Information Guide (PDF)

PHOTOGRAPHY CertiFiCAte ProgrAm

Langara College | Continuing Studies

Photography Certificate Program

Table of Contents About The Program

1

Introduction 1 Scope 1 Unique Qualities

2

Where Creatives Unite

3

Lifetime Alumni Program

4

Career Options

5

Getting Started

Beginning The Program

7

7

Certification 7 Program Costs

9

Facilities 9 Scheduling 10 Tailoring THe Program

12

Course Listings

19

Instructor Bios

40

FAQ’s 47

Langara CoLLege | Continuing StudieS

PhotograPhy CertifiCate Program

The Langara College Applied Arts division offers a unique opportunity for studying within the communications arts field. Whether your interests lie in hobby or career based photographic goals, the Continuing Studies Photography Certificate Program will fit your needs. If you are studying photography as a hobbyist, then you will be surrounded by students who are equally passionate about the craft of photography, in an environment where creative exploration and experimentation is celebrated. If you are studying to become a commercial photographer, then there is a distinct advantage to the structure of this division.



ABOuT THe PrOgrAm

Introduction The Langara College Continuing Studies Photography Certificate Program is one of the most respected photography programs in Canada. Taught by leading industry professionals, this program offers the best and largest facilities in Western Canada and has trained many of country’s top photographers. The program is designed to accommodate both amateur and hobbyist photographers, and those wishing to pursue careers as professional photographers.

Scope This program allows students to take as many or as few courses as they wish. If you are picking up a camera for the first time, and want to understand how to use it to its full capacity, then this is the program for you. If you are a keen amateur, you can take your hobby as far as you would like, up to and including taking every course in the program. If you are pursuing a career in photography as a commercial photographer, wedding & portrait photographer or photojournalist, then this program offers you an exceptionally comprehensive and highly adaptable program. depending on your goals and needs, this program is designed to get you where you want to be.



The Photography Certificate Program has a unique program model, as it is not a regular studies academic program. The Continuing Studies curriculum is less academic and more vocationally driven, this means a couple of unique qualities in the curriculum structure and delivery. First, it makes the program very easy Taught by some of the top commercial and portrait

to tailor to your own professional and artistic

photographers in Western Canada, this program

goals: where many full time academic programs

is well-known for having some of the most

have few or no elective courses, this program

comprehensive photography courses in Canada.

has around 30 elective courses (covering the

Courses in the program encompass three critical

professional and artistic gamut of the industry).

areas of study for photographers: 1) production

This program also boasts around 20 instructors

issues; 2) stylistic issues; and 3) business issues. The

who not only make their living as professional

production aspects of the program are covered

photographers, but also represent some of

in courses that range in universal content (such as

the top talent in the commercial, portraiture

camera, digital workflow, or darkroom operations)

and photojournalistic industries. Our program

to more specialized areas (such as digital retouching,

philosophy has always revolved around veteran

compositing, lighting courses for studio and

professional photographers training new

location, advanced B&W, and view cameras). There

professional photographers. The industry-

are many technical, industry specific courses (such

oriented nature of the program also engages

as Fashion Photography and Photojournalism)

you with the industry when you are applying for

that encourage the development of individuality

certification. In order to be certified through this

and personal photographic style. Business courses

program, your portfolio will have to be judged by

include detailed training on pricing structures,

top industry people (such as creative directors,

copyright law, contract law, estimating practices,

senior art directors, designers, and photo-editors).

and photographic business practices. The important

These are the types of people who will make up

issue of marketing for photographers is covered

the majority of your clientele as a commercial

through in-depth studies of direct mail marketing,

photographer, and it is these individuals who will

client research, portfolio development and

recommend your work for certification based on

maintenance, networking & public relations, website

its commercial viability.

marketing, and photographic agents.

ABOuT THe PrOgrAm

Unique Qualities


Students training to be commercial photographers will learn about critical issues (such as stylistic relevancy) in their work at a very early stage of their studies. The importance of this issue is that you are not trying to develop your style in a bubble - instead you are developing it with the input and collaboration of individuals who will ultimately hire you as a photographer. You will get to know the students studying design and art direction and they, in turn, will enter the industry with you already in place as a source of freelance talent they do not have to search for. This creates a strong sense of community in the academic arena, the same as in the commercial world.

When you enter the industry, associations such as CAPIC, PPABC, and the gdC will play a major role in your professional life. Collaborating with other creative individuals in the academic arena will better prepare you on how to be a valuable member of the communication arts industry. There are four programs under the Applied Arts division that are closely related, where students may work together and create strategic connections. These are the Certificate Photography Program, the Communication & Ideation design Program, the electronic media design Program, and the electronic music Production Program. These four programs train freelance commercial photographers, art directors for advertising agencies, graphic designers for print communications, graphic designers for interactive communications, and freelance music producers (for film, radio and TV).

ABOuT THe PrOgrAm

Where Creatives Unite




As part of the applied arts division, students studying to be commercial students studying to be art directors and graphic designers. Art directors and graphic designers will, of course, make up the majority of your clientele as a commercial photographer. Students studying to be art directors and designers need to collaborate with photographers as much in the academic world as they do in the real world. This offers the photography students the opportunity to make connections and build relationships with individuals who will also eventually leave for the commercial world as prospective clients.

Lifetime Alumni Program This unique feature truly sets the program apart from other schools! Once a student completes the 16 required courses for certification in the Photography Certificate Program, the entire program becomes free to them for the rest of their lives. This means you can take all of those elective courses you did not take earlier, and when technology upgrades come back and get the up-to-date information... for free! Becoming a professional photographer is no small undertaking and we are the first to acknowledge that breaking into this industry is very challenging. Students who enter the program with previous experience or training are often ready to enter the commercial world on completion. However, some students who join the program with little or no previous experience may find that the program flies by a little too quickly. The Lifetime Alumni Program is designed with such students in mind- if their creative and technical skills still need to be developed, they can continue to work with us at no cost to hone their skills. For a full list of terms and conditions for the Lifetime Alumni Program, please contact the Program Coordinator Andrew Tripp at [email protected].

About The Program

photographers will also be studying in the same environment as



As mentioned earlier, you do not have to be pursuing photography as a career to access this program. Beginner, amateur, and hobbyist photographers are very welcome in this program; however, this program offers many options for those pursuing a career in the photographic industry. There are three major directions for professional photographers: photojournalism; retail (portraiture & wedding); and commercial. Photojournalism can be looked at from several perspectives including reportage and editorial. Reportage is photographing newsworthy events for newspapers or news magazines such as TIME. This type of work requires someone who can respond quickly to capture a fleeting moment, emotion, and/or action. Often shooting for magazines, editorial photography is commissioned work where lighting and production techniques are critical. Editorial work includes photographing people, fashion, still life, and events to illustrate an article. Portraiture and wedding photography make up the bulk of the retail market of photographers. Most students pursuing this area plan to work as individual freelance photographers rather than a franchised studio. Portraiture and wedding photography have progressed beyond “traditional” styles of lighting and there are great opportunities for photographers to exercise unique photographic styles. Commercial photography includes (but not limited to): fashion photographers; people photographers; architectural photographers; food photographers; movie stills photographers; stock photographers; and product photographers. The vast majority of commercial photographers are freelance professionals working on a contract basis: their work may include advertising or commercial purposes such as brochures, catalogues, or annual reports. Working as a photographic assistant is an excellent way of entering the field. In addition to the above categories of photography, many photographers are expanding their skill set to become more valuable to the industry. It is not uncommon to see photographers studying film or digital video to add to their services. Some photographers are also studying to become graphic designers and art directors in order to offer a greater range of services. This can significantly add to an income, be valuable to clientele, and offer more creative freedom.

About The Program

Career Options



Getting Started

Many photographers are looking at expanding their skill set to make themselves even more valuable to the industry. It is not uncommon to see photographers studying to become graphic designers and art directors in order to offer a wider range of services.



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Beginning The Program There is no interview requirement to enter the program, as we encourage both hobbyist and professional photographers to attend. For courses that do not have a prerequisite (Basic digital Photography, Basic digital Workflow, Basic darkroom, Photoshop Level 1 or Photographic Art History courses), students can register on a first come first served basis. Individuals wishing to enter a course with prerequisite requirements must either take the qualifying course(s) or challenge the prerequisite(s) based on previous training or experience. This must be done through the Program Coordinator, Andrew Tripp (604-644-7991). Basic level courses can be discussed over the phone, and more advanced level courses will require a portfolio showing. Students may enter the program in any of the three terms each year. do not let the lack of a formal interview fool you: getting into the program is simple, getting through to certification is no simple undertaking. This is one of the largest programs for commercial photographers in Canada and the certification process, as you will soon read, happens only when your work is at a level to make you commercially viable – in other words, you must be able to compete against the top photographers in the world to reach certification.



Certification The graduation process is an individual process for each student; it is not a class situation. When students have completed, and passed all of the required courses (16 courses), they then qualify to apply for certification. The certification process does not cost anything and there is no deadline as to how long you can take to pursue it.

