Fancy Filters, Portrait corrections, and such Photoshop fun

here are the notes for last week's photoshop lesson and this weeks! You may find things on here that we haven't talked about in class so check them out!!

also i'm including the repair image so that you can follow the directions and try working on a heavy repair.....if you turn this in to me at the end of our work day, i'll happily give you some extra credit.

Filter's Assignment

Tuesday Due Date: End of May 5th Class
Friday Due Date: End of May 8th Class

1. choose one color photo from any of your contact sheets for this class
2. open that image in photoshop and using image>image size, change the resolution to 72 and make it around 2 inches x 2 inches in height and then color correct it.
3. create a new document in photoshop that is 8.5x11 with a resolution of 72 (file>new)
4. make sure you are on the move tool (top of your tool bar) and click on your small picture and drag it into your new document in the top letf hand corner. note that this will have created a new layer in photoshop (if your layers pallate isn't up, open it through window>layers)
5. make sure that the layer you just created is active (it should be blue), then run a filter on that image
6. click on the text tool (the big t in the tool bar) and directly beneath the photo, type the name of the filter. again you will notice that photoshop has created a new layer.
7. repeat these steps until you have run all the filters in photoshop...essentially you are creating a set of contact sheets for the filters
8. make sure that after every 3 or 4 images you add that you flatten your image (layer>flatten image) so that you don't wind up with 60 or 70 layers

black and white conversion

color correction

healing tools

selection tools

FOR TUESDAY NITE ONLY (APRIL 14th)

hi everyone,

i am emailing this to all of you as well, but just incase you miss it, class tomorrow nite has been cancelled. Something has come up tomorrow that I can't avoid missing class for. I apologize for that. we will get caught up in no time, next week.

because of this change, i'm giving you an assignment for the week. I want you to go to the tucson museum of art and take in the trouble in paradise show. I want you to write do a brief writing for me that you will hand in next tuesday nite. I want you to talk to me about the overall theme of the show. Tell me what it is about. Then i want you talk about the photography in the show and tell me how you think those works fit in with the others to demonstrate this theme. Then pick a photographic work and tell me what you liked or disliked about it. This should just be a couple paragraphs.


Tucson Museum of Art
http://www.tucsonarts.com

Address:
140 North Main Avenue
Tucson, Arizona 85701
520-624-2333

Hours:
Tuesday - Saturday, 10:00 am - 4:00 pm
Sunday, 12:00 pm - 4:00 pm
Closed Monday and major holidays
Admission:
$3 students (make sure you have your pima id or at least tell them you are a pima student!)

cool digital exposure wheel

if you want an interesting exposure wheel to refer to, check this one out online....you can set it by lighting condition and according to your ISO...

http://training.sessions.edu/design-tools/photography-exposure-wheel.asp

EQUISS Social Justice Retreat (sign up today!)

Hi folks,

if you have interest in social justice issues (privilege, opression, race, class, sex, lbgt, identity issues etc...) and want to meet new people and learn a ton, you should check this out....the u. does provide scholarships so if you apply by the 10th you have a shot at it....i've been and want to go again...it's wonderful...but don't take my word for it....find out! *smiles*



Equiss: A Social Justice Experience
The University of Arizona
May 22-24, 2009


Equiss is a 3-day social justice retreat from May 22-24, 2009 for college
students from across the nation who want to understand systems of oppression,
privilege, identity development, and take action to create a more fair and just
world. Equiss is offered through The University of Arizona to educate students
on how to positively and effectively address issues of injustice, inequity, and
inequality on campus and in the broader context of American society.

REGISTRATION DEADLINE: April 17, 2009, Cost $175 (includes room and board during
the retreat)
Scholarship Application Deadline: April 10, 2009
To register for Equiss or for more info please visit: www.equiss.org

Overview of Equiss:

Day 1: Who are we? The first day of Equiss is designed to help participants
explore their personal identities and share them with the group in order to
develop a sense of self and group purpose.

Day 2 Morning and Afternoon: What are social justice issues? During the morning
of the second day of Equiss, participants are challenged through a variety of
activities, to understand and analyze systems of oppression. This learning will
occur through simulations, discussion, strategic planning, teambuilding, and the
P2O: Power, Privilege, and Oppression activity for participants to personally
evaluate how systems of oppression and privilege have impacted their lives.

Day 2 Evening: How can we celebrate our identities? After a morning and
afternoon of intensive experiences and discussions on privilege and oppression,
the retreat shifts to focus on empowerment and celebration of others. Much of
the focus of this aspect of the retreat will be in identity groups.

Day 3 Morning: How can we take action on a larger level? The morning of Day 3
focuses on how to not only break down systems of oppression, but how to rebuild
systems in a more fair and equitable way. Participants will be challenged to
view the world in a different, more hopeful manner by envisioning strategies
for positive change.

Day 3 Evening: How can we take action individually? The last part of the
retreat is designed for participants to be able to understand how their own
actions perpetuate or confront social injustice and ways to implement socially
just behavior into everyday actions.

