If you'd like to get credit for the zine assignment, please show me a finished copy(s) of your zine before 12/14/2009!
I have a list of recorded grades and will bring it to every class for the rest of the semester. Please be sure and check in with me if you are unclear what assignments of yours I have recorded.
You are responsible for checking on your grade.
Monday, November 30, 2009
Technical Assignments
There are three technical assignments due before the end of the term... please post them on your blog if you haven't already. To view the requirements for each assignment, click on one of the links below.
LTLYM
Bracketing Assignment
Scanning Assignment
LTLYM
Bracketing Assignment
Scanning Assignment
Wednesday, November 25, 2009
Final Project ! ! !
Throughout the semester we’ve learned that there are many ways for a digital images to originate. They can come from a digital camera, scans from negatives or old photographs, searching the Internet for images – the possibilities are almost endless. The way digital images can exist is also equally diverse. We’ve made zines, fine prints, and posted our images electronically on the Internet.
For your final project, you will be producing a portfolio of no less than five finished prints. The number of final prints will depend on your choice of final project. Please do not hesitate to ask me about this.
The origin and content of the images is your choice but they MUST be yours, and they must be cohesive.
The remainder of the semester will be open lab with the ability to print at EVERY class meeting.
Think about the ways we have worked and look over the technical assignments from the beginning of the semester. Are there ways of making images that you would like to learn more about? Are there ways of making images that are more enjoyable to you than others?
Our final critique will be December 14th, 2009 from 10:30am to 12:30pm. Your final prints and your files are due in the drop box by the beginning of class.
For your final project, you will be producing a portfolio of no less than five finished prints. The number of final prints will depend on your choice of final project. Please do not hesitate to ask me about this.
The origin and content of the images is your choice but they MUST be yours, and they must be cohesive.
The remainder of the semester will be open lab with the ability to print at EVERY class meeting.
Think about the ways we have worked and look over the technical assignments from the beginning of the semester. Are there ways of making images that you would like to learn more about? Are there ways of making images that are more enjoyable to you than others?
Our final critique will be December 14th, 2009 from 10:30am to 12:30pm. Your final prints and your files are due in the drop box by the beginning of class.
Wednesday, November 4, 2009
Zine Template
Hi All. I've updated the zine/book template. It uses two 8x10 inch canvasses that will be printed back to back. One canvas contains pages 8, 1, 4, and 5. The other canvas contains pages 2, 7, 6, and 3. On Wednesday the 11th, I'll go over the layout. This new template will allow the zine/book to have 4x5 inch pages and use the same amount of paper as the smaller 2.5x4 inch page version. Bring the content to class and begin laying out your sequence.
New important dates: 11/11/09, 11/16/09 are lab days for the book/zine assignment. 11/18/09 is also a lab day with the zine/books being due at the end of class.
Wednesday, October 28, 2009
Zine Assignment
Over the weekend, start compiling imagery for your zine/book. Think about content, it is the most important part of the assignment. Consider if you want your zine/book to have a linear or non-linear narrative, create context using juxtaposition, include text, include drawings, found imagery, etc. Bring everything you think you may want to use on Monday the 2nd.
Wednesday, October 21, 2009
Portrait Assignment Due Dates!!!
Printing of the portrait assignment will be done in lab on 10/21, 10/26, and 10/28 if needed. Three prints and six image files are due at the beginning of class on 11/2/2009.
Monday, October 12, 2009
Portrait Assignment
We've looked at several different approaches to portraiture. You assignment is to define what you feel makes a successful and interesting portrait.
Produce six images, all portraits.
One must be a portrait of some one without including them in the image, and one must have some kind of artificial or altered light.
Final selection of your images must be completed by 10/21/09. We will begin printing for the assignment on 10/19/09. You will be turning in 3 final prints and six files, all full resolution, un-flattened. The final due date will be determined on 10/19/09.
Produce six images, all portraits.
