Publication: Fotografide ışık ve mercek
Abstract
Günümüz sanatını anlamak için; geçmişte yaşananlar, değişimler, izmler değerlendirilmelidir. Böyle bir çalışmada sanatın -o yüce- dokunulmazlığının nasıl aşıldığını, sanatçıların hangi farklılıklarla geleceğe ışık tutuğunu görmek şaşırtıcıdır. Sanatçılar düşünmeye, insani olana, hatta siyasi, politik gibi günlük yaklaşımlara görsellik kazandırma adına hep öncü olmuşlardır. Bu anlamda estetik kaygının biçimselliğinde birçok teknik farklı özellikleriyle hatta sanatın değişik dallarının aynı potada kullanılmasını bile neredeyse zorunlu kılmıştır. Tıpkı bizlerin de düşüncelerimizi görselleştirmek izleyenle her koşulda alışveriş içinde olmak bağlamında değişik anlatım dillerinden, teknolojiden yararlandığımız gibi. Fotoğrafın sanat yaratımında, sanat olgusunda kullanılması bugünkü gibi bulunduğu tarihte de bunlardan sadece biriydi. Sanatı destekleyen, yaratımın sunumunda kolaylaştırıcı olan birçok özelliği onun giderek gelişmesini sevilip vazgeçilmezliğe yol alışını adeta zorunlu kılmıştı. Kısaca bahsettiğimiz gibi sanatsal olaylardaki gelişmeler araç gereçler, teknikler modern olanla son derece barışıktı. Modern, yaşanan her dönemde birçok yeniliğin birlikte ve geleceğe dönük olmasıyla gelişen zaman dilimi ise, sosyal olaylar da eğitim de birçok değerin kavranmasını gerekli kılar. Modern anlamda eğitim de canlıdır ve gelişmeye açıktır. Derslerdeki yapılanmalar ve programlar hep yeniliği yaşatan, hatta bir ileriyi düşündüren donanımda olmalıdır. Bu bağlamda, yaratıcılığın ön koşullarını geliştiren düşünmeyi öğreten dersler teknik, teknolojik desteklerle öğrencilerin gelişmelerini kolaylaştırmalıdır. Konumuzun gereği resim derslerini ve fotoğrafı ele aldığımızda olayın çok daha önceden çözümlenmiş olmasını düşünürüz. Resim-İş Öğretmenliği Programında Fotoğrafın İşlevi ve Yeri konulu tez çalışmamızda amacımız resim-iş öğretmeni adaylarına fotoğraf eğitimi vermenin önemli ve gerekli olduğunu vurgulayarak, fotoğraf eğitiminin resim-iş öğretmeni adaylarına sağladığı faydaları tespit etmek olmuştur. Bu amaçla çalışmamıza başlarken, çalışmanın amacı, önemi, yöntemi, veri toplama tekniklerine değindikten sonra fotoğrafa önce sanatsal bakış açısıyla, sonra teknik donanım ve tarihsel açıdan bakılarak fotoğrafın temel özelliklerine değinilmiştir. Daha sonra fotoğraf sanatının yurdumuzdaki üniversitelere girişi ve gelişimi ile resim ile fotoğrafın ilintisi tarihi boyutlarıyla aktarılmıştır. Ayrıca Güzel Sanatlar Eğitimi Bölümlerinde alan bilgisi derslerinin sürdürüldüğü atölye ortamı ve bireysel yaratıma katkıları üzerinde durulmuştur. Fotoğrafın işlevselliği ve estetik tavrı, yaygın kullanımı, onun eğitimde de kullanılması dolayısıyla resim öğretmenlerince bilinmesini gerekli kılmıştır. Fotoğraf dersi almakla öğrencilerin diğer anasanat atölyelerde edindikleri alan bilgileri pekiştirilmektedir. Araştırmamızda, Güzel Sanatlar Eğitimi Bölümü Resim-İş Öğretmenliği nda öğrenim gören resim ve fotoğraf anasanat atölye öğrencilerinin fotoğrafla ilgili bilgi düzeylerini belirleme genel amacı doğrultusunda çalışılmıştır. Amacımız fotoğraf eğitimi almanın, resim-iş öğretmeni adayı için alan bilgisindeki yeterliliği destekleyici etkenlerden biri olduğunu, bu eğitimi almanın resim öğretmeni adayının sanata bakışında olumlu etkiler sağladığını kanıtlamaktır. Çalışmamızda ayrıca resim ve fotoğraf tekniklerinin farklı bile olsa resim ve fotoğrafın görsel anlatım dillerinin hemen hemen ortak olduğu, fotoğraf derslerinin resim-iş öğretmenliğindeki yeri ve işlevi vurgulanmıştır. Bu çalışmanın içinde yer alan ilgili anket çalışmasına Marmara Üniversitesi Atatürk Eğitim Fakültesi Resim-İş Öğretmenliği Abant İzzet Baysal Üniversitesi Resim-İş Öğretmenliği nın 3. ve 4. sınıf öğrencileri katılmıştır. Anket 2006-2007 eğitim öğretim yılı güz ve bahar dönemlerinde yapılmıştır. Çalışmamızın II. Bölümünde araştırmamızın fakülteye, anasanat dalına, sınıfa, yaşa, cinsiyete göre dağılımlarını gösteren tablolar düzenlenmiş; verilerin çözümlenmesine gidilmiştir. III. Bölümünde; önce sanat eğitimi ve fotoğraf anabaşlığı altında sanatsal bakış açısı altında estetik, kompozisyon, gözlem ve algılama, görsel tasarım ögeleri, nokta, çizgi, renk, doku, biçim, zıtlık, denge, derinlik, perspektif, ritm, şekil ve zemin anlatımlarına yer verilmiş, bunların hepsi örnek fotoğraflarla anlatılmıştır. Daha sonra fotoğrafın teknik donanımı konusuna girilmiş, karanlık oda ve fotoğraf kimyası, agrandizör, fotoğraf makinesi, dijital teknoloji anlatıldıktan sonra dünyada ve yurdumuzda fotoğrafın tarihine yer verilmiştir. Dünyadaki fotoğraf tarihi bölümünde fotoğraf sözcüğünün ilk defa kullanılmasından başlayarak fotoğrafın icadı ve gelişmesi günümüze gelişi ayrıntılı olarak anlatılmıştır. Yurdumuzdaki fotoğraf tarihinde ise fotoğrafın Osmanlı İmparatorluğu'nun son