ARTQUEST - Intermediate/Advanced PHOTO

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ARTQUEST PHOTOGRAPHY- Intermediate / Advanced Room Class Schedule: MON.-FRI.PERIODS 1st and 2nd Instructor: John Sappington - email address: jsappington@srcs.k12.ca.us PHONE: 707-332-0987 MOBILE / __ CLASSROOM
Syllabus (this document): http://www.basearts.com/artquest/indexBegPho.htm Submitted: Welcome Letter and Program Guidelines - this document and ----------------------------- Welcome and Welcome back! to ArtQuest Photography and the 2017-18 School Year! Dear Parents and Students, I’m John Sappington and I am the AQ Photography Teacher for the 2017-18 school year. I am a working artist, photographer and educator working primarily in digital photography and digital media. I graduated with a BFA from the Kansas City Art Institute and an MFA from the San Francisco Art Institute - both in photography. My art work within photography and image making draws from a range of diverse influences beyond Photography, Digital Arts, Contemporary Art, Conceptual Art, Performance Art, Semiotics, Linguistics and Sociology. I have been a working photographer, artist, educator, curator and IT Specialist for the past 23 years. The AQ Photography syllabi, as well as my credentials and portfolio are available online at: http://www.basearts.com/ ------------------------------------------------ AQ Theme 2017-18 – “… and still we rise” As a cohesive programmatic theme this year we will work with the concept of “… and still we rise”. AQ uses a theme each year to connect the various arts and core-related classes and to create an overarching artistic dialogue throughout the program about various topics and ideas, some relevant to a particular time or context, some focused on a specific performing or visual art work, some humorously thoughtful about the human condition, and some a serious investigation of political or social issues. Interpreted in a wide array by teachers and students, and the projects, events, other activities and outcomes generated have been delightfully surprising. Past AQ themes have been: Its not about the Destination, its about the Journey (2015-16), The Other (94-95), The Coexistence of Order & Chaos (95-96), No Theme ? (aka It’s a Mystery!) (96-97), What is Real? Is it Real? (97-98) etc… IMPORTANT FALL DATES: Friday August 18 : Forms & Lab Contributions deadline. Back to School Night September 14th - 6:30-9pm October 5, 6:30 pm: “ArtQuest 23rd Annual Fall Showcase of Programs”, beginning at 6:30 pm in the Auditorium. This is an evening for prospective students and families, to find out more about the opportunities ArtQuest has to offer, as well as current ArtQuest families to learn more about the program. Please plan to attend and also help us spread the word. Early application is highly recommended due to limited space. Tuesday October 17th to November 9th , “Shadowing”, ArtQuest offers students interested in the ArtQuest program the opportunity to "Shadow" a specialty for a day. Shadowing is by appointment only. Call (707) 535-4842 for more information and to schedule your student. Monday through Thursday. ArtQuest Application Deadline for Fall 2017 Entry Priority Deadline is November 13, 2017 PLEASE DON’T FORGET to return the field trip and donation form by Friday August 18. Program Guidelines It is with great pleasure that I welcome you ArtQuest Photography. All the ArtQuest teachers are excited about the opportunity to meet each and every one of our unique students. Our goal is to help each student grow as successful individuals in the classroom and beyond. The following packet of information is to explain a little bit about what students might expect from this program and provide some guidelines for success in this award-winning program in general and Photography in particular. Welcome (& welcome back) to school and to the SRHS ArtQuest Photography program. Please read these next 3 pages carefully and place it in your sketchbook for future reference. I require that students and a parent or guardian sign and date the information sheet at the bottom of the last page and that the student return it to me no later than Friday, August 18, 2017. Hopefully this outline of the course description, expectations and rules will help to answer questions. Parents/Guardians are welcome to email me with any questions or concerns. John Sappington: jsappington@srcs.k12.ca.us Overview Photography has been the most powerful visual art medium and form of communication since the 19th century. The purpose of this program is to develop an expressive visual language utilizing the medium of photography and to exploring the ways in which photography has impacted our lives. Questions about what photographs do will be explored as well as how we can make photographs that will impact our society. Problems and assignments are structured to develop a personal vision and to build a working knowledge of photographic materials and methods. The five components of the California Visual Arts Framework are an integral part of the fine arts curriculum. Development of content (message or concept), artistic vision and style, critical thinking, judgment skills and technical skills will all be emphasized. Additionally, students will have the opportunity to meet local fine art and commercial photographers to interact and learn more about photography as a course of study and/or profession. ArtQuest Photography classes will incorporate the California State Department of Education Framework for the Visual Arts at the appropriate levels. The State Framework is organized around the following five core competencies: • Artistic Perception - Perception of art and identification of structures and functions of art, using the language of visual arts. • Creative Expression - Making art works and developing skills with the variety of media and processes, expressive of personal experiences or responses • Historical and Cultural Context - Exploring the role of art in culture and human history, including themes and style. • Aesthetic Valuing - Deriving meaning from art works through analysis, interpretation and judgment. • Connections, Relationships and Applications – Making connections and relationships across the curriculum and/with vocational applications of problem solving skills and technical expertise toward diverse careers in the visual arts. It is assumed that students who have applied and have been accepted to the Photography program have a deep interest in the convergence of Art and Photography and some experiences in making art work. What this all means is that we will look at art in various forms and from many cultures. We will study and engage with elements and principles of art. We will develop and refine skills utilizing a variety of software. We will make artworks on paper and on the computer. We will discuss and make artwork in response to historical and contemporary cultural issues as well as artwork addressing more personal issues. We will investigate the interrelationships of art and technology as well as the relationship of art to other aspects of contemporary culture. Program Description The course curriculum is designed to make each photography student competent in both the technical and aesthetic aspects of the medium. Technical aspects include the use of the camera, film, and film processing and printing. An emphasis will be placed on craft and presentation. Students will also develop an understanding of photographic image in terms of light, shape, form, and organization of the 2D plane. Beyond this, each student will be encouraged to use photography to develop a personal vision and to explore an autobiographical concept in his or her work. Attendance Class attendance is mandatory for individual development and for the valuable contributions that each class member has to give the group. These contributions of opinion, information, and discovery are an essential element for a stimulating studio environment. Tardiness will affect the entire class’s progress, thus affecting the student’s grade. Students are expected to arrive to each class on time and be prepared to engage with the curriculum for the duration of the class period. Attendance