PHOTO ESSAY

Applied Digital Photography – Spring 2011 (PGY 3821C-001) – SP1 AT 304 /305 – Special Topics Tuesday & Thursday – 4:00pm – 6:50pm Adjunct Professor: Y...
Author: Raymond Dorsey
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Applied Digital Photography – Spring 2011 (PGY 3821C-001) – SP1 AT 304 /305 – Special Topics Tuesday & Thursday – 4:00pm – 6:50pm Adjunct Professor: Yasmine Samimy – email: [email protected] Instructor office hours: After each class, by appointment - Tuesday / Thursday – 305-321-4021 Course Description: Familiarity with handling a digital camera (DSLR). Please bring your own digital camera and handbook as well. Course is directed to establishing a body of work of color/B&W digital prints through weekly assignments and critiques. Topics will vary depending upon interests. Class will be held as workshops, open lectures, lab work, research on photographers, in class critiques, shooting on location in and outside of class time, Subjects to shoot will be determined by topics of personal interest. You will present your work each week as a group to establish dialogue and share feedback. This will allow further opportunity to refine design vocabulary and discuss skills and questions you encounter while shooting your themes. You will work towards challenges in aesthetics with technical support and reviews. We will work towards a further understanding of computer imaging and experimenting with imaging techniques. It is an exploration of exposures and techniques from the digital capture to the final print. As you advance, you can choose to focus on developing a personal theme/artistic vision in your area of interest defining your visual goals in thematic picture taking. Work on creating your own photographic voice. Shoot as much as you can and use the time outside of class to find personal explorations. This is your time to experiment and free explore your own topics of interest. Each shot is your vision. Assignments will be presented in weekly group critiques that will allow you to develop presentation skills and exchange constructive dialogue and feedback about the work in progress. This will help you work towards a successful completion of the direction you are working towards. All this will aid in developing your personal style and exploring, experimenting and expanding your creativity and visual prowess. Course will cover variety of styles of photography: photojournalistic, special events reportage, portraiture/people, still life, landscape/environment, abstract photography, photo montage, night photography, street photography, urban environment, Stock photography, shoot for your portfolio if necessary with natural and artificial lighting (product/commercial). Reference materials demonstrated with books and film documentary on different photographers. In addition to your chosen themes, you will create your own unique self-portrait as an important exercise and study on how you view yourself as a visual subject. Photographic experiences will depend on your interest in subject matter and style. You will be responsible for creating a consistent body of work throughout the semester and building a final portfolio with all images professionally mounted or organized in binder or portfolio of your choosing as your final presentation. Series of 3-4 per theme or an ongoing story line of your interest. Required to submit a portfolio/book with an artist statement at the end of the semester – Final presentation As your final project and part of the final grade. All images should be consistent in size. Minimum print size is 8”x10” (closest) as the initial recommended size. It’s all about concept and presentation. Professionally presented, mounted, boxed or book format, however you choose to communicate your message. How you choose to submit your body of work is totally up to you. But I expect all images to be well printed presented in a binder or photographic folder (Itoya) Suggested final pieces to submit – 15-20 (TBA) prints in color or black & white. It’s not quantity but quality, so be discerning when editing your work. You will also work towards developing your artistic statement (your view and philosophy towards photography as you develop a closer relationship with the medium. This will accompany your final body of work as part of your portfolio at the end of the semester for final grade. I would like you to also do a study on a self-portrait. This can be an important image as an exercise in self-exploration. WRITTEN ESSAY /PHOTO ESSAY One critical analysis/essay research paper is required on a photographer or photographic style of your choice (must make reference to photographers of that style). 3-4 pages. Choose an Individual photographer or movement/style that inspires your vision as an emerging photographer. This paper is a college level paper and should be written as such. Use this to explore your own style of photography inspired by your chosen photographer. Submit with your own photographic essay with proper research references and your own view on the photographer. Critiques and classroom responsibilities: - Shoot, shoot, shoot – nothing is a mistake – it’s all about the process and analysis of your learning curve - Participate in critiques by being present with your weekly work assignments. Critiques are opportunities to analyze, and evaluate work in a supportive and constructive way. - Participate in discussions – ask questions – don’t censor yourself. It’s an open forum for learning, understanding the process, aesthetics and techniques. - Students should respond with critical observation to their peer’s work as well as their own. - Students should utilize the resources of the college for research and knowledge building. (i.e. library, museums, visit galleries) to enhance your personal understanding and discovery. SELF START. - Maintain classroom equipment and property. Respect your workspace. And other students work