For additional information about Equiss, please contact Dr. Corey Seemiller at
crs@email.arizona.edu or Jennifer Hoefle at jhoefle@email.arizona.edu.

another photoshop assignment

this is in addition to your previous assigment. if you haven't turned in the last one, you can combine these if you wish. if you've already turned it in, just use your previous documents and add these layers in.

using the same photograph as last time,
1.i want you to create a layer and use the healing brush to "fix" or remove something from the image
2. create a separate layer and use the clone tool to remove or add something to the image
3. create a separate layer and make the photo black and white using the adjustments pallate. (be sure to use one of the photo filters and add some tint when you do this)

assignment for this week

there is new exhibition going up at the ccp this week. i want all of you to attend it, pick one piece that you really like or really hate and write about it. Talk about its composition. Talk about what you see happening with light in the photo. Talk about what you think it's about. Then tell me what you like or dislike so strongly. If you go to the lecture, please include a few lines discussing what you thought about it as well.

The exhibition is Lynda Connor. She is a currently working photographer and teaches art in San Francisco. She trained with folks like Harry Callahan and Aaron Siskind. A lot of the work is quite photojournalistic in nature.

The show opens this coming friday March 27. There is a reception at 5 and Connor will be giving a lecture at 6. I suggest that you go to the friday night event. Listen to the lecture and take in the work. I've heard her talk before. She's quite funny and the work is good so it should be worth your while. If you can't on friday nite, then please see the exhibition and do the writing assignment prior to our next class meeting.

Tuesday class this assignment is due March 31
Friday class this assigment is due April 3

a photoshop assignment

you will be using the photo attached to this blog entry. this isn't a print out assignment. i want you to email it to me or just save it to a disk and give it to me in class. the size of your document will determine if you are able to email it or not. either is fine.

Here are a list of things that i want you to do to this photo. Make a different layer for each thing that you do and make sure that you have bottom layer as the original image. it doesn't matter what order you do these or how visible they are from your top layer. i will look at your individual layers to see what you did. This is also not an exact science sort of assignment. i just want to see that you are using the tools and thinking about how they function in photoshop. It doesn't have to be pretty.

1. make a duplicate of the original photo
2. rotate the image.
3. change the image resolution to 300 dpi
4. touch up the photograph. it's a fairly well balanced photo already, but it can use tweaking. Make at least 3 adjustments to this photo. each of these should be in separate adjustment layers.
5. crop the image
6. use a selection tool and cut out part of the image (again this doesn't have to be pretty)
7. save your changes as yourname.psd
8. email it or burn it on a cd





you have two weeks to complete this assignment.

Final Portfolio (see calendar for due dates)

Final Portfolio Requirements

Critique starts promptly please be on time. I will NOT accept any late work for this assigment and that includes folks showing up an hour or more late to final critique. You wouldn't be late to a final exam in another class, it works the same for this assignment.

JUST AS A REMINDER The following is from the syllabus you received at the beginning of the semester:

There will be 4 assignments during the semester, the class will critique each assignment, and each assignment will be worth 10% of your grade. You will also produce a final portfolio of work – made up of both images from assignments and additional work – that will be critiqued by the class and will be worth 40% of your grade. There will be handouts giving specific information on each assignment and the final portfolio. The final 20% of your grade is a combination of a class assignments, class attendance and class participation.

All work must be done by the student during the course of the semester, and may not be used for another class. For an assignment to be on time and complete, prints must be shown at critique and the digital files and contact sheets submitted on the due date. Late and incomplete work will receive a grade penalty. Each assignment will require a specific number of images, turning in fewer images will receive a grade penalty. Absolutely no work will be accepted after the start of the final critique.

Regular attendance is required. Poor attendance will impact your grade, and more importantly, your learning. More than three unexcused absences may result in termination from the class. Attendance and participation at every critique is required; it is the only direct method of feedback on your work and progress. The final critique is the final exam and therefore attendance is mandatory.

THE ASSIGNMENT
In the big leagues a portfolio is a coherent body of work, consistent in technique, aesthetics content and concept. Some of you may want to attempt this, but it is not a requirement or expectation of a Digital Photo 1 portfolio.

Your final portfolio should contain 10 to 15 finished images – your best work of the semester. YOU must have at least 3 IMAGES THAT ARE NOT FROM THE PREVIOUS PROJECTS. The rest of the images images may – or may not – be from assignments, whatever is best. If you want to present something to the class that is completely new, that would be great! Print quality of each image must be at the quality level expected at the completion of the course, so images from assignments will almost certainly require reprinting. Images you were not allowed to crop or modify earlier may now be manipulated in any way to make the most effective image. You will present at the final critique in two forms:

1) You will present to the class a full set of excellent quality prints, of approximately 8.5x11 inch size or larger. Inkjet prints from a home computer may be acceptable if careful use of paper choice and output settings produces expected quality. The prints need not be mounted or matted, but your presentation should reflect your pride in your work. If you are not going to matte or mount, think of a way of presenting the work that feels finished rather than just tacking them up on the wall….i would encourage you to think about creating your portfolio in the way that you might want them to be in a show or that you might present them for gallery consideration…..You’ll take these prints home after critique so you don’t have to worry about leaving them with me.

2) I would like for you to turn in contact sheets for any NEW works and a disk of the images that you are turning in for portfolio…the discs are for me to keep.

ASSIGNMENT 4

SEE POST ABOUT NEW DUE DATES!

Alternate Vision

Photography has been used since its invention for proof, or evidence, of a place or event - which is a legitimate use, of course. But photographers have always known that photographs can lie, always lie in some ways.

Perhaps an interesting twist is to consider that a photograph that “lies” may tell a greater truth. In the previous assignments we have explored how photographs can suggest, imply or evoke a thought or feeling by how the subject is depicted. Are not our illustrative tools of lighting, cropping, perspective, design, etc. in fact distortions of the subject; a step away from some pretext of objective documentation.