Program Coordinator (Andrew Tripp) know that they are ready to apply for certification. A meeting will be set up, with the student bringing as wide a range of their work as possible, to discuss strategies and professional or personal goals of the student. The goal of this meeting is to identify the target market that the student will aim their work at, such as the advertising industry, editorial clients or portrait & wedding clients for example. When the student has determined the market he or she would like to target, then they are advised to research a number of prospective clients who they would like to be working with to determine their photographic needs, what photographers they are currently working with and as much about their communications philosophy as possible. This will help the student to develop their final portfolio with a greater sense of purpose and strategy. Their final portfolio will then be viewed by a panel of internal & external industry experts who will look at your chosen target markets and why you feel your work is relevant to the needs of that market. The members of the panel will then document the strengths they feel your portfolio possesses, its weaknesses and will then cast a vote on whether they feel the student’s work is commercially viable. If the student’s portfolio is not deemed commercially viable, then not only will the student receive written comments why, but they will be encouraged to correct their portfolio and then resubmit it to the panel for review. This process costs nothing, and whether the student’s portfolio is approved by the panel or not, they will still retain their Lifetime Alumni status.

Getting Started

The process begins with the student letting the



Program Costs Individual courses typically range from $400 to $500 for the 12 weeklong courses (we do offer some shorter 6 week courses that usually cost around $250). You do not pay for the program up-front, instead you pay for each course as you take them. This means that the average academic cost for a student pursuing certification will be around $7,500 over the two years of the program (costs vary depending on the courses you in materials. Digital is less, however, there are printing costs to consider. In the end, it is a good idea to budget for approximately $10,000 for all costs over a two-year period. As the Certificate Photography program is a part-time evening program, it does not qualify for student funding such as Canada Student Loans – only full-time study programs qualify for that (even if you take a larger course load, it does not qualify as fulltime). There are many funding agencies, both government and private, such as job retraining programs for injured workers, that will fund the program. Scholarships also are applicable to this program.

Facilities Langara College has the top facilities for photographic study in Western Canada. The program offers three very large and fully equipped studios for students to work from. We have numerous state-of-the-art power packs and strobe units for students to use: enough to equip each studio many times over. There is a large collection of tungsten spotlights for each studio and a sizeable collection of lighting equipment from scrims and softboxes to umbrellas, cookies, grids, and snoots. The darkrooms are well equipped for printing in black and white, and colour. The darkrooms offer a spacious central sink area large enough for many students to wet process fiber-based prints simultaneously. We also have two Kreonite dry-to-dry print processors for both black and white, and colour.

Getting Started

choose). If you are shooting film, it is a good idea to budget for around $150 per course



Large state of the art mac computer labs with the most up-to-date versions of image manipulation software, such as Adobe Photoshop and high-end print and film scanners for every format of film from 35mm up to 8X10 large format, make these facilities the best in town. We have a number of digital printers including a 44-inch large format epson 9600 printer. The program also has three Phase 1 digital backs for the medium format Hassleblads. Students have access to a variety of camera systems including medium format Hasselblads to 4X5 and 8X10 view cameras.

use/book, at no extra cost, all of the facilities and equipment every Sunday afternoon and some evenings. The only restrictions are that you must be currently taking a course and the facilities cannot be used commercial purposes.

Scheduling The Photography Program is designed in such a way that you may start the program at the beginning of any term during the year. There are four terms that run through the year: January, may, September and a condensed term that runs in August. The majority of the courses in the program are 12 weeks long and run one evening or day per week. For example, if you take a course that is scheduled on monday evenings from 6:30pm9:30pm, that course will run every monday evening for 12 weeks. This program is designed for working adult students who cannot attend courses during the day on monday to Friday. Course offered on a weekday will run in the evening from 6:30pm to 9:30pm. We also regularly offer courses on Saturday mornings and afternoons and occasionally on Sundays. The January, may, and September terms are considered full terms that run for 12 weeks. The August term is a condensed term where the courses run two evenings per week for 6 weeks (instead of 1 evening per week for 12 weeks). not all courses are offered every term and quite often a number of the elective courses are only offered every other term. A few select courses, such as Food Photography or The Photographic nude, are

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Part-time students are able to



offered once per year due to the amount of time spent in studio. required and major prerequisite courses are offered every term. Course schedules can be found on our website at www.langara. bc.ca/creative-arts/photography/ can register by calling our registration line at 604-323-5322 and returning students have the choice using online registration (www.langara.bc.ca/cs).

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course.html. First time students



Tailoring The Program number of elective courses, the program can be easily customized for professional and/or artistic goals. This section offers a breakdown of photography courses relevant to different photographic specialties and explains why each course is relevant. The following photographic specialties are explored:

Hobbyist | Fine Art | Scenic & Stock | People (Advertising & Editorial) | Fashion & Beauty | Photojournalism & Photo-Essay | Portraiture & Wedding | Product & Food | Architectural | Illustrative Photography |

TAILOrIng THe PrOgrAm

As the part-time Photography Certificate Program has a large


Hobbyist Photography


Fine Art Photography

For those of you interested in pursuing photography The most significant difference between commercial as a hobby, this program offers a number of courses

and fine art photography is simply the purpose of

ideally suited to making your hobby a spectacular

the work. Fine art photographers are free to pursue

one. These courses focus primarily on camera,

their own artistic vision and the only artistic goals

darkroom, lighting, and compositional skills.

that need to be met are those of the photographer’s,

Because there is no obligation for students to follow

whereas commercial photographers work must

through to certification, many students take only the achieve a specific communications goal. In both cases the photographers must first have a strategy

required of all photographers. This listing would not

or reason to take the shot, and they must exercise

qualify a student for certification; however, you are

artistic control over the visual execution of the

free to pursue that goal any time, at your own pace.

image. In that sense, there is not so clear a division

You are free to move forward as far as you wish

between the fine arts and the applied arts. Please

within the program in order to take your craft far

note this list shows more courses than needed to

beyond what most hobbyist photographers achieve. achieve certification. It is designed to simply show The following courses are ideally suited for the

the courses that are relevant to this specialty (while

passionate amateur:

you are free to take all of these courses, students will typically choose select courses from the list).

RELEVANT COURSES (in suggested order) Basic Digital Photography (or Basic Film

RELEVANT COURSES (in suggested order)

Photography) | Basic Digital Workflow (or Basic

Basic Digital Photography (or Basic Film

Darkroom) | Landscape Photography | Digital


Intermediate Photography (or Film Intermediate

Darkroom) | Digital Intermediate Photography (or

Photography) | Composition & Design | Practical

Film Intermediate Photography) | Practical Lighting

Lighting | Advanced Studio Lighting | Advanced

| Advanced Studio Lighting | Business Practices |

Composition & Design | Practical Darkroom | View

Business Management | Practical Darkroom | View

Camera Techniques | Advanced Black & White


Photography | Creative Darkroom | Alternative

Photography | Composition & Design | Advanced

Photographic Processes | Photographic Art History |

Composition & Design | Personal Photographic Style

Street Photography | Photoshop Level 1, 2 or 3 |

| Photographic Concept | Contemporary Image | Creative Darkroom | Landscape Photography | Photoshop Level 1 | Photoshop Level 2 | Photoshop Level 3 | The Photographic Portrait | Creative Light Painting techniques | The Photographic Nude | Alternative Photographic Processes | Photographic Art History | Architectural Photography |

Tailoring The Program

courses designed to train in the fundamental skills



People Photography

For those students interested in pursuing scenic

One thing we recommend to all students is

photography, stock photography agencies will most

that no matter which photographic area you

likely represent one of your key target markets.

decide to pursue, make yourself as versatile in

Stock represents an enormous range of imagery

that field as possible. This opens up a far greater

from scenic to people, environmental, illustrative

pool of potential clients to you, and therefore

still life, digital photo-illustration, and much

raises income expectations as well as giving you

more. Travel magazines, editorials, photo-essay,

more creative options: people photography is

advertising, and fine art books are also potential

no exception. People photography represents

markets to explore. Scenic photographers may not

a broad field of freelance possibilities, from

work their trade in the studio, but they must have

advertising to editorial, corporate, portraiture,

an in-depth understanding of light quality. Timing

photo-essay, and stock. We deliver courses that

is the other key skill a scenic photographer must

train students in the full spectrum of applied and

have: understanding when to shoot and when to

fine art people photography.

wait. Unfortunately, patience is not a topic we teach within the program so you will have to settle for the


following courses.

Basic Digital Photography (or Basic Film Photography) | Basic Digital Workflow (or Basic


Darkroom) | Digital Intermediate Photography


(or Film Intermediate Photography) | Practical


Lighting | Advanced Studio Lighting | Business


Practices | Business Management | Practical


Darkroom | Commercial Photography | View

| Business Practices | Business Management |


Practical Darkroom | View Camera Techniques |


Advanced Black & White Photography | Composition Composition & Design | Personal Photographic & Design | Advanced Composition & Design | The

Style | Photographic Concept | The Contemporary

Contemporary Image | The Creative Darkroom

Image | The Creative Darkroom | Photojournalism

| Landscape Photography | Photojournalism |

| Photoshop Level 1 | Photoshop Level 2 |

Photoshop Level 1 | Photoshop Level 2 | Photoshop

Photoshop Level 3 | The Photographic Portrait |

Level 3 | Street Photography | Alternative

Creative Light Painting Techniques | Photographic


Nude | Photographic Art History | Stock

Stock Photography | Architectural Photography

Photography | Editorial Photography


Scenic & Stock Photography



Fashion Photography

RELEVANT COURSES (ins suggested order)

Fashion photography definitely represents one


of the most exciting and challenging areas of


photography. Being a fashion photographer


represents some of the most demanding


expectations in the field. Not only must you be


superb in your lighting abilities, you must have

practices | Business Management | Practical

very refined camera, darkroom, production, and

Darkroom | Commercial Photography | View Camera

composition skills. This area is one of the few where

Techniques | Advanced Black & White Photography

the photographer alone cannot complete an

| Composition & Design | Advanced Composition

assignment, they must have an in-depth knowledge

& Design | Personal Photographic Style | Digital

of, and excellent working relationship with, make-up Imaging | Creative Darkroom | Fashion Photography | Photoshop Level 1 | Photoshop Level 2 | Photoshop

Fashion photography requires some of the highest

Level 3 | The Photographic Portrait | Creative Light

capital outlays in terms of equipment and studio

Painting Techniques | The Photographic Nude |

facilities. Being able to shoot two or three models

Alternative Photographic Processes | Alternative

full length with the proper lenses requires a sizeable

Colour Techniques | Photographic Art History | Stock

coved surface. It also represents some of the most

Photography | Commercial Production

rewarding stylistic challenges for a photographer, so if you love fast paced work, and controlled serendipity, then this could be the field for you.


artists, hair stylists, fashion stylists, and assistants.



