Art 1620, Photography II

Transcription

1 Art 1620, Photography II Class Location: St. John s Hall RM 316, also meets in labs 403, and 406A Course Meeting Hours: Tuesday s & Friday s: 3:25-6:15pm Course Instructor: Professor Angeles Cossio cossioa@stjohns.edu Office Telephone: Office: St. John s Hall RM B3 Faculty Office Hours: Tuesday s 2:00 3:20pm (or by appointment) Course Blog: Course Description: Photography II is an intermediate photography course. In this course you will deepen your understanding of photography. You will be exposed to multiple ways of making, presenting and thinking about photography. Both intermediate digital and analog processes will be covered. Demos and workshops will introduce you to new technical skills and professional practices. Lectures, readings and gallery visits will introduce you to both historical and contemporary photographers. Course Objectives - Create a conceptually strong cohesive body of work. - Acquire a basic understanding of medium and large format photography. - Be able to critically assess your own work and those of your fellow classmates. - Gain intermediate proficiency in artificial lighting, metering, exposure, printing and scanning. - Gain intermediate skill in editing digital photographs. - Learn new methods of making a photographic image including alternative processes. - Learn professional practices in presenting your work. - Acquire skills to plan and carry out complex photo shoots. - Develop skills for a sustainable creative practice. Course Requirements Projects/Assignments All assignments/powerpoints will be posted on the course blog: All submitted photographs must be taken this semester. Projects will have certain parameters that will need to be followed but will be fairly open-ended in terms of style and content. Each project will have its own set of grading criteria. Projects will lose 1 full letter grade for each day past the due date. If you know you are going to be absent a

2 day a project is due you must find a way to get it to me prior to the due date. The only way not to be penalized for a late project is by having a doctor s note. Expect to dedicate 5-6 hours each week outside of class on assignments A note on plagiarism: All work must be of your own making unless the assignment states otherwise. The use of copyright materials (with a few exceptions) or the use of another photographers work that is not your own (no exceptions) is strictly prohibited. In the professional world, if you plagiarize/steal ideas you run the risk of getting sued. In this class you will get an F for the assignment and Academic Affairs will be notified. Projects that copy or mimic pre-existing works are also not acceptable and will not be accepted for credit. Readings/Responses Written responses to readings and artworks will be graded on a scale of 1-5pts. Each response will be graded on the depth and complexity in which you analyzed the text/image. Final Project Minimum of 10 images (13x19 ) (non BFA majors can print on 8 1/2 x11 ) We will start discussing the final at the very beginning of the course. The final should be the culmination of your creative research this semester. In order to get the most out of this course look constantly at other photographers or anything that inspires you both online, in books and in person. Most importantly try to take as many photographs as possible. All of this will lead you to a topic for your final and make you a better photographer. Final Portfolio prints of your best work both digital and analog. BFA majors must inlcude 2 fiber prints Website / Business Cards By the end of the semester you will need a website that reflects your professional presence online. We will be working on this throughout the semester, with several check ins to monitor your progress. By the end of the semester you will also be required to have business cards. The implications of social media for photographers will also be discussed. Class Participation / Critiques / Discussions Be engaged. Be present. Obsessive phone checking will detract from your grade. That being said, consider this class an open forum. You are encouraged to share exciting work, new ideas that you come across with the class. All projects will be critiqued. Critiques are open conversations about the stage of where you are in your work. All criticism is expected to courteous and constructive. Almost all readings will be

3 discussed and have a written component. Come to discussions prepared and ready to contribute. Students are required to prepare a portfolio of prints, representing each of the projects, at the culmination of the course. This portfolio should constitute the best works of the semester and the final project in its entirety. Photographs made during the semester outside of the scope of the projects may be included in the final portfolio as well. Students will present the portfolio on the last day of class along with their final project. BFA Photography candidates: portfolio must also contain two silver fiber prints. In addition to a portfolio, photography majors must have work matted and framed for submission to the student exhibition. All students will present their final portfolio during the last scheduled class day, but BFA candidates have the added responsibility of presenting it during the end of semester reviews as well. Grading Policy and Breakdown: A - Your work exhibits both strong technical skills and highly creative concepts. You participate in the majority of class discussions and critiques. An A student is constantly reassessing their progress, responding to feedback and taking on ambitious projects that are thoughtfully carried out. B Your work shows significant improvement and success. A B grade usually indicates that a student is on the right track but needs additional time and effort to develop skills and concepts. C - A C grade indicates an average amount of effort and time. D Fulfills basic requirements of course. May require meeting with me outside of class time to improve grade. F - Does not fulfill requirements of course. A A B B B C C D F 59.9 and below Class Participation - 15%