will be taken by either roll call or visual observation at the beginning of each class. Excessive unexcused absences or tardies will result in a lower grade. Grading Criteria You will earn a grade for every assignment. In addition, you will receive grades for the work in your sketchbook. Incomplete and/or late work will result in lower points for each day past the due date. For Example: A project grade of A- becomes a B+ if handed in by the next class meeting an A- becomes a B if handed in by the second class meeting past the due date, etc. In addition, grades will reflect the student's: Ability to demonstrate a grasp of curriculum material through the creation of exceptional artwork. Originality in execution of high quality ideas. Ongoing dedication to developing creative/artistic growth, techniques, and visual library. Desire to analyze, implement, and challenge suggestions received during all critiques. Quality of craftsmanship and degree of professional presentation. Appropriate use of lab and equipment during school hours. Appropriate use of time during lab hours. Effectively meeting or surpassing any requirements of this program. While I do not grade on behavior, I do grade on your level of participation. Complete all assignments to the best of your abilities and submit them on time. Rules Everyone should be working diligently, and that doesn't leave a lot of time to ponder the rules. If you are thinking, researching, working, reworking and so on, your behavior will take care of itself. Of course, you must follow all school-wide rules and they are detailed for you in the SRHS Student Handbook. Make sure that you have a copy. Our classroom rules are simple, and they revolve around respect and responsibility. • Respect other people and their work. Keep a noise level that allows others to work. Be honest, but kind during critiques. Don't tamper with other people's work. • Respect yourself and your own work. Consistently do your best. Take care of your work. • Respect the environment, supplies and equipment • Be responsible in all that you use. Use equipment appropriately. Keep everything in the studio in good repair. Clean and organized. Don't take anything that doesn't belong to you. • Be responsible regarding the expectations for each assignment. • Be responsible to produce the best work you can and turn it in on time. At the completion of this program, students will be able to do the following: Demonstrate the use of 35mm and Digital SLR manual cameras; process black and white film, enlarge prints from the negatives, process and print digital images and achieve files, have a good understanding of SLR cameras, filters digital process and workflow as well as print and online presentation methods. Students should be in the process of developing a photographer’s eye by exploring the history of photography through photographers who have made a difference. Students will also explore their own style through a variety of photographic assignments. Recognize the importance of personal experience and express it in visual terms. Explore a variety of content issues including current cultural and world events, school, community and personal issues that are meaningful to the student. Explore alternative photographic processes. Research and recognize prominent photographers, their artworks, movements and styles from various times and cultures. Consider how photography has influenced the world and is influenced by society today. Identify the effects of media on our culture. Consider what role photographers have played in our culture. Develop critical thinking skills that enable one to describe, analyze, interpret and judge photographic works in writing as well as orally. Develop this into an artist statement about their work. Visit several galleries and conduct a formal gallery review of artworks. Present and discuss work in a portfolio review. Keep all photographs and written work, lesson plans and graded rubrics organized and accessible in a binder. Personal Phones I do allow students to have their cell phones on (ringers off) during class. I know that there will be times when parents will need to contact their children. If I am notified in advance that a student has an emergency situation that requires they make or maintain contact with a parent during my class they may do so. Please keep these calls to a minimum. Calling your child during appropriate times (brunch, lunch) is strongly suggested and is very much appreciated. Student phones are on during my class as an additional resource in completing projects or for important parent contacts and emergency purposes only. If distracting or an impediment to learning in any way – phones will be collected. Learning or Physical Disabilities* If you have a learning or physical disability that requires special classroom modifications, please schedule a meeting with me as soon as possible to discuss the condition and any requirements necessary for you to successfully participate in this program. For example, if you can't see the material being projected you need to let me know. Remember, I am here to help you succeed Materials We use many high quality materials in this program. There is a lab materials contribution of $120.00 per year. We are asking for this to be sent in as soon as possible so supplies and materials can be purchased. The donation covers the cost of the darkroom chemistry, sketchbooks, photographic paper and other misc. supplies required throughout the year. The Camera Intermediate & Advanced AQ Photography students are required to have a Digital Single Lens Reflex (DSLR) camera with a 50mm lens or equivalent zoom lens. We have a limited number of loaner cameras that may be checked out for a day or two to complete an assignment on condition that an Equipment Contract signed by the student and parent/guardian is on file. CAMERA FEATURES: Digital Single lens reflex (8 Megapixels or greater) Adjustable aperture (f stops) A selection of shutter speeds A means of focusing (preferably not automatic focus) A view finder This will allow for optimal learning in the course. Make sure your camera is in good working order! Additionally students are required to have the following: Black and white film is $4.00 per roll. (All students should purchase their film through this photo department. This is to alleviate the multitude of mistakes that students make each year by purchasing the wrong film.) Plastic negative/proof sheets for each roll of film are $.75 each. Presentation materials $2.00 per print. Negative Storage Binder Scissors (small, blunt tip) Flash Drive Journal/Sketchbook All students will be provided a journal or sketchbook . Do not underestimate the value of your journal/sketchbook and its impact on your artistic development and your final grade. Frequent out of class research assignments documented in your sketchbook will be required. The instructor strongly suggests that students dedicate a minimum of 5 hours of sketchbook a week (1 hour a day) in addition to the 10 hours of regular class lecture/lab time. Sketchbooks are not only for drawing but for storing concepts, quotes, significant historical information, images from magazines, writing down dreams, pasting your fortune from a fortune cookie, etc. Your sketchbook is your vault of ideas. Make the sketchbook your constant companion. Don't come to class without it! I will be asking to see the progress in your sketchbook every week. Bring it home to work on assignments and to every Photography class. Leaving your sketchbook in your locker is not acceptable. You will be graded for the effort made in your sketchbook each week. In other words, the use of your sketchbook is mandatory. Photography Classroom Rules No eating, drinking or chewing gum in class. No CD players, iPods, cell phones or other electronic distractions during class time. Cell phones must be turned off during class time. You may not leave classroom without a pass. No writing on desks or in books. This is “Destruction of School Property” and is a serious offense. Certain equipment requires prior permission before use. When in doubt-ask. Return all equipment (including developing tank and components) to their proper place clean (and dry