Photojournalism

Portraiture & Wedding

Students interested in pursuing photojournalism

Traditional or nontraditional, that is always the

will find that the Langara Photography Certificate

question. Originally, the photographic portrait

Program has much to offer. We prepare students for

used lighting that mimicked the traditional

news reportage with an emphasis on the photo-

painted portrait (Rembrandt lighting, etc). While

essay. Less time is spent on the found image and

this is beautiful lighting, many people are looking

more time is dedicated to training photographers

for portraits that are more illustrative in nature:

to create an image or a series of images designed

something that will convey a strong message about

to illustrate a news story (Equinox or National

the subject (via concept, mood, and/or technique).

Geographic are prime examples of photo-essay).

The following courses cover both traditional and

These courses ensure students gains a diverse

unique ways of capturing those special moments.

set of skills in both location, scenic, and people Tailoring The Program

photography backed up with a strong sense of lighting. Quick and decisive thinking in technical and visual terms is the key to success in this area. A stylistic approach is just as important as it is for commercial photography. RELEVANT COURSES (in suggested order)












practices | Business Management | Practical


Darkroom | Advanced Black & White Photography


| Composition & Design | Advanced Composition


& Design | Personal Photographic Style | The

Composition & Design | Personal Photographic

Photographic Concept | Contemporary Image |

Style | The Photographic Concept | Contemporary

The Creative Darkroom | Landscape Photography |

Image | The Creative Darkroom | Fashion

Photojournalism | Photoshop Level 1 | Photoshop

Photography | Photoshop Level 1 | Photoshop

Level 2 | Photoshop Level 3 | The Photographic

Level 2 | Photoshop Level 3 | Photographic

Portrait | Street Photography | Alternative

Portrait | Creative Light Painting Techniques | The

Photographic Processes | Photographic Art History

Photographic Nude | Alternative Photographic

| Stock Photography | Architectural Photography |

Processes | Photographic Art History | Wedding

Editorial Photography

Photography | Stock Photography



Architectural Photography

Still Life photography represents one of the most

For those students who love commercial and

demanding aspects of commercial photography.

residential architectural design, this field offers a

As this type of photography is “making” pictures

number of photographic possibilities. Architectural

rather than “taking” them, a highly refined sense

Photographers often are found working with

of lighting coupled with superb compositional

graphic design firms who specialize in brochures

skills is a must (knowing where to look for

and websites for developers. Editorial photography

propping and surfaces is also valuable). On top of

also represents a major market for photographers

learning the fundamentals of photography, you

through such magazines as Architectural Digest

will need to become intimate with the tools of

and Western Living Magazine. Architectural

this field: studio lighting and large format view

Photographers are also often sought out for large-

cameras. It is important that you have strong

scale product photography such as furniture or

darkroom skills as well as a solid foundation in

appliances when they are being shot in interior

digital imaging. What clients will look for in a still

environments. The key challenge for architectural

life shooter are tremendous lighting and camera

photographers is being able to mix (and balance)

skills, a strong visual and technical problem solver,

a variety of light sources from interior and exterior,

and someone with a distinctive stylistic approach.

and artificial lighting to outside natural light. Being able to work with and interpret the work of


architectural and interior designers is critical for this


type of photographer.

Photography) | Basic Digital Workflow (or Basic Darkroom) | Digital Intermediate Photography






Practices | Business Management | Practical


Darkroom | Commercial Photography | View








Style | Creative Darkroom | Food & Beverage


Photography | Photoshop Level 1 | Photoshop

Composition & Design | The Creative Darkroom

Level 2 | Photoshop Level 3 | Creative Light

| Landscape Photography | Photoshop Level 1 |

Painting Techniques | Alternative Photographic

Photoshop Level 2 | Photoshop Level 3 | Alternative

Processes | Photographic Art History | Stock


Photography | Commercial Production

Stock Photography | Architectural Photography


Still Life & Food Photography



Illustrative (Conceptual) Photography


Jerry Uelsmann summed it up nicely by saying that


illustrative work is photographing objects for “what


else they are.” In this category, photographers use

Film Intermediate Photography | Practical Lighting

whatever subjects necessary in ways that strongly

| Advanced Studio Lighting | Business practices |

illustrate a concept. This is a type of photography


that is becoming immensely popular in almost


every aspect of applied art. Originally, editorial


work was the most common arena for illustrative


work, as the images had no other purpose than to

Style | The Photographic Concept | Contemporary

illustrate the written editorial. Designers and art

Image | The Creative Darkroom | Photoshop Level

directors find new ways of utilizing the power of the

1 | Photoshop Level 2 |Photoshop Level 3 | The

illustrated photograph and it has become popular

Photographic Portrait | Creative Light Painting

in advertising, annual reports, and all forms of

Techniques | The Photographic Nude | Alternative

non-media assignments (such as CD covers). Superb


conceptualizing skills are one of the most important

Stock Photography | Commercial Production

is particularly demanding on almost every creative and technical aspect of photography: strong lighting skills and a host of production and printing techniques are needed to ensure you have the creative options necessary to conceptualize freely.


strengths of an illustrative photographer. This area




Course Listings The previous section described the various areas of photographic study available to students through this program. This section takes a closer look at the individual courses, describing their content, their prerequisites, and their costs. For students who are unsure about the courses that are open to them, please contact the Program Coordinator (Andrew Tripp) either by phone at 604-644-7991 or via e-mail at [email protected]

lays the groundwork for a present upgrade or future study in the field of photography. Control of exposure and depth of field is the primary focus of this course, along with: exploration of composition; stylistic approaches; and metering for daylight, studio light, and night scenes. This course explores issues unique to digital shooting such as white balance, dealing with image noise, and an introduction to image file formats. The student will learn through lectures, studio workshops, slide shows, and field trips. Critiques of student work will stress positive achievements toward instilling the confidence to tackle more challenging photographic work. Students are encouraged to discuss ideas and concepts with the instructor and fellow students in an environment that welcomes input and exploration. Prerequisite: None

Course Listings

BASIC DIGITAL PHOTOGRAPHY



BASIC DIGITAL WORKFLOW is the companion course to Basic Digital Imaging and the co-prerequisite to Digital Intermediate Photography. Where the Basic Digital Photography course deals primarily with image capture, the Basic Digital Workflow course deals with how to process you digital image files. The course works predominantly with software programs like Adobe Lightroom or Capture 1, but it does not matter if students are using Apple’s Aperture or the proprietary software for processing their images. Other topics included in the course cover optimizing DSLR camera set-ups, exposure controls (both on camera and via computer). The course teaches reviewing, organizing and ranking files, image adjustments, image and online publishing, file handling, storage, archiving, and printing. Prerequisite: None

BASIC PHOTOGRAPHY (Film) lays the groundwork for a present upgrade or future study in the field of photography. Control of exposure and depth of field is the primary focus of this course, along with: exploration into composition; stylistic approach; and metering for daylight, studio light and night scenes. This course offers a glimpse into basic black and white darkroom techniques, and shooting a live model in a studio setting. The student will learn through stress positive achievements toward instilling the confidence to tackle more challenging photographic work. Students are encouraged to discuss ideas and concepts with the instructor and fellow students in an environment that welcomes input and exploration. Prerequisite: None

BASIC DARKROOM (Film) is a course designed to give the student a solid background in black and white printing techniques. Students begin by learning the characteristics of different black and white films and the quality of print they can expect from them. Adjusting film characteristics by adjusting their processing time will also be explored with students developing their own film. Tone and contrast are two of the most important considerations in making a print, and considerable time will be devoted to these topics. Technical considerations such as choice of paper, exposure, and filtration will be explored in-depth, but students will also learn about tone and contrast from an artistic perspective. Tonal considerations are very subjective, and it takes time and experience before a photographer can recognize and produce the qualities of a superbly printed photograph. The class explores the various methods of burning and dodging to fine tune a print, although emphasis will always

Course Listings

lectures, studio workshops, slide shows, and field trips. Critiques of student work will



be placed on creating as close to a perfect exposure in camera. The course finishes with students learning dry mounting and display techniques. All assignments will be thoroughly critiqued on both technical and aesthetic grounds: students are encouraged to push their abilities to the limit. PrereQuiSite: none