yüzyılı içinde nasıl ortaya çıktığı ve nasıl gelişmeye başladığına değinilip Cumhuriyet dönemi öncesi ve sonrasındaki fotoğrafla ilgili gelişmeler, fotoğrafın gerek sanatsal, gerek akademik hayatta yerini nasıl aldığı anlatılmıştır. Osmanlının son yaşam karelerini Cumhuriyet Dönemine bağlayan fotoğrafçılar sayıldıktan sonra, bunların bir takım fotoğrafları da çalışmamıza eklenmiştir. Daha sonra fotoğrafın resim ve diğer sanat dalları ile alan ilintisi üzerinde bazı tespitler yapılmış; fotoğrafta adından söz edilebilecek üsluplar tek tek irdelenmiştir. Son olarak Türkiye'de sanat eğitiminde fotoğraf dersleri konusunda yapılan çalışmalar, bu konunun üniversitelere girişi ve bugünkü durumu ele alınmıştır. Ayrıca atölye ortamı ve bireysel yaratımın önemi ve faydaları fotoğraf sanatı bağlamında anlatılmıştır. Fotoğraf sanatının ülkemizdeki gelişimini belirtmek amacıyla son iki yıl ki fotoğraf sergileri ve fotoğrafla yani 2005-2006 dönemlerindeki ilgili etkinlikler taranmış ve istatistiki bilgilere yer verilmiştir. IV. Bölümde Fotoğraf ve Resim Anasanat Atölye Öğrencilerinin Resim Plastik Çözümleme Bilgi Düzeylerinin Karşılaştırılması ile ilgili yapılan anket çalışmasının soru ve cevapları bunlarla ilgili değerlendirme tablolarına yer verilip bu çalışma ile ilgili veriler yorumlanmıştır. Sonuç ve önerilerde tez çalışmamız ile ulaştığımız bilginin ışığında fotoğraf eğitiminin resim öğretmeni adayına kazandırdıkları dile getirilmiştir. Resim dersi ve fotoğraf dersi olan öğrencilerin resmin plastik çözümleme bilgi düzeyleri karşılaştırılıp iki grup arasında anlamlı bir farklılığın olmadığı tespit edildiğinden öğrencilerin fotoğraf eğitimi sayesinde alan bilgisindeki yeterliliklerinin artmasının söz konusu olduğu, görsel ve duygusal gelişmelerinin hızlanmakta, kesinlik kazanmakta olduğu vurgulanmıştır. Bu eğitim yönteminde görsel ağırlıklı analiz çalışmaları ile görmek ve algılamak kolaylığına ulaşılır açıklamaları yapılmıştır. Ayrıca resim öğretmeni adayına fotoğraf eğitimi verilerek; bir sanatçının yaratıcılığı ile fotoğraf olgusunun bir araya getirilmiş olunacağı da belirtilmiştir. Sonuç olarak resim-iş öğretmeni olacak öğrencilerin fotoğraf eğitimi almaları onların görme, algılama, yaratma gibi sanatsal davranışların gelişmesine yardımcı olacağının faydalı görülmesi bu dersin her resim-iş öğretmeni programında okutulmasını gerekli kıldığı savunulmuştur.
The happenings of the past, variations and -isms must be assessed in order to understand the art of today. It is amazing to see how that noble immunity of the art is gotten over in this type of study and with which differences that the artists shed light on the future. Artists have always been pioneers in the name of bringing in visuality thinking, to those who are humane and even to the daily approaches such as politics, political. In this sense, many techniques have made it obligatory to even use the various branches of art in the same pot with their variant features in the formality of the esthetic concerns. As we benefit from various phrase forms, technology in order to visualize our thoughts, to be in connection with the viewer on every condition. The utilization of photography in the creation of art and in the action of art was one of those at the time it was invented as in today. Many features of the art that support it and that are facilitative in the presentation of the creation, obligated it to gradually develop and loved, and cruise towards indispensability. As we mentioned briefly: The developments, equipment-tools, techniques in the artistic events were extremely at peace with the modern. Social events and education make it necessary to apprehend lots of values if the modern is a time period that develops as a result of lots of innovations being together and directed towards the future. The education is active and open for development in modern sense. The structuring in the lessons and programs must be equipped with a sense that always perpetuates an innovation and even makes you think a step further. In this sense, the lessons that develop the pre-conditions of creativity and that teach to think must make the development of the students easier with technical, technological supports. As required by our subject, we may think that the problem must have been solved way before when we consider the painting lessons and photography. Our aim in our study with the subject of The Function and Position of Photography at the Program of Art and craft Education is to determine the benefits that the photography training has ensured to the candidates of art & craft education by stressing the importance and necessity of giving photography training to the candidates of art & craft education. For this purpose, we have touched on the aim of the study, its importance, methodology, data collection techniques