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Black and white photo of building's wall and two windows. An old lady stands behind one window and another person behind the other one. We can't see their faces, it's too dark inside. There is an American flag hanging between the windows outside. Wind is blowing so the flag is flattering.
Artist: Robert Frank
Materials: gelatin silver print, 50mm
Place: Parade, Hoboken, New Jersey
Date: 1955
Influence: Frank's travel across the United States on a Guggenheim Fellowship, American culture.

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3x4 photo of two children eating ice cream in cones: a girl of 4-5 years with light fair hair and a plush toy in another, she's looking directly into the camera; and a 7-8-year-old boy, he's distracted and looking afar. They're eating messily: ice cream is on their faces, hands, clothes, legs and on the ground. There is a red car bumper on the left part of photo. In the background we can see people sitting on the benches, probably it's a bus stop. Half of the photo is taken up by the sea view with a lighthouse on the right side and clear sky. It is a late afternoon.
Place: New Brighton, Merseyside
date: 1983-1985
Materials: medium format camera (35mm) and a daylight flash, saturated colour; inkjet print on paper, mounted on aluminium.
Influences: American colour photography of William Eggleston and Garry Winogrand
Purpose: to potray an economically depressed working class looking for cheap thrills during Margaret Thatcher times.
I like this photo and especially the series, it contains good point of view on social problem through reflections of people's usual life.

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leaves on a photographic paper exposed to the sunlight through the window

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cameraless photos on the locations, time: 15-21 sec

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using photoshop features

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using the dark room and objects on photographic paper

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Colour portrait photo of Miley Cyrus for 'You Magazine'. It's a headshot. Miley looks straight into the objective of a camera, her left eye is closed. She bites her leather jacket lapel and holds it with right hand. Photo is dynamic. Light is bright, background is white.
Artist: Rankin
Date: 2013
Purpose:
I don't like this photo because I don't like 2013 tendencies. On the other hand, it is a perfect example of 2010's fashion and vibes.

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do not bring food and drinks, use masking tape for paper background, do not touch hot beauty dish surface, watch out wires on the floor, do not swop rolls on your own, do not use broken equipment.

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using phone camera and college locations

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Lillie and her rag doll on Pike Street, 1983, from 'Streetwise'

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Lillie and her rag doll on Pike Street, 1983, from 'Streetwise'

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Black and white photo of runaway girl of age 10, who lives on the streets now. She is the main focus here. She's smoking cigarette while holding a toy, which makes contrast and reminds us that she is still a child in these harsh circumstances. We can see a wall behind him with word 'dope' and something that looks like ending of 'fucked'. It makes us to understand better in what world this girl lives. The man in the background is walking away, so it gives more loneliness to the picture.
Artist: Mary Ellen Mark
Place: Streets of Seattle, Washington
Date: 1983
Materials: silver gelatine print
Purpose: to show a hidden life of homeless children in the 'most liveable city' of America
I like this photo because of impression what it makes and a strong contrast that helps to build up the idea of picture.

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comparison of the photo from 'The americans' and photo from 'Streetwise'

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comparison of the photo from 'The americans' and photo from 'Streetwise'

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Mary Ellen Mark’s photo and Robert Frank’s.
Both documentary pictures are black and white and both are made in America. Still they have polar opposite views on life in the country. While Ellen Mark does research on socially low level of people’s life (children’s to be certain), Frank is fascinated by urban culture of US. I would say Mark is more involved in dialogue with her models and Frank is observing type of artist.
However, there is one thing in common between the pictures: some mystery and dramatic feeling they give you.

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lighting types: rembrandt, high-key (1\6)

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lighting types: rembrandt, high-key (1\6)

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(1908-2004)
Born in Chanteloup-en-Brie, Seine-et-Marne, Henri Cartier-Bresson developed a strong fascination with painting early on, and particularly with Surrealism. In 1932, after spending a year in the Ivory Coast, he discovered the Leica – his camera of choice after that moment – and began a life-long passion for photography. In 1933, he had his first exhibition at the Julien Levy Gallery in New York. He later made films with Jean Renoir.

Taken prisoner of war in 1940, he escaped on his third attempt in 1943 and subsequently joined an underground organization to assist prisoners and escapees. In 1945, he photographed the liberation of Paris with a group of professional journalists and then filmed the documentary Le Retour (The Return).

In 1947, with Robert Capa, George Rodger, David ‘Chim’ Seymour and William Vandivert, he founded Magnum Photos. After three years he had spent travelling in the East, in 1952, he returned to Europe, where he published his first book, Images à la Sauvette (published in English as The Decisive Moment). He explained his approach to photography in these terms, ‘”For me the camera is a sketch book, an instrument of intuition and spontaneity, the master of the instant which, in visual terms, questions and decides simultaneously. It is by economy of means that one arrives at simplicity of expression.”

From 1968, he began to curtail his photographic activities, preferring to concentrate on drawing and painting. In 2003, with his wife and daughter, he created the Fondation Henri Cartier-Bresson in Paris for the preservation of his work. Cartier-Bresson received an extraordinary number of prizes, awards, and honorary doctorates. He died at his home in Provence on 3 August 2004, a few weeks short of his 96th birthday.

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12 seconds

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12 sec - 9 sec - 6 sec - 3 sec

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I really liked the pinhole technique, because you don't need real camera, but it's difficult to predict what you've got as a result. So I prefer to take more time for it to find the best option. The printing thing is a good alternative for doing photos you can touch

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Photoshop lets you to add more creativity to photos and is easier in using than I thought. And it is really important to know composition rules to take better photos and be able to see the way to improve the idea. However, you need a lot of practice to use Photoshop confidently with all of its features and possibilities.

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Unexpectedly I liked it more than I thought I would. Especially all this play with lighting types. Short and broad work very well with different types of faces, split makes impressive effect. But to be honest I enjoy shooting outside more because it seems naturally, live and you can feel connection with the world. On the other hand, there are more ways to experiment in the studio, because you have all types of lighting you could have and you could not be bothered by surrounding problems (people, weather, place).

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- Man Ray
- Michael Wesely
- Richard Avedon
- Phillip Lorca DiCorcia
- Martin Parr
- Henri Cartier-Bresson

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using adjustment layers and masks, correcting tool

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is an important factor. Photographers talk with their messages to people. If there is no audience, then there's no viewers, no perception and no purpose of photo.

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His audience are magazine readers. He portrays a strong and beautiful woman and the photo is aimed on female audience which is looking for not delicate and soft type of beauty.

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His audience are sports fans, newspaper and magazine readers, who are looking for emotions in sport, for strong expressions in action.

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His audience are all people, who don't know about what's going on in their times. People can empathise by looking at the photos and compare with themselves.

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Peter Sellers as Dr. Strangelove on the set of "Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb"

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His audience is everyone, who adores art and photography

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Her audience are her clients and publications readers. I think general aim of editorial photography is to impress the viewer and make him to remember the photography.

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weddings, family life, portraits. His audience are his clients. Photographer communicates with them to get pictures they want.

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If you taking pictures in daytime with good weather conditions, then use manual mode. If there's too bright or too dark, the object is far or close, or is moving, then you have to use your own settings (ISO, aperture, shutter speed). Manual mode is fine for street photography. ISO controls how sensitive the sensor is to the light and also controls the noise on pictures. Aperture lets you choose how much light is allowed on a picture, measured in F-stops. Shutter speed controls the amount of light passing through and blur your photo. Measured in seconds and fractions of seconds. Due to these settings your photo can be overexposed, underexposed and right exposed.

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manual mode:
shutter speed - 1\125
aperture - f18
iso - 1600