if possible). Pick up all trash around and in desk. Wash desktops with spray and sponge at the end of each class. Stack seats at the end of each class. Knock before entering Darkroom Door . No more than 3 people at a time through door. Pass through doorway without any stops. Do not stop rotation of door from classroom or darkroom. Do not lean on door walls. Darkroom Sign up for an enlarger at the beginning of the period. Use only the enlarger to which you have been assigned. No visiting in the darkroom. Anyone entering darkroom must get prior permission to do so from teacher. Always use the proper tray when transporting a wet print or test strip. Fixer stains, so dress accordingly. Do not play with Eye Wash. Make every effort to retrieve all test strips and prints before the end of class. Clean up the enlarger area after use Put away all equipment. Wash down baseboard Return enlarger to a height of 16 inches Zero out the timer Empty drawers of all unused test strips. Clean up trash both around the enlarger and on floor. This is a great classroom/darkroom and we want it to stay as clean and efficient as it is for many years. Please do your part! --------- IMPORTANT DATES: Please mark your calendar for these important dates: Wednesday August 31 : AQDA forms & Lab Contributions are due. Please contact teacher for scholarship information or extensions. Back to School Night September 14th - 6:30-9pm October 5, 6:30 pm: “ArtQuest 23rd Annual Fall Showcase of Programs”, beginning at 6:30 pm in the Auditorium. This is an evening for prospective students and families, to find out more about the opportunities ArtQuest has to offer, as well as current ArtQuest families to learn more about the program. Please plan to attend and also help us spread the word. Early application is highly recommended due to limited space. Tuesday October 17th to November 9th , “Shadowing”, ArtQuest offers students interested in the ArtQuest program the opportunity to "Shadow" a specialty for a day. Shadowing is by appointment only. Call (707) 535-4842 for more information and to schedule your student. Monday through Thursday. ArtQuest Application Deadline for Fall 2017 Entry Priority Deadline is November 13, 2017

CYBER AND ERGONOMICS SAFETY README http://www.basearts.com/handouts/readme.htm
Online Photography Resources CURRENT News and Events Blog: http://blog.basearts.com Class Notes http://www.basearts.com/curriculum/notes/ Generalized Selection of Photo resources available online and local http://www.basearts.com/curriculum/Res.Photo.htm A broad spectrum list of working/historical photographers http://www.basearts.com/curriculum/photographerslisting.htm A recommended reading list centered around photography and imaging http://www.basearts.com/curriculum/Res.ReadingList.htm basearts selection of resources lists http://www.basearts.com/curriculum/resources.html
Weekly Lecture/Lab Schedule (subject to change)


Week 1	date:	Syllabus Overview - REVIEW Handout Expectations, Requirements, Objectives, Best Practices. Assignments: Bring Camera to second class meeting with cables (usb/firewire), or card reader. Locate and begin reading Camera Manual - Cover to Cover. Begin JOURNAL of questionable functions, settings, usage, portfolio ideas, reading notes etc... Required Text or Online Digital /Rental - Short Course in Digital Photography, A, ISBN-13: 978-0205998258 ISBN-10: 0205998259 Edition: 3^rd Set Camera to highest resolution / lowest compression. TURN OFF THE FLASH! Until further notice. Backup all images on working media/card and FORMAT card prior to first shooting assignment. (1) - 5-10 Digital Camera images to the second class meeting - Images should represent your interest in Digital Photography
Artists: Peter Krohn (local)- http://photographicakrohn.com/ Lazlo Moholy-Nagy https://www.guggenheim.org/exhibition/moholy-nagy-future-present Man Ray Olivia Parker http://oliviaparker.com/newindex.php ------- Incident involving the discovery of Fairies https://en.wikipedia.org/wiki/Cottingley_Fairies Reading: A Short Course in Digital Photography: Chapters 1, 3 and 9 Local Galleries and Suppliers Masters of Photography - Good starter site for Analogue Masters http://www.masters-of-photography.com/ Lomographic Society http://www.lomographics.com Artspace http://www.artspace.com/tags/photograph Art.com http://www.art.com/gallery/id--c23946/photography-prints.htm Camera Reviews http://dpreview.com http://www.keh.com
Week 2	date:	Lecture: Digital Technology Transferring images from camera/media to system. Begin fundamentals of camera technology/exposure.	Lab: Establish Home Directories Work with camera connection / file transfer First File Transfers FINISH Intro Presentations Assignment: Shooting in Low Light without a flash. 5-10 Images (2) Work with the ISO settings, White Balance settings, feel free to experiment, try to find the lowest level of light possible to render a readable image. Use a tripod if you have one, w Student Examples: ONLINE SPRING LOW LIGHT SUBMISSIONS http://basearts.com/curriculum/studentwrk/OnlineSpring2016/2016SpringART82LowLight/ Jesse Klein - nitelight Karl McJimsey - Flora Justin Stevick - paintingwlight/celestial
Reading: William Henry Fox Talbot - Pencil of Nature This site contains the full text of William Henry Fox Talbot’s writings contained in The Pencil of Nature published in London between 1844 and 1846. http://www.thepencilofnature.com/ Local Galleries and Suppliers Artists: Joseph Nicéphore Niépce / Louis Daguerre William Fox Talbot John Herschel Fredrick Scott Archer Other: Click to launch the Photography 101: Shooting in Low Light course Photography 101: Shooting in Low Light http://www.lynda.com/Photography-Cameras-Gear-tutorials/Photography-101-Shooting-Low-Light/163091-2.html Light Stenciling, compliments of Carolyn Reed: Here's what it looks like: http://www.fubiz.net/2012/01/30/light-stencils-in-vietnam/ Here's a video on how it's done. http://www.youtube.com/watch?v=1DJsLqwsqlg Lowlight artist / painting with light + range of lighting equipment http://www.flickr.com/photos/jannepaint/4287648439/in/photostream/
Anna Atkins - http://en.wikipedia.org/wiki/Anna_Atkins (née Children; 16 March 1799 – 9 June 1871) was and English botanist and photographer. She is often considered the first person to publish a book illustrated with photographic images. Some sources claim that she was the first woman to create a photograph
DP Review: Readers' Showcase: Astrophotography Click here to take a look at the gallery of images: http://www.dpreview.com/articles/3579675465/readers-showcase-astrophotography/
Reserve Textbook available in library A Short Course in Digital Photography : digital an introduction to photographic technique / Barbara London, Jim Stone. Third edition. CALL NO : TR267 .L647 2015
Week 3	date:	Assignments: ISO / White Balance Bracketing (3) - Create sequence of a single shot utilizing all ISO levels - 8-9 exposures - Create sequence of a single shot utilizing all White Balance setting. 8-9 exposures Example Student Work: http://basearts.com/curriculum/studentwrk/OnlineSpring2016/2016SpringISOWhite%20Balance/ --- Beginning Exposure - (4) Point and Shoot Exposure Adjustment - Working with the half-step shutter lock and/or AF-L create 3-5 exposures of a given scene showing + and - alternative exposure adjustments. - Simple tonal adjustment - Good time to work with (Point and Shoot) exposure controls Lecture: Camera Operation Best Practices - Beginning Camera Setup Outline Beginning Vocabulary Factsheet Exposure Factsheet Adobe Bridge Introduction http://tv.adobe.com/watch/learn-photoshop-cs6/what-is-adobe-bridge-cs6/ File Browser - Bridge / Automation Techniques / Contact Sheets File Types, Format
Reading: A Short Course in Digital Photography: Chapters 4, 5 and 7 Digital Camera Review - Technical Glossary http://www.dpreview.com/Glossary/ Artists: Animated sequence of a race horse galloping. Photos taken by Eadweard Muybridge. The horse's body demonstrates squash and stretch in natural musculature. Eugene Atget https://en.wikipedia.org/wiki/Eugène_Atget Eadweard Muybridge http://www.eadweardmuybridge.co.uk/ http://www.eadweardmuybridge.co.uk/muybridge_image_and_context/ Paul Strand http://youtu.be/jSLCTI1BTdw Manhatta (1921) is a short documentary film directed by painter Charles Sheeler and photographer Paul Strand. http://en.wikipedia.org/wiki/Manhatta http://www.nytimes.com/2008/11/09/movies/09kehr.html?_r=0