at the start of our study, and then we have touched on the basic features of photography by referring to the basic features of photography firstly from the artistic perspective, and then from the technical equipment and historical perspective. Then the introduction of the art of photography to the universities in our country and its development, and the connection between painting and photography is narrated with its historical extents. Also, we have emphasized the workshop environment where field data courses are being perpetuated at the Education of Fine Arts Departments and its contribution to the individual creation. The functionality and esthetic attitude of the photography, its widespread utilization and its utilization in the education as well has made it necessary for the painting teaches to be known. The field data that the students have obtained from other main art workshops is consolidated by taking the photography course. We have studied towards the general purpose of determining the information level of the students in relation with photography in our research at the main art branch of painting and photography that study at the Department of Fine Arts, Division of Painting Education. Our purpose is to prove that receiving photography training is one of the factors that support the proficiency of a candidate of painting teacher at the field data and to prove that it ensures positive effects in the perspective of the painting teacher towards art. Also, we have emphasized that the visual expression languages of painting and photography is more or less the same, although techniques of painting and photograph techniques are different, and added the position and function of the photography courses at the art & craft education. 3rd and 4th grade students of Marmara University, Atatürk Faculty of Education, division of Art & Craft Education and Abant İzzet Baysal University, Division of Art & Craft Education have participated in the questionnaire study that is included in this study. The questionnaire is realized during the fall and spring terms at the academic year of 2006-2007. We have organized tables at the 2nd chapter of the study that display the distribution of the research according to division, grade, age, sex; and then the data are analyzed. The expressions of esthetic, composition, observation and perception, visual design factors, point, line, color, texture, form, contrast, balance, depth, perspective, rhythm, form and ground are presented within an artistic perspective under the headings of art education and photography; these are all narrated with example photos. Later, the issue of technical equipment of the photograph has been handled, the dark room and photography chemicals, the enlarger, the camera, the digital technology have been explained and the history of the photograph in the world and our country has been stated. In the chapter related with the history of the photograph in the world, we have started with the first using of the word photograph and the invention and development of the photograph, its travel until today have been explained in details. In the history of the photograph in our country, the way of the creation of the photograph during the last century of the Ottoman Empire and its development have been stated shortly and the developments before and after the Republic period and its placement in the artistic as well as the academic life have been explained. The photographers who have connected the latest life shots of the Ottomans to the Republic term have been named, and some photographs of them have been attached to this study. Later, some determinations about the relation of the photograph with paintings and other art branches have been made; the significant styles of photography have been examined closely and separately. Finally, the studies that have been carried out about photography lessons in the art education in Turkey, the entrance of the issue to the universities and its stand today have been handled. Further, the workshop environment and the significance of individual creation as well as its benefits have been explained with regard to the art of photography. With the purpose of indicating the development of the art of photography in our country, the photograph exhibitions and photographs of the last two years. I.e. during the years 2005-2006 have been scanned and statistical information has been stated. In chapter IV; the questions and answers of the interview study named Comparison of the Knowledge Levels of the Students of Photography and Painting Workshop related with Painting Plastic Resolution and related the evaluation tables have been indicated; also the data related with the said study have been commented. In the chapter related with the results and proposals, the benefits secured