Certainly the digital age has brought the fabrication and manipulation of images more to the forefront of popular culture, though even the most cursory survey of the history of photography shows these issues have been explored since photography’s invention. It will be interesting to see if, and how, the culture will change its concept of photographic veracity.

In this assignment I want you to explore the idea of an alternate vision; a different way of seeing the world, or perhaps seeing a different world. An alternate or different truth expressed photographically. This is a very open-ended assignment – and not a “Photoshop” assignment per se. You may want to alter or manipulate the image in Photoshop, but you can also achieve an excellent image with an original capture by simply how and what you photograph.

However you create your image, there should be a point to the technique used. Simply morphing an image with weird colors and transformations is not enough, there must be a point to the technique.

Perhaps with this assignment you should start with an idea or vision you want to express, and then fabricate an image that conveys your intentions. I’m not saying you have to, but so much of the tradition of photography (and the methodology of so many beginning photo students) is to “go out and find a picture”. I’d like you to explore the idea of creating an image – rather than finding.

There is no specific quantity of captures or prints required. “A” work will reflect a serious and in-depth investigation of the assignment.

Due at critique:
At LEAST 2 images (this assignment may require more, but that is up to you)
Your contact sheets

Explore your ideas, do good work.
And have fun!

ASSIGNMENT 3

SEE NEW DUE DATES!

Assignment 3: The Quality of Light

In the last assignment I suggested that it is not the subject that is important, but how you photograph it. Arguable, but work with me. I want you to be clear on the difference between making a powerful image, and simply recording a powerful thing. The difference is in how we photograph. We’ve explored perspective and framing, and the pictorial use of apertures and shutter speeds. In this assignment we will explore how the quality of light influences the evocative qualities of an image.

In filmmaking there is a saying, “Don’t tell what you can show.” In other words, don’t use dialog to explain what is going on, if you can convey it with an image. One of the most important tools for conveying a feeling is the quality of light in the scene. Imagine the same diner in a small Kansas town, it might be a place for: a happy sunny Sunday morning breakfast after church, or a cold and lonely place for a stranger to drink coffee at two a.m. on a rainy night, or the innocent romance of a teenage date on a Saturday afternoon, or a steamy rendezvous for a passionate late night couple, or an anxious Monday morning cup of coffee while searching the classifieds for a job when rent is past due. Sure, the actor has a sad, happy, etc. expression… but what explains the mood is the quality of light in the diner.

What I want you to explore is how the quality of light can express the mood in a scene. That filmmaker might have to build a set, and you can stage something too. But also feel free to look for scenes and situations where the lighting creates a mood. And don’t forget to use framing and perspective and apertures and shutter speeds and…

*** What I don’t want: pictures made by using laser pointers or flashlights, pictures of lights, lamps, candles, headlights, sunsets; i.e. pictures of the lights themselves. I also don’t want pictures of abstract shadow patterns, interesting though they may be.

I want pictures where the quality of light in the scene helps express the mood of the scene. We want to allude, evoke, imply, suggest, rather than document the facts of what we photograph.

You are also free to use photoshop...crop, color correct, sharpen etc.....but don't use photoshop to do the atmospheric lighting for you...and NO DESATURATED IMAGES OR FILTERS. Use only the tools we have covered in class thus far!! Regarding cropping or Photoshop… grades are based on the quality of the image, not on how extensively Photoshop is used. And try to compose best in camera.

Again, photograph 8 or so different ideas and shoot 5 - 10 frames on each idea – edit from over 200 frames. Print two different images for critique
DUE AT CRITIQUE:
2 8X10 OR LARGER PRINTS
CONTACT SHEETS WITH 200 OR MORE IMAGES


And turn off the flash! Remember – you can’t see the quality of light the flash will create – I want you to learn to see light!

Express your idea by exploiting the quality of light.
And have fun!

calendar changes! IMPORTANT!

hi everybody...i'm really sorry that your new assigment wasn't posted over spring break...i had connection problems all break.....and because of that i'm bumping back your next two crits to make up for the time that you lost to work on this assigment. Please note that your final portfolio dates CANNOT change.

I am also going to post your 3rd, 4th and portfolio assigment so that you will know what you will be doing for the rest of the semster in terms of big projects so that you can plan ahead for the best way to use your time.

I have worked out two saturdays for work time so that those of you who need extra help or who need computer time can have a little extra. attandence at these isn't manditory, but i strongly suggest that you come if you need help. I will stay for at least two hours and i'm willing to be flexible if folks need longer (within reason). Please try and get there as early into the set hours as possible. This is for both classes. Also please note that this is not going to be an opportunity to print. If you need touch up or idea help or if you need help with uploading to an outsource printer, please come. If you have general photoshop questions or need help in that way, please come. You will be able to work on and print contact sheets and any daily assignments that i may have given you.

