By Simon Morley
In the modern global, the place expertise, spectacle, and extra appear to eclipse nature, the person, and society, what will be the features of a latest elegant? If there's any consensus, it truly is within the concept that the elegant represents a checking out of limits to the purpose at which fixities start to fragment. This anthology examines how modern artists and theorists discover principles of the elegant, on the subject of the unpresentable, transcendence, terror, nature, know-how, the uncanny, and changed states. delivering a philosophical and cultural context for discourse round the elegant in contemporary artwork, the booklet surveys the various and occasionally conflicting interpretations of the time period because it has developed from the writings of Longinus, Burke, and Kant to present-day writers and artists. The elegant underlies the the Aristocracy of Classicism, the awe of Romantic nature, and the phobia of the Gothic. within the final half-century, the chic has haunted postwar abstraction, back from the repression of theoretical formalism, and has develop into a search term in severe discussions of human otherness and posthuman nation-states of nature and technology.Artists surveyed comprise Marina Abramovic[accent over c], Joseph Beuys, Tacita Dean, Walter De Maria, A okay [the artist excludes sessions after the initials] Dolven, Olafur Eliasson, Andreas Gursky, Jitka Hanzlová, Gary Hill, Susan Hiller, Shirazeh Houshiary, Anish Kapoor, Mike Kelley, Anselm Kiefer, Yves Klein, Richard lengthy, Barnett Newman, Tony Oursler, Cornelia Parker, Gerhard Richter, Doris Salcedo, Lorna Simpson, Hiroshi Sugimoto, Fred Tomaselli, James Turrell, Luc Tuymans, invoice Viola, Zhang HuanWriters comprise Marco Belpoliti, John Berger, Paul Crowther, Jacques Derrida, Okwui Enwezor, Jean Fisher, Barbara Claire Freeman, Jeremy Gilbert-Rolfe, Doreet LeVitte-Harten, Eleanor Hartney, Lynn M. Herbert, Luce Irigaray, Fredric Jameson, Lee Joon, Julia Kristeva, Jean-François Lyotard, Thomas McEvilley, Vijay Mishra, David Morgan, Jean-Luc Nancy, Jacques Rancière, Gene Ray, Robert Rosenblum, Philip Shaw, Paul Virilio, Marina Warner, Thomas Weiskel, Slavoj Žižek
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Extra info for The Sublime (Whitechapel: Documents of Contemporary Art)
Example text
If there is even a little too much exposure, the image is too light and details are lost in the highlights. If there is too little exposure the image is too dark and details are lost in the shadows. One way to ensure you get the best exposure is to take three exposures. The first would be at the recommended setting. The second would be lighter and the third darker than the original one. This process is referred to as bracketing because you’re bracketing the suggested exposure. You can do this using exposure compensation (page 41) or autoexposure bracketing (page 42).
One way to ensure you get the best exposure is to take three exposures. The first would be at the recommended setting. The second would be lighter and the third darker than the original one. This process is referred to as bracketing because you’re bracketing the suggested exposure. You can do this using exposure compensation (page 41) or autoexposure bracketing (page 42). In this series of photographs you can see the effect of exposure on the image. The top photo is correctly exposed. The bottom left photograph is overexposed and is too light.
57 CHAPTER 3. CONTROLLING SHARPNESS CAPTURING MAXIMUM DEPTH OF FIELD When photographing many scenes, you want to keep as much of the scene in focus as possible. To do so, you need to know how to increase depth of field. There are a number of ways to do this depending on the situation. INCREASING DEPTH OF FIELD ■ Photograph in bright sun so you can select a smaller aperture. ■ Use a wider-angle lens. ■ Move farther away from the subject. ■ Switch to Av (aperture-priority) mode (page 29) or use program shift (page 25) to select a small aperture such as f/11.