Adobe Bridge Automation Techniques: PDF based Contact Sheets and Presentations Multiple Files to Layers - Manual Composite/Contacts Photoshop: Scott Kelby's SlideshowTip and Contact Sheet - http://www.basearts.com/curriculum/online/ContactSheetScottKelby.htm - Recorded Demonstration - Sappington.Adobe Bridge Contact Sheet II.mp4 GS-01: Switching and saving workspaces http://tv.adobe.com/watch/learn-photoshop-cs5/gs01-switching-and-saving-workspaces/ The Output Module can offer so much more than slideshows. Here we see how it can be used to create contact sheets, two-by-two type prints or a customizable Web gallery. http://tv.adobe.com/watch/understanding-adobe-photoshop-cs6/adobe-output-module-bridge/
SCANNING - OPTIONAL - Scanning Procedures - Flat Art Photography - Scanning Procedures Epson : SRJC Digital Photogram Objects for Scanning - 3 Dimensional Objects as well as prints or flat art that you may want to digitize. - (3) Review Historical Photograms/Montage works: Photography - Photograms and Montage Samples Photography - Scanography - Example Files Photography - Scanning Procedures Niko Robinson - Student Scanner work more scanner work - various
Foundations of Photography: Exposure Understand how shutter speed, aperture, and ISO settings relate to one another, and how these settings expand your artistic options with any photograph. http://www.lynda.com/Digital-Photography-tutorials/foundations-of-photography-exposure/71923-2.html
Week 4	date:	Lecture: Camera Operation Exposure Factsheet Field Notes: Zone System Exposure Chart Shot Card Rev.2 for field experiments Zone System Introduction: (Digital Application) Practical Fig 1 Fig 2 Fig 3 Zone System \| Wikipedia Entry: http://en.wikipedia.org/wiki/Zone_System	Assignment: Contact Sheets of Brackets/Equivalents - (3) Create a minimum of 2-3 files utilizing 1) Output to PDF 2) Files to Layers Experiment with a standard contact sheet layout to document bracketing exposure experiments/design starts/. Example Student Work : http://basearts.com/curriculum/studentwrk/OnlineSpring2016/2016Spring2016ContactSheets/ ------------------ Bracketing Exposures - (5) - P mode - Working with the half-step shutter lock - AE-L - (M)Manual mode - Working with exposure scale in camera manual bracketing. Establish baseline exposure parameters of ISO and White Balance (manually set) - AEB* - Auto Exposure Bracketing - EV - Exposure Compensation Value - 5-15 exposures for each with alternate exposure. Review and set camera for optional .3/.7 or .5 stop configuration. 1st exposure according to meter reading or on the meter. 2nd + .5 half step or 1/3 stop greater (aperture/ time value / EV - exposure value ) selection or more exposure (over) 3rd + 1 whole step (full stop) or 2/3 stop greater (aperture/ time value / EV - exposure value) selection (over) 4th .5 half step or 1/3 stop smaller (aperture/ time value / EV - exposure value) selection or less exposure (under) 5th - 1 whole step (full stop) or 2/3 stop smaller (aperture/ time value / EV - exposure value) selection or less exposure (under) ------------------------ Review : Example Student Work:http://www.basearts.com/curriculum/studentwrk/OnlineSpring2015/Art82Spring2015ExposureBracketing/ Additional - EXAMPLE FILES - Shooting Assigments
Reading: Ansel Adams - .pdf - 344KB - 3 pages Artists: Ansel Adams FRED ARCHER Robert Adams About Robert Adams Robert Adams was born in Orange, New Jersey, in 1937. His refined black-and-white photographs document scenes of the American West of the past four decades, revealing the impact of human activity on the last vestiges of wilderness and open space. Although often devoid of human subjects, or sparsely populated, Adams’s photographs capture the physical traces of human life: a garbage-strewn roadside, a clear-cut forest, a half-built house.... continue reading SEGMENT: Robert Adams in "Ecology" http://www.art21.org/videos/segment-robert-adams-in-ecology http://www.pbs.org/video/2365178810/ Browse all videos
Steven Sasson invented the first digital camera at Eastman Kodak in 1975 http://en.wikipedia.org/wiki/Steven_Sasson
Exposure Assignments: ISO / White Balance Bracketing (3) - Create sequence of a single shot utilizing all ISO levels - 8-9 exposures - Create sequence of a single shot utilizing all White Balance setting. 8-9 exposures Example Student Work: http://basearts.com/curriculum/studentwrk/OnlineSpring2016/2016SpringISOWhite%20Balance/ --------------- Beginning Exposure Beginning Bracketing (4) Point and Shoot Exposure Adjustment Simple tonal adjustments utilizing the shutter half step. (Good time to work with (Point and Shoot) exposure controls) - Working with the half-step shutter lock and/or AF-L create 3-5 exposures of a given scene showing + and - alternative exposure adjustments. --------------- Bracketing Exposures - (5) - P mode - Working with the half-step shutter lock - AE-L - (M)Manual mode - Working with exposure scale in camera manual bracketing. Establish baseline exposure parameters of ISO and White Balance (manually set) - AEB* - Auto Exposure Bracketing - EV - Exposure Compensation Value - 5-15 exposures for each with alternate exposure. Review and set camera for optional .3/.7 or .5 stop configuration. 1st exposure according to meter reading or on the meter. 2nd + .5 half step or 1/3 stop greater (aperture/ time value / EV - exposure value ) selection or more exposure (over) 3rd + 1 whole step (full stop) or 2/3 stop greater (aperture/ time value / EV - exposure value) selection (over) 4th .5 half step or 1/3 stop smaller (aperture/ time value / EV - exposure value) selection or less exposure (under) 5th - 1 whole step (full stop) or 2/3 stop smaller (aperture/ time value / EV - exposure value) selection or less exposure (under) Example Student Work: http://www.basearts.com/curriculum/studentwrk/OnlineSpring2015/Art82Spring2015ExposureBracketing/
Week 5	date:	Lecture: Exposure Factsheet Equivalent Exposures Continues ... Begin Photoshop: Workflow : Adobe Bridge to Adobe Photoshop	Assignment: Continue to experiment with: - Manual mode - Working with exposure scale in camera manual bracketing. Establish baseline exposure parameters of ISO and White Balance (*manually set) - AEB - Auto Exposure Bracketing - Exposure Compensation Value - EV
Reading: A Short Course in Digital Photography: Chapters - 2, 3 and 4 Edward Weston - .pdf - 360KB - 3 pages (first left hand spread of each essay is last page of that essay) --- DPS: http://digital-photography-school.com/ Exposure Value Compensation http://digital-photography-school.com/how-to-use-exposure-compensation-to-take-control-of-your-exposure/ Artists: Edward Weston Minor White Jerry Uelsmann http://www.uelsmann.net/ https://en.wikipedia.org/wiki/Jerry_Uelsmann http://www.pdngallery.com/legends/uelsmann/
Week 6	date:	Lecture: Photoshop: Layers PS Best Practice #1 - Duplicate the pixel based background layer as first step on opening a .jpeg. PS Best Practice #2 - All adjustments to adjustment layers - no pixel damage. ------ File Types File Size Resize Issues Introduction to Layers: https://helpx.adobe.com/photoshop/how-to/layer-basics-explained.html?set=photoshop--get-started--essential-beginners Updated! - Adobe TV Photo Editing http://tv.adobe.com/channel/photography/photo-editing/	Assignment(s): - Equivalents: Depth of Field - (6) - Contact Sheet : 5-15 Images in sequence which illustrate the side effects of aperture selections. -(5) Aperture: Fig. 1 Fig. 2 Wikipedia Entry: http://en.wikipedia.org/wiki/Zone_System Depth of Field Calculator http://www.dofmaster.com/dofjs.html Student Work: Contact Sheets Spring 2015 http://www.basearts.com/curriculum/studentwrk/OnlineSpring2015/Art82Spring2015ContactSheets/ Depth of Field Spring 2015 http://www.basearts.com/curriculum/studentwrk/OnlineSpring2015/Art82Spring2015DOF/ Additional - EXAMPLE FILES - Shooting Assigments