DIGITAL INTERMEDIATE PHOTOGRAPHY takes most of the material covered in “Intermediate Photography” and applies it to digital SLr picture taking. designed for students who are beyond the basics of photography, it covers aspects such as shooting raw vs. j-peg, white-balance concerns, and preparation for printing, in addition to lighting for still life and people. Students require their own digital SLr. This course expands on the knowledge gained by the students in Basic Photography and helps them to acquire new techniques for tackling different kinds of lighting situations. each lecture is followed by a shooting session or demonstration in order to put the techniques discussed into practice: emphasis is placed on exploring elements in a fun and creative environment. Students work both outdoors and in the studio, and live models will be our subjects for the shooting sessions using studio strobe equipment. Assignments are flexible enough to allow the students to pursue their particular areas of interest, such as portraiture, landscape, still life, fashion, and casual critique sessions. effective composition is stressed throughout the course as well as technical considerations, and the students are strongly encouraged to explore creatively and technically with the full support and involvement of the instructor. Students are encouraged to discuss their ideas for the class assignments amongst themselves, in order to learn independent problem solving techniques. PrereQuiSite: bASiC digitAl PhotogrAPhy & bASiC digitAl WorkFloW

COurSe LISTIngS

etc. Both the instructors and the fellow students provide feedback and ideas in relaxed



INTERMEDIATE PHOTOGRAPHY (Film) expands on the knowledge gained by the students in Basic Photography and helps them acquire new techniques for tackling different kinds of lighting situations. Each lecture is followed by a shooting session or demonstration in order to put the techniques discussed into practice (emphasis is placed on exploring elements in a fun and creative environment). The students work both outdoors and in the studio, and live models will be the subjects for the shooting sessions using studio strobe equipment. Assignments are flexible enough to allow the students to pursue their particular areas of interest, such as portraiture, landscape, still life, fashion, etc. Both the instructors and the fellow students provide feedback and ideas in relaxed and casual critique sessions. Effective composition is stressed throughout the course as well as technical considerations, the students are strongly encouraged to explore creatively and technically with the full support and involvement of the instructor. Students are also encouraged to discuss their ideas for the class assignments amongst themselves, in order to learn independent problem solving techniques. Prerequisite: Basic Photography (or Basic Digital Photography)

BASIC PEOPLE PHOTOGRAPHY people for fashion, editorial and portraiture. Students will learn many new lighting scenarios for people photography as well as how to pose and communicate with your subject. Students will practice extensively with working models as well as become accustomed to working with non-models who may not be as comfortable in front of a camera. This course builds on many of the principles learned in Basic Digital Photography (or Basic Photography) and Basic Digital Workflow). Prerequisite: Basic Digital Photography & Basic Digital Workflow

PRACTICAL LIGHTING explores in detail, the fundamentals of lighting through several assignments involving still life set-ups in the studio and people photography both in studio and on location. The first five weeks of the course centre on lighting for still life photography. The lighting concepts explored in this section are applicable to a wide variety of subjects, whether in the studio or in ambient lighting conditions. Topics such as lighting for various surface qualities, contrast control, and manipulation of light quality are learned through lecture, illustrated slide shows, and lots of practical experience. Included is a comparison of

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immerses students in the world of people photography. The course looks at shooting



lighting equipment and various accessories. Students will gain an appreciation for the potential of lighting to create a more effective photograph (via control of mood and style). The second five weeks concern lighting for people photography. Natural, artificial, and mixed source lighting is explored through an opening lecture and slide show followed by subsequent shooting sessions with professional models. Students will discover numerous methods of controlling the light necessary to produce an effective portrait in a variety of circumstances. Stylistic approach and content are stressed throughout the course, along with technical considerations. Prerequisite: Digital Intermediate Photography (or Intermediate Photography)

is a course that tackles light for light’s sake. The purpose of this course is to give the students a very comprehensive understanding of how light works on film. Predictability and control are the ultimate goals of any commercial photographer. Surprises, even pleasant ones, are completely unacceptable to the commercial shooter, s/he must be able to envision the image and then achieve that vision exactly on film. The first part of this course focuses on the physics of how light reacts on film, manipulation of lighting quality, contrast control, critical metering techniques, ratios, and comparative ratios. The course goes on to explore some contemporary lighting techniques and circumstances such as projected light, motion (with combined light sources), painting with light, shutter drag, and controlling natural sunlight through key shifting. Students learn through a series of lectures, slide shows, discussions and demonstrations, and practical experience shooting both stills and models in the studio and on location. Students are encouraged to use both the studio and especially the home assignments to not only hone their technical skills, but also their conceptual and stylistic approaches. Prerequisite: Practical Lighting

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ADVANCED STUDIO LIGHTING



BUSINESS PRACTICES is designed to help students explore all aspects and avenues for marketing their skills as a photographer. The topics in this course are relevant to all specialties in photography from commercial, to portraiture, wedding, editorial, and photojournalism. All of the traditional methods of marketing are covered in-depth from advertising and direct mail to public relations, networking, personal selling, photographic agents, and Internet advertising. This course is about helping students to identify where they fit in and how to research their potential markets. You must be able to articulate the stylistic approach to your work, and ensure that it is clearly communicated in all of your marketing efforts. The portfolio is also extensively covered, exploring issues such as content and message, researching your clients’ needs, portfolio design and presentation, along with editing, pacing, and sequencing your images. Students will complete two comprehensive assignments in sequencing portfolios, and creating a marketing and objective driven business plan. Prerequisite: None

is part of a three-course series specific to the commercial photographic industry that includes Business Practices & Commercial Photography. The focus of this course is primarily on the logistics of running a commercial photographic business. The first part of the course explores the methods and considerations of producing estimates and proposals. Topics such as the usage scale, copyright, pricing, material costs, billing, and location/propping costs are covered in-depth. The fact that your estimate is the last chance to promote yourself to a client is stressed throughout, thus presentation skills are also looked at closely. The other major topic of this course is legal and ethical business considerations, exploring: copyright law; what you legally can or cannot shoot; standard photographic contracts; what a client can expect of you; and you of the client. Also covered in detail are business finance issues such as HST, business licenses, taxes, accounting, and financial planning. We also invite agents from CAPIC, PPABC, and CAPA to discuss the purpose of each association. Prerequisite: Advanced Studio Lighting

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BUSINESS MANAGEMENT



PRACTICAL DARKROOM (Film) is an intermediate level course designed to allow students greater control over the black and white medium. Exposure and development of film, fine-tuning of printing skills, recognition of tone and contrast, and a subsequent exploration of print enhancement techniques form the basis of this intensive darkroom course. A modified zone system approach to film treatment is followed by an introduction to fine art exhibition quality print-making (including the use of fiber based paper and print toners such as selenium, sepia and brilliant blue). Archival processing is discussed and offered for practice during several darkroom sessions. Specialized techniques (such as paper flashing and print diffusion) are demonstrated and explored to offer the student a dramatic expansion of his/her darkroom repertoire. Finally, finishing and presentation of prints are considered. Students are encouraged to experiment not only with their technique, but also with their stylistic approach and conceptualizing skills. Prerequisite: Basic Darkroom

COMMERCIAL PHOTOGRAPHY is part of a three-course series including Business Practices and Business Management. In the majority of commercial shoots, the final image is a result of a close collaboration composite rendering (which can be as little as a stick person pencil sketch), and it is up to the photographer to translate this into a tangible image that captures the style and essence wanted by the client. This course is designed to teach the students the communication process necessary to achieve this. Students will spend most of this course shooting various advertising layouts while consulting and negotiating stylistic considerations with the art director. The objective is to become an active partner with the art director for the purpose of achieving the perfect image for the assignment. Students learn excellent lighting techniques and are encouraged to scan their images to disc so the instructor can crop, retouch and place them into the ad: giving the student a hi-res colour output of the job. In this course, students will learn how to operate and work extensively on the Hasselblad medium format camera systems. Prerequisite: Advanced Studio Lighting & Photoshop Level 2

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between photographer and art director. Most concepts start out in the form of a



VIEW CAMERA TECHNIQUES (Film) is a course that explores the world of the large format camera. Students will work extensively on 4X5 cameras while learning the principles of large format techniques. These cameras have capabilities beyond any rigid body SLR camera system, being able to manipulate both perspective and greatly increase (or decrease) the depth of field or sharpness of an image. These cameras are mostly for shooting still life and architectural photography (and very effective with people photography), and if these are the areas you wish to shoot in then view cameras will become an essential part of your career. Topics explored include sharpness and perspective control through the Scheimpflug effect, camera operations, multiple exposure mapping, and use of inter-camera masking. Students will use the cameras for still life, location people shoots, and architectural assignments. The College will supply students with cameras and Polaroid film. Prerequisite: Intermediate Photography

ADVANCED B&W PHOTOGRAPHY (Film) How many times have you seen a black and white photograph that seems to have an exceptional range of tone? Subtle highlight detail is held with ease and the shadows appear luminous, the print seems to glow with a silvery range of distinct tones. Creating nature of the materials used. The Zone System provides a method to predictably and accurate test the results that are being obtained from a particular film and developer combination. You will test your specific combination of equipment and determine an exposure index (a “personal ISO”) for a chosen film. With this information in place, printing in the darkroom becomes a rewarding experience rather than a series of test strips created in an effort to find some combination that yields acceptable results. Use of a densitometer will be included as part of the film testing. Effectively using a spot meter and a viewing filter will be studied in context to creating an image. Testing on its own would not be enough unless the information is incorporated into your shooting technique. The latter half of Advanced B&W focuses on metering as well as the use of filters. Precise tonal placement is possible with the use of a spot meter. Scene contrast assessment and how it relates to your exposure and development will be studied in detail. The final several weeks focus on one-on-one instruction while printing your own negatives. Advanced B&W has many students commenting on the improvement they witness in the quality of their images. You will also find that your results are more consistent. Prerequisite: Basic Darkroom