One must be a portrait of some one without including them in the image, and one must have some kind of artificial or altered light.
Final selection of your images must be completed by 10/21/09. We will begin printing for the assignment on 10/19/09. You will be turning in 3 final prints and six files, all full resolution, un-flattened. The final due date will be determined on 10/19/09.
Sharpening Tip - High Pass Filter!
1. Make a copy of the background layer, or the layer you want to sharpen. To do this, click on the layer in the Layers Palette, then chose Layer -> Duplicate Layer..
2. Click on the duplicated layer in the Layers Palette to make it active, then choose Filter -> Other -> High Pass. Enter 10 in the for the radius and click OK.
3. Things now look a little odd, huh. Click on the layer you adjusted with the high pass filter, then from the drop down list on the Layers Palette, select Soft Light. Magic.
4. Adjust the opacity of the high pass layer to achieve desired sharpness.
2. Click on the duplicated layer in the Layers Palette to make it active, then choose Filter -> Other -> High Pass. Enter 10 in the for the radius and click OK.
3. Things now look a little odd, huh. Click on the layer you adjusted with the high pass filter, then from the drop down list on the Layers Palette, select Soft Light. Magic.
4. Adjust the opacity of the high pass layer to achieve desired sharpness.
Monday, September 21, 2009
DUE DATES!!!
The new due date for the assignment is Wednesday, 9/30 at the beginning of class. Two prints and six files are due. We'll discuss where to turn in your digital files in class on 9/23/09.
Monday, September 14, 2009
Sunday, September 13, 2009
Assignment Requirements!
Responsive, Contemplative, Directorial
The assignment description can be found here. The file requirements and due dates are below.
1. The resolution (pixel dimension) of your images should not be adjusted. You will be turning full-resolution images.
2. The images should not be flattened.
3. All images should be .psd files, RGB, 8-bit.
4. The file names of your images should contain it's mode (directorial, etc.), your name, and a number.
4. Your six images are due on 9/23/2009 at the beginning of class. Details on printing will be discussed in class on 9/16/2009.
The assignment description can be found here. The file requirements and due dates are below.
1. The resolution (pixel dimension) of your images should not be adjusted. You will be turning full-resolution images.
2. The images should not be flattened.
3. All images should be .psd files, RGB, 8-bit.
4. The file names of your images should contain it's mode (directorial, etc.), your name, and a number.
4. Your six images are due on 9/23/2009 at the beginning of class. Details on printing will be discussed in class on 9/16/2009.
Image Adjustments
Photoshop edits files in the following two ways. They are...
Destructive edits - changes modifying content in a way that it cannot be changed back to its original state. An example of a destructive edit would be to make a levels adjustment to an image by modifying a layer directly, thus altering it's content permanently.
Non-destructive edits - changes modifying content that modifies the edits rather than the original content. An example of a non-destructive edit would be to make an adjustment layer. Changes can be made to that edit, or adjustment layer without altering other layers or original content. A real world analogy would be walking outside and putting on sunglasses. In doing so you make the world appear darker without actually making it darker. Once you remove your sunglasses, everything is the same as when you put them on.
Destructive edits are BAD! They destroy data, which is information, which is ultimately resolution. Use non-destructive editing techniques whenever possible.
Here's a few types of Adjustment Layers you can add to your image using Photoshop. Please note, these are not all of them, we'll get to the rest later! If you only use adjustments layers to edit your images, you will be making non-destructive edits!
Levels - Adjusts the brightness and contrast using a histogram that represents the tonal values in an image.
Color Balance - Adjusts shifts of color in an image. If an image appears too blue you can make it warmer or more yellow using this tool.
Hue Saturation - Hue is the name of a color, saturation is a color's intensity. An image with no saturation contains no color information, only information on the brightness or darkness of each pixel. This tool adjusts the saturation of any particular hue in an image, or the overall saturation of all the hues.
