ABGINEH PHOTOGRAPHIC STUDIES INSTITUTE
موسسه تحقیقات و مطالعات عکاسی آبگینه
ABGINEH PHOTOGRAPHIC STUDIES INSTITUTE
موسسه تحقیقات و مطالعات عکاسی آبگینه
The 7th international photographic conference of Dum Dum
The 7th international photographic conference of Dum Dum
In the opening ceremony Mr. Jatin Sarkar the director of the Institute welcomed the guests and then the chairman of Dum Dum Association ,Mr Benu Sen delivered a speech. The secretaries’ report was read by Mr. B. Sengupta and then slides under the title of “A Trip Through the Art of Photography” were displayed. On the first day of the conference participants presented their articles.
Six Iranian photographers from Abgineh photographic Research & Studies Institute (APRSI) , Mr. Mahdi Fathi ,Mr.Ali Karimi, Mr.Majid Bondar, Mr. Masoud Ahmadzadeh, Mr. Hashim Javadzadeh and Mr. Ebrahim Bahrami were invited .They displayed their works in sub-programs. Some articles under the titles: “ the role of Imagination in Creative Photography and Aesthetics” , “ Art and Technology”, “ Photo Journalism” “From Analogue to Digital Expression”, ´Use of Visual Media in Educational Technology”, “ Documentary Photography” and “Photography in Post-modernism Era” etc. were read and submitted and were published in the Conference Book.
حضور عکاسان خراسانی در هفتمین کنفرانس بین المللی
هنر عکاسی هند
هفتمین کنفرانس بین المللی هنر عکاسی هند در شهر کلکته هندوستان برگزار گردید. این کنفرانس که به همت انجمن عکاسی دام دام هند و حمایت مالی اتحادیه ها و انستیتو فیلم و تلویزیون ( ساتیاجیت رای فیلمساز شهیر هند ) در محل سالن اجتماعات این موسسه برگزار گردید از شش عکاس خراسانی از موسسه تحقیقات و مطالعات عکاسی آبگینه بنامهای ( هاشم جوادزاده – مهدی فتحی– مجید بندار مقدم –ابراهیم بهرامی–علی کریمی رستگار و مسعود احمدزاده ) دعوت نمود تا علاوه بر قرائت مقالات تخصصی عکاسی نمایشگاهی از آثار خود را در بخش جنبی کنفرانس به نمایش بگذارند.
در مراسم افتتاح کنفرانس پس از خوش آمد گویی (جاتین شارکر) مدیر انستیتو ساتیا جیت رای SRFTI رئیس انجمن عکاسی دام دام PAD آقای( بنو سن) به سخنرانی پرداخت .
گزارش منشی های جلسه توسط (بسواتوش سنگوپتا) قرائت شد و در ادامه عکسهایی با عنوان (سفری در هنر عکاسی) بصورت اسلاید به نمایش در آمد . سپس طی برنامه روز نخست میهمانان به قرائت مقالات خود پرداختند .
مقالات ارائه شده از سوی نمایندگان ایرانی با عناوین عکاسی انسان گرا – عکاسی مستند اجتماعی – نگاهی به عکاسی معاصر ایران و ارتباط تصویری در ایام برگزاری کنفرانس قرائت گردید که این مقالات در کتاب کنفرانس به چاپ رسیده است . دراین کنفرانس مقالاتی ازعکاسان دیگر کشورها با موضوعات مختلف قرائت گردید . استقبال از نمایشگاه عکاسان ایرانی در حاشیه کنفرانس نیز بسیار خوب بود بطوریکه عکاسان کشورهای مختلف ساعتها به نقد و بررسی آثار به لحاظ تکنیک و محتوای عکسها می پرداختند. در حاشیه این کنفرانس نیز فیلم ( لیلا ) از طرف انستیتو ساتیا جیت رای از تولیدات سینمای کشورمان نیز به نمایش در آمد که مورد استقبال میهمانان خارجی قرار گرفت.
عکاسان ایرانی شرکت کننده در کنفرانس از شهرهای بنارس – آگر ا کلکته - دهلی نو و جیپور نیز بازدید نمودند و به تهیه عکس پرداختند که نمایشگاهی از آثار آنان در ایران . هند و بنگلادش به نمایش درخواهد آمد.