April 4th from 3-5 pm in our classroom
April 25th from 3-5 pm in our classroom


NEW ASSIGNMENT DUE DATES
TUESDAY CLASS: Critique 3 April 7, Critique 4 April 28
FRIDAY CLASS: Critique 3 April 11, Critque 4 May 1

if you make videos or know someone who does pass this on

the deadline on this says march 23 but as long as the entry is received by the end of the first week in april, count yourself in

please pass this on to other folks that you know who may be making work along these lines

cheers!

sketchbook assignment 4

Due March 9 for the Tuesday Class
Due March 13 for the Friday Class

think back to the lists you made.....if you need to do additional listmaking to complete this assignment, please do so......look at that lists assignment....pick out the three things that you thought about most, and write longer explaintions of each....why did they come up more often? is there any connection between the three things? how could you see those issues becoming a part of your photographs? making lists of things that you could photograph to represent your ideas is a great way to work on this...i love list making...i use it all the time....it's totally a graphic design based brainstorming technique that you can use to help plan your day of image making

again, i'm going to skim this rather than read every word, so please don't feel that you need to sensor yourself...it will help you more if you don't

If you have questions over the weekend

it appears that pima's website is down until March 2. if you have questions that you don't mind making public, post a comment to this post and i'll answer you through the blog...otherwise, please know i'm not ignoring you and i'll get back to you after the site comes back up.

sorry for the trouble guys...i hope this helps if you need help!

SKETCHBOOK WORK DEADLINE

hi everyone,

some of you are quite behind one daily and sketchbook assignments...read this very carefully if this applies to you!

ALL assigned sketchbook and writing assignments are due to be completed no later than March 3 for the Tuesday class and March 6 for the Friday class....bring your sketchbooks and MARK the assignments...if i can't tell what they are, i am not giving you credit for it.....If they are late at this point you will lose a few points for lateness.....but after these two dates, i WILL NOT give you credit for any missing assignments

get up on it if you haven't already!

robert frank

check it out! this is an excellent story about a very important photographer!

http://www.npr.org/templates/story/story.php?storyId=100688154

All about light 1 notes

Sketchbook 3

For TUESDAY Due FEB 24
For FRIDAY Due MARCH 6 (bring you sketchbook to the ccp!)

Think back to assignment one where you were to visit with a place and pay attention to the light in that place. For this assignment i want you to go back to that place. Pick a time out of the the times that you were there before and place a critical eye on the light while you are there. This time i want you to think about what we talked about in class. i want you to write down what you notice about the following things:
brightness
color/temperature
levels of contrast contrast
types of reflectance
quality

Assignment 2

Assignment 2: A Moment In Time and A Question Of Sharpness
TUESDAY CLASS DUE MARCH 9
FRIDAY CLASS DUE MARCH 13

We have talked about “The Decisive Moment” in class. Bresson was describing that unique quality of photography that is the exact moment of capture. While there are many ways to challenge the momentary nature of photography, it is well worth exploring the remarkable power of the exact instant of exposure.

We have talked about how shutter speeds and the aperture (f stop) combine to allow the correct amount of light to hit the sensor and give proper exposure. And how the adjustment of one control, combined with an equal and opposite adjustment of the other control, can completely change the look of an image – while maintaining correct exposure.

We can create an image with a great depth of field (by using a small aperture), or a shallow depth of field (by using a large aperture). The two different images will have very different visual qualities. We can also use very fast shutter speeds to capture a very exact instant, or a slow shutter speed where an object in motion will blur. Either technique may be used to help create the mood or idea of the image.

So this assignment is about exploring the expressive qualities of these camera controls. Sharp isn’t always better – what technique will best tell your story. We can make wonderful images from any subject; it is how you photograph it that makes the image special.

Remember to maintain proper exposure as you make adjustments - change one setting and you must reciprocate with the other. Your light meter will tell you if you did it wrong, so remember to double check you meter after adjustments. Don’t forget that by adjusting the ISO setting, different combinations will become available. And you just may not be able to get the effect you want in the some situations. For instance, it is very to obtain correct exposure with a slow shutter speed in bright sunlight. You may need different times of day and types of lighting for the desired results.

Use all the ideas of point of view, framing and perspective you learned from the last assignment. And try to visualize in your mind how the camera settings you choose will affect the image, as you won’t see the effect in the viewfinder.

Your images should explore and exploit the pictorial qualities of apertures and shutter speeds. Because I can – three taboo subjects for this assignment are cars, bicycles and skateboards, otherwise, the subject is up to you.

Present two separate images for critique – not simply variations. Photograph four to six different ideas, shoot 20 to 40 frames on each idea, edit from over 100 frames. Express yourself with a “straight” photograph. DO NOT CROP your image after you shoot. Submit full frame quality prints approximately 8.5x11 inches (add canvas size to make sure the full image prints). Limit adjustments to resize and color/contrast/exposure adjustments to match the original capture. Be sure to archive your images. Hand in low res copies and digital contact sheets.
Due at Critique: 2 images 8x10 or larger and your contact sheets in an envelope or folder

Yes, I’ll let you play in Photoshop soon, but not yet. Work with me, try and get it right in camera, the original exposure should best tell your story.

Explore the expressive qualities of time and sharpness. And have fun!

Sketchbook assignment 2

Due:
TUESDAY CLASS FEB 24
FRIDAY CLASS FEB 20

so here' s what i want you to do....in this class we will be talking about what you want to make work about...concept building activities are important....and finding out the sorts of things that interest you and what you think about daily can be the key to discovering an approach to making art.....a good friend once told me that what you spend the greatest portion of your time thinking about durning the day, is probably what you should be making work about

so this is what i want you to do....carry your sketch book with you...and i want you to track what you think about over the next 7 days. ..i of course do not mean that i want you to write down every thought....but look for themes...things that occur to you over and over....worries, fears, things that make you happy, things you do, and, therefore, spend lots of time thinking about, interactions with other people...anything is game!

you need to be diligent in your efforts for this to be useful...so write as often as you can...do it any way you like...i like doing this exercise by making short lists and goofy sketches....but you may have your own shorthand for it....

the other key to this is not sensoring yourself...i will check your sketchbooks, but i'm not going to read what you write because i don't want you spending extra time worrying about what i will see...this is for you not me....