by the photography education for the painting teacher have been stated considering the information we have obtained during our study. Since it was determined that there is no difference between the group taking painting lessons and the group taking photograph lessons after the comparison of their knowledge level related with plastic resolution, it has been emphasized that the field information competence of the students taking photograph lessons is increasing, their visual and sensual development is accelerating and becoming definite. Explanations have been made stating that is becomes easier to see and percept during this education method due to the visually concentrated analysis studies. Additionally, it has been stated that the creative power of an artist can be joined with the photograph phenomena through the photograph education of an art teacher candidate. As the result, it has been defended that the photograph lesson must be included in the program of each art-craft teacher since it has been deemed that the photograph education of the students who are to become art-craft teachers help them for the development of artistic behavior such as seeing, perception and creation.
The happenings of the past, variations and -isms must be assessed in order to understand the art of today. It is amazing to see how that noble immunity of the art is gotten over in this type of study and with which differences that the artists shed light on the future. Artists have always been pioneers in the name of bringing in visuality thinking, to those who are humane and even to the daily approaches such as politics, political. In this sense, many techniques have made it obligatory to even use the various branches of art in the same pot with their variant features in the formality of the esthetic concerns. As we benefit from various phrase forms, technology in order to visualize our thoughts, to be in connection with the viewer on every condition. The utilization of photography in the creation of art and in the action of art was one of those at the time it was invented as in today. Many features of the art that support it and that are facilitative in the presentation of the creation, obligated it to gradually develop and loved, and cruise towards indispensability. As we mentioned briefly: The developments, equipment-tools, techniques in the artistic events were extremely at peace with the modern. Social events and education make it necessary to apprehend lots of values if the modern is a time period that develops as a result of lots of innovations being together and directed towards the future. The education is active and open for development in modern sense. The structuring in the lessons and programs must be equipped with a sense that always perpetuates an innovation and even makes you think a step further. In this sense, the lessons that develop the pre-conditions of creativity and that teach to think must make the development of the students easier with technical, technological supports. As required by our subject, we may think that the problem must have been solved way before when we consider the painting lessons and photography. Our aim in our study with the subject of The Function and Position of Photography at the Program of Art and craft Education is to determine the benefits that the photography training has ensured to the candidates of art & craft education by stressing the importance and necessity of giving photography training to the candidates of art & craft education. For this purpose, we have touched on the aim of the study, its importance, methodology, data collection techniques at the start of our study, and then we have touched on the basic features of photography by referring to the basic features of photography firstly from the artistic perspective, and then from the technical equipment and historical perspective. Then the introduction of the art of photography to the universities in our country and its development, and the connection between painting and photography is narrated with its historical extents. Also, we have emphasized the workshop environment where field data courses are being perpetuated at the Education of Fine Arts Departments and its contribution to the individual creation. The functionality and esthetic attitude of the photography, its widespread utilization and its utilization in the education as well has made it necessary for the painting teaches to be known. The field data that the students have obtained from other main art workshops is consolidated by taking the photography course. We have studied towards the general purpose of determining the information level of the students in relation with photography in our research at the main art branch of painting and photography that study at the Department of Fine Arts, Division of Painting Education. Our purpose is to prove that receiving photography training is one of the factors that support the proficiency of a candidate of painting teacher at the field data and to prove that it ensures positive effects in the perspective of the painting teacher towards art. Also, we have emphasized that the visual expression languages of painting and photography is more or less the same, although techniques of painting and photograph techniques are different, and added the position and function of the photography courses at the art & craft education. 