Reading: *A Short Course in Digital Photography:* Chapter 5 Henri Cartier-Bresson - .PDF - 234KB Artists: John Divola http://www.divola.com/ Larry Sultan http://larrysultan.com/ Michael Light http://www.michaellight.net/ Jim Goldberg on his documentary practice http://youtu.be/BzDbugn4XDw on Sensitivity and Polaroids http://youtu.be/3mfMjPkxePc Henry Wessel http://en.wikipedia.org/wiki/Henry_Wessel,_Jr. Todd Hido http://en.wikipedia.org/wiki/Todd_Hido
Week 7	date:	Lecture: Photoshop Adjustment Layers - http://tv.adobe.com/watch/learn-photoshop-cs6/the-power-of-adjustment-layers/ Levels Adjustment Layers - http://tv.adobe.com/watch/learn-photoshop-cs6/levels-101/ Histogram History Move Tool / Auto Select Transform /Scale / Skew / Perspective Working with and around Selections Brush controls Dodge and Burn - http://tv.adobe.com/watch/learn-photoshop-cs6/dodge-burn-and-sponge-101/ Photoshop: Adobe TV Online Resources for Learning Photoshop - Review Episodes http://tv.adobe.com/watch/learn-photoshop-cs6/what-is-photoshop-cs6/ http://tv.adobe.com/show/learn-photoshop-cs6/	Assignment: - Equivalents: Motion / Blur - (7) - Contact Sheet : 5-15 Images in sequence which illustrate the side effects of shutter speed / time value selections. - (7) Shutter / Time Values: Fig 1 Student Work : Motion Blur Spring 2015 http://www.basearts.com/curriculum/studentwrk/OnlineSpring2015/Art82Spring2015MotionBlur/ Photography - EXAMPLE FILES - Shooting Assigments Bracketing Equivalents (Shutter and Aperture side effects) Wrap up current technical experiments
Discussion : Adams, Weston and Cartier-Bresson Reading: Italiano Calvino - Adventures of a Photographer Artists: Robert Mapplethorpe http://www.pbs.org/video/2365747778/ Lauren Greenfield http://www.laurengreenfield.com/
Week 8	date:	Photoshop Continues Adjustment Layers / Smart Object Layers Curves - Adjustment Layers Channel Mixer- Adjustment Layers Pixel Based Masks Essential Layer and Masking Processes in Photoshop.pdf Pixel based Masks --- Working with layers as masks Shadows and Hightlights History Brush Compositing Extract Selections - Paths (Pen) Blending Options Sharpening - http://www.lynda.com/Photoshop-tutorials/Photoshop-CC-Photographers-Sharpening/150542-2.html Noise Reduction Replacement and Removal techniques / Healing tools Color Modes/ LAB /Luminance Sharpening
Vivan Maier Vivian Maier - John Maloof Collection http://www.vivianmaier.com/ the wiki http://en.wikipedia.org/wiki/Vivian_Maier Finding Vivian Maier - the film http://www.findingvivianmaier.com/ http://www.vivianmaier.com/film-finding-vivian-maier/ -------Misc. the controversial print collection - Jeffrey Goldstein Collection http://www.vivianmaierprints.com/vivian-maier-images.html ------- Chicago Tonight Series: http://chicagotonight.wttw.com/2012/07/31/vivian-maier http://chicagotonight.wttw.com/2012/08/02/searching-vivian-maier http://chicagotonight.wttw.com/2012/08/01/meteoric-rise-vivian-maier The New Yorker - Vivian Maier and the Problem of Difficult Women BY ROSE LICHTER-MARCK http://www.newyorker.com/culture/culture-desk/vivian-maier-and-the-problem-of-difficult-women PBS - Bringing a portrait of private artist Vivian Maier to the big screen http://www.pbs.org/newshour/bb/bringing-portrait-private-artist-vivian-maier-big-screen/ PBS - From glamorous to ordinary, Vivian Maier’s street photography captured America’s mid-century urban life- BY DAVID COLES http://www.pbs.org/newshour/art/from-streets-scenes-of-the-50s-and-60s-to-neighborhood-characters-photographer-vivian-maier-captured-it-all/
Week 9	date:	Shooting Camera RAW for Gray Scale / Black and White This weeks shooting assignment requires that you configure your camera for Camera RAW capture. This is a setting found in the image Image Quality menu. When shooting in Camera RAW you can generate both a RAW file and a JPEG file - the resulting images are displayed as B/W in the LCD but in editing will contain all color channels and data. If you are not using either Adobe Photoshop or Lightroom - you may want to shoot in this dual file mode so that you will have access to the JPEGs prior to processing. Note: all manufacturers generally include a software application for converting RAW files. When shooting for black and white images, never shoot with camera's black and white modes. These "creative" modes are almost always reduced data exposures. Always shoot full color and convert your images in the post process through either the camera raw processor or Photoshops many conversion methods. The only exception to this is when shooting in RAW. If you have configured for Camera RAW files then you are able to shoot in the cameras Black and White /Grayscale mode - the resulting images are displayed as B/W in the LCD but in editing will contain all color channels and data. Submit and comment on 3-5 images you make which would be appropriate to convert to gray scale or black and white as it is known historically. Submit both the original color image and the gray scale image, if converted. Black/White or Gray Scale images can be converted using the Channel Mixer, the Black and White Adjustment layer or the Hue and Saturations adjustment layer. Include both the color and the black and white image. Add commentary that describes your thinking and your method of conversion. What makes the images suitable for black and white? Why shoot in black and white when you can shoot full color? ---------- Here are optional online tutorials for black and white conversion in Lightroom and Photoshop: Foundations of Photography: Black and White with Ben Long http://www.lynda.com/Photoshop-CS5-tutorials/Foundations-of-Photography-Black-and-White/80300-2.html Converting to black and white From: Photoshop Artist in Action: Tim Grey's Abandoned Farmhouse with Tim Grey http://www.lynda.com/Photoshop-tutorials/Converting-black-white/123556/133465-4.html Converting color to black and white with Julieanne Kost http://www.lynda.com/Photoshop-tutorials/Converting-color-black-white/122999/137813-4.html Black and White with Lightroom and Photoshop with Bryan O'Neil Hughes http://www.lynda.com/Photoshop-tutorials/Thinking-black-white/122444/131805-4.html	Assignment: Black and White - (8) Shooting for Black and White / Gray Scale - Contact Sheet : 10-12 selected images alternating b/w & color Camera RAW for Black&White Mode ONLY! _ Conversion Methods _ Previsualization / Exposure, Tonal Considerations
Artists: Diane Arbus *see below William Klein Richard Prince Hiroshi Sugimoto http://www.sugimotohiroshi.com/portfolio.html
Diane Arbus - https://en.wikipedia.org/wiki/Diane_Arbus Previously Unseen Arbus, Unearthed Years After Her Death http://www.nytimes.com/2016/07/15/arts/design/diane-arbus-met-breuer-in-the-beginning.html The Diane Arbus You’ve Never Seen MAY 26, 2016 http://www.nytimes.com/interactive/2016/05/29/arts/design/diane-arbus-photos-unseen.html How Diane Arbus Became ‘Arbus’ MAY 26, 2016 http://www.nytimes.com/2016/05/29/arts/design/how-diane-arbus-became-arbus.html Diane Arbus: The Early Years JULY 6, 2016 http://www.nytimes.com/2016/07/10/arts/design/diane-arbus-the-early-years.html
Week 10		LAB: Mid-Term Critiques - 5 pnts Prepare a selection of 3-4 ideas for your final portfolio subjects. All portfolios are comprised of 3 subjects of your own selection. Each portfolio subject should contain 20 images for a total portfolio size of 60 images. This is a fully digital portfolio no printed submissions are necessary although, alternative approaches to the final submission are encouraged. Each subject should be in a seperate folder within your organized home directory on the art server. Write up a brief summary description for each portfolio subject and compile this into a statement for submission and review at the final critique or Final. Assignment: - All shooting and software assignments should be uploaded to your assignments directories according to classroom directions. -- see summary below. - Complete the Midterm Evaluation Form <-- click here	Assignment: 1st Critique- 5-10 images of your own work - looking toward portfolio subjects. If you haven't made any decisions it could be just images you have made since the beginning of the semester that you believe were good. Critiques - 5 pnts. - (9) 5 Images - should represent beginnings of portfolio subjects either content or technique.