How to make a New Adjustment Layer in Photoshop CS4?
Chose Layer -> New Adjustment Layer -> Levels (or any other desired type of adjustment from the list)
In the post below you can review the information covered in the demo given in class on 9/14/2009. Remember these videos are a supplement to the material covered in lecture andare NOT a substitute!
Destructive edits - changes modifying content in a way that it cannot be changed back to its original state. An example of a destructive edit would be to make a levels adjustment to an image by modifying a layer directly, thus altering it's content permanently.
Non-destructive edits - changes modifying content that modifies the edits rather than the original content. An example of a non-destructive edit would be to make an adjustment layer. Changes can be made to that edit, or adjustment layer without altering other layers or original content. A real world analogy would be walking outside and putting on sunglasses. In doing so you make the world appear darker without actually making it darker. Once you remove your sunglasses, everything is the same as when you put them on.
Destructive edits are BAD! They destroy data, which is information, which is ultimately resolution. Use non-destructive editing techniques whenever possible.
Here's a few types of Adjustment Layers you can add to your image using Photoshop. Please note, these are not all of them, we'll get to the rest later! If you only use adjustments layers to edit your images, you will be making non-destructive edits!
Levels - Adjusts the brightness and contrast using a histogram that represents the tonal values in an image.
Color Balance - Adjusts shifts of color in an image. If an image appears too blue you can make it warmer or more yellow using this tool.
Hue Saturation - Hue is the name of a color, saturation is a color's intensity. An image with no saturation contains no color information, only information on the brightness or darkness of each pixel. This tool adjusts the saturation of any particular hue in an image, or the overall saturation of all the hues.
How to make a New Adjustment Layer in Photoshop CS4?
Chose Layer -> New Adjustment Layer -> Levels (or any other desired type of adjustment from the list)
In the post below you can review the information covered in the demo given in class on 9/14/2009. Remember these videos are a supplement to the material covered in lecture andare NOT a substitute!
Image Adjustment Tutorials
Here are three informative videos (all using pets) on image adjustment using Adobe Photoshop. They are made using a windows interface and a previous version of the software, but remember, all the same menu items exist on the Apple computers we are using in class.
Wednesday, September 9, 2009
Wednesday, September 2, 2009
QUIZ
Define the following terms:
Resolution
PPI
DPI
Megapixel
Monitor Resolution vs. Printer Resolution
Bit Depth
Grayscale
RGB
CMYK
JPEG
TIFF
RAW
PSD
1. Which aperture allows more light through the lens, f/22 or f/2.8?
2. Which shutter speed allows more light through the lens, 1/125th or 1/500th?
3. What are the two ways your camera controls the amount of light passing through the lens?
4. Which ISO/ASA needs more light to make a proper exposure, 400 or 100?
5. The equivalent exposure for f/11 @ 1/60th is f/4 @ ____?
6. Which exposure lets more light through the lens?
f/2.8 @ 1/500th or f/5.6 at 1/250th
7. You have two cameras set to differnt ISO/ASA, shutter speed, and aperture settings. Camera A has the following settings - f/4 @ 1/60th @ ISO 400. Camera B has the following settings - f/8 @ 1/60th @ ISO 800. Which camera has the greater exposure?
Resolution
PPI
DPI
Megapixel
Monitor Resolution vs. Printer Resolution
Bit Depth
Grayscale
RGB
CMYK
JPEG
TIFF
RAW
PSD
1. Which aperture allows more light through the lens, f/22 or f/2.8?
2. Which shutter speed allows more light through the lens, 1/125th or 1/500th?
3. What are the two ways your camera controls the amount of light passing through the lens?
4. Which ISO/ASA needs more light to make a proper exposure, 400 or 100?
5. The equivalent exposure for f/11 @ 1/60th is f/4 @ ____?
6. Which exposure lets more light through the lens?
f/2.8 @ 1/500th or f/5.6 at 1/250th
7. You have two cameras set to differnt ISO/ASA, shutter speed, and aperture settings. Camera A has the following settings - f/4 @ 1/60th @ ISO 400. Camera B has the following settings - f/8 @ 1/60th @ ISO 800. Which camera has the greater exposure?