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a print that has these qualities requires an understanding of the capabilities and



COMPOSITION & DESIGN explores the nature of perception and intentional image making: equipping the student with the tools of recognized design and composition techniques, whilst also encouraging innovative thinking. Classroom study of the fundamental elements and principles of composition, and design are complimented by practical studio assignments. Students learn how to intentionally incorporate the design elements of line, color, texture, space, and shape into image designs. Further study of the principles of rhythm, balance, and scale enhance their understanding and ability to manipulate the viewer’s response to the image. Contemporary and historical styles of composition and design are reviewed, and students become accustom to critiquing and reviewing design principles in contemporary advertising and fine arts imagery. The mystique of good versus bad composition and design will be thoroughly decoded, enabling the student to approach assignments and expressive image-making with increased confidence and the ability to communicate effectively and immediately with the viewer on multiple levels of awareness. Prerequisite: Digital Intermediate Photography (or Intermediate Photography)

continues students’ studies in compositional technique and the psychology of design for photographers. Learn to add deeper thoughts and ideas to your images while also extending your compositional and presentation skills. Students continue from earlier studies in Composition and Design to look at further into design theory. Topics covered include the psychology of seeing (How does my brain ‘see’?), unusual composition techniques (fish eye and panoramic), image association (What am I looking at?), image distortions, telling stories with sequences of images and, creating a simple multi-media presentation of their final assignment. Prerequisite: Composition & Design

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ADVANCED COMPOSITION & DESIGN



PHOTOGRAPHIC STYLE is designed to help the student identify and develop their own stylistic approach in whatever genre of photography they enjoy. Having pushed forward with the technical skills necessary to produce commercial quality images such as lighting, subjective exposure, camera techniques, film development, printing and production, the photographer is inevitably faced with the question “where do I go from here?” For the casual type that question does not necessarily present itself; however, it proves enormous, and must be answered honestly and thoroughly before a photographer can join the ranks of serious image-makers. This is where the development, or recognition of one’s own personal aesthetic, becomes extremely important (without its presence in a photographer’s work, s/he could be viewed as a hit-and-miss shooter rather than a creative photographer capable of producing powerful images stamped with a unique and recognizable style). Through creative exercises and shooting assignments, combined with an overview of photographic style from an historical and contemporary perspective, the student will be guided into the area of aesthetics which is truly their own. Prerequisite: Advanced Studio Lighting

provides techniques for acquiring the mental and emotional tools needed to conceptualize an original, effective, communicative, and memorable image for any commercial assignment or self-assigned project. Students explore practical, aesthetic, and conceptual techniques and acquire in-depth understanding of the collaborative role of the art director. Classroom hours cover the work of selected contemporary and historical conceptual photographers, the use of metaphor and surrealism, ethics and socio-cultural influence of advertising imagery, plagiarism, and copyright issues. Learnings include creative sampling, research techniques, overcoming creative blocks, appropriate choice of traditional and alternative creative processes, personal style, visualization techniques, and effective and detailed image review techniques. Practical studio hours require experimentation with classroom ideas. The student will complete a series of portfolio presentation images showcasing their conceptual skills by the end of the course. Prerequisite: Advanced Studio Lighting

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THE PHOTOGRAPHIC CONCEPT



THE CONTEMPORARY IMAGE In this course’s creative environment students develop a cohesive body of photographic art. Students participate in slide-lectures and discussions that examine contemporary photographers, trends and theories in photography, guiding them through the production of an independent personal photographic project. Emphasis is placed on a fine art approach to photography with students creating image series that form a unifying concept. Students will be expected to produce a creative rationale to accompany the work and be expected to defend the visual execution of the concept. These projects will require all of the skills learned to date in regards to camera technique, lighting, darkroom or digital processes. Prerequisite: Advanced Studio Lighting

This course introduces students to a selection of experimental techniques in fine-art black and white photography and alternative image creation centered on (though not limited to) the darkroom. The course encourages individual tastes and styles, and fosters innovation in the darkroom. Classroom discussions, instructor demonstrations, student darkroom experimentation, and a group field trip are included in Creative Darkroom. Students will experiment with a number of different processes in multiple-exposures as well as working with Kodalith films. Refraction printing, brushed developer, sandwiching negatives, multiple toning, hand colouring, and bleaching techniques will be explored. Prerequisite: Basic Darkroom

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THE CREATIVE DARKROOM (Film)



LANDSCAPE PHOTOGRAPHY is a basic level course designed for those that have experience with the camera and a good knowledge of exposure and depth of field. Critical investigation of design and composition, of filters and of metering techniques for various lighting circumstances, are the prime focus for photographing the landscape. Students explore the techniques and artistic considerations of full scenic, close up, and urban landscapes through a series of home and in class assignments. Students gain technical knowledge through a series of slide shows, Polaroid tests, studio workshops on quality and angle of lighting, and field trips. The instructor works closely with each student to help them start to recognize stylistic approaches and develop their own unique style and perspective to shooting various landscapes. At the end of the course all assignments will be given a thorough critique, including student participation. Emphasis will be placed on building individual student strengths, as well as identifying and offering solutions to areas that may require further development. Prerequisite: Digital Intermediate Photography (or Intermediate Photography)

BASIC COLOUR PRINTING (Film) of colour printing. This course is designed to give students a good understanding of the fundamentals of colour theory, while being very practically oriented with ample time spent doing hands on work in the colour darkrooms. The assignments are arranged so students cover the technical aspects and artistic considerations of colour printing while working on their own images. The course will explore various technical principles such as the colour wheel, the structure of colour film and paper, colour temperature, filters used for colour correction, and how subtractive colour printing works. After completing this course, students have gained the ability to “see” the colour balance in their prints and transparencies, and make educated decisions regarding colour balance while taking the image and creating the final print. Prerequisite: Basic Darkroom

INTERMEDIATE COLOUR PRINTING (Film) expands on the knowledge of colour photography that is taught in Basic Colour Printing. Students continue honing their colour printing skills, while learning new film and processing techniques. This is a hands-on course, with the students spending the

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introduces students, already capable in the black and white darkroom, to the nuances



majority of their time learning while in the darkroom and processing lab. Colour theory is expanded upon, as is learning about colour C41 and rA-4 processing in the College’s minilab. Students experiment with cross processing e6 to C41 and the inherent qualities of printing high contrast and colour shifted cross processed negatives. Printing skills will be taken beyond the basics with students learning display quality colour printing on 16X20 prints, colour correcting for various light sources, and Ilfochrome colour printing from transparencies. Film techniques such as slide duping and transproofing (transparencies from colour negatives) are covered in theory and assignments. This course is designed for students who wish to experiment stylistically through various processing techniques and those wishing to exercise complete control over the reproduction of their portfolios. PrereQuiSite: bASiC Colour Printing

PHOTOJOURNALISM explores the world of reportage, editorial, and the photo-essay. Students will learn through a series of lectures, slide presentations, home assignments, and practical assignments what is involved in the process of creating images that are able to move, inform, and evoke the viewer. This course will take an in-depth look at all aspects of photojournalism from capturing the found moments and shooting on assignment for are stories in themselves through photo-essay. emphasis throughout the course is placed on content, mood, and stylistic approaches; however, technical considerations like film characteristics, incident and strobe lighting, equipment choices, and printing for reproduction are addressed. Students produce assignments ranging from graphic reportage to editorial portraiture and serial images. Students can expect to be challenged regularly to articulate their intent and rational for choosing the manner in which they portray their assigned topics. Past and present trends are explored with discussion on what the future holds for the different aspects of photojournalism. PrereQuiSite: PrACtiCAl lighting

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the news, to illustrating features and stories in editorial, to creating image series that



FOOD & BEVERAGE PHOTOGRAPHY is a course that introduces students to one of the most challenging aspects of still life photography. The first objective of this course is to dispel some of the myths that surround food photography, such as coating the food with a vile goop that gives it a shelf life longer than that of the actual photographer. Students definitely learn the tricks of the trade, but the primary emphasis of this course is on using a carefully planned approach. This field is explored mainly from the perspective of editorial and advertising work with emphasis on the stylistic, objective, and ethical differences between the two. Students will learn to work with some of the more troublesome subjects such as ice cream and beer. Both a professional food photographer and commercial food stylist teach throughout the course, so students learn how these relationships are structured and what each expects from the other. Topics are covered through a combination of lectures, slide presentations, practical demonstrations, and students shooting their own work with the aid of a professional food stylist. Assignments will be handed out at least one week in advance so the students have ample time to conceptualize, plan, and gather props. The instructors are available for consultation at all times. Prerequisite: Advanced Studio Lighting

is an introduction to the ever-exciting and constantly changing world of fashion; and the capturing of beautiful imagery to showcase current fashion by designers, fashion stylists, hair and make-up artists. Intentional or not, the photographic image throughout history has documented the styles and trends of the world for well over a century. Through demonstrations, presentations, and practical application this course will take a close look at: the history of the fashion photograph; equipment considerations; location and studio shooting techniques; lighting; and the world of models, agencies, and stylists. Professional models, make-up artists, and stylists will compliment the shooting sessions and work to bring forth today’s trends and styles in fashion imagery. Throughout the ten weeks of this course you will be taught and shown in-depth lighting techniques, stylistic approaches, and equipment considerations for compiling an editorial fashion spread, model portfolio, and your own personal look and style for your portfolio. Much like the fashion world itself, photographing fashion is in a constant state of flux as we try to present in new ways the ever-changing spectrum of stylized imagery: this course will assist you in embarking on that path. Prerequisite: Advanced Studio Lighting