Converting RAW files to .jpgs for printing

1. Open the image in bridge by double clicking or directly into photoshop by going to File>Open
2. In Photoshop, go to Image>Image size and change the resolution to 300. MAKE SURE that all the boxes in the image size menu box are UNCHECKED.
3. Go to File>Save AS
4. Change the Format to JPG and hit save
5. If Photoshop offers to flatten layers or embed color profiles, let it.
6. Now do whatever you need to do with your photo: Burn to disk, upload to the web if you are using a web based printer, or print print print.

using bridge, contact sheets

make sure that you notice that one set of contact sheet directions is for CS4 and then the second set is for CS3 and CS2!

exposure wheel

print out the wheel, cut both out, and use. aperture goes on top.

Exposure: metering, gray card, bracketing

Digital Equipment

writing about one of your photos

so i want you to take a few minutes this week and look through your 100 photos that you took and write about one. pick out one. if your are in a place where you can include it in your paragraph, please do so that i can see it too. once you've chosen your photo, i want you to write about why you chose to photograph that subject and why you composed the photo the way that you did. this doesn't have to be a long thing, just 5 sentences or so is enough. but feel free to write more if you want.

this is due this week! this is not a sketchbook assignment. please type or write it out separately.

composition basics

Exposure basics notes

SKETCH BOOK assignment 1

TUESDAY CLASS DUE FEB 3
FRIDAY CLASS DUE FEB 6

Photography is all about light. To make a successful image, exposure and light must work for you. This assignment is about thinking about light.

I want you to pick a place. it can be outdoors or indoors (the catch is that it MUST have outside light influencing the space in some way if it is inside). this place should be somewhere that you would enjoy spending some time. It may be a place you would consider photographing, but it doesn't have to be. you may discover things about this place that you would want to photograph as you do this assignment. that is totally acceptable.

once you have place, i want you to spend some time there. ideally you may want to spend the entire day in this space, or if you have to break up the times that you are there, go back at different times. Study what the light is doing while you are there. when is the light the most appealing to you? Why? When does the light make you most want to spend time there? When does it least make you want to spend time there? Why? Pay attention to the quality of the light: when is it brightest? which direction? how does direction affect the light in that space? How does the temperature of the light change throughout the day? When is it cold (more blue)? when is it warm (more yellow or orange)? What do you notice about the shadows? the colors? the areas of white if any?

Keep a log as you do this assignment and answer the above questions. write about the light and the changes you notice as you spend time there. This can be as long as you want it to be, but i should see at least a page of notes in your sketchbook after you are finished. DON'T take your camera with you! This is about studying a place and spending time there. The photographs will come later.

ASSIGNMENT 1

TUESDAY CLASS DUE DATE: FEB 10
FRIDAY CLASS DUE DATE: FEB 13

Assignment 1: Point of View, Perspective and The Frame

Perhaps the difference between a snap shot and a photograph is that a snap shot records a subject, whereas a photograph describes a subject. A poet carefully chooses their words to create a feel for the subject. Some features are never mentioned while others are emphasized. Certain words are chosen for their implications, associations, feel and sound, others are edited out because they distract. We are visual poets: we select and describe with a visual language: every camera technique, design element, production process and output quality should help to reveal the qualities of the subject we wish to emphasize. In this first assignment we want to explore how the camera position and lens focal length affect the image – and therefore how the viewer responds to the image.

As you photograph your subject, experiment with different camera angles and distances from your subject. See how changing camera position and lens focal length not only changes how the subject looks, but how the other elements in the scene change in scale compared to the subject – in important part of perspective.

Now that you’ve determined where to take the picture from, consider using the frame – what gets included, what gets cropped out, and what is partially in or out of the image. See if you can energize the composition with lines and shapes pushing and breaking the frame.

While shooting, look at your viewfinder. Look at every edge and corner and space. Edit the image carefully in the camera.

Throughout the process of photographing, work on expressing yourself with a “straight” photograph. Make the image in the camera. Try different compositions, angles of view and use the environment. Notice the quality of light (turn off the flash!) and try photographing the same subject at different times of day and under different types of light.

Photograph four to six different ideas/subjects and shoot 20 to 40 frames on each idea. you will want to bracket for exposure (at least three frames should be identical except for exposure (one at the ideal setting, one over exposed by the next postion on your light meter, and one underexposed by one postion on your light meter)). the 20-40 frames means think hard about how many different angles you can take that idea from! get on a ladder! get down in the dirt! do whatever you need to do to take a step beyond how you would think to frame that photograph! i should see variety in your contact sheets, and i should see at least 200 images! contact sheets are a part of your grade, so you need to meet the minimum number of images. You can't edit for a sucessful shot if you haven't taken a lot of photos.

Critique will be based on prints. As of this writing, in class printing is problematic. You may wish to print at home or have commercial prints made. Prints should be approximately 8x10 inches, smaller is a little hard for the class to see during critique. If/when you open your image in Photoshop, DO NOT CROP, limit your adjustments to resize and your color/contrast/exposure adjustments should be limited to getting the output to be the best exposure/color balanced image possible. Be sure to archive your images for future use. Make sure that you have a folder to turn in your prints.