Tuesday, September 1, 2009
Contemplative, Responsive, Directorial
Your Next Assignment...
In the essay titled, The Directorial Mode, the author, A.D. Coleman breaks the making of photographs into different categories. For this assignment we’ll refer to those as contemplative, responsive, and directorial.
Contemplative photographs are pictures made by noticing, waiting, looking, and thinking. Pictures by Ansel Adams and Michael Kenna are examples of contemplative photographs - pictures made by looking and contemplating… such as landscapes.
Responsive photographs can be thought of as pictures taken by photojournalists and documentarians. The photographer responds to an event happening at a certain moment by choosing to make a photograph of it. Imagine you are walking down the street and you see a dog flying…yes flying. You take a picture and in doing so are responding to seeing a flying dog.
Contemplative and Responsive photographs are similar in that both are considered pictures of “real” or naturally occurring events/places/situations.
A.D. Coleman describes directorial photographs as…
“…the photographer consciously and intentionally creates events for the express purpose of making images thereof. This may be achieved by intervening in on going “real” events or by staging tableaux – in either case, by causing something to take place which would not have occurred had the photographer now made it happen. “
The Untitled Film Stills by Cindy Sherman are photographs made in the directorial mode. She, as the photographer, chose to dress up, arrange a set, and fabricate a situation for the sake of making a photograph.
Here is your assignment:
Make at least 50 exposures for each mode - contemplative, responsive, and directorial. Bring no less than 150 images, shot for THIS assignment to class on Wednesday, 9/9/2009. This is a firm due date and counts for 1/3 of the grade on this assignment. We will be learning how to make our first fine prints with this assignment. The next three class meeting are essential to understanding this process.
The due date and number of prints due will also be discussed during our next class.
In the essay titled, The Directorial Mode, the author, A.D. Coleman breaks the making of photographs into different categories. For this assignment we’ll refer to those as contemplative, responsive, and directorial.
Contemplative photographs are pictures made by noticing, waiting, looking, and thinking. Pictures by Ansel Adams and Michael Kenna are examples of contemplative photographs - pictures made by looking and contemplating… such as landscapes.
Responsive photographs can be thought of as pictures taken by photojournalists and documentarians. The photographer responds to an event happening at a certain moment by choosing to make a photograph of it. Imagine you are walking down the street and you see a dog flying…yes flying. You take a picture and in doing so are responding to seeing a flying dog.
Contemplative and Responsive photographs are similar in that both are considered pictures of “real” or naturally occurring events/places/situations.
A.D. Coleman describes directorial photographs as…
“…the photographer consciously and intentionally creates events for the express purpose of making images thereof. This may be achieved by intervening in on going “real” events or by staging tableaux – in either case, by causing something to take place which would not have occurred had the photographer now made it happen. “
The Untitled Film Stills by Cindy Sherman are photographs made in the directorial mode. She, as the photographer, chose to dress up, arrange a set, and fabricate a situation for the sake of making a photograph.
Here is your assignment:
Make at least 50 exposures for each mode - contemplative, responsive, and directorial. Bring no less than 150 images, shot for THIS assignment to class on Wednesday, 9/9/2009. This is a firm due date and counts for 1/3 of the grade on this assignment. We will be learning how to make our first fine prints with this assignment. The next three class meeting are essential to understanding this process.
The due date and number of prints due will also be discussed during our next class.
Photoshop CS4 Keyboard Shortcuts
I came across the COMPLETE list of Photoshop CS4 shortcuts. It's a bit overwhelming. Feel free to use it, but I suggest you use endless patience and a magnifying glass.