Stephen Shore http://en.wikipedia.org/wiki/Stephen_Shore Sophie Calle http://www.egs.edu/faculty/sophie-calle/biography/ Uta Barth http://utabarth.net/ John Baldessari http://www.pbs.org/art21/artists/john-baldessari/
Shooting Assignments Summary (1) - Initial 5-10 Digital Camera images between the first and the second class meeting - bring these to share on the 2nd class meeting. (2) - Shooting in Low Light without a flash. -Feel free to experiment, try to find the lowest level of light possible to render a readable image. (3) - Beginning Exposures (4) - Bracketing Exposures 3 Subjects - 5-15 exposures for each with alternate exposure. - (5) - Equivalents: Depth of Field 5-15 Images which illustrate the side effects of aperture selections. - (6) - Equivalents: Motion / Blur 5-15 Images which illustrate the side effects of shutter speed / time value selections. - (7) - Contact Sheets of Brackets/Equivalents Create a minimum of 3 contact sheets documenting bracketing exposure experiments. - (8)- Shooting for Grayscale / Black and White 4-8 images you make which would be appropriate to convert to gray scale - include both full color and grayscale image (9) - Critique - Make presentation of representative selection of your portfolio subjects (5-10 of each at minimum 3 times throughout the course.
Artists: William Klein http://aperture.org/blog/magazine-interview-william-klein/ Lorna Simpson Bernd and Hilla Becher Aperture Rememberance http://aperture.org/blog/remembrance-hilla-becher-tk-2015/ Reading: Robert Adams - Truth - http://www.basearts.com/curriculum/PDF/Readings/RobertAdamsTruth.pdf Robert Adams - Beauty - http://www.basearts.com/curriculum/PDF/Readings/RobertAdamsBeauty.pdf
Optional: Robert Adams - Good News - http://www.basearts.com//curriculum/PDF/Readings/Rbt.Adams.GoodNews.pdf Robert Adams - Collegues - http://www.basearts.com//curriculum/PDF/Readings/RobertAdams.Collegues.pdf Susan Sontag - In Plato's Cave- http://www.basearts.com//curriculum/PDF/Readings/SusanSontag.pdf Susan Sontag - Melancholy Objects - http://www.basearts.com//curriculum/PDF/Readings/SusanSontagMelancholyRev2.pdf
Week 11	date:	Critiques continue... Lighting Good Alternative Manufacturer of speedlite flash units http://www.hkyongnuo.com/e-index.php HDR - High Dynamic Range Imaging Stiching - Photomerge Lecture/Lab : Advanced techniques: Camera Raw Lightroom Portrait & Controlled Light Working with Ambient Light Flash
Reading: Photoshelter - Lighting Handout ------------------- Harold Edgerton http://edgerton-digital-collections.org/ Interview with Martin Schoeller Photographer Martin Schoeller speaks with Feature Shoot about the portrait that launched his career, photographing celebrities and advice for emerging photographers. https://www.youtube.com/watch?v=IqvGH9A7VIE George Hurrell http://georgehurrell.com/gallery/ Richard Avedon Irving Penn Philippe Halsman - http://en.wikipedia.org/wiki/Philippe_Halsman - http://www.smithsonianmag.com/arts-culture/10022756.html
Seeing through Photographs, Produced by The Museum of Modern Art Although taking, sharing, and viewing photographs has become second nature for many of us, our regular engagement with images does not necessarily make us visually literate. This course aims to address the gap between seeing and truly understanding photographs by introducing a diversity of ideas, approaches, and technologies that inform their making. In this course you will look closely at photographs from the collection of The Museum of Modern Art and hear a variety of perspectives on what a photograph is and the ways that photography has been used throughout its nearly 180 year history: as a means of artistic expression, as a tool for science and exploration; as an instrument of documentation; to tell stories and record histories; and as a mode of communication and critique in our ever increasingly visual culture. Subtitles available in English https://www.coursera.org/learn/photography/
Adobe Lightroom Camera Raw Resource Links for Camera Raw and HDR - plugins/extensions/software Adobe TV : Why You Should Set Photoshop to Open Your JPGs in Adobe Camera RAW Enhancing Raw Images http://tv.adobe.com/watch/learn-photoshop-cs6/enhancing-raw-images/ Easily merge JPEGS into a 32-bit TIFF you can open in Photoshop with access to the full controls of Camera Raw. http://tv.adobe.com/watch/cs6-creative-cloud-feature-tour-for-web/32bit-hdr-and-camera-raw/ Recovering detail in raw images by Richard Harrington http://tv.adobe.com/watch/learn-photoshop-cs5/recovering-detail-in-raw-images/ Adobe Camera Raw workflow by Russell Brown - http://av.adobe.com/russellbrown/ACRBridgeToBridge_SM.mov Adobe Lightroom : Develop Module Introduction http://www.lynda.com/Lightroom-tutorials/Develop-module-overview/124393/141813-4.html Understanding White Balance and Color Temperature http://www.lynda.com/Lightroom-tutorials/Understanding-white-balance-color-temperature/124393/141819-4.html Creating a Contact Sheet: http://tv.adobe.com/watch/learn-lightroom-5/creating-a-contact-sheet/ Using the Histogram to Correct Exposure http://www.lynda.com/Lightroom-tutorials/Using-histogram-correct-exposure/124393/141827-4.html Understanding Vibrance and Saturation http://www.lynda.com/Lightroom-tutorials/Understanding-vibrance-saturation/124393/141836-4.html
Week 12	date:	- Discuss Adams Readings - Lab: Printing continues through to the end... Lecture: Photoshop: Pdrinting Processing a Digital Image for PRINT rev4.13.pdf Printer Profile File Names: profilenames Additional Printing Resources: Device/Paper Profiles - additional resources http://www.basearts.com/Res.Printing.htm and Color Management Resources: http://www.basearts.com/curriculum/color/basearts-Photography-color.html - see contents of directory listing below for various white papers: htttp://www.basearts.com/curriculum/PDF/ColorManage Printing Demonstration - Epson R1900 Printer : Resolution (review) File Preparation Color Management Color Modes Papers Surface/Finish Texture Color Weight	Assignment: Printing 3-5 prints - 5 pnts. - 8x10 minimum - (11)