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FASHION PHOTOGRAPHY



PHOTOSHOP LEVEL 1 is an introduction to the photographic tools, palettes, and applications of Adobe Photoshop. This course is designed to provide photographers and designers the basic knowledge and fundamentals of Photoshop and the key skills necessary to achieve professional looking results for your images. You will learn to save pictures in different formats, select and transform areas of an image, apply special effects, and work with layers. A basic understanding of the Macintosh operating system and familiarity with the layout of a Macintosh style keyboard, mouse and desktop is required to fully benefit from the lessons within this course. Over the ten weeks you will be exposed to a myriad of tools, techniques and examples of how to prepare images for print and/ or presentation. Through lecture, presentations, and on-screen tutorials, you will learn how Photoshop can assist in your image making endeavors. The course is designed to show the many ways of achieving colour correction, exposure adjustment, and other techniques. There is ample time to practice and hone these new techniques and skills on your images in the computer lab. Prerequisite: none

PHOTOSHOP LEVEL 2 Photoshop Level 1. This course will take your Photoshop skills to an exciting new level involving advanced techniques such as portrait restoration, fashion retouching, special effects, advanced layering techniques, and composite image techniques. File preparation for print (RGB & CMYK), web display, and portfolio presentation will be covered, as well as some of the output options available in today’s market. Ample time is provided in the Mac Lab to put these newfound skills to work on your own images. It is extremely difficult these days to find images in print that have not received, in some way; the touch of Photoshop within it’s content. Photoshop is to a photographer today, an essential tool in the evolution of the photographic process. Whether your original image capture is done on film or digitally, Photoshop provides an ever-increasing amount of tools, skills and techniques to assist the photographer in realizing their (or the art director’s) dreams. Previous restrictions on the imagination have been lifted opening up a whole new world of photographic possibilities and this course will assist you in finding your own path down a more creative road. Prerequisite: Photoshop Level 1

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is a continuation and enhancement of all of the skills learned and practiced in



PHOTOSHOP LEVEL 3 continues to hone the student’s capabilities in critical selection and extraction process such as channel masks. Projects are student driven – instead of being handed an existing image to practice on, students are expected to discuss self-driven ideas with the instructor. The preference is that students will work on large image files with significant image detail (these can be composite images). This course emphasizes a well-planned approach to image making where lighting and image capture play as great a role is the digital post-production work. PrereQuiSite: PhotoShoP leVel 2

THE PHOTOGRAPHIC PORTRAIT explores people photography as it relates to a number of genres, from traditional studio and location portraiture to that of illustrative fine art. All aspects of portraiture are embraced including lighting techniques, posing, design, ambience, rapport with your subjects, aesthetics, choice of materials and presentation. Through lectures, illustrated slide shows, studio and location shooting sessions and critiques, the student is provided an environment in which to thoroughly explore his or her potential and specialty within this very challenging and rewarding field. Beginning with traditional studio portraiture, editorial, advertising and fine art applications. Students are encouraged to raise their creativity to new heights and ultimately compile a mini portfolio of portraits. PrereQuiSite: PrACtiCAl lighting

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the course then tackles the techniques and aesthetics of location portraiture as well as



STREET PHOTOGRAPHY is a course designed to teach students location photography from an editorial, urban photo essay perspective. Emphasis is on a very creative, edgy approach that captures the essence of a city and it’s culture. From pictorial to fine art; graphic detail to street portraiture, this course examines the “rules” of photography and when, where, why and how to effectively break them. Students also look at the etiquette of shooting this type of work along with legal and ethical considerations. Prerequisite: Digital Intermediate Photography (or Intermediate Photography)

CREATIVE LIGHT PAINTING TECHNIQUES is a course designed to give you an edge in a very competitive market. Photographers must push themselves to create identifiable imprinted styles to their work in order to stand out amongst the crowd, and this course will provide significant additions to the student’s artistic repertoire. Take the technique “painting with light”, explored in Advanced Studio Lighting, to new levels using techniques such as painting with flashguns, multi coloured gels, and painting black and white prints. This course will allow the students to take even the most mundane or ordinary object and turn it into are also covered including light painting on black and white portraiture, as well as light painting with animals. Students will learn through a series of slide shows, illustrated lectures, demonstrations and lots of practical assignments designed to give the students experience with various subjects, surfaces, textures and locations. One of the main purposes of this course is to illustrate just how versatile this technique can be, from subtly sculpted light to an almost electric neon effect, students are encouraged to experiment with unconventional approaches and techniques. Prerequisite: Advanced Studio Lighting

THE PHOTOGRAPHIC NUDE is designed to introduce the students to all aspects of fine art figure studies. The human figure has easily been the most studied subject in the history of creative visual expression. No other subject offers as much fascination for the artist or the viewer alike. The photographic nude allows the artist to use the human figure to portray people with an intimacy that is hard to match with other photographic genres. The nude figure is both familiar yet captivatingly different; a single image can reveal the youth we have

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an illustrated work of art. Alternative light painting techniques for people photography



left behind or the maturity that awaits us. Every emotion, good or bad, can be captured and frozen, the artist and the viewer afforded the time to study it, to gaze upon it and to interpret it. The interpretation and communication of their art is the challenge that awaits the student of this course. Students will have the opportunity to work in a professional well-equipped studio with both male and female subjects. Format and photographic medium will, for the most part, be left up to the individual student. He or she will be expected to use this unique opportunity to experiment while using strong photographic technique to push out the limits of their creative vision. Professional ethics and concerns as well as group critiques and debates will be encouraged. Prerequisite: Advanced Studio Lighting

ALTERNATIVE PHOTOGRAPHIC PROCESSES (Film) focuses each class on the development of a given process, its historical genesis, and why it was popular and revolutionary in its day. The students also learn the new methods in the 1990s - what’s trendy, what’s not and what clients are looking for in original photographic works. Many current commercial photographers, striving to distinguish their styles from the rest have looked back to past practices such as cliché verre, pinhole photography and photograms, giving the techniques a fresh, modern and thoroughly contemporary overhaul. This course continues on with this trend and gives the students an environment in which to add a whole new dimension to their stylistic approach. Through illustrated slide lectures, hands on workshops and discussions of historic and contemporary practices, students will gain knowledge and try first hand fundamentals of alternative photography and techniques that are the foundations of modern photographic processes. This course is an excellent compliment to foundation darkroom and photography courses. Prerequisite: Basic Darkroom

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of practitioner’s today as well as each process’ relevancy to commercial markets



COMMERCIAL PRODUCTION is a course that deals with everything big in commercial shots. It is co-taught by a top industry producer and commercial photographer. Students will learn how to bring together teams of experts to deliver very challenging photographic assignments. The course includes many guest speakers representing specialties such as hair and make-up artists, fashion stylists and fashion historians, propping stylists and digital composite specialists. Students will work with one of Vancouver’s largest advertising agencies, such as Rethink or DDB on shooting and actual advertising campaign that will be used just long enough to allow the agency to enter it into the awards shows – of course any winning entry’s will have the student’s name attached to the photography credit. Prerequisite: Advanced Studio Lighting

PHOTOGRAPHIC ART HISTORY is a course designed to show the students both the technical and stylistic movements throughout the history of photography in order to better understand the foundation upon which current trends are built. The photographic arts, although arts, have evolved rapidly since their inception nearly 160 years ago. The Photographic Art History course will examine the beginnings of photography and its initial ties to painting, as well as follow its 20th century transformation into an independent art form. Some of the most enduring figures in photography and their philosophies will also be examined in relation to economic and social developments of their day. Each class is designed to address a different timeframe in a chronological progression from past to present, allowing the students the opportunity to familiarize themselves with each era and epoch of renowned photographers. Prerequisite: None

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relatively young in comparison to the other



WEDDING PHOTOGRAPHY is a course that illustrates what today’s couples really wants from their wedding photographer, namely one with a UNIQUE approach! They hire established photographers for their ability to see and their ability to see differently! Every wedding is a unique experience and should be photographed accordingly. This course strives to push the photographer to look past the traditional and tackle wedding photography in a way that captures the emotions and personalities of the couple and the guests. The course covers issues from communicating with your subjects, protocol, stylism and technical issues for formal, ceremony and candid shots. From behind the camera to business and marketing skills this course encourages students to go beyond the conventional, offering their clients contemporary wedding photography with an artistic sensibility. Prerequisite: Practical Lighting

STOCK PHOTOGRAPHY is a course designed to open up the world of stock as an alternative stream of income for the professional photographer and has taken the last ten years. Stock photography is now a highly competitive market that has seen massive mergers, unprecedented growth, and the involvement of some of the world’s most talented image-makers. Stock photography has gone from being used in newsletters and travel magazines, to being the lead images in some of the largest marketing world-wide campaigns. This course focuses on the different means of marketing images through stock houses, negotiating contracts, increasing the percentage of “accepted” images, and look at trends and styles. It explores the advantages and disadvantages of Rights Managed versus Royalty Free and gives students an insight into how to file, categorize, and market images in their own archives. Prerequisite: Advanced Studio Lighting