عمدة مقالات ارائه شده در این کنفرانس عبارت بوداز : زیبایی شناسی خلاق در عکاسی– موضوعات مختلف هنر و تکنولوژی–– فتو ژورنالیسم – از آنالوگ تا دیجیتال – رسانه های تصویری در تکنولوژی آموزشی – عکاسی در دوران پست مدرنیسم – عکاسی مستند اجتماعی و ...
Photographic Design; Camera
Choice
by Brian D. Ratty
| As a photographer, whether I am making pictures for myself or for a client, I am always directly involved in the designing process. Like all aspects of visual design, photographic design requires planning and decision making. After I have an idea for a picture, I must look at my subject, decide what I want to emphasize, then plan how to photograph it for maximum impact. As you might expect, there are a number of decisions that have to be made before making any picture. But if you take the time to choose your tools carefully, and make practical as well as creative choices, you'll be confident of getting the results you wanted.
One of the first decisions that you must make in the photographic design process is your choice of tools. "Camera Vision", that is, seeing photographically, will vary with the type of camera being used. Your choice may be a compromise between a camera with which you are most comfortable and the one that is best suited for the job. You may want to use a "35mm Single Lens Reflex" (SLR) because it is convenient for action photography, or you may choose a "Medium Format" camera because of its larger negative size. A medium format camera uses a film format that is 2 x 2 inches square or larger. These types of cameras use the "see through the lens system" just like the 35mm SLR. This system allows you to see an exact view of the scene you are photographing. Another big advantage of this type of camera is its flexibility. You can expose part of a roll of film in color, then exchange the film compartments and shoot more pictures in black and white. Another excellent choice, especially for the studio and product photography, is the "View Camera". These cameras use sheet film that measures 4 x 5 inches or larger. These large film sizes can produce negative and positive images that can be greatly enlarged. 16 x 20 inch or larger prints can be made without any loss of image quality. But the main advantage of the view camera is its ability to control the position and shape of objects on the ground glass through movements of the camera's front and back planes.
These movements are just as useful for still life photographs as they are for architectural photographs. The view camera allows you to control the perspective of buildings and correct the distortion that you get when using other types of camera.
The size of the film that the camera uses can be an important design consideration if your photographs are going to be greatly enlarged in their final form.
When comparing the three film formats side by side, we can see that the smaller the negative, the more it must be enlarged to obtain a usable size. An enlarged 35mm negative will often show visible grain, and won't be as sharp as the larger formats. This may not be a problem if your photographs are destined for use in a magazine. But if the final result is a poster of a mural, then you should consider a larger film format. Film formats have different proportions as well as different sizes. The 35mm picture is a longer rectangle than a 4x5 inch picture. Between the 35mm and the 4x5 cameras are several medium format cameras which produce a variety of different image sizes with different proportions, including the popular square format. The proportions of the film format, that is, the shape of the format, will affect the way you compose your pictures. For example, a rectangular format stimulates our eye movement inside the frame. Dynamic composition can be achieved without difficulty. The square format offers a unique design challenge. If not carefully composed, the photograph may appear static, because its shape encourages our eyes to focus on the center of the picture. Therefore, design elements within the frame must be organized to increase the visual energy of the photograph. From a practical standpoint, the choice of a camera and format may depend upon the proportions of the photograph in its final context. Besides the choice of a camera, and thus the format, your camera vision is also dependent on the choice of a lens. That is our next lesson.
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Digital Photography | ||||||
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Introduction Images are all around us! We see them everyday, where we live, where we work, where we play. Images that move, images that sell, images that motivate, images that inform, images that teach, images that make us laugh…or cry. Some images are powerful while others are fragile; pictures can make us buy, think, act, react or just marvel at their beauty. Some scream out with messages…while others only play a background role in our lives. Images can be big…or small, colorful…or monochrome, funny…or sad, uplifting…or just riveting.