- You may listen to your own music WITH headphones, BUT no headphones during class discussions. - Cell Phones Must Be Turned Off During Class. PLEASE, NO texting during class. Supplies: Keep all work safely filed in photo binder with archival sheet protectors (itoya or black binder). www.freestylephoto.biz, www.adorama.com, www.bhphotovideo.com, storage media (jump drive or external hard drive), photographic paper – suggested Epson photo premium luster or glossy, Kodak, Canon, Staples, Moab, Hahnemuehle papers. Epson is highly recommended. Available at Office Depot and Staples Grading: will be by self-, peer-, instructor review, class attendance, meeting project deadlines: 30% = the quality of your class projects and written assignments 30% = the quality of your involvement in this course (i.e. participation in open discussions and critiques) Midterm critiques: review and fine-tune work in progress – written assignments due with photo essay. 40% Final portfolio presentations: final critique/exam – Portfolio presentation, artist statement, and self-portrait. Attendance: Three (3) unexcused absences are permitted; each absence thereafter lowers your participation grade by one (1) letter point. If you are 20 minutes late, it is counted as absent. PLEASE BE AWARE. An absence for a religious holiday, jury duty, medical appointment, or emergency will be accepted (and will not count against you) as long as the instructor knows about it in advance. Obviously, emergencies are unexpected and cannot be foreseen in advance. Please provide a physicians note. If a valid absence causes you to miss a critique or project due date, you must reschedule a make-up as soon as possible. At all times, you are responsible for assigned projects, reading assignments, and receiving any materials handed out in class. Attendance will be taken with a sign-in sheet that will be passed around during the first few minutes of each class. Withdrawal policy: It is the student’s responsibility to officially withdrawal from this course if s/he decides not to continue. The instructor may decide to withdraw a student for reasons of non-attendance and/or non-completion of assignments. If the student appears on the final grade roll and she/he did not do the work, they will receive and ‘F’. Incomplete grades: Incomplete grades will only be given if requested in writing and an agreement is made with the instructor and permission of the College. All agreements must be in writing and signed by all necessary parties. Lab Time: There are always editing time. Work is never done. Use class time wisely for shooting, editing personal reviews. If you have completed your assignment/project, you may experiment or research on your own. Use all of the tools available to you while in class. You should always be working on your body of work and refining your themes for mid-term and final presentations. Inspire yourself through research and work towards high standards. Brainstorming is a key factor in developing and expanding ideas and creativity. The class will be geared towards developing a final body of work professionally presented at the end of the semester. Yasmine’s personal thoughts on the coursework: Photography as an art is all about the cultivation of a self-expressed sensibility, and developing your signature style. We provide the learning environment and absolute standard in knowledge and photographic style, equipment and technology. This will teach you to transcend the wizardry of the tool and use it to deliver a powerful personal message. It's not about the camera and equipment that counts, but the mind, soul and eye of your creativity behind that lens. So take advantage of your environment and look for your own identity and interests that attract you most. Develop it, cultivate it and deliver it in the message to the class, yourself and the instructor. It’s important to develop your style and passion that leads you to your own understanding of the photographic process. •• Technology is the tool but the real tool is concept and creativity that is expressed in your work; your own creative insights that are explored during this time. Developing an identity as a photographer is born and developed in your mind, and can take surprising forms. As your eye sharpens through aesthetics and technical practice, you will also hone in on the ability to think about the photographic arts through your writing exercises. Writing critically about the craft and your own work allows you to clarify and articulate your intentions. You will write a statement about your theme for your project (artist statement). This is a challenging process but will aid you in identifying your style and work, and give you a chance to discover, in a way, your voice. It is a deeper recognition of who you are as an artist. You may focus on landscape, urban landscape, figurative, fashion, architectural, abstract, details, portraiture, photojournalism, product photography or social documentary photography. Your studio practice will open and enhance your creative use of the pixel (digital captures). You will generate hundreds of pictures, in and out of the classroom environment, that you will be able to choose from and eventually focus on your best captures throughout the semester. I will help you edit your work down to the final images. Recommended Textbooks: *** Hands-On Digital Photography, George Schaub, Amphoto:Watson Guptil