4 Projects 50% Final Project 20% Readings/Written Responses 10% Website/Business Cards 5% Course Expectations / Conduct: Attendance Policy for Studio classes: Attendance to all classes is required. The Department of Fine Arts has an attendance policy that reads as follows: 2 unexcused absences results in the subtraction of 1/2 a letter grade; 4 unexcused absences results in the subtraction of 1 full letter grade; and 6 unexcused absence will result in automatic failure of the course. Please note that for BFA candidates, absence from the end of semester Department Portfolio Review will count as 2 unexcused absences, which will result in the subtraction of 1/2 a letter grade. Class Trips There will be several class trips throughout the semester. If you cannot make it you must make it up on your own time or it will be counted as an absence. Visits will be announced in class with several weeks notice. Accommodations for Students with Disabilities: St. John s University complies with the regulations of the Americans with Disabilities Act of 1990 and offers accommodations to students with disabilities. If you are in need of accommodation, please contact me to discuss this as soon as possible. All information will be held in the strictest confidence. Required Books Barthes, Roland. Camera Lucida: Reflections on Photography. Hill and Wang: Reprint edition (2010) Sontag, Susan. On Photography. Picador, 2001 Paper & Supplies & Additional Costs Prices as listed on B and H website. The art department has cameras/equipment for loan also. Film (as needed) Kodak T-Max 35 mm film Medium Format Film: (as needed) Kodak TMY / 5 Pack: $22.95

5 Can be purchased individually Dark Room Paper: Ilford Multigrade Fiber Glossy 8x10 25 sheets/ $27.95 (as needed) Doran Blotter Book Epson Ultra Premium Luster Photo Paper for Inkjet: 8 1/2 x 11 (50 sheets) $22.99ea B&H # EPPLPL50 19x13 Epson Paper (Digital Prints) (BFA MAJORS ONLY) Ultra Premium Matte / 50 Sheets: $36.00 Or Ultra Premium Luster / 50 Sheets: $77.50 Or Velvet Fine Art / 20 Sheets: $50.00 Business Cards Lots of options. Moo, Vista Print. Usually starts at around $20 for 50 cards. Holga Medium Format Camera: (optional) Starting at B & H Flash Drive To Hand in Assignments Print on Demand Book (optional) $20 + on Blurb. Portfolio (optional) Make sure you get one that can hold your largest prints Usually starts at around at $20 and goes up from there. Look at art stores like Dick Blick for more options Additional Any specialty paper, supplies that you may need. B & H Photo 420 Ninth Ave.; b/t 33rd & 34th, NY, NY Adorama 42 West 18th St NY, NY Freestyle (online resource) Mostly Darkroom Supplies K & M Camera 377 East 23rd St. NY, NY Neptune Photo 130 7th Street Garden City, NY Westbury Camera 380 W. Old Country Rd. Hicksville, NY 11801

6 COURSE SCHEDULE Below is an outline of what we will be covering in class. Because I need to assess where you are as a class the order and duration of the topics and assignments may change. Week 1 January 22nd First Day of classes Topic: Introduction to Photo II Assign: Project 1- Daily Practice Week 2 Jan. 26th & 29th Topic: Abstraction Lightroom/Photoshop. Review. File formats. File management Assign: Project 2: Visualizing Sound Due: Project 1 - Daily Practice Read Teaching the Camera to See My Skin Article Week 3 Feb 2nd & 5th Topic: Social Media + Photography Website/Social Media Presence/Professional Practice Assign: Project 3 Medium Format / Website Due: Project 2: Visualizing Sound (unedited files) Read: Part 1: Camera Lucida Week 4 Feb. 9th & 12th Topic: Cameraless Photography Into the Darkroom Assign: Project 4 Breaking the Image / Making an Image Due: Project 3: Medium Format Week 5 Feb. 16th & 19th Topic: Alternative Processes Assign: Work on Project 4 Due: First website check in / Work on Project 4 Read: Barry Lopez Essay The Invitation