DUE AT CRITIQUE:
2 printed images in a folder to be viewed by the class and turned in
contact sheets with 200+ images

Yes, I know you want to play in Photoshop; I know you could “improve” the image if you did. But work with me here, there is good reason for what I ask. Try and get it right in camera, the original exposure should best tell your story.

Explore your subject - and describe it – by selecting your point of view, perspective and framing.
And have fun!

FRIDAY class calendar

CLASS CALENDAR FRIDAYS!

1) FRIDAY Jan 23 Introduction
Course format, logistics and goals

2) Jan 30
Intro to Digital media
Exposure basics
Composition basics
photo history/looking at artists

3) Feb 6
Camera functions workshop/file management
Interface intro to Photoshop
Bridge, Creating Contact Sheets, Organizing Photos
Adjusting Color, Exposure and Contrast
Layers
photo history/looking at artists


4) Feb 13 CRITIQUE FIRST ASSIGNMENT

5) Feb 20
The mechanics of light
More Photoshop: Adjusting Color, Exposure and Contrast, Layers, intro to tools
Looking at Artists

6) Feb 27 NO CLASS Rodeo Day Holiday

7) March 6 FIELD TRIP TO CENTER FOR CREATIVE PHOTOGRAPHY and U OF A (attendance mandatory)
we will meet at 9:30 at the bottom floor of the ccp

8) March 13 CRITIQUE SECOND ASSIGNMENT

9) March 20 NO CLASS Spring Break

10) March 27
More Light mechanics and Lighting
Photoshop: image adjustments, Continuing to look at color adjustment, Selections , Healing tools
Looking at Artists

11) April 3 CRITIQUE ASSIGNMENT 3

12) April 11
Color management/photoshop continued
Color management basics/printing
Continuing with photoshop tools
Masking
Looking at Artists

13) April 17
Multiple images
Combining images
Combining layers
Looking at Artists

14) April 24 CRITIQUE ASSIGNMENT 4

15) May 1
Color management/photoshop continued
Looking at Artists

16) May 8 WORK DAY
(for working on assignments, porfolio) ATTENDENCE NOT OPTIONAL

17) May 15 Final Critique

TUESDAY class calendar

TUESDAY CLASS CALENDAR

1) TUESDAY Jan 20 Introduction
Course format, logistics and goals

2) Jan 27
Intro to Digital media
Exposure basics
Composition basics
photo history/looking at artists

3) Feb 3 BRING YOUR CAMERA AND CARD READER
Camera functions workshop/file management
Interface intro to Photoshop
Bridge, Creating Contact Sheets, Organizing Photos
Adjusting Color, Exposure and Contrast
Layers
photo history/looking at artists


4) Feb 10 CRITIQUE FIRST ASSIGNMENT

5) Feb 17
The mechanics of light
More Photoshop: Adjusting Color, Exposure and Contrast, Layers, intro to tools
Looking at Artists

6) Feb 24 GUEST SPEAKER/ART HISTORY DAY

7) March 3 WORK DAY
(bring materials for 3rd crit to work on)
Attendence TOTALLY optional, March 6 FIELD TRIP TO CENTER FOR CREATIVE PHOTOGRAPHY we will meet at 9:30 at the
bottom floor of the ccp…with Friday class

8) March 9 CRITIQUE SECOND ASSIGNMENT

9) March 17 NO CLASS Spring Break

10) March 24
More Light mechanics and Lighting
Photoshop: image adjustments, Continuing to look at color adjustment, Selections , Healing tools
Looking at Artists

11) March 30 CRITIQUE ASSIGNMENT 3

12) April 7
Color management/photoshop continued
Color management basics/printing
Continuing with photoshop tools
Masking
Looking at Artists

13) April 14
Multiple images
Combining images
Combining layers
Looking at Artists

14) April 21 CRITIQUE ASSIGNMENT 4

15) April 28
Color management/photoshop continued
Looking at Artists

16) May 5 WORK DAY
(for working on assignments, porfolio)
ATTENDENCE NOT OPTIONAL

17) May 12 Final Portfolio Critique

a quick clarification about homework

hi everybody!

first the photos need only to be on your camera...you do NOT have to print them.....it's really all about your practicing
also bring your card reader to class if you have one....we are going to do a lesson on mac basics and using your media with the classroom macs so that we'll all be on the same page about this....if you don't have your card reader yet, don't worry...i'm going to do demo and you can also practice with a buddy in class

and a word on sketchbooks.....one is that these are just for you so any type or size is fine with me...as long as you are keeping it, i don't care what kind it is or what it looks like

and the assignment to go to the center for creative photography this week is NOT a sketchbook assignment....i want you to hand that one in

let me know if you have questions!

week 1 home work (2 assignments in this post)

I. you are to spend time with your camera and manual. buy your sketchbook and take notes on all of the following: (make notes of WHERE things are in your menus even if you don't know how to use them yet.)

1. READ YOUR CAMERA MANUAL. If you need a manual for your camera, look up your make and model on line and you should be able to download a pdf copy. Please feel free to email me with questions if you have problems finding one.