My camera bag is full of more then just cameras; it’s full of photographic tools and concepts that I use in crafting my images. And the great thing about these concepts is for the most part they are free and can be easily learned and used by other photographers. We have a lot to cover, so let’s get started! هویت فرهنگی در رسانه عکس
برای پرداختن به هویت فرهنگی دررسانه عکس ابتدا بایستی به تعریفی از فرهنگ پرداخت. فرهنگ از دو جزء (( فر)) و((هنگ)) تشکیل شده است. (( فر)) به معنای بالا و ((هنگ)) به معنای کشیدن و برکشیدن می باشد و بعضی این کلمه را به معنای شکوه ارزشمند معنی کرده اند. حکیم فرزانه توس فرهنگ را به معنی دانش و هنر تعریف می کند. زدانا بپرسید پس دادگر که فرهنگ بهتر بود یا گهر چنین داد پاسخ بدو رهنمون که فرهنگ باشد زگوهر فزون که فرهنگ آرایش جان بود زگوهر سخن گفتن آسان بود گهر بی هنر زاروخوارست و شست به فرهنگ باشد روان تندرست اهل تحقیق بیش از 160 نوع تعریف از فرهنگ جمع آوری کرده اند که این امر دلالت بر اهمیت موضوع فرهنگ دارد. آنچه که ما امروزه از آن نام می بریم همانند فرهنگ اجتماعی انسانی بومی و محلی اقتصادی حقوقی کار رانندگی و... همه جزو تقسیم بندیهای فرهنگ محسوب می گردند. هر قوم و هر ملتی فرهنگ خاص خود را دارد وهمچنین ویژگیهای مختص به خود شرایط اقلیمی جغرافیایی طبیعی تاریخی آداب ورسوم باورها اعتقادات و بویژه زبان در تنوع فرهنگ ها تاثیر مستقیم دارند ازجایی که فرهنگ هر ملت برخواسته از عمق و وجود آن ملت است و در طی سالها شکل گرفته است قابل تجزیه نیست و امکان جدا کردن آن وجود ندارد. شاخص ترین عنصرهر حوزه فرهنگی زبان و ادبیات است که از آن به عنوان میراث معنوی بشری یاد می شود. اگر نگاهی واقعگرا و عمیق به گذشته داشته باشیم به سهولت در می یابیم که تمامی یا اکثر نمادهای فرهنگی ما درآثار گذشتگان نهفته شده این آثار در برگیرنده هنرهایی همانند معماری مجسمه سازی آثارموزه ای هنرهای سنتی و تجسمی و موضوعات مردمشناسی و مردم گفتاری که در برگیرنده آداب و رسوم باورها و اعتقادات و فولکلور ما اااااااااااا می باشند. ا هر شیئی تاریخی حامل پیامی است و در عین بی زبانی به هزار زبان سخن ا اااااااااااااااااامی گوید. این پیام می تواند چگونگی زندگی کردن تلاش نبرد انسان برای زنده اااااااااااااااااماندن و غلبه بر طبیعت را القاء کند با مطالعه در این آثار می توان به بسیاری از ااااااااااااااااناگفته های تاریخی دست پیدا کرد. هر شیئی تاریخی ورقی از تاریخ است حتی یک قطعه سفال می تواند در روشن شدن و شفاف بودن تاریخ راهگشا باشد و حفظ و معرفی آن به عنوان میراث بشری ضروری است. انسانهای اولیه بویژه ما قبل تاریخ هنگامیکه دارای زبان مدونی نبودند ومفاهیم ذهنی خود را بر اساس اصوات عنوان می کردند دارای زبان تصویری هم بودند که می توان این زبان تصویری را همین عکس امروزی تلقی نمود. این انسان ها بسیاری از پیامهای ذهنی خود را بصورت حجاری و کنده کاری روی صخره ها و بر دیواره غارها حک می کردند که در حقیقت این زبان تصویر است و نهایتا اینکه عکسها گونه ای دیگر از نقاشی و هردو شکلی از زبان هستند و عکس نیز از گرانبهاترین مواریث فرهنگی است. رسالت عکس و هنرمند عکاس زمانی برما معلوم می شود که موفق شود این مواریث را در خورو شأن انسان معرفی نماید و عکاس بتواند ادای دین کرده باشد. همانطوریکه ارزش زبان به کیفیت آن بستگی دارد ارزش عکس هم به کیفیت آن وابسته است. ما زبان عامیانه داریم. زبان کوچه و بازاری داریم و زبان مولانا هم داریم. عکس نیز تنوع و اختلاف سطح را دارد. عکس همانند زبان سطوح و لایه های متنوع و متفاوت دارد. اگرفرض بر این بگذاریم که عکاس تمامی اصول اولیه عکاسی را رعایت کرده باشد هرچقدر عمق دید عکاسی او وسیع تر باشد هر مقدار احساس او انسانی تر باشد و به هر میزان که وسعت دید جغرافیایی او بیشتر باشد نگاهش ماندگارتر خواهد بود و آن وقت آن تصویر یا عکس به تاریخ خواهد پیوست. هرچه نگاه یک عکاس بیشتر احساسات انسان دوستانه داشته باشد و نگاهی هدفمند را دنبال کند و یا اگر بتواند احساسات را برانگیزد به رسالت عکاس نزدیک خواهد شد والبته این نگاههای انسان دوستانه و اجتماعی بایستی خلاق وعکاسانه باشد. همانطوریکه مردم در روز صحبت های مختلفی می کنند ممکن است عکاسان زیادی عکس بگیرند بسیار از این صحبت ها ممکن است برای وقت گذرانی و یا امورات روزمره باشد و برخی ممکن است به تحقیق و تفحص بپردازند و یا مقاله ای علمی و... بنگارند عکاس هم به ااااااااااااااااااهمین شکل اگر زبان هنرمندانه و عکاسانه ای داشته باشد ماندگار خواهد بود. و با بیانی رساتر می توان گفت عکس زبانی بین المللی دارد که نیاز به هیچ اااااااااااااااااامترجمی ندارد. یک عکس خوب وکامل به راحتی پیامش و احساسش را در ااااااااااااااااااکمترین زمان به هر بیننده ای در دنیا و با هر زبان و هر قوم و ملیتی بدهد.
