Final Project Help | Resources

Research | The importance of looking.

This list is by no means exhaustive, but it is a good place to start.

Museum | Gallery websites
is a great list of photography-related museums
Saatchi Gallery
Tate Modern
Metropolitan Museum of Art
The British Museum
Hirshhorn Museum and Sculpture Garden
Smithsonian Cooper-Hewittt National Design Museum
Smithsonian American Art Museum
Centre Pompidou (Paris)
Guggenheim (Bilbao)
Guggenheim (NY)
The J.Paul Getty Museum
MIT open courseware
Art Gallery of Ontario (AGO)
Musee d’Art Contemporain (Montreal)
Wexner Center for the Arts
Museum of Contemporary Art (Chicago)

National Gallery of Canada
Victoria and Albert Museum

International Center of Photography. Especially their BLOG and their searchable image database/archive.

Magazines | Online Journals
Aperture Magazine (Especially the weekly blog)
The F Stop (professional photographers discuss their craft)
Border Crossings
Frieze Magazine
Art Forum
Art Papers
Canadian Art
Feature Shoot
(interviews with contemporary photographers)
Conscientious Extended
St. Lucy

Monoskop: A wiki for art and culture

Ciel Variable : The Archives

Shooting Gallery

OTIS College on YouTube (excellent resources for artist interviews, lectures, etc)

Art 21

My Modern Met



Scholarly websites
TATE research
Smart History

Journal of Contemporary Art

Art Facts
Images: A Journal of Film and Popular Culture
Arts section of New York Times
Subject and Course guides from The U of G library

PHOTOGRAPHY at the Smithsonian Magazine

Keeping Track of your Research
Creating a Google Alert. Tips for getting the results you want

Texture • Breaking the photographic surface Photo-based installationConstructed environments

• Above image by Holly Roberts
• Drawings based on photographs, at the scale of 35mm negatives: Paul Chiappe
Robert Parke Harrison especially The Architect’s Brother

Above image by Sara Angelucci
• Thomas Demand | website | about a recent exhibit in Montreal
• Annette Messager | about | interview in Bomb | interview/review in The Guardian |
Aspen Mays
• Christian Boltanski | Marian Goodman gallery | MOMA | Park Avenue Armory (scroll for video)
Robin Rhodes | At White Cube | At Lehmann Maupin | On this blog
Tidying Up! (above images by Ursus Wehrli)
Ursus Wehrli | TED talk
Tony Cragg
Tony Cragg
Not sure what category this belong in, other than the GOOD! category
Ryan Park, Medium

Street Photographers

Helen Levitt
Stephen Shore
Robert Frank
Gary Winogrand
Lee Friedlander
Mary Ellen Mark
Bruce Davidson
Joel Meyerowitz
James Nachtwey
Black Star Agency
Magnum Photo Agency
And, I say this all the time, The New York Times Lens BlogThis is a good beginning, search this blog or any of the other zillion resources I’ve posted.

Photo I • Composition


Henri Cartier-BressonThe Decisive Moment
Helpful and concise article about Cartier-Bresson

Joel Meyerowitz Talks about composition.


Helen Levitt | At MOMA | At Lawrence Miller Gallery



Gary Winogrand | 10 Things Gary Winogrand Can Teach You About Street Photography | Profile in The Guardian



Richard Avedon | website | American Masters video series | Master Photographer series at Time-Life



Francesca Woodman | Tate-Modern | Guggenheim

Untitled 1975-80 by Francesca Woodman 1958-1981


General Inspiration | Research | Photography Museums  (don’t forget to utilize this blog)

Museum of Contemporary Photography

Aperture Foundation-especially the weekly roundup of photography news on the blog

• The Lens Blog of the New York Times

Behold: The Photography Blog at


International Center of Photography  | Online database

LightBox | The photo editors at Time Magazine

• Ryerson Image Centre | Collections


Canadian Art

Border Crossings


For those of you going to NY: Carrie Mae Weems: Three Decades of Photography and Video (at The Guggenheim)


Photo Bus Trip! *Friday, January 24*


Hello Photographers!
All aboard the party bus (well, not that much of a party since we’re leaving at 8:30 am). Here is our itinerary for the day. Remember to bring $9 in exact change for your admission to the AGO.