2. Find Format in your menu

3. Find the area in your menu to set the image quality and type (tiff, jpg, raw)

4. Find your ISO/film speed. How many settings do you have?

5. Find your white balance control. How many setting does your camera have, and what do they do?

6. Find your manual functions and spend some time changing your shutter speed and your aperture. How do you change these? Make sure you know where your light meter is located.

7. What sort of recording media does your camera need (cf card, memory stick, etc) How much memory does it have?

8. Take at least 100 photos. Use your auto function for 5 of them. and then practice using the maual functions, and changing the white balance on your camera to take the rest. Take some with and with out your flash.

Don't fret if you aren't sure how to make these work yet, we will be covering exposure!

BRING YOUR CAMERA AND YOUR PHOTOS TO THE NEXT CLASS (the photos can just be on your camera!)


II. Go to the Center for Creative Photography and view the current exhibition. If you need directions, check out their website: www.creativephotography.org

*Pick out one image that you especially liked or one that you especially hated and write a paragraph explaining your feelings about this work. Type it up and hand it in to me at the next class period. This should be separate from your sketchbook as a FINAL thing to hand in. I would suggest taking your sketchbook with you and taking notes as you look. Make sure that you have a pencil because pens are not allowed near the work at the ccp.

Exhibition:
Oh l'amour: Contemporary Photography from the Stéphane Janssen Collection
November 22, 2008 — March 8, 2009

Love — l'amour — is one of art's enduring themes. From classical antiquity to contemporary America, this profound idea, both abstract and physical, has inspired collectors as well as creators. Stéphane Janssen, Belgian by birth and resident in Arizona, is one such collector. Beginning with a love of art that emerged in his teenage years, Janssen went on to assemble an extensive and entirely unique collection that includes almost every creative medium: painting, ceramics, photography, and more. For this exhibition, Janssen generously shares a group of contemporary photographs that reflect his vision as a patron. Sharing elements of fantasy and physicality, exuberance and emotion, these photographs — by artists such as Philip Lorca diCorcia, Sally Mann, Duane Michals, Vik Muniz, and Spencer Tunick, among others — depict love in myriad forms and guises.

syllabus

Digital Photography 1 (ART 128/DAR 128)
Fall 2008, Tuesdays 5:40 – 10:20 OR Fridays 9:10 - 1:40
Instructor: Rae Strozzo
Message phone: 520-206-6464 then enter 65314
Office hours: One hour prior to class start, one hour after class ends, or by appointment.
Email:rastrozzo@pima.edu
Class Blog: http://pimaart128.blogspot.com/

Head of Photography Area: Ann Simmons-Myers (Sam) 206-6629
Head of Digital Arts: Dennis Landry 206-6840
Photography Lab Supervisor: Linda Cooley 206-3126

Course Description/Class Objectives
An introduction to digital photography emphasizing the technical and aesthetic issues and how these qualities inform image content.

The purpose of this class is to develop competency in the digital darkroom through lessons and projects that teach photography and Photoshop skills. These skills will then be applied to developing an expressive visual language. It is the goal of this class to make each student competent in the conceptual, aesthetic and technical aspects of digital photography. Each student will be encouraged to use digital photography to develop a personal vision as evidenced in his or her final portfolio.

Over the course of this semester, you will learn the technical necessities: how to operate a digital camera, manage the image files, and various ways to output the images. You will learn aesthetics and design concepts, lighting techniques using both ambient and studio lights, concepts about perspective and color, ways to control - correct - alter your image, and much more. All of these skills, techniques and concepts are of little use, in and of themselves, but combined they will be of great importance. They are the tools with which you will express your thoughts-ideas-feelings-concepts-agendas-opinions-emotions-beliefs. Technique supports aesthetics, aesthetics supports content.

There will be 4 assignments during the semester, the class will critique each assignment, and each assignment will be worth 10% of your grade. You will also produce a final portfolio of work – made up of both images from assignments and additional work – that will be critiqued by the class and will be worth 40% of your grade. Each student is required to keep a sketch book for this class. The final 20% of your grade is a combination of in class assignments and sketchbook work, class attendance and class participation.

Class Blog:
***All assignments, class notes, important anouncements, and class calendar and calendar changes will be posted to the class blog. It is the student's responsibilty to check the blog on a weekly basis to ensure that he/she is up to date on things that are happening in and due for class. If you miss class, check the blog for any assignments that you may have missed! http://pimaart128.blogspot.com

The class is a hands on class, with demos, lectures, and student participation during every class. Students are responsible for all material delivered in each class. The class material and schedule will evolve out of the needs of the class throughout the semester; it is the student’s responsibility to know of these updates and revisions.

Contacting the Instructor:
I will accept emails at the provided address anytime. I try to check my email daily but please realize that I may not get back to you over weekends. Office hours are by appointment and can be made either the hour before our the hour after class.

Recommended Texts and Equipment:
Students are strongly recommended to own or have access to a digital camera with manual exposure control and access to a computer. Professional cameras, computers and software, lighting equipment and a studio will be provided. There may be additional supply costs in addition to course fees. Students will need a flash drive or external hard drive and a sketch book to bring with them for each class period. It is not necessary for you to bring your camera to each class. I will let you know when you need to bring it.

Required Text:
Photography Ninth Edition, London, Upton… (Pearson Prentice Hall).

Recommended Texts:
The Photograph as Contemporary Art by Charlotte Cotton
Photoshop CS3 Classroom in a Book
How to Wow in Photoshop, CS3
Teach Yourself Visually Adobe Photoshop CS3 (woolbridge)

Required Equipment:
sketchbook
jumpdrive, external harddrive or cds to save your classwork.

