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Church, Sprott, AL, 2015 by Garrick Morgenweck

Church, Sprott, AL, 2015 by Garrick Morgenweck

Following in the Footseps of Evans, Christenberry

September 30, 2015

On a recent road trip, online PH student Garrick Morgenweck encountered some iconic photographic subject matter. Here he shares one building's history:

In my travels through the Black Belt, I kept coming across objects photographed by both Walker Evans and William Christenberry. One of the most famous was the small St. James Missionary Baptist Church in Sprott, AL. Christenberry photographed it for years and even made a sculpture of it, taken by the uniqueness of the spires. However, at some point in the past the spires disappeared, ostensibly to expand the church sanctuary area. Here is a look at this church through the last 80 years.

Church, Sprott, AL, 1936 by Walker Evans

Church, Sprott, AL, 1936 by Walker Evans

Church, Sprott, AL, 1971 by William Christenberry

Church, Sprott, AL, 1971 by William Christenberry

Church, Sprott, AL, 1974 by William Christenberry

Church, Sprott, AL, 1974 by William Christenberry

Church, Sprott, AL, 2015 by Garrick Morgenweck

Church, Sprott, AL, 2015 by Garrick Morgenweck

This article originally appeared on August 24, 2015, as an entry in Garrick's online journal .

In Learn, Look Tags walker evans, willam christenberry, alabama, south, travel
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John Hoiland

John Hoiland

Portfolio Flash: Cynthia Matty-Huber

September 19, 2015

We're honored to feature in this week's Portfolio Flash the work of Cynthia Matty-Huber, who joins the MFA program at AAU this fall. Matty-Huber was just named in the Top 50 for Critical Mass by Photo Lucida.

Says Matty-Huber of this work:

I am intrigued by ranchers who dig their life’s work out of the land, day in and day out, 365 days a year. I have photographed one particular rancher, John Hoiland, through all four seasons. Hoiland's family came to Montana in 1906. He still lives on the same 940 acres and in the same house his family built before he was born. He never married. His parents died, leaving John to move relentlessly from one chore to the next until daylight is gone. “I have to do what three of us did,” he says. Some of the outbuildings that sprawl across John’s acres seem to be hanging on for dear life, but each has a purpose and almost every car or truck he ever owned including his everyday vehicle, a 1939 Chevy truck can be seen as you drive by. The same stove his father bought after World War I for $35 heats the kitchen. That stove and a wood furnace in the living room have warmed him since birth. I photograph to convey the rugged life this rancher endures, barely getting by, at the mercy of the elements, the cost of raising healthy animals a constant threat; I wonder what keeps him going. This series is a testament to these hardscrabble individuals who sacrifice their life to the western landscape.

John in his livingroom
John in his livingroom
John's Fairland
John's Fairland
Mattyhuber_C1-03.jpg
John and Patricia
John and Patricia
John out in his 1939 Chevy Truck
John out in his 1939 Chevy Truck
In Look Tags montana, cynthia matty-huber, photo lucida, critical mass, aau, mfa, rancher, portfolio flash
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Digital Clasroom 815

Digital Clasroom 815

Digital Labs Gain New Assets This Fall

September 11, 2015

Our labs got boosted!

The PH Department is pleased to announce state-of-the-art upgrades for our digital classroom at 740 Taylor and digital labs at 180 New Montgomery.

The result is a total of ten new Epson 4900 printers for the entry-level labs and ten new Epson 7900s -- plus a large-fromat Epson 9900 -- for the upper-division labs. In conjunction, our digital classroom at 180 New Montgomery now features the latest model of Mac Pros paired with Eizo monitors.

These additions bring us to a total of nine labs, two of which are entry-level -- with a total of 36 iMacs and six Epson 4900s. Our other seven labs include a total of fifty-one Mac Pros, ten Epson 7900s, one Epson 9900 and four Epson 4900s.