Bus leaves the circle outside the U.C.

Arrive at 80 Spadina. If you have colour film you want to process, there will be a quick stop at Toronto Image Works. If you are not dropping off film for processing, you can look at the Image Works gallery.

Art Gallery of Ontario
We will be viewing, Light My Fire: Some Propositions about Portraits and Photography.
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Leave AGO for the Ryerson Image Centre.
The two main exhibits are:

Robert Burley: The Disappearance of Darkness.

The exhibition Robert Burley: The Disappearance of Darkness examines both the dramatic and historical demise of film-manufacturing facilities and industrial darkrooms. The photographs taken between 2005 and 2010 speak to sites and events related to the key corporations (Kodak, Agfa, Ilford). As an artist working in photography for the past thirty years, Burley has been both an observer and a participant in this radical transition. This exhibition addresses the emergence of a new technology, which irrevocably changed photography, as well as the abrupt and rapid breakdown of a century old industry, which embodied the medium’s material culture. (text from the Ryerson Image Center website)

Phil Bergerson: Emblems and Remnants of the American Dream


Since 1995, Canadian photographer Phil Bergerson has made dozens of extended road-trips, criss-crossing the United States in search of the ‘American Dream’. Drawing upon the social landscape tradition, Bergerson found his material amid the melancholic detritus of the contemporary city: in modest store window displays, hand-painted murals, graffiti, and crudely-made signs. Here is a chaotic urban topography, one fuelled by unmoored dreams, raw desires, commercial fantasies, rampant patriotism, religious fervour, and a smouldering violence. The sumptuous colour photographs elicit a sense of both wonderment and disquiet, and ultimately a yearning for order, for meaning.
(text from the Ryerson Image Center website)

There is also a student gallery.


The installation is composed of one 16mm film looping continuously, and three vinyl reproductions of the remaining filmstrips. By working with these two distinct modes of presentation — the 16mm film requires the viewer to remain still and the filmstrips entail a physical movement across the space — the installation accentuates the spatiality and materiality of time passing.

With the use of the now-discontinued colour reversal Kodak Ektachrome film stock as source material, the transient nature of celluloid film mirrors the ephemeral nature of the sitter’s gaze. Through the progressive destruction of the film as it continues to play, the work brings life to a material and a subject matter that will inevitably disappear with time.
(text from the Ryerson Image Center website)

Leave Ryerson


Lunch. You will be in the area of 80 Spadina. Find some food, eat it.

Tour 401 Richmond and other galleries in 80 Spadina. At this time you may pick up your film from Toronto Image Works.

Bus leaves for Guelph

Arrive in Guelph
Boo hoo, you are sad the day is over. Perhaps you suffered from Stendhal syndrome?

Links about the history of colour photography

George Eastman House’s photostream on Flickr. Excellent historic images.

Short video about the Autochrome process, from The ImageWorks in Rochester, NY.

Concise History of Color Photography with excellent images and text.

The George Eastman House: Notes on Photographs: An international forum for gathering information that enhances the communal understanding of the photographic print.

A short video about the history of color photography from the Smithsonian Institution (Washington, DC)

History and manufacture of Lantern Slides.

The scandal and possible truth surrounding Levi Hill who claimed to have invented color photography.

A list of links about the origins of the digital camera, as well as other connections between photography and technology.


Short film, creative interpretation of cymk in everyday printing (cereal boxes, etc)

Fantastic resource via Stanford University

Video about Edwin Land (the inventor of Polaroid) and his two color process.

An article describing the relationship between Edwin Land’s experiments and James Clark Maxwell’s discoveries.

Dr. George Stratton

Dr. George Stratton’s original article,

Summary and explanation of Stratton’s work, courtesy of the staff of San Francisco’s Museum of Science, Art, and Human Perception.

Newer article, based on Stratton’s research.