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advantage of the growth of the Internet over



ARCHITECTURAL PHOTOGRAPHY The first evening consists of a presentation and discussion on what architectural photography is all about, including the type of equipment used and why it may be used in different situations. Discussions include portfolio composition, the type of clients who commission architectural photography, and why they assign this work and what they would expect of the photographer. Classes concentrate on the practical aspect of photographing the exteriors and interiors of buildings. Lighting and the use of light are very important as well as an ability to pick out the important design elements of a structure. A successful shoot tells a story that a viewer can read. Students will be directed towards achieving strong composition in their photos and how to shoot certain details or experiment with viewpoints and focus. There will be two sessions on weekends in order to photograph the exteriors of buildings during daylight. There will be ongoing critiques and discussion; the final session will consist of a student slide show and discussion. Prerequisite: Practical Lighting

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Instructor Bios Jim Balderston (Intermediate Photography / Basic Colour Printing / Intermediate Colour Printing / Street Photography) Jim has been involved in the Canadian photographic industry for over 25 years. He has worked as a commercial and fine art photographer, and for many years ran one of Vancouver’s top darkroom and studio rental facilities. Jim is a veteran instructor having taught at a number of schools in Vancouver and conducts travel photo seminars. Jim is the Program Coordinator for Langara’s Masters Series where he coordinates some of the world’s top artistic talent (including photographers) to come to Vancouver to lecture and run seminars. Greg Blue (Advanced Studio Lighting / Commercial Photography / Commercial Production) Greg has worked in Vancouver as a commercial photographer and art director for over 25 years. On top of coordinating the program, Greg stays very active in the commercial field. His commercial work is divided primarily between large-scale advertising assignments for clients, such as Telus & BMW, and illustrative still life photography. His illustrative work consists of using primarily still life images to illustrate concepts for stock photography, editorial, and book covers. Greg has taught photography since the mid 1980s and has been the Program Coordinator of the Langara CS Photography Program since 1997. He has sat as the President of the Vancouver chapter of CAPIC and is the only Western Canadian photographer to have ever sat as the National President of CAPIC (Canadian Association of Photographers and Illustrators in Communications). Awards for his work

Instructor Bios

Business Practices / Business Management / View Camera Techniques /



include the Lotus Awards, The Marketing Magazine Awards, Applied Arts Magazine Awards, The One Show Awards, and Cannes. Ross Durant (Food & Beverage Photography) Ross is one of Vancouver’s most recognized food photographers. He received his diploma in photography from Langara College over 20 years ago and has owned and operated a successful commercial photography business since the early 1980s. He works with graphic designers, advertising agencies, and has established clientele both local and international. “Still-life and food photography are genres I enjoy immensely. The studio allows me the freedom to concentrate on lighting and composition to create an environment for each photograph. Lighting evokes an emotional response and enhances the appeal of the image created. It is the essential element of image making and it never loses its attraction for me. Each assignment brings interesting and unique challenges that are always rewarding and stimulating”. Lurenda Gilder (Basic People Photography) Lurenda is a veteran commercial photographer who has extensive experience shooting for model testing, editorial, advertising and in the music industry. She has studied under some of the top commercial photographers in Canada and has helped many models enter successfully into the fashion world. Lurenda brings a passion for people photography and a quirky sense of humour to her classes!

Photographic Concept / The Creative Darkroom) Jamie has been creating innovative photographic content for commercial clients, including record labels, international artist management, fashion designers, magazines, film production companies, theater companies, dance companies, and corporate clients. For Jamie the photograph doesn’t stop with the shoot, it continues into the darkroom. Using photographic chemicals and multiple manipulation techniques, she stretches the materials to their limits, working with brushes, toners and refracted light to create an evocative, painterly interpretation of the original studio image. Personal art projects have exhibited in galleries in Toronto, Vancouver, Seattle, San Francisco, New York, and Paris. SoHo Galleries in San Francisco has published and distributed her images worldwide as posters and postcards. Jamie’s work has been profiled on Much Music and

Instructor Bios

Jamie Griffiths (Basic Darkroom / Composition & Design / The



City TV’s Fashion TV in Toronto. Bringing a classic lighting style to a raw, edgy sensuality and sometimes disturbing sense of the erotic, has led her work to be compared to both Robert Mapplethorpe and Joel Peter-Witkin. Maria Harper (Photographic Art History / The Contemporary Image / Alternative Photographic Processes) Maria Harper earned her MFA in photography in 2000 from the University of Arizona in Tucson, Arizona. She was awarded the Medici Scholar Award, the George Grant Award, and the Mistro-Ertz Award. Her BA in studio arts was received from Georgia State University in Atlanta, Georgia. In addition to her applied arts training, she has studied art history extensively with an emphasis on contemporary art theory and criticism. As a photo-based artist, Maria works with traditional and alternative processes in photography as well as digital imaging, video, and book art. She currently creates installations with large-scale color images and explores the intimate relationships between surroundings and self. Situated between cultural constructs that inform identity and formal issues of aesthetics, Maria’s art retells her experiences and records her presence in the world. Her work has been exhibited throughout the U.S, including the Museum of Contemporary Art, Tucson, Arizona. Steve Jackson (Basic Digital Photography) Steve studied and graduated from the Langara Photography Certificate Program 10 years ago. He has since worked as one of Vancouver’s top first assistants, as well as shooting commercially in the product and outlook and passion for photography to his classes, while enjoying a great rapport with his students. Previous to pursuing photography, Steve worked in both the journalism industry and culinary arts. Lisa Kaulback (Commercial Production) Lisa is one of Vancouver’s top commercial photographic producers (this role that is common in most cities where commercial photographers use their services on highend and large production photo assignments). Lisa plays a key role in bringing together the talent and expert stylists to build a top of the line photoshoot: need a bizarre prop or location? Lisa will pull it off. She helps photographers quote and price a production

Instructor Bios

food photography fields. Steve brings an easygoing



and will typically be on set to ensure that the photographer and client have everything they need and makes sure that the shoot proceeds according to schedule. Lisa studied photography at Langara College’s Professional Photo-Imaging Program and worked as a producer for Robert Kent Photography before offering her services as a freelance producer. She has worked on numerous award winning projects. Patrick Koslo (Creative Light Painting Techniques) Patrick’s style of photography uses gels, flashlights, and other light sources to illuminate objects found in a darkened room or the darkened backstreets and docks of Vancouver. His favourite subjects are those with “lots of character, like an antique chair or a funky old stove.” Using no light meter, Patrick’s experimentation with lengthy photographic exposures range from a few minutes up to three-hour exposures. Patrick took up photography in 1985, when he was working as a graphic designer. Awed by the industrial docks of Vancouver at sunset, he began doing industrial photography work. Patrick now works predominantly in editorial and advertising photography, and shoots stills for the movie industry. Sandra Leung (Wedding Photography) Sandra is one of Vancouver top wedding photographers. She has worked as a professional photographer for over nine years and specializes in lifestyle portraiture and wedding photography. Sandra loves image she creates and brings a unique fashion-photojournalistic style to her work. Her studio, Yaletown Photography is located in the heart of Yaletown (Vancouver’s trendy warehouse district). Patrick McKay (Advanced Black & White Photography) Patrick has been a photography addict for as long as his memory allows: “My educational background is in the visual arts, with studies in drawing, painting, electronic art, photography and film. Photography though, was always my first love, and its something I’ve been hooked on since childhood. For someone like myself who is naturally introspective, it’s always been intriguing that making images is as much about looking out (at external reality) as it is about inner-revelation and looking within. My personal

Instructor Bios

capturing the true essence of people in every



work has mostly followed two main streams, and in either case I take a more general approach to content, allowing the concept or situation to dictate the final image. The first is traditional black & white wet darkroom based photography, using anything from a pinhole camera, through to a Holga or view camera. At the other end of the spectrum are my colour Polaroid images, especially the SX-70 manipulations, which embody a quality reminiscent of impressionistic paintings. I enjoy the challenge of placing myself into new situations, where I have to learn new ways of understanding and doing things. For photography as a science, I’m committed to inspiring excellence in the craft of image making. As an artist I bring passion, enthusiasm, and humour to the education process.” Christopher Morris (Intermediate Photography / Digital Intermediate Photography / Photojournalism / Practical Lighting) Christopher was born in Ottawa, grew up in Montreal, and now lives in Vancouver. He got his start in photography seventeen years ago shooting news and sports events in Montreal for Canadian Press and Reuters. He works for editorial clients such as MacLean’s, Der Spiegel, Newsweek, Stern, L’Express, and Time Magazine doing documentary photojournalism and portraits. His corporate and commercial work includes annual reports and advertising. Christopher’s ability to connect with people and put them at ease can be seen in all his work: authors, politicians, the homeless, CEOs, Olympic athletes, divas, and assorted celebrities are all regular subjects of his work. On location, in studio, or on the fly, it’s all about creating

Joaquin Pedrero (The Photographic Nude) Originally from Mexico City, Joaquin Pedrero brings a reverence for tradition, a keen eye for detail, and an appreciation for beauty to his photography. Originally involved in study of medicine, his life and career aspirations changed with a ‘click’ from a camera he purchased for his mother. Joaquin began an apprenticeship period, working with commercial photographers in Mexico City and New York City, and went on to establish a successful photographic studio primarily creating images for advertising agencies in Mexico and the US. Along the way, he developed his unique, hand-built fine art compositions that have been widely exhibited and critically acclaimed. For the past 20 years he has managed Fotografica Studios, based in North Vancouver, British Columbia and works internationally.