LINK TO EVERY SINGLE PHOTOSHOP CS4 KEYBOARD SHORTCUT
The handout provided in class provides a much smaller list of useful keyboard shortcuts. No magnifying glass required.
Here's a link to some Photoshop CS4 tutorials.
I also found this really wonderful graphic mapping out all the tools in CS4, click to enlarge it.
LINK TO EVERY SINGLE PHOTOSHOP CS4 KEYBOARD SHORTCUT
The handout provided in class provides a much smaller list of useful keyboard shortcuts. No magnifying glass required.
Here's a link to some Photoshop CS4 tutorials.
I also found this really wonderful graphic mapping out all the tools in CS4, click to enlarge it.
Monday, August 31, 2009
Scanning Assignment
For class on 9/2/2009, please bring the following:
One image should be a photographic image that belongs to you - it could be family snapshot, a picture you've printed in a previous class, etc. The older and more flawed the image is, the better.
One image should be found. This could be cut out from a magazine or newspaper, it could be a postcard or a compelling image from a book.
One three-dimensional object, no larger that 7"x7"x7". Please don't bring anything wet, like these scanwiches. Your object must also not be abrasive - a sandpaper sculpture will scratch the scanner.
We will be scanning and retouching these objects in class.
In the meantime, what's scanography?
One image should be a photographic image that belongs to you - it could be family snapshot, a picture you've printed in a previous class, etc. The older and more flawed the image is, the better.
One image should be found. This could be cut out from a magazine or newspaper, it could be a postcard or a compelling image from a book.
One three-dimensional object, no larger that 7"x7"x7". Please don't bring anything wet, like these scanwiches. Your object must also not be abrasive - a sandpaper sculpture will scratch the scanner.
We will be scanning and retouching these objects in class.
In the meantime, what's scanography?
Saturday, August 29, 2009
Class on Monday 8/31/2009
Check out the list of everyone's blog, right there ---->
If your name doesn't appear in the list, send me an email with your blog URL and I'll post it for all to see.
In class Monday, we'll complete our bracketing assignment, have a short quiz on exposures and the terms we covered last week. Then, we'll review how to scan and dust images!!!
Friday, August 28, 2009
Wednesday, August 26, 2009
8/26/2009
We will spend our class time today reviewing exposure and photographing for the bracketing assignment (if needed). We will also learn how to manipulate and combine images in photoshop to obtain an "ideal" image in terms of exposure, and how to use the Adobe Bridge application.
Bracketing - Part Two
Chose two of your favorite scenes and examine the image made with your camera's initial light meter reading(the one not underexposed or underexposed). Where you find problems with the exposure, depth of field, or any other issue, replace that portion of the image with the corresponding portion of another image that does not share the same faults. For example, an overexposed image may have shadow detail that an underexposed image of the same scene does not. Also, an underexposed image may have better highlight detail than an overexposed image. Your resulting two images will have excellent shadow and hightlight detail!
Bracketing - Part Two
Chose two of your favorite scenes and examine the image made with your camera's initial light meter reading(the one not underexposed or underexposed). Where you find problems with the exposure, depth of field, or any other issue, replace that portion of the image with the corresponding portion of another image that does not share the same faults. For example, an overexposed image may have shadow detail that an underexposed image of the same scene does not. Also, an underexposed image may have better highlight detail than an overexposed image. Your resulting two images will have excellent shadow and hightlight detail!
Sunday, August 23, 2009
8/24/2009
Terms to know:
Resolution = Information
PPI
DPI
Megapixel
Monitor Resolution vs. Printer Resolution
Bit Depth
Grayscale
RGB
CMYK
JPEG
TIFF
RAW
PSD
Review basic camera operation
Equivalent exposures wheel!
Downloading images to the computer
1. Turn on and plug your camera in the computer.
2. iPhoto may automatically launch and ask if you'd like to use it to download your photographs. You don't. Quit iPhoto when it launches.