Recommended Equipment Purchases:
Photoshop CS4 for pc or mac
photo quality printer (these start at around $100)
extra memory card for your camera
card reader
cds
cd holder
external hard drive or jump drive
gray card
lens pen

Borrowing Equipment from PCC:
Students WILL follow all procedures for borrowing equipment from PCC. They will return said equipment in the time that PCC requires and in the same condition as at the time of borrowing. Students not complying with borrowing procedures will be restricted in their access to equipment as per the PCC Photography Department Policy. Restricted or limited access to school equipment IS NOT a valid excuse for late work.

Late Work:
I would prefer that work not be late or turned in on a different day other than your specified critique group day. If you miss your critique, you have until the next class meeting time to turn in the work for a reduced grade. Not participating in critique adds to the reduction of your grade if you are late. If it is NOT turned in by the next class meeting, the project will be given a ZERO. DO NOT turn in work to the art office without notifiying me.

Attendance:
Attendance is necessary for individual development and for valuable community contributions that each class member is expected to give. The student’s individual participation in discussions and critiques is necessary, expected and required. Regular attendance is required. Poor attendance will impact your grade, and more importantly, your learning.
Attendance and participation at every critique is required; it is the only direct method of feedback on your work and progress. The final critique is the final exam, and, therefore, attendance is mandatory. If emergency, illness, or required travel occurs during class time, please notify me through email.
**After three absences: overall grade will be reduced by a letter grade
**After four absences: overall grade will be reduced by 2 letter grades
**Upon five or more absences: the grade will be reduced to an F.
*An attendance grade is figured into your daily grades average and is worth 5% of that grade.
***I also give half absences based on missing large portions of class. I take roll before and after break, and I will dock you if you leave early or arrive well into the class. More than an hour late or leaving more than an hour early will result in a half absence for the class. Two half absences count as a absence just as if you had missed an entire day of class.

Grades:
Daily assignments 20 % (includes sketchbook, homework, in class
assignments, and attendance and participation)
Projects 40%
Final Portfolio 40%

Work completed by anyone other than you may NOT be used as a fulfillment of any project in this course. All work must be current. If you include previous work, it will be considered the same as cheating on an exam. Students are asked to conduct themselves according to the PCC Student Code of Conduct and The Scholastic Ethics Code. Copies are available in the Student Center Building and the Photo Lab Office.

Grading guidelines:
Grades are based on the following criteria:
• creative work produced in the class by the individual which successfully
communicates an idea and is aesthetically acceptable
• degree of growth made by the individual in their creative work throughout the course
of the semester.
• completion of projects by due dates
• contribution to group critiques and discussions
• timely completion of classwork work and quiz grades
• attendance

Grading Policy (for weighting scale and incompletes):
• Students may initiate withdrawal W” grade from a course only up to 2/3 into the semester. The specific date is listed in the schedule book and announced early in the semester.
• College policy now states: An Incomplete “I” automatically changes to an “F” after one year on record.
• “Y” grades are weighed as “F’s” at some universities. “Y” grades will only be given on request
• It is up to the student to withdraw from this class if so desired. Failure to do so could result in an “F”.

Photography is important, significant, meaningful, moving… and also fun. I intend to have fun his semester, I hope you do too. However… with the move of the Photography program to new facilities, there are many logistical issues that are not yet resolved. And this class will evolve as we learn both our students’ needs and abilities. These changes are good, but you will have to pay attention and stay up to date with the latest information. And, of course, your patience, cooperation and good humor will be greatly appreciated.


Classroom Behavior and Academic Integrity:
Students will comply with policies and procedures designated by the Photography Program and Digital Arts. These policies as well as other policies posted elsewhere or that develop over the semester, are binding. These policies address attendance, withdrawing from class, grading, course requirements, course content, course intent, and requirements and procedures for using the photography program’s and Digital Art’s facilities and equipment.


Saftey and Health:
Please read the Photography Program Policy and Procedure Manual

Students with Disabilities:
Reasonable accommodations, including materials in an alternative format, will be made for individuals with disabilities when a minimum of five working day’s advance notice is given. It is the policy of Pima County Community College District to comply with the Americans with Disabilities Act (ADA) of 1990 and Section 504 of the Rehabilitation Act of 1973 as amended. In addition, Pima County Community College District complies with other applicable federal and state laws and regulations that prohibit discrimination on the basis of disability. No qualified person will, solely by reason of disability, be denied access to, participation in, or the benefits of any program, activity, or service offered by the College. Students who require accommodations under the ADA or Section 504 are encouraged to contact a Disabled Student Resource (DSR) Specialist on any campus. DSR personnel conduct intake interviews, prepare student service plans, and make eligibility determinations. West Campus (520) 206-6688 (Voice/TTY). http://www.pima.edu/dsr/


Students Rights and Responsibilities:
By enrolling in this class, you have specific student rights as well as responsibilities, a code of conduct, and a scholastic ethics code to follow while enrolled at Pima Community College. These policies are listed in the current student handbook and on the Pima web site. Read the student handbook completely and refer to it when necessary. Your student responsibilities are available online at: http://www.pima.edu/studentserv/studentrights

Please note, course schedules and assignments are subject to change as deemed appropriate to the instructor and reasonable advance notice of such changes will be given to students.