Instructor Bios

great photographs that tell the story.



Andrea Sirois (Botanical Photography / Macro Photography) Andrea is a commercial & fine art photographer who studied photography in the mid 1980s at Algonquin College. Her specialty is nature, scenic, botanical, and macro photography. On a commercial basis, she shoots editorial photography for a number of publications and has had numerous gallery showings of her personal work. Andrea is an experienced teacher who has worked with a number of schools for photography in Vancouver and abroad. Johnathon Strebly (Photoshop Level 1 / Photoshop Level 2 / Alternative Colour Techniques / Fashion Photography) John Strebly draws upon the grittiness of urban textures and attitudes to help convey a sense of difference. An image can affect more than just the sense of sight, it can make you look or think deeper into the emergent meaning of its origin. By staying true to the ideal of creating new meaning, John searches to create a rupture in the discourse, challenging the authority of traditional ways of making photographic meaning. By incorporating pensive moods of mystery, John brings to life the characters we only see in our imaginations. No stranger to the discipline of visual arts, John has actively experimented with drawing and painting before turning his focus to photography more than a decade ago. During that time his portfolio has grown to include commercial advertising for a number of local fashion and retail clients. Internationally, his work has appeared in Smoke and Impact magazines, for which he has shot such notable bands as Moist and The Tragically Hip. John has also participated in group and solo exhibitions at local galleries.

Coordinator / Basic Photography / Basic Darkroom / Practical Darkroom / Photographic Style / The Photographic Portrait) Andrew has been enjoying photography since his mid-teens, and continues to use the medium to explore the world within and around him. “Photography, for me, has always been a means of self-discovery and self-expression, as well as a basic appreciation of the visual world and the quality of light. As a commercial photographer, I favour editorial-style portraiture and illustrative photography, which allow me a degree of personal interpretation within an otherwise sales-driven field. In my personal work, I

Instructor Bios

Andrew Tripp (Assistant Program



strive for much the same qualities, leaving as much open to the viewer’s interpretation as possible, while still communicating a strong message. I am drawn, often, to life’s darker side, to those aspects of our existence which both alarm and fascinate me; alienation, addiction, persecution, destruction, and all those other marvelous human conditions and which make it so wonderful to be alive!” Jeff Weddell (Intermediate Photography / Practical Lighting) “Photography, for me, is freezing a moment in time. That moment is recorded in a way that represents the emotions of the photographer and the scene for a viewer to interpret. It is a technical exercise that must be combined with artistic integrity. My photographic journey began on a field trip in grade 6, at which time I assumed I had captured an eagle landing in a tree. I remember the physical feeling of releasing the shutter, on a now antiquated Kodak Brownie camera. The results, needless to say, did not carry the same emotions. Although photography was not a constant companion until a few years later, it was the beginning of interpreting 3 dimensional scenes in a 2 dimensional medium. The struggle for a photographer is how the scientific properties are used in an artistic way. How the light responds to the glass of the lens and then to the emulsions of the film and paper, which can make or break the final results. Learning how these principles affect your image is vital to the end result. Be it for a class assignment or the cover of a magazine, you must understand the basics before you can begin to manipulate them”.

Instructor Bios



FAQ’s Can I choose between digital and/or film cameras for the program? Yes, the only courses where digital cameras do not work are the darkroom courses and the Alternative Photographic Processes course. While digital photography is really the norm both in this program and the outside world, we still recommend that students also consider film photography. One major advantage of film is that each brand has a distinct personality, where image quality is quite standardized and grainless with digital. The commercial world still uses film for very high-end assignments. Top of the line digital backs for medium and large format cameras cost around $30,000 and DSLR cameras are not appropriate for all shooting circumstances. How can I challenge courses if I have previous experience? How you challenge a course depends on which course you want to challenge. Many students come to us with some level of training already. If you want to challenge a beginning level course such as Basic Digital Photography or Basic Digital Workflow, then this can quite often be done over the phone by calling the Program Coordinator (Andrew Tripp) at 604-644-7991. If a student wants to challenge a more advanced level course, This can be done through a portfolio, but can also be done via e-mail or a website. Only required level courses can be challenged, a student cannot challenge an elective course (although they can challenge a course’s prerequisite). If a student successfully challenges a course, they must replace that course with an extra elective if they plan on pursuing certification. In order to qualify to apply for certification, the student must have successfully completed 16 courses.

FAQ’s

then that will mean the student must show their work to the Program Coordinator.



WhAt iF i only WAnt to tAke one or A FeW CourSeS? Students are welcome to take as many or as few courses in the program as they wish. There is no obligation to finish through to certification. Students do not have to state whether or not they want to pursue certification when they start taking courses in the program. If a student wants to apply for certification, that is something they do closer towards the end of the program. A student has the full length of the program to decide whether or not they would like to pursue certification. iS thiS ProgrAm oPen to AmAteur PhotogrAPherS? Absolutely! Amateur and hobbyist photographers are welcomed with open arms in this program. Students will typically find that the basic level courses are made up largely of amateur and hobbyist photographer. As the courses progress to the advanced level, the balance changes to mostly students pursuing photography as a profession, but even at this stage it is not uncommon to find passionate and highly devoted amateur and hobbyist photographers who wish to take their craft to a level far beyond the typical amateur. iS thiS ProgrAm APPliCAble to Wedding & PortrAiture PhotogrAPherS? Yes! The program was originally designed with a strong emphasis on commercial photography; however, the stylistic differences between commercial, fine art, and consumer photography are becoming much less defined. As such, the curriculum of the program was adopted a few years ago to accommodate portraiture, wedding, and fine art photography as much as commercial photography and we have not looked back since.

Yes, the program is highly applicable to fine art photographers. As the commercial photographic industry became a more and more popular career choice, it also became far more competitive for photographers. A stylistically formulaic approach to photography was no longer sustainable. This was the best thing that has ever

FAQ’S

iS thiS ProgrAm APPliCAble to Fine Art PhotogrAPherS?



happened to this industry as photographic styles exploded into a variety of new techniques. Advertising itself became an integral part of pop culture, blurring the lines between commercial and fine art photography. Some schools have a reputation for being wholly fine art oriented, while others have a reputation of being overly technical – the Photography Certificate Program sits unashamedly in the middle. We firmly believe that concept, style, visual execution, and technical problem solving are equally important in the make-up of a photographer. How would you describe your typical student? Passionate: there are not many students who would choose to study to this degree unless they were pretty committed to the craft. The program tends to attract a more mature student with our average age range being from mid 20s to mid 30s (you must be 19 years of age before you can take our courses). We regularly work with students anywhere from 19 to 90 and, as far as we’re concerned, this just makes the program stronger. There are a variety of goals and stylistic inclinations amongst our students, and that is an undeniable strength of the program. Students feed off of each other’s enthusiasm, they have a major influence on each others style and philosophy, they open each others eyes to new ways of seeing things. This is something the instructors benefit from as much as the students. What kind of photographic gear am I expected to have? You do not need a huge amount of equipment to start this program. As a matter of fact, we often recommend that students hold off from purchasing a lot of equipment until they have spent more time in the program, and have a better idea of the direction they are heading in and the type of equipment they’ll need to get there. Students must have either a DSLR camera or a 35mm film camera (fully automated “point & shoot” cameras will not work for this program). It is a good idea to have a good zoom lens in the range of 18mm to 100mm. A small dedicated flash unit is also a good idea and you must have a sturdy tripod and a cable release. As beautiful as the new DSLR systems are, be in class. As for larger format camera systems, metering systems, lighting set-ups, high-end digital systems and such, Langara College is well equipped, and as a student you have full access to that equipment. Please do not spend a lot of money until you have had a chance to work with our equipment and have a better feel for what will work best for you. Many commercial shooters rent expensive equipment as needed.

FAQ’s

forewarned that you will be turning off all of the automated features on the camera while



do i need to interVieW For ACCePtAnCe? no, there is no application or interview process to access this program. entry is on a first come first served basis. If that leaves anyone wondering if this is some elementary, shallow program that will accept anyone, you could not be farther from reality: this one of the most comprehensive and recognized programs for training commercial photographers in Canada. iS there A PrACtiCum? There is no practicum in this program; however, considering the program is taught by many of the top commercial photographers in Vancouver you will gain many valuable contacts that could lead to assisting work. many instructors who teach in the program will also keep an eye open for promising students who will make capable assistants. I can tell you that in the last 15 years, every single first assistant I have worked with has come from this program: the program is also well-known amongst commercial photographers in Western Canada, considering most of them came from Langara. Better to be assisting and paid rather than a non-paying practicum. CAn i do thiS ProgrAm Full-time? no, but Langara College has an excellent full-time 2-year photography program called the Professional Photo-Imaging Program: www.langara.bc.ca/creative-arts/photoimaging/index.html Who do i ContACt iF i hAVe Further QueStionS? You can contact the Program Coordinator, Andrew Tripp, either by phone at 604-644with you.

FAQ’S

7991 or via e-mail at [email protected] and he will be happy to discuss the program

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