Art 261: Intermediate Photography — UPDATED on January 10, 2018, 10:00
NOTE: This Schedule is subject to significant changes up to January 25, 2018. After that point, minor adjustments may be made, and always no later than 24 hours prior to the altered class.
Class meetings occur once a week, on Thursday from 1:30 to 4:30, starting in Carnegie 311 and then moving to Carnegie 204 unless otherwise announced. PLEASE ENSURE THAT ANY EXTRA-CURRICULAR COMMITMENTS DO NOT CONFLICT WITH THIS. Additionally all students are asked to participate in occasional evening meetings, gallery events and lectures.
Field trips may require excused absences from other faculty. While the instructor will validate the requests, it is each student’s responsibility to acquire these excuses from other professors.
Readings and the related discussions will occur on a weekly basis. All Reading, Viewing and Photographic assignments are to be completed outside of formal class time, and prior to the date where they are listed.
The first half of class is generally for lab/studio sessions, demonstrations or critiques; the second half is generally for lectures, discussions or critiques.
This schedule is organized by
date (Week, Day, Date);
Reading; Viewing; Photographic
Online material or resources are indicated by a link, and in almost all cases will require a username and password which will be emailed to each student by the start of the semester.
Please refer to related pages on this site for
Course Policy | Office Hours | Project Descriptions | Projects by previous and current classes | Readings, References and Slides | Recommended Texts |
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HUMAN VISION MACHINE VISION – Noting the differences between human and machine sensors
HEALTH & SAFETY
- Assignment: Emulated Image
– discuss the assigned source image with class partners, respond to these prompts with notes in your class notebooks:
- Contrast: The way tones move from subtle gradations or abrupt switches, from white to black
- Intensity: Do the extreme darks and lights persist, and how (think of this as an ‘after-image’, like when you state at a bright subject for a while then close your eyes and see it in negative)
- Tone: is influenced by the way paper, screen or projection along with the other components of the image, absorb, transmit and reflect light
- Relationships: how the shapes and tones, contrast and intensity relate to each other
- Meaning: the emotional/conceptual sum of the above abstract values
– Begin making/taking photographs the emulate the source image. Use only digital sensor cameras, and only review these in-camera. Make as many variations of emulated images as you can. Feel free to discuss these images with your discussion group partners. Bring the cameras/drives, all necessary connectors or readers for transfer of files to computers, an external hard drive with power/connector cords to next class.
– as these photographs are made, consider these technical controls / determinants:
brightness / darkness
light source / shadow
distance / perspective
focus / motion
resolution / sensor noise
framing / composition
SCREEN IMAGE – The Screen, Lightroom and Photoshop, Calibration, Parameters of the screen image
- Demonstration of platinum-palladium printing
- Discussion: Symbols and the mindscape / Guston, Philip / Bucklow, Chris. “Epilogue” / Philip Guston
- Assignment: Emulated Image
– photographs based on the source image, using a digital sensor and only reviewing the images in-camera, are put through a Lightroom workflow in class
PAPER IMAGE – The digital image, inkjet printer parameters and controls
- Demonstration of digital printing, digital and film camera controls, and film handling and development
- Discussion: Paul Strand: Print Making, Richard Benson, Stange (ed), Paul Strand: essays on his life and work, Aperture, New York, 1990
PRINTING – make digital prints
- Assignment: Continue with Emulated Image
- Demonstration: Film processing (with Allie Horick)
- Discussion: in groups of three, discuss
The Process of Photography: Relationship, Recognition, Realization, John Blakemore, Black and White Photography Workshop, David + Charles, Newton Abbot, 2005.
Pick one salient point of interest that your group discussed and post a 200-300 word report on the class blog, with one or more images by the one or more members of the group.
NEGATIVE IMAGE – The digital image, the negative image, the digital negative print as an anticipation of the analogue platinum-palladium print
- Learning to visualize the print by making and looking at a negative image
- Photoshop basics, adjustment layers and masks
- Workflows, and moving from Lightroom to Photoshop and back
- First look at printers
PRINTING THE NEGATIVE
PAPER IMAGE – the analogue print, platinum-palladium printing
- Due today: a Lightroom folder with at least 10 Emulated Images, presented in your LR catalogue during class
- Preparing files for digital negative output
DIGITAL to PRINTED IMAGE – fine-tuning the digital negative for the platinum-palladium print, printing a digital negative
Begin the Class Assignment
DIGITAL TO PRINTED IMAGE – making a platinum-palladium print from a digital negative, hands-on printing
DIGITAL TO PRINTED IMAGE – continue making digital negative and platinum-palladium prints
Thursday MAR 10 – SPRING BREAK
TECHNOLOGY – the platinum-palladium process: chemistry, controls, theory
- Sally Mann: A Thousand Crossings
TECHNOLOGY – fine-tuning the workflow from digital to negative to print
Looking at a Platinum/Palladium Print
Class visit by Arkady Lvov