- Adobe Photoshop CS3, 4 or 5 For Digital Photographers - The Photographer’s Eye: Composition and Design for Better Digital Photos, Michael Freeman - The Digital Photography Books 1, 2 & 3 by Scott Kelby - John Hedgecoe, The New Manual of Photography All books are available on amazon.com / Alibris.com / adall.com – resource center for used books. All sites listed will provide you with pre-owned issues as well. They have great prices! Research the best prices. I get all reference books from these sources. You will be surprised. Working in the Digital Environment: As you continue to learn the fundamentals of digital processes, you can work in your area of interest and relevance to build your photographic activity. Your primary concern will be developing your own vocabulary and sensibilities. You should have a clear and fundamental understanding of Adobe Photoshop. You should be proficient in topics of file management, creating contact sheets, image size and resolution, scanning, color modes, file formats, enhancement and editing tools, image adjustments, working with layers and layer masks, and output options. By the end of the semester, students should be able to produce and present professionally printed photographs in a digital environment. At the heart of the creative process is a desire to express an inner necessity... to realize a body of work that is important and vital to you. My role is to identify, clarify, enable and support you in that process. Early in the semester, you will choose a project to work on based on both an expansion of your technical skills and a refinement of your aesthetic awareness of contemporary photographic practice. You will identify artists who are already working in the mode you want to explore in order to realize the strongest possible work you are capable of. Use these artists as your inspiration. Examples of some possibilities to explore: Street shooting... use of the accidental in a close urban environment using the 35 mm digital camera. Study the works of Henri Cartier Bresson (father of the decisive moment). Understand the possibilities for shooting in an intuitive, quick and fluid way. Embrace the accidental, edit for the sublime. Also study the works of photographers, i.e. WeeGee, Gary Winogrand, Lee Friedlander, Walker Evans, and Helen Levitt, Ruth Bernhard or any other photographers of your interest. Portraiture: André Kertesz, Richard Avedon, Nicholas Nixon, Mary Ellen Mark, Diane Arbus, Arnold Newman, Sabastiao Salgado, Yousef Karsch, Annie Leibowitz. Many more… "In photography, creation is a quick business — an instant, a gush, a response — putting the camera up to the eye's line of fire, snatching with that economical little box whatever it was that surprised you, catching it in midair, without tricks, without letting it get away. You make a painting at the same time that you take a photo." Henri Cartier Bresson (Master of the “decisive moment”) Several different of areas that will be covered as assignments: Portraiture (people) / Photo journalistic style / social documentary / candid / emotions Details / experimental (exploring textures and abstract shapes) / Still Life – Project series Follow themes and elements/prinicples of design (important for composition) Options: Environmental/landscape (Nature or Urban cityscapes) : i.e. Ansel Adams, Edward / Brett Weston, Linda Conner, Sal Lopes (sallopes.com) Architectural / product photography Exploring night photography Resources to use for creative development and inspiration: B&W – Black and White Magazine: www.BandWmag.com Lenswork – Photography and the Creative Process: www.lenswork.com Focuses on photography and the creative process, with articles, interviews and portfolios. Aperture Magazine: www.aperture.org Aperture Foundation is a not-for-profit organization dedicated to advancing photography www.popphoto.com Note: The instructor reserves the right to change the project assignments, due dates and Essay for the course. If you have any questions or would like to send me drafts or ideas, please feel free to email me at [email protected]

Course Calendar | Applied Digital Photography (PGY 3821C-001) | Spring 2011 Tues / Thursday

4:00 pm-6:50 pm

Notations

Week 1-Jan 11 /13

Intro Overview & Course Objectives

Review questions and camera

Week 2-Jan 18 /20

Go on location / shooting day Follow class projects or Thematic development

Shoot as much as you can to develop your eye and thematic interests

Week 3-Jan 25 / 27

Shooting day / critiques on themes chosen

Preliminary outline & statement to Work in progress.

ORGANIZE COUPLE OF FILD TRIPS DURING SEMESTER Week 4-Feb 1 / 3

Lab work / Progress Review #1 Outline/Artist statement due Can be tweaked for final presentation with portfolio.

Week 5-Feb 8 / 10

Photo Lab / Progress Review #2

Week 6-Feb 15 /17

Photo Lab / Progress Review #3

Handouts will be distributed thru the semester, films on photographers Critiques, lecture, demos, discussion on various photographers styles throughout the semester Group and individual reviews will be daily part of class Go on location as well

Week 7- Feb 22 /24

Photo Lab / Progress Review #4

Light studio, lab time, critiques

Week 8-Mar 1 /3

Photo Lab / Progress Review #5

critiques

Week 9- Mar 7-12

Spring Break

Week 10-Mar 15 / 17

Mid-Term Critique

Week 11-Mar 22 / 24

Written assignment due. Critical analysis paper

Week 12-Mar 29 / 31

Photo Lab / Progress Review #6

Studio lighting continued for product photography (portfolio for graphic designers)

Week 13- April 5 / 7

Photo work, review towards final body of work

Review presentation methods Portfolio options, mounting matting

Week 14-April 12 /14

Photo work, review towards final body of work

Itoya or binder with photo sleeves

Week 15-April 19 /21

Photo work, review towards final body of work

Edit and organize final presentations (Group in series/story lines, themes for consistency and cohesiveness)

Week 16-April 26 / 28

Final critique / presentations

Week 17-May 3 / 5

End of classes

Studio lighting optional, lab time

Grades submitted – May 9, 2011

STATEMENT OF ACADEMIC INTEGRITY: Students at Florida Atlantic University are expected to maintain the highest ethical standards. Academic dishonesty, including cheating and plagiarism, is considered a serious breach of these ethical standards, because it interferes with the University mission to provide a high quality education in which no student enjoys an unfair advantage over any other. Academic dishonesty is also destructive of the University community, which is grounded in a system of mutual trust and places high value on personal integrity and individual responsibility. Harsh penalties are associated with academic dishonesty. For more information, see http://www.fau.edu/regulations/chapter4/4.001_Honor_Code.pdf.

STUDENTS WITH DISABILITIES: In compliance with the Americans with Disabilities Act (ADA), students who require special accommodations due to a disability to properly execute coursework must register with the Office for Students with Disabilities (OSD) located in Boca Raton SU 133 (561-297-3880), in Davie - MOD I (954-236-1222), in Jupiter - SR 117 (561-799-8585), or at the Treasure Coast - CO 128 (772-873-3305), and follow all OSD procedures.