The Arbus Lab The Capa Lab The Porter Lab The Adams Lab

All of our labs and classrooms will now be under the careful watch of Aaron Bonsall, who started working in the PH Department in 2006 as a lab technician. Aaron recently returned to AAU as an employee of the Mac Systems Group. His primary goal is to "ensure the technology is running at peak performance, so the students and faculty can have a better, more consistent experience." He’s "really glad to be back supporting Photo."

This is great news for our post-production and output capabilities. We're back to school, so let's get back to work!

Katty Hoover

 

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(Adam Cole/WNYC)

(Adam Cole/WNYC)

The Relationship Between Language, Color, and Birds

September 4, 2015

This week, Faculty Sarah Barsness reports from AAU Fall 2015 Teaching Expo, where she presented "Naming and Seeing: The Relationship Between Language, Color, and Birds." Below is an excerpt.

Over the last 20 years or more, I have taught color theory to a range of students – from floral designers and printmakers to photographers. Virtually every beginning student is excited by color, but very few of them readily grasp the basics of color theory. I often look out at a sea of blank and puzzled faces, thinking, “Don’t you SEE the differences in these colors?” It is highly possible they DON’T! This is not to say that they can’t see the nuances of color, but they may need the boost of language and naming to expand their ready perception of color.

Color names enter into virtually all languages in the same order – black, white, red, yellow, green, and finally, blue. Interestingly, this corresponds closely with the order they enter into our vision as we move from infancy to adulthood – blue again being almost invariably last. In language, it may be that until we need to use a color to identify an object that we use, we do not need a word for it. Words are, after all, a way of being able to talk with each other about common ideas. And while this sky is, to us, clearly blue, the color of the sky might not have been essential for the survival of early people. And physiologically, our vision is skewed towards warm colors – red and yellow – the first colors babies see. Blue is more subtle and less obvious to our brain - we have to work harder to see it.

For early societies, it was certainly not that the sky was NOT blue, but more likely that people did not notice that it had a color that distinguished it from other objects. Until we attach names to specific colors – most likely when objects of that color become part of our daily activities – they do not stand out to us. Conversely, the color of the sky is not always blue, or the SAME blue, so language can restrict as well as open up our field of vision!

The Radiolab podcast “Why Isn’t the Sky Blue?” references color research involving the Himba tribe of Namibia. It implies that the Himba (who have no word for blue) cannot distinguish blue from green. This is not true – but it is true that it takes them longer to distinguish the difference than subjects whose native language was English.

On the other hand, the Himba are able to distinguish a subtly different green MORE quickly than native English speakers - most likely because they have multiple names for different greens.

Recently, I became aware of how this aspect of perception feels. I began bird-watching – what we prefer to call “birding.” On one of my earliest outings, my birding mentor said to me, “I have been looking at birds my whole life, but I never SAW them until I became a birder.” I understood exactly what she meant soon after, when I went out to my yard and saw a group of amazing birds with stunning, golden-orange heads.

I raced into the house to check my field guide, sure that this was some unusual vagrant. I quickly realized it was a House Finch. Seriously? This spectacular, surreal bird was a common House Finch that I could have seen any day of my life? How had I missed it? The answer may be in the act of naming and identifying – it brings details into our vision that we may have failed to see before. 

Sarah Barsness. Birds named for colors, like the Northern Cardinal, are easily recognizable.

Sarah Barsness. Birds named for colors, like the Northern Cardinal, are easily recognizable.

Just as color enters language in a specific order – black, white, red, yellow, green, blue – we learn to see by starting with general categories and refine our perception from there. One strategy to help students get started learning color might be to let them spend some time with basics that they already know. All students can identify the three traditional primary colors red, yellow, and blue, and most remember them from their paint boxes in grade school and high school. It is easy to “see” the Indigo Bunting, Yellow Warbler, and Northern Cardinal, for example, and probably relatively simple to remember their names, which are directly connected to their saturated color.

Sarah Barsness. Birds like the Song Sparrow are harder to distinguish from similarly-colored sparrows.