Artists: Francesca Woodman https://en.wikipedia.org/wiki/Francesca_Woodman Sharing a Guarded Legacy - NY Times 2011 http://www.nytimes.com/2011/12/04/arts/design/francesca-woodman-retrospective.html Mona Kuhn https://youtu.be/RDngAUrn-Pk Zoe Leonard - https://en.wikipedia.org/wiki/Zoe_Leonard Zoe Strauss - https://en.wikipedia.org/wiki/Zoe_Strauss Alice Shaw http://www.flysfo.com/museum/exhibitions/alice-shaw-exalted-landscape Reading: *A Short Course in Digital Photography:* *Chapter 6* -------- Sample Packs of Inkjet Paper are required for Printing - Available now at Jeremiah's Photo Corner - $ 10.75 Jeremiah's Photo Corner http://www.jeremiahsphotocorner.com/Jeremiahs_Photo_Corner/Welcome!.html ---------------------------- Device/Paper Profiles - additional resources: http://www.basearts.com/Res.Printing.htm Digital Art Supplies (San Diego based, print supply ) http://www.digitalartsupplies.com INTERNATIONAL COLOR CONSORTIUM The purpose of the ICC is to promote the use and adoption of open, vendor-neutral, cross-platform color management systems. The ICC encourages vendors to support the ICC profile format and the workflows required to use ICC profiles. http://www.color.org/index.xalter http://www.color.org/iccprofile.xalter http://www.color.org/resource2.xalter - Resource Center ----------------- Local printers - Santa Rosa The Digital Grange http://www.digitalgrange.com/ Jeremiah's Photo Corner http://www.jeremiahsphotocorner.com/Jeremiahs_Photo_Corner/Welcome!.html Color Folio http://colorfolio.com/index.htm Skylark Images http://www.skylarkimages.com/ The Lab http://www.thelabsantarosa.com San Francisco Printers Urban Digital Color http://www.urbandigitalcolor.com/ Rayko Photo http://raykophotocenter.com/ Dickerman Prints http://www.dickermanprints.com/ Photo Works SF http://www.photoworkssf.com/
Additional Printing Resources: http://www.basearts.com/curriculum/PDF/ - see contents for various PDFs http://www.earthboundlight.com/phototips/srgb-versus-adobe-rgb-debate.html http://www.cambridgeincolour.com/tutorials/sRGB-AdobeRGB1998.htm The World of Inkjet Papers http://www.freestylephoto.biz/inkjet PDF of Digital Printing Supply Catalogue http://www.freestylephoto.biz/static/pdf/catalogs/fs_creative_imaging_catalog.pdf Freestyle - Inkjet Comparison, Ratings and Reviews http://www.freestylephoto.biz/inkjet/paper-ratings Inkjet Papers Glossary http://www.freestylephoto.biz/inkjet/glossary
Week 13	date:	Lab: Printing continues through to the end... Lecture: Photoshop: Printing Processing a Digital Image for PRINT rev4.13.pdf Printer Profile File Names: profilenames	Assignment: (10) - Self Portrait - Selfie (10)Try a variety of techniques and poses. You are you own best model. You know exactly what you want you to do. Experiment wih various strategies; self timer, hand held, reflection. (Variation on The Selfie - Create a series of 6 images of your self presented in the front of significant locations from your life. Try to create an overall sense of context for the sequence. - Work, Home, Hobby, Nationality?) see : Tseng Kwong Chi http://www.tsengkwongchi.com/ - Aperture, Self Portraiture in the First-Person Age, http://aperture.org/blog/self-portraiture-first-person-age/
African Portrait Photographers : 1900-1960 Seydou Keït http://en.wikipedia.org/wiki/Seydou_Ke%C3%AFta_%28photographer%29 Malick Sidibé http://en.wikipedia.org/wiki/Malick_Sidib%C3%A9 Obituary: http://www.theguardian.com/artanddesign/gallery/2016/apr/16/malick-sidibe-1936-2016-in-pictures Mama Casset http://fr.wikipedia.org/wiki/Mama_Casset
Week 14	date:	Lab: Printing continues through to the end... Lecture: Lens Selection Lens Selection: Link to external sites of interest regarding lens selection DPReview Lens Reviews http://www.dpreview.com/lensreviews/ DP Review Lens Widget: http://www.dpreview.com/lensreviews/ Tilt- Shift: A DIY guide http://cow.mooh.org/projects/tiltshift/ Angle of View: Fig 1	Assignment: Critique - (12) - Make presentation of representative selection of your portfolio subjects (5-10 of each at minimum 2-3 times throughout the second half of course.
Artists: Rahubir Singh - see wikipedia also http://www.basearts.com/curriculum/masters/Raghubir Singh/ Reading:* Photographs Not Taken Jim Goldberg - from Photographs Not Taken: A Collection of Photographers' Essays, Edited by Edited by Will Steacy, daylight Community Arts Folundation 2012
Bokeh http://www.bhphotovideo.com/explora/photography/tips-and-solutions/understanding-bokeh Depth of Field and Bokeh - more of the science from Zeiss Camera Lens Division, by H.H. Nasse. http://basearts.com/curriculum/PDF/TechHandouts/ScienceofBokeh.pdf ------------ Additional Lens review sources: Photozone for lens reviews Thom Hogan for Nikon equipment reviews Foundations of Photography: Specialty Lenses From ultra-wide angle to ultra-telephoto to macro, tilt-shift and more, discover the creative options that specialized lenses and attachments provide. http://www.lynda.com/Photoshop-tutorials/Foundations-Photography-Specialty-Lenses/111233-2.html Foundations of Photography: Lenses Shows how to understand, choose, and properly use lenses. http://www.lynda.com/Photography-tutorials/foundations-of-photography-lenses/76336-2.html
Week 15	date:	Lab: Printing continues through to the end of the semester... Lecture: Composition tone balance line framing Internet Presence / Websites / Automation Image Ready Web Optimization Batch and Automation Scripting Text - Typography Text tools Vector graphic	Assignment: 5-15 images of light - (12) - consider the characteristics of the light situations you are encounter. Images with good or interesting light conditions - focus on the light (diffuse, sharp, moody?)- not the content of the image Is there something within the light you could replicate with artificial means? Alternative: At the edges of light and shadow - Create a series of images exploring the contrast at the edges between shadow and light. Experiment with exposure latitude, extremes between 10am and 2pm with direct natural light. Try the Golden Hour, the Blue Hour.