3. Make a new folder on the desktop named with the date and your name. For example, I would make a folder named "8.24.2009_mcfarland".
4. Click on the hard drive icon on the desktop and navigate to the applications folder. Double click and open the application "Image Capture". It has a camera for an icon.
5. It should recognize your camera. From the "Download To:" drop down box, chose "Other", navigate to the folder you just created on the desktop and click the "Open" button.
6. Click the "Download All" button. Your photographs will begin downloading to the computer, into the folder your designated. You may chose to only download some of the images on the camera. If so, click the "Download Some" button, select the images you'd like to download.
Resizing images for the web using Photoshop
1. Save a copy of your image with a new name. You'll want to do this to avoid overwriting a high resolution image with your new smaller re-sized image. For example, the original file might be named "landscape.jpg", the new file could be called "landscape_for_web.jpg"
2. From the menu, chose Image -> Image Size
3. A dialogue box will appear. In the top of this box is a section labelled "Pixel Dimensions". Change the width to somewhere in between 500 and 800 pixels, make sure the "Constrain Proportions" option is checked.
4. Click "OK" and save your image as a jpg.
Blog set-up
1. Go to http://www.blogger.com
2. Click the "Create A Blog" link and begin setting up your blog.
3. Email me the URL of your new blog.
LTLYM
Post your images along with the assignment number on your blog.
Our next Assignment
Part One:
Bracketting
All photographs for this assignment will be taken with your cameras set to manual mode. Photograph your subject on a tripod. Take an exposure based on your in camera light meter reading. Without moving or refocusing your camera, expose two more frames by underexposing 1 stop, then two stops. Then take two more pictures overexposing 1 stop, then 2 stops. First, do this by adjusting your shutter speed. Again, DO NOT MOVE YOUR CAMERA BETWEEN EXPOSURES.
Bracketting using the shutter speed
Example: light meter reads f11 @ 1/125
underexpose one stop (f11 @ 250) and two stops (f11 @ 500)
overexpose one stop (f11 @ 1/60) and two stops (f11 @ 1/30)
Repeat the same process, except this time adjust your exposure by using the lens aperture
Bracketting using the lens aperture
Example: light meter reads f11 @ 1/125
underexpose one stop (f16 @ 1/125) and two stops (f22 @ 1/125)
overexpose one stop (f8 @ 1/125) and two stops (f5.6@ 1/125)
Photograph until you have accumulated around 100 images.
When you are looking at your images, find the advantages and disadvantages of your under and over exposure such as blooming(overexposed, bleeding highlights) or digital noise in the shadows... can you find any other promblems? Depth of field issues? Camera shake?
Bring you camera with the images to class on Wednesday 8.26.2009. Good Luck.
Resolution = Information
PPI
DPI
Megapixel
Monitor Resolution vs. Printer Resolution
Bit Depth
Grayscale
RGB
CMYK
JPEG
TIFF
RAW
PSD
Review basic camera operation
Equivalent exposures wheel!
Downloading images to the computer
1. Turn on and plug your camera in the computer.
2. iPhoto may automatically launch and ask if you'd like to use it to download your photographs. You don't. Quit iPhoto when it launches.
3. Make a new folder on the desktop named with the date and your name. For example, I would make a folder named "8.24.2009_mcfarland".
4. Click on the hard drive icon on the desktop and navigate to the applications folder. Double click and open the application "Image Capture". It has a camera for an icon.
5. It should recognize your camera. From the "Download To:" drop down box, chose "Other", navigate to the folder you just created on the desktop and click the "Open" button.
6. Click the "Download All" button. Your photographs will begin downloading to the computer, into the folder your designated. You may chose to only download some of the images on the camera. If so, click the "Download Some" button, select the images you'd like to download.