Sarah Barsness. Birds like the Song Sparrow are harder to distinguish from similarly-colored sparrows.

But when it comes to seeing more subtle, complex colors, things get more challenging. The Lincoln’s, Song, and Vesper Sparrows might look virtually identical to most people, but they are actually three distinct species of sparrow.

Learning to distinguish between subtle colors is akin to identifying sparrows: very challenging for a beginner. Initially, I was quite certain I would never be able to tell the difference. But by studying field marks (the Lincoln’s Sparrow has a warm breast with distinct streaking but no center spot; the Song Sparrow has a center spot and a whiter breast with darker streaks; the Vesper Sparrow has a white eye ring) and connecting them to the species' names, I am now able, after months of practice, to distinguish these three birds in the field, even at a bit of a distance. It required patience, attention, and language to be able to see the differences!

Sarah Barsness

 

In Learn Tags color, language, birds, sarah barsness, aau, teaching expo, radiolab
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Back to School FA15!

August 31, 2015

It’s Fall 2015! Whether you’re joining us in San Francisco or in the virtual classroom, we look forward to seeing our students this week!

To kick-off the year, we’d like to announce AAU Lens, our new PH Department blog. AAU Lens is a blog for photographers, by photographers. We feature up-to-the-moment tips and tricks, thoughtful reviews and interviews, and innovative portfolios from students, alumni, and faculty.

We want to hear from you! We invite students, faculty, alumni and industry friends to submit an article or articles for consideration. Articles can be brief or extensive.

Consider an entry in one of the following categories:

  • Portfolios – Ongoing bodies of work (by faculty, students, or alumni) of interest. Can be autobiographical.
  • Interviews – Featuring alumni or industry members.
  • Education – Technical tips and tricks, career-building advice.
  • Promotion/Recognition – Award recipients and exhibition openings. Can be autobiographical. Let us know what you're up to!
  • Reviews – Event, equipment, book, or exhibition recaps.

Email your submissions to khoover@academyart.edu. Title your email “AAU Lens Submission” and include your full name, email address and submission in the body of your email. Attach any images (resized to 1000 pixels on the longest side) as a zipped file.

Be sure you're also following us on Twitter, Facebook, and Instagram for the most up-to-date news and opportunities!

Here's to a great Fall semester.

 

Katty Hoover,

AAU School of Photography

 

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riddled_seaside.jpg
beach_day.jpg
candlelight_dinner.jpg
canister_shot_meant_for_me.jpg
dirt_sea.jpg
frieze.jpg
heart_you.jpg
invitations.jpg
rainbow-crack.jpg
repairs.jpg
riddled_seaside.jpg beach_day.jpg candlelight_dinner.jpg canister_shot_meant_for_me.jpg dirt_sea.jpg frieze.jpg heart_you.jpg invitations.jpg rainbow-crack.jpg repairs.jpg

Portfolio Flash: Katie Liles-Salama

August 22, 2015

In Gaza Project, alumnae Liles-Salama responds to the war of summer of 2014 and its effect on her family.

Says Liles-Salama:

Everywhere in Gaza are equal parts beauty and damage, hope and resignation, light and dark. Gaza is without electricity for up to 20 hours a day, causing an incessant preoccupation with finding and acquiring means to light one's environment. My internal attempt to stave of the despair that threatens daily existence and plain hopefulness compels my foraging for light — both the natural and spiritual kinds. I photograph the sky, the sun, spots of light in general; and in the underlying currents of the relationships and invisible mood of everything around me, I'm always on the lookout for metaphors of connection and illumination. In these images, I address the uneasiness and scars the war's aftermath left in us and in our home, the push to make life normal, even beautiful, and the constant search for light.

In Look Tags portfolio, gaza, alum
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Faculty Throwback: David Bowman

August 22, 2015

David Bowman remembers Ireland, 1997.

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In Look Tags horse, ireland, david bowman, throwback
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