Great WIRED article about neuroplasticity, vision, and perception.

Video showing inverted vision experiments: Living in a Reversed World.

The illusion of colour constancy | Color Subjectivity | Living in the past

Is your red my red? No. It isn’t.

The neurological lag between seeing light and understanding/processing light.

Photo I : Photograms


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• Represented by Stephen Bulger (Toronto)
Yossi Milo (NY)
• Canadian Art profile
Article in Le Rencontres d’Arles
Video at Gallery Intell

GARY FABIAN MILLER2010_002_night-cell

Artist Website
Video and images at Victoria and Albert Museum
At Ingleby Gallery

SHADOW CATCHERS at The Victoria and Albert Museum
• Camera-less photo
techniques at Victoria and Albert Museum
A History of Camera-less Photography at the Victoria and Albert Museum.
A listing of all of the artists plus video interviews in the Camera-less Photography exhibit.


• At Cheim & Reid
• At Fraenkel Gallery
• At Artists and Alchemists
• Good article with terrible formatting
Interview in BOMB magazine.



Festuca grasses from ‘British and Foreign Flowering Plants and Ferns’, c.1854

Brief Bio | The Getty | University of Texas, Austin

Susan Derges
Prix Pictet
Paul Kasmin Gallery
Video, commissioned by the Victoria and Albert Museum.
At Oxford University
At Danziger Gallery

From Man Ray to Thomas Ruff—article
Good description with images
William Henry Fox Talbot | Photogenic Drawings
Arts Connected

MAN RAY-Rayograms
Metropolitan Museum of Art
At Aqua Velvet
General description of photography and surrealism


At the Getty


Flashlight and Salt, photogram on 8×10 film
More of his photograms

Photograms for the new age (interview in Aperture magazine)
See more work at David Zwirner gallery

Seeing Colour, Thinking Colour: Assignment 1

First things first: Can you see colour?


You should be able to see a brown boat in the above image. If you can’t, you might have colour blindness.


Optical illusions show how we see.

Color and Physics

Colour and light, explained by Bill Nye (the science guy).

Light Fantastic 4: Light, The Universe, and Everything.

A BBC video that explores, “the research on the strange relationship between light, the eye and mind, and the development of new technologies such as photography and film”

This is an interesting TED talk about Colour Theory.

The History of Color Models
To augment our class discussion about colour, learn about the history of the colour wheel.

History of Color Models
Color Models
Color: Standford University Encyclopedia of Philosophy

Jason Salavon, pushes boundaries between photography/computer science/video etc.  Here is his interpretation of the Colour Wheel.

Color and Subject Interpretation
After listening to the RadioLab podcast, you might be thinking What colour is the sky?

Colour and Language
This video explores the relationship between the development of language and the processing and understanding of colour.


1. CBC podcast, The Current | Mechanics of the Game Changers

Here is what high-jump looked like before Dick Fosbury. And here, is what the high-jump look like after Dick Fosbury. Further info about the Fosbury Flop technique.

2. This episode of RADIOLAB. Click the LISTEN link at the top and you’ll hear the entire podcast. (1:08ish)

After you listen to Radiolab podcast, watch this. Behold. The Mantis Shrimp!

Go here. It’s an amazing resource of artists.

OR, HERE TO THIS GREAT web-based component to a larger MOMA exhibition about reinventing color

What about this?

This video explores the relationship between the development of language and the processing and understanding of colour.

Sophie Calle | Chromatic Diet | Explanation about the project









Georges Rousse | artist website | Bending Space documentary about Durham Project | trailer | Bending Space website





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Jessica Eaton | Interview in The Believer | Her personal blog | Her professional site (click on galleries to access images) | Interview in Canadian Art | Good list of interviews
Lenscraft:Jessica Eaton Asks Us to Think About What We See

This following text is from various interviews with Eaton, published or referenced from her blog.

“She was aware of the science of light at work even in what she calls “normal” photographs, aware that subject and content buried those phenomena, preventing viewers from seeing what was there. In 2006, her work shifted and she began to bring those hidden elements to the forefront. She isolated light and color and time, even though to do so was to challenge the classical definition of photography as a way to capture a single moment.