Resizing images for the web using Photoshop
1. Save a copy of your image with a new name. You'll want to do this to avoid overwriting a high resolution image with your new smaller re-sized image. For example, the original file might be named "landscape.jpg", the new file could be called "landscape_for_web.jpg"
2. From the menu, chose Image -> Image Size
3. A dialogue box will appear. In the top of this box is a section labelled "Pixel Dimensions". Change the width to somewhere in between 500 and 800 pixels, make sure the "Constrain Proportions" option is checked.
4. Click "OK" and save your image as a jpg.
Blog set-up
1. Go to http://www.blogger.com
2. Click the "Create A Blog" link and begin setting up your blog.
3. Email me the URL of your new blog.
LTLYM
Post your images along with the assignment number on your blog.
Our next Assignment
Part One:
Bracketting
All photographs for this assignment will be taken with your cameras set to manual mode. Photograph your subject on a tripod. Take an exposure based on your in camera light meter reading. Without moving or refocusing your camera, expose two more frames by underexposing 1 stop, then two stops. Then take two more pictures overexposing 1 stop, then 2 stops. First, do this by adjusting your shutter speed. Again, DO NOT MOVE YOUR CAMERA BETWEEN EXPOSURES.
Bracketting using the shutter speed
Example: light meter reads f11 @ 1/125
underexpose one stop (f11 @ 250) and two stops (f11 @ 500)
overexpose one stop (f11 @ 1/60) and two stops (f11 @ 1/30)
Repeat the same process, except this time adjust your exposure by using the lens aperture
Bracketting using the lens aperture
Example: light meter reads f11 @ 1/125
underexpose one stop (f16 @ 1/125) and two stops (f22 @ 1/125)
overexpose one stop (f8 @ 1/125) and two stops (f5.6@ 1/125)
Photograph until you have accumulated around 100 images.
When you are looking at your images, find the advantages and disadvantages of your under and over exposure such as blooming(overexposed, bleeding highlights) or digital noise in the shadows... can you find any other promblems? Depth of field issues? Camera shake?
Bring you camera with the images to class on Wednesday 8.26.2009. Good Luck.
Wednesday, August 19, 2009
Tuesday, August 18, 2009
Assignment ONE - LTLYM and YOU
Go to http://www.learningtoloveyoumore.com.
Look over the assignments. Complete assignment #27, along with 3 others of your choice. Document the results using your digital camera.
DO NOT alter or adjust your images before we meet in lab. Instead, spend your time and effort on photographing! Remember to bring everything you need to get your images off your memory card/camera and onto the computer.
Please bring your images to class on 8/24/2009.
P.S. this one is really amazing.
http://www.learningtoloveyoumore.com/reports/47/hearn_kara.php
Look over the assignments. Complete assignment #27, along with 3 others of your choice. Document the results using your digital camera.
DO NOT alter or adjust your images before we meet in lab. Instead, spend your time and effort on photographing! Remember to bring everything you need to get your images off your memory card/camera and onto the computer.
Please bring your images to class on 8/24/2009.
P.S. this one is really amazing.
http://www.learningtoloveyoumore.com/reports/47/hearn_kara.php
Syllabus
Diablo Valley College - Fall 2009
ARTDM 136 – Beginning Digital Photography
Location: A-303
Instructor: Sean McFarland - mcfarland.sean@gmail.com
Office Hours: A-501, MW 5:30 – 6:30pm and by appointment
Course Objectives
1. Identify, discuss and apply the basic principles of digital photography, as well as comparable concepts in traditional photography
2. Acquire skills necessary to capture images digitally
3. Evaluate creative content development
4. Critically evaluate and interpret digital photographs
5. Apply creative visual communication using digital photographic images
6. Acquire necessary skills for resolution management and output of digital files to print
7. Apply lighting techniques for digital photography
Expected Course Outcomes
1. Students completing the course will be able to apply lighting techniques for digital photography.
2. Students will be able to critically evaluate and interpret digital photographs.
3. Students will be able to acquire necessary skills for resolution management and output of digital files to print.
Required Text
There is currently no requirement for purchasing a textbook. Most, if not all readings throughout the semester will be provided.
