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)
Tuesday, March 31, 2009
Tuesday, March 24, 2009
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
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.
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.
Monday, March 23, 2009
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.
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!
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!
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
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
Wednesday, March 11, 2009
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!
please pass this on to other folks that you know who may be making work along these lines
cheers!
Wednesday, March 4, 2009
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
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
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