7 Week 6 Feb. 23nd & 26th: Spring Break: No Classes Enjoy! Week 7 - March 1st & 4th Topic: MOMA Visit, Sequencing Book-making, What to Photograph? Assign: Project 5: A Book About Investigation Read: Part 2 Camera Lucida Week 8 March 8th & 11th Topic: Still-life Photography: Different Approaches Framing Demo/ Working With Large Format/Lighting Assign: Project 6: Still Life, Self Portrait Without the Self Week 9 March 15th & 18th Topic: Working With Large Format / Printing Sheet Film Assign: Continue to work on Project 6: Still Life, Self Portrait Without the Self Due: Second Website Check in / Files for Project 5: A Book About Investigation Week 10 March 22nd Topic: Book making demos, creating mockups Assign: Project 7: TBD Due: Continue to work on Project 6: Still Life, Self Portrait Without the Self Reading: TBD March 25th Easter Break (no class) Week 11 March 29th & April 1st Topic: Conceptual Photography/Working with Flash Assign: Final Project Due: Response to Reading/ Proposal Due Week 12 April 5th & 8th Topic: Surveillance + Photography / Digital Printing Assign: Final Check in Due: In completed form. Project 5: A Book About Investigation Week 13 April 12th & 15th Topic: Visit Chelsea galleries Due: Project 7: TBD / Final Check- In Week 14 April 19th & 22nd

8 Work on Final Due: Completed website due. Business cards Week 15 - April 26th & 29th Studio time/final/framing matting work for Student Exhibition April 29th Last day of class Portfolios due! Bibliography: Adams, Robert. Why People Photograph. New York: Aperture, Badger, Gerry. The Pleasures of Good Photographs. New York: Aperture, Barthes, Roland. Camera Lucida, Reflections on Photography. Trans. R. Howard. New York: Hill and Wang, Berger, John. About Looking. New York: Pantheon Books, Cotton, Charlotte. The Photograph as Contemporary Art. London: Thames & Hudson, Fontcuberta, Joan. Conversations with Contemporary Photographers. New York: Umbrage Editions, Foster, Hal, ed. The Anti-Aesthetic. Port Townsend: Bay Press, Galassi, Peter. Philip-Lorca decorcia. New York: Museum of Modern Art, Galassi, Peter. Jeff Wall. New York: Museum of Modern Art, Goldberg, Vicki, ed. Photography in Print: Writings from 1816 to the Present. New York: Simon & Schuster, Heiferman, Marvin. Photography Changes Everything. New York: Aperture, Horenstein, Henry. Beyond Basic Photography. Boston: Little, Brown, and Co., Ingledew, John. The Creative Photographer. New York: Harry N. Abrams, Inc. Publishers, 2005 Jaeger, Anne-Celine. Image Makers, Image Takers. London: Thames and Hudson, Kelby, Scott. Adobe Lightroom 3 for Digital Photographers. New Riders Press, 2010.

9 London, Barbara and Jim Stone. A Short Course in Photography. Englewood Cliffs: Prentice Hall, Papageorge, Tod. Core Curriculum: Writings on Photography. New York: Aperture, Parr, Martin and Gerry Badger. The Photobook: A History, Vol 2. London: Phaidon Press, Rosemblum, Naomi. A World History of Photography. New York: Abbeville Press, Rosen, Marvin J., and David L. Devries. Photography & Digital Imaging. Dubuque: Kendall/Hunt Publishing Co., 2005 edition. Shore, Steven. The Nature of Photographs. New York: Phaidon Press Limited, Snider, Lesa. Photoshop CS6: The Missing Manual. Pogue Press, Sontag, Susan. On Photography. New York: Farrar, Straus, and Giroux, Steacy, Will, ed. Photographs Not Taken. Daylight Community Arts Foundation, Szarkowski, John. Looking At Photographs. New York: The Museum of Modern Art, Thompson, Jerry L. Why Photography Matters. Cambridge: MIT Press, Traub, Charles, Steven Heller and Adam Bell. The Education of a Photographer. New York: Allworth Press, Suggested Workbooks for students and faculty: Noble Desktop: Adobe Photoshop CC, and Photoshop CC Advanced Workbooks

10 PHOTO II Questionnaire: NAME: What do you want to learn in this course? List techniques, concepts, genres of photography that you would like to know more of. What are your own personal objectives for this course? List 3 5 concrete things you would like to know, have accomplished by the end of the semester.

11 List artists, writers/books, movies, video games etc that you find inspiring.