Artists: Nathon Lyons http://museum.icp.org/museum/exhibitions/nathan_lyons/index.html Jenny Holzer http://en.wikipedia.org/wiki/Jenny_Holzer Collection of composition links: Rule of Thirds http://digital-photography-school.com/blog/rule-of-thirds/ More on the Rules of Photography http://macteens.com/magazine/features/fullstory/the_rules_of_photography/ Holding your Camera at an Angle http://digital-photography-school.com/blog/hold-your-camera-on-an-angle/ Rules for Landscape Photography http://digital-photography-school.com/blog/4-rules-of-composition-for-landscape-photography/ Diagonal Lines http://digital-photography-school.com/blog/using-diagonal-lines-in-photography/ Converging Lines http://digital-photography-school.com/blog/converging-lines/ Foreground http://digital-photography-school.com/blog/pay-attention-to-foregrounds/ Framing http://digital-photography-school.com/blog/framing-your-shots-photography-composition-technique/ http://digital-photography-school.com/blog/5-elements-of-composition-in-photography/ ---------------- Rule of Thirds http://en.wikipedia.org/wiki/Rule_of_thirds http://en.wikipedia.org/wiki/Image:Rule_of_thirds_1845_George_Field_Chromatics.png Golden Mean http://en.wikipedia.org/wiki/Golden_ratio http://www.cambridgeincolour.com/tutorials.htm http://www.cambridgeincolour.com/tutorials/camera-lenses.htm http://www.cambridgeincolour.com/tutorials/hyperfocal-distance.htm
Week 16	date:	------ Lecture: - Protecting your images - Respecting the work of others Copyright and Legal Rights and Responsibilities Resources: Legal and Photorelease - Resources Listing PDFs Legal Advice - Photographers Rights - pdfs Model Release Examples - plain text PDN: What Photographers Need to Know About Model Releases http://www.pdnonline.com/features/What-Photographers-N-10515.shtml Three experts explain when and why you need model releases, including a variety of uses where, without a signed release, photographers can create trouble for themselves and their clients. Photoshelter Guide to Copyright /copyright ------------ Usage and Licensing: American society of Media Photographers (National) http://asmp.org/ American society of Media Photographers (Local) http://www.asmpnorcal.org/	Assignment: Critique - (12) - Make presentation of representative selection of your portfolio subjects (5-10 of each at minimum 2-3 times throughout the second half of course.
Artists: Margaret Bourke-White Tina Modotti Imogen Cunningham Nan Goldin - Tate Shots-https://youtu.be/r_rVyt-ojpY Sally Mann Sherry Levine Judy Dater Annie Liebovitz Graciela Iturbide ------------------------------------ Online Storage / Services http://www.photoshelter.com http://www.smugmug.com http://www.zenfolio.com/us http://www.livedrive.com/ http://www.carbonite.com Publishing http://www.lulu.com http://www.blurb.com http://www.customink.com COMMERCIAL / LOCAL: http://www.svenwiederholt.com/ http://www.peterkoval.com/ http://www.jockmcdonald.com/
Week 17	date:	Lecture: Business - Usage and Licensing (GETTING PAID) American society of Media Photographers (National) - http://asmp.org/ American society of Media Photographers (Local) - http://www.asmpnorcal.org/ New Photoshelter Guides : For a Business Plan /business plan 2016-photo-business-plan-workbook Creating a Porfolio /portfolio Photographers Guide to Copyright /copyright PhotoShelter Business Plan Worksheet - http://www.photoshelter.com/mkt/research/ Transitioning from Assistant to Pro Photographer: Free White Paper In this useful packet, assistants explain how they made the leap to shooting for their own clientele and managed the financial challenges of their first year in the business. You can download the PDF here. Photojojo: Starting Your Photo Biz… Part 1: You Sure ‘Bout That? http://photojojo.com/content/photojojo-original/starting-photo-business/ Starting Your Photo Biz… Part 2: What’s In a Name? http://photojojo.com/content/photojojo-original/photo-business-name/ Starting Your Photo Biz… Part 3: The Nitty-Gritty Business Details http://photojojo.com/content/photojojo-original/starting-photo-business-details/ Starting Your Photo Biz… Part 4: Fame and Fortune http://photojojo.com/content/photojojo-original/photo-business-marketing/
Week 18	date:	Shone Farm : http://www.basearts.com/work/2015/ShoneFarmFall2015/ Final Critique - TUESDAY 5.23 @ 1-4pm - 2926 Magginni Final Portfolio, Presentation and Critique(12) Presentations of selections from individual portfolios 20 images. = 10 pnts. Final Exam is here --> TEST
Reading: dpBestflow / American society of Media Photographers / Best Practices Resource: http://www.dpbestflow.org/ Walter Bejamin, "The Work of Art in the Age of Mechanical Reproduction", 1936 - Excerpt translanted by Harry Zohn
Shooting Assignments Summary (1) - Initial 5-10 Digital Camera images between the first and the second class meeting - bring these to share on the 2nd class meeting. (2) - Shooting in Low Light without a flash. -Feel free to experiment, try to find the lowest level of light possible to render a readable image. (3) - Beginning Exposures Point and Shoot Exposure Adjustment - Working with the half-step shutter lock and/or AF-L create 3-5 exposures of a given scene showing + and - alternative exposure adjustments. (3) (4) - Bracketing Exposures 3 Subjects - 5-15 exposures for each with alternate exposures. (5) - Equivalents: Depth of Field 5-15 Images which illustrate the side effects of aperture selections. (6) - Equivalents: Motion / Blur 5-15 Images which illustrate the side effects of shutter speed / time value selections. (7) - Contact Sheets of Brackets/Equivalents Create a minimum of 3 contact sheets documenting bracketing exposure experiments. (8)- Shooting for Grayscale / Black and White 4-8 images you make which would be appropriate to convert to gray scale - include both full color and grayscale image (9) - Critique I - Presentation of a representative selection of your portfolio subjects (5-10 of each at minimum 3 times throughout the course. (10) - Self Portrait - Selfie (10)Try a variety of techniques and poses. You are you own best model. You know exactly what you want you to do. Experiment wih various strategies; self timer, hand held, reflection. (Variation on The Selfie - Create a series of 6 images of your self presented in the front of significant locations from your life. Try to create an overall sense of context for the sequence. - Work, Home, Hobby, Nationality?) see : Tseng Kwong Chi http://www.tsengkwongchi.com/ Aperture, Self Portraiture in the First-Person Age, http://aperture.org/blog/self-portraiture-first-person-age/ (11) - Prints - create 3-5 - 8x10 minimum. (11) - Images of Light 5-15 images of light -- consider the characteristics of the light situations you are encounter. Images with good or interesting light conditions - focus on the light (diffuse, sharp, moody?) (12) - Critique II - Show progressive state of your portfolio. (13) - Final Portfolio, Presentation and Critique - 1 Subject Presentation / 3 Subjects Total 3 subjects / 20 images each = 60 Images Total
Alternate Assignments: Cropping 5-n-1 - Take an existing file and crop to create 5 variations on the composition. Focus is on re-framing and composing. Not compositing. Composite - 1 in 5 - Create an image file from the components or pieces of minimum 5 image files. Create multiple variations on the composition at will. Bokeh- Create a series of like images of the same subject with various lenses @ largest to smallest aperture bracketed to test bokeh results for all. *Flare / Glare - Create a series of images exploring the selective use of glare /flare with alternate light sources (sunlight, streetlights (sodium vapor), car lights(halogen). Tilt Shift - Create a series of landscape images exploring tilt shift or the post focus effect simulating tilt shift. (an optical system (such as a camera) when the lens plane is not parallel to the image plane produces an effect of selective focus. Originally developed to correct for converging parallel lines in aerial photography. Captioned - Submit 3 images with a brief textual description. Explore the challenges of describing an image to someone with a visual impairement or someone lacking visual acess to the image.**