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Abgineh Photographic Research
and Studies Institute Aims
Nowadays artistic activities along with new scientific achievements have taken a new form in presentation and it is inevitable for the artists of our country to keep pace with these changes.
Research and study of modern technology, artistic theories, styles and creative ideas are very essential for the betterment and uplifting of the works of our artists who are to be criticized artistically. The study of discussions on modern issues have created new theories and it is certain that all these improvements have much to do in bringing about new aspects of life through the eyes of our artists.
It is, therefore necessary for them to have a good knowledge of the status of art, especially photography in the world today which will enable them to have a broader artistic view and to create fascinating works of art.
………………………………………………………………………...With respect to this truth and the need of the artists to have access to all these, the Abgineh Photographic Research and Studies Institute has started this institute to exchange information through internet and to provide a photographic bank to learn about international photo exhibitions, societies, museums and photographic products and make all these available to photographers ,research centers ,universities ,instructional centers and professional societies.
SALONS SOUS PATRONAGE
راهنمای مقررات شزکت در نمایشگاههای فیاپ
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M = monochrome |
INFO = adresse, address |
2004/026 17° Concorso Internazionale Diacolor "Il Mosaico"
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CS |
Sections: 3 |
T: Libre + NAT + Creativité |
CLO: 15/03/2004 | |
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PAR: € 10,- ou USD 10,- par auteur ou 16 CRI (+ AM) |
JUR: 17/03/2004 | |||
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INFO: Circolo Fotografico Ravennate BFI |
NOT: 23/03/2004 | |||
2004/041 24ème Salon de la Photographie - 3ème Salon International
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M/CP |
Sections: 2 |
T: Libre |
CLO: 16/03/2004 | |
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PAR: € ou USD 12,- (RG) |
JUR: 20/03/2004 | |||
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INFO: Photo-Club Georges Méliès - Mayet |
NOT: 27/03/2004 | |||
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e-mail: georges.méliès1@libertysurf.fr |
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2004/042 9th Hong Kong Slide Circuit - 9th SPC
2004/0 439th Hong Kong Slide Circuit - 9th JPS
2004/044 9th Hong Kong Slide Circuit - 14th HKCPAC
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CS |
Sections: 1 |
T: Open |
CLO: 17/03/2004 | |
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PAR: USD 25,- for 3 salons (US $ 22,- Group 5+) or 60 IRC (+ AM) |
JUR: 21/03/2004* | |||
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INFO: H. K. Color Photo Art Club |
NOT: 26/03/2004* | |||
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e-mail: akhngg@yahoo.com.hk |
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2004/020 "Aqüeducte 2004" - 8a Biennal Internacional
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M/CP/CS |
Sections: 6 |
T: Libre + Cultures du monde |
CLO: 19/03/2004 | |
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PAR: € ou USD 45,- (60 CRI) |
JUR: 25/03/2004 | |||
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INFO: Agrupació Foto-Cine Cerdanyola-Ripollet |
NOT: 02/04/2004 | |||
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e-mail: afocer@afocer.org |
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2004/030 Digital Master Circuit - Wien
2004/031 Digital Master Circuit – Moedling
2004/032 Digital Master Circuit - Mattersburg
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DIG |
Sections: 3 |
T: Open M & C & PT |
CLO: 31/03/2004 | |
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PAR: € or IRC 18,-; 24,- or 30,- for 1, 2 or 3 sections |
JUR: 11/04/2004* | |||
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INFO: Bundesbahnsportverein Wien - Fotosektion |
NOT: 18/04/2004* | |||
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e-mail: bbsv@chello.at |
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PAST – PRESENT – FUTURE
A Glance at the Photography in Iran
Ebrahim Bahrami
The history of photography in Iran goes almost as early as the invention of camera and photography in the world. European explorers and researchers first brought cameras to Iran to take photographs applicable to their purposes. Nasereddin Shah,the Ghajar king , became interested in photography in an early age in 1850s. He took photographs of the members of his family, his wives in his harem(women’s apartment), and even self-portrait. Photography was first taught in Darolfonoon(a college started by Nasereddin Shah). As photography specialized in the second half of the nineteenth century ,Iranian photographers employed it in two ways. Some people accepted it as a profession and therefore started taking photographs of people for re-memoration. Others used it as an entertainment.