Attendance and work expectations
Regular, on-time attendance and active participation in class discussion and critiques is required of all students. Expect to spend an average of at least 1-3 hours a week outside of class time photographing and working in the lab. If you miss a class you are responsible for obtaining all notes and handouts from that day – you must let me know if you have to miss class.
All handouts can be found at the class blog: http://artdm136.blogspot.com
If you miss a lab you are responsible for finding the time to make up the work on your own. Absences and lateness can result in a lower participation grade, in turn potentially lowering your final grade. Please show up for class on time and come prepared. Students are expected to produce original, independent work. Plagiarism is against school policy and will not be tolerated.
Assignments
All assignments must be handed in complete and on time. In the rare case that work is handed in late your grade will be lowered by 20% for each full week it is late. Work handed in more than two weeks after the due date will not be accepted and/or graded as an F.
Grading
10% - Quizzes
10% - Written Assignments
20% - Participation
35% - Studio Project Assignments
25% - Final Project
Required Equipment
Digital SLR or Equivalent – must be able to perform manual adjustments of focus and exposure.
Flash Drive – at least 1GB of portable storage. If you already have a portable hard drive, you are welcome to use it.
Email Account and Blog – you will need to set up a blog that will be used specifically for this course. We will be going over this in our second class meeting.
Tripod and Cable Release – these are not required but are highly recommended.
Lab
Lab Hours and policies are on a separate sheet.
ARTDM 136 – Beginning Digital Photography
Location: A-303
Instructor: Sean McFarland - mcfarland.sean@gmail.com
Office Hours: A-501, MW 5:30 – 6:30pm and by appointment
Course Objectives
1. Identify, discuss and apply the basic principles of digital photography, as well as comparable concepts in traditional photography
2. Acquire skills necessary to capture images digitally
3. Evaluate creative content development
4. Critically evaluate and interpret digital photographs
5. Apply creative visual communication using digital photographic images
6. Acquire necessary skills for resolution management and output of digital files to print
7. Apply lighting techniques for digital photography
Expected Course Outcomes
1. Students completing the course will be able to apply lighting techniques for digital photography.
2. Students will be able to critically evaluate and interpret digital photographs.
3. Students will be able to acquire necessary skills for resolution management and output of digital files to print.
Required Text
There is currently no requirement for purchasing a textbook. Most, if not all readings throughout the semester will be provided.
Attendance and work expectations
Regular, on-time attendance and active participation in class discussion and critiques is required of all students. Expect to spend an average of at least 1-3 hours a week outside of class time photographing and working in the lab. If you miss a class you are responsible for obtaining all notes and handouts from that day – you must let me know if you have to miss class.
All handouts can be found at the class blog: http://artdm136.blogspot.com
If you miss a lab you are responsible for finding the time to make up the work on your own. Absences and lateness can result in a lower participation grade, in turn potentially lowering your final grade. Please show up for class on time and come prepared. Students are expected to produce original, independent work. Plagiarism is against school policy and will not be tolerated.
Assignments
All assignments must be handed in complete and on time. In the rare case that work is handed in late your grade will be lowered by 20% for each full week it is late. Work handed in more than two weeks after the due date will not be accepted and/or graded as an F.
Grading
10% - Quizzes
10% - Written Assignments
20% - Participation
35% - Studio Project Assignments
25% - Final Project
Required Equipment
Digital SLR or Equivalent – must be able to perform manual adjustments of focus and exposure.
Flash Drive – at least 1GB of portable storage. If you already have a portable hard drive, you are welcome to use it.
Email Account and Blog – you will need to set up a blog that will be used specifically for this course. We will be going over this in our second class meeting.
Tripod and Cable Release – these are not required but are highly recommended.
Lab
Lab Hours and policies are on a separate sheet.
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