3rd and 4th grade students of Marmara University, Atatürk Faculty of Education, division of Art & Craft Education and Abant İzzet Baysal University, Division of Art & Craft Education have participated in the questionnaire study that is included in this study. The questionnaire is realized during the fall and spring terms at the academic year of 2006-2007. We have organized tables at the 2nd chapter of the study that display the distribution of the research according to division, grade, age, sex; and then the data are analyzed. The expressions of esthetic, composition, observation and perception, visual design factors, point, line, color, texture, form, contrast, balance, depth, perspective, rhythm, form and ground are presented within an artistic perspective under the headings of art education and photography; these are all narrated with example photos. Later, the issue of technical equipment of the photograph has been handled, the dark room and photography chemicals, the enlarger, the camera, the digital technology have been explained and the history of the photograph in the world and our country has been stated. In the chapter related with the history of the photograph in the world, we have started with the first using of the word photograph and the invention and development of the photograph, its travel until today have been explained in details. In the history of the photograph in our country, the way of the creation of the photograph during the last century of the Ottoman Empire and its development have been stated shortly and the developments before and after the Republic period and its placement in the artistic as well as the academic life have been explained. The photographers who have connected the latest life shots of the Ottomans to the Republic term have been named, and some photographs of them have been attached to this study. Later, some determinations about the relation of the photograph with paintings and other art branches have been made; the significant styles of photography have been examined closely and separately. Finally, the studies that have been carried out about photography lessons in the art education in Turkey, the entrance of the issue to the universities and its stand today have been handled. Further, the workshop environment and the significance of individual creation as well as its benefits have been explained with regard to the art of photography. With the purpose of indicating the development of the art of photography in our country, the photograph exhibitions and photographs of the last two years. I.e. during the years 2005-2006 have been scanned and statistical information has been stated. In chapter IV; the questions and answers of the interview study named Comparison of the Knowledge Levels of the Students of Photography and Painting Workshop related with Painting Plastic Resolution and related the evaluation tables have been indicated; also the data related with the said study have been commented. In the chapter related with the results and proposals, the benefits secured by the photography education for the painting teacher have been stated considering the information we have obtained during our study. Since it was determined that there is no difference between the group taking painting lessons and the group taking photograph lessons after the comparison of their knowledge level related with plastic resolution, it has been emphasized that the field information competence of the students taking photograph lessons is increasing, their visual and sensual development is accelerating and becoming definite. Explanations have been made stating that is becomes easier to see and percept during this education method due to the visually concentrated analysis studies. Additionally, it has been stated that the creative power of an artist can be joined with the photograph phenomena through the photograph education of an art teacher candidate. As the result, it has been defended that the photograph lesson must be included in the program of each art-craft teacher since it has been deemed that the photograph education of the students who are to become art-craft teachers help them for the development of artistic behavior such as seeing, perception and creation.