“Using a wide array of experimental, analogue-based photographic techniques such as colour separation filters, multiple exposures, dark slides and in-camera masking Jessica Eaton builds images on sheets of 4×5 film that address fundamental properties of photography such as light, chance, duration, illusion and spatial relations.  Eaton has written: “I often set up parameters for phenomena to express itself. In the best of cases I push things so that the response comes in ways that I could not have thought up until I was shown it on film. Once you get to see or experience something you can use it. Then you can use it to see something else.”

A quote from a TIME magazine article:

“Canadian photographer Jessica Eaton uses her camera to create color invisible to the naked eye. She gives bright hues to gray forms in her series Cubes for Albers and LeWitt, and that work was recently awarded the photography prize at the 2012 Hyères International Festival of Fashion and Photography—a prize for which TIME’s director of photography Kira Pollack sat on the jury.

Jessica Eaton

“We’ve all mixed two colors of paint together, and either it makes another color or, if you keep going, it gets muddy and progressively gets darker,” she explains. “In light, things work really differently.” Eaton explains that she exploits the properties of light through additive color separation: whereas the primary pigment colors (red, blue, yellow) get darker as they blend, the primary colors of light (red, blue, green) move toward white. Eaton applies filters in those three colors to her camera and takes multiple exposures, a process that turns the gray form seen here into the vibrant ones seen above. “The color itself is mixed inside the camera,” she says.

One of the byproducts of Eaton’s process is an element of surprise: because her images are created within the camera, she doesn’t know what she’ll get until the photos are developed. “It’s a bit of a conversation with the world,” she says. “With the forces of time and space and contingency and errors that happen, because often there’s so many steps going into one of these, I get back something that’s also new to me, and those are the pictures that tend to end up in exhibits.”

But the photographer likes challenging definitions, and not just photographic ones. Although she dislikes the term “abstract” as a description of her work—it implies that the light she captures doesn’t exist in reality—Eaton says that her photographs acknowledge “how incredibly limited our ability to perceive the world is.” We lack the sensory mechanisms to see her colors with our naked eyes, and Eaton sees that as a metaphor for our inability to see the extent of the physical universe, whether it includes multiple dimensions or parallel universes. And, in that metaphor, she sees hope. “I love the idea that no matter how bad it gets,” she says, “there’s this wild so-called reality way beyond what we have decided it is.”

Liz Wolfe | Happiness is Contagious

Guy Bourdin | Fashion photography

Yves Klein | TATE Modern | MOMA

These are some of the artists we discussed in class today. If you want to review the images and you should, you should look and look and look until you just can’t look anymore.

Amazing resource of artists from Tate Liverpool.
Web-based component to a larger MOMA exhibition about reinventing color

These aren’t listed in order
Cynthia Greg
Ed Burtynsky
Jan Groover
Elina Brotherus
Gage and Betterton
Manjari Sharma
Eileen Cowin
Linda Troeller
Olafur Eliasson
Alex Kisilevich
Joel Sternfeld
Amy Stein
Julia Fullerton-Batten
Richard Billingham
Martin Parr
William Eggleston
Stephen Shore
Andres Serrano
Joel Meyerwitz
Andreas Gursky
Sandy Skoglund
Anthony Hernandez

Welcome to Photo III

And welcome back previous Photo III peeps!

A few images to inspire you at the beginning of the semester.

These images are from the Behold :The Photog blog at SLATE magazine. The first two images are portraits by Maja Daniels who was commissioned by New York magazine to photograph french identical twins, Monette and Mady. The project won the Contour by Getty Images Portrait Prize.
More images + Article

Twin1 Twin2

This second set of images is by artist Melanie Willhide. Ms.Willhide’s computer (and back-up) drive were stolen and then returned and what happened next transformed her images. Read the article about how she dedicated her recent exhibition ( To Adrian Rodriguez, With Love,) to the thief that stole her computer.