One of the most hardworking and successful photographers of this age was …………………………whose nationality we don’t know. He took plentiful photographs of different themes such as architecture, portrait, landscape and daily life of people. We and our photography owes him a lot. As people came to get familiar with this new phenomenon, it took an artistic form. Photographers were then looking for new appliances and technology. While in Europe photography as a new branch of art was being taken into consideration, it was not yet much noted in Iran and was not considered a rival for painting. Iranian painters didn’t react to it very much because they followed their special style then and photography couldn’t overshadow painting.
Photography as an art in Iran was not common until the middle of 19th century; it was used as applied photography. In the second half of the century sparkles of creative photography could scarcely be seen in some of the photographer’s works. Some hardworking and interested photographers came into light. They were the flag-bearers of the first generation of photographers. Gradually societies, clubs and photo festivals came into existence, but none of these were very integrated and professional. That was why they did not last long and therefore, very little was done until the 1979 Islamic Revolution.
Along with the Revolution and the war between Iraq and Iran in 1980, a new generation of photographers started their work to cooperate with their previous ones. These photographers assisted by world news agencies tried to record the agitating events of the war. After the end of the war in 1988, photography in Iran could pace with the world movement in this art, both in regard to technology and artistic taste. More new photographers joined the old ones. World easy communication was a great help. Photographic sites, societies and associations began to hold more international exhibitions and contests. Acceptance of works by Iranian photographers in specialized exhibitions and showing them in museums and galleries is a sign that Iranian photographers are gradually trying to keep pace with the world movement.
Introduction To Portrait Photography
Portrait: A likeness of a person, especially one showing the face, which is created by a painter or photographer. A picture or description, especially of a person. From Old French, of portraire, to portray. American Heritage Dictionary
It really doesn’t matter what photographic discipline you are striving for, commercial, nature, journalism etc. sooner or later you will be making images of people. That’s why every photographer should have a basic understanding of portrait photography.
The techniques of portraiture is not complicated if we condition our minds to the fundamentals of the natural light around us. If we can artificially duplicate the phenomenon of light, as it exists in nature, and if we can simulate what have come to be known as "'available light" conditions, we can produce a wide range of lighting styles which are esthetically appealing.
In applying these artificial methods, we will consider the light of the sun as a directional and highlighting source, one that varies its light pattern upon the subject in relation to its position in the sky and to the subject. Call this bold, strong source the "Key light." The sky is another light source. It produces a soft, even, over-all illumination, which fills the entire picture area with light. Think of the light of the sky as "Fill Light.”
Over a long span of time photographers and artists have developed three major lighting styles' or patterns which are generally suitable for portraiture:
| 1. Glamour Lighting 2. 45-degree Lighting or Rembrandt Lighting 3. Split Lighting |
Sounds simple enough, you only have to know three types of lighting patterns and you’re an expert, right? Well, no not really, because there a hundreds of variations of these three patterns. But before we talk about the variations lets understand the basic three patterns.
To help develop your skills in the use of portrait lighting, it is helpful to practice light placement with a manikin-type figure. Through trial and experiment you can perfect your techniques in the various lighting styles. Varying the position of the key light produces interesting light patterns, but this does not mean that the angle and elevation of the light can be varied at random.
But before we can take a look at portrait lighting we need to understand some basic principles of lig