpersonal tensions, in an instant. As a result, despite the power of the written word, it is still true that pictures dominate international communication. The point is not that a picture is worth a thousand words, but that it can be understood in a thousand languages. While you may not agree with philosopher and cultural theorist Paul Virilio (1932 –) that photographs are a virus on the planet, it is true that the typical city-dweller is bombarded by photographs every waking moment of his or her life.

Photography is the process of making pictures by means of the action of light. Light patterns reflected or emitted from objects are recorded onto a sensitive medium or storage chip through a timed exposure. The process is done through mechanical, chemical or digital devices known as cameras. Lens and mounting of a large-format camera. The word comes from the Greek words ...

phos ("light"), and ...... graphis ("stylus", "paintbrush") or ..... graphe, together meaning "drawing with light" or "representation by means of lines" or "drawing". Traditionally the product of photography has been called a photograph. The term photo is an abbreviation; many people also call them pictures. In digital photography, the term image has begun to replace photograph (The term image is traditional in geometric optics).

Uses of photography

Photography has gained the interest of many scientists and artists from its inception. Scientists have used photography to record and study movements,

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such as Eadweard Muybridge's study of human and animal locomotion (1887). Artists are equally interested by these aspects but also try to explore avenues other than the photo-mechanical representation of reality, such as the pictorialist movement. Military, police and security forces use photography for surveillance, recognition and data storage. Photography is used to preserve memories and as a source of entertainment.

By the last quarter of the 19th century, photographers around the world had supplied ample proof of the camera’s unique ability to record people and places. At the same time, there were others who were taking pictures for a different purpose. Convinced that the camera could be used to go beyond simply recording what was in front of the lens, these photographers, both amateur and professional, were determined to produce images of artistic merit. Believing that photographs could be every bit as beautiful and intriguing as paintings, they pursued a simply stated goal. Their aim was to convince art critics, other photographers, and the general public that photography should be regarded as a legitimate form of art.

The photographs that these early artistic photographers produced were often little different from paintings. At the time, people regarded the world’s great paintings as the highest form of visual art. It was only natural that artistic photographers began by trying to produce the same kinds of images as those created by the greatest artists. They chose the same types of themes, settings, and compositions. Like painters, they emphasized the contrasts between dark and light tones (called chiaroscuro). Many focused almost exclusively on simple but lovely, often sentimental, subjects. Some portrayed characters and incidents in fables, myths, or the Bible, while others attempted to create genre images, pictures that showed people and moments from everyday life. Still others, in the style of well-known painters, created allegorical photographs. (In an allegory, the figures represent universal human traits – such as heroism, chastity, envy, lust, or despair – not specific individuals.)

By the 1930s and early 1940s, the new art photography had gained wide acceptance. Regular exhibitions of modernist works were increasingly held and were well attended. At the same time, photographers such as Edward Weston and Paul Strand applied their purist or straight approach to producing images of great artistic merit. It became clear that rather than dying out with the end of the Photo-Secession, art photography had not only survived but had taken photography in exciting new directions. The fact that photographs are

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today proudly displayed alongside paintings, sculpture, and other works of art in museums and galleries throughout the world provides testimony to the achievements of both the early pictorialists and those who extended their vision.

II. HISTORY OF PHOTOGRAPHY

Invention

For centuries images have been projected onto surfaces. Artists used the camera obscura and camera lucida to trace scenes as early as the 16th century. These early cameras did not fix an image, but only projected images from an opening in the wall of a darkened room onto a surface, turning the room into a large pinhole camera. The phrase camera obscura literally means darkened room.

The first photograph was an image produced in 1826 by the French inventor Nicephore Niepce on a polished pewter plate covered with a petroleum derivative called bitumen of Judea. Produced with a camera, the image required an eight-hour exposure in bright sunshine. Niepce then began experimenting with silver compounds based on a Johann

Heinrich Schultz discovery in 1724 that a silver and chalk mixture darkens when exposed to light. In partnership, Niepce, in Chalon-sur-Saone, and Louis Daguerre, in Paris, refined the existing silver process. In 1833 Niepce died of a stroke, leaving his notes to Daguerre.

While he had no scientific background, Daguerre made two pivotal contributions to the process. He discovered that exposing the silver first to iodine vapour, before exposure to light, and then to mercury fumes after the photograph was taken, could form a latent image. Bathing the plate in a salt bath then fixes the image. In 1839 Daguerre announced that he had invented a process using silver on a copper plate called the Daguerreotype. A similar process is still used today for Polaroids. The French government bought the patent and immediately made it public domain.

William Fox Talbot had earlier discovered another means to fix a silver process image but had kept it secret. After reading about Daguerre's invention Talbot refined his process, so that it might be fast enough to take photographs of people. By 1840, Talbot had invented the calotype process. He coated paper sheets with silver chloride to create an intermediate negative image. Unlike a

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