The newest version of the Creative Suite is called CC and is only available ...
Adobe Photoshop CS6 for Photographers, Martin Evening, Focal Press, 2012.
ADVANCED POST-PRODUCTION AND FINE PRINTING The School of The Art Institute of Chicago PHOTO 3007-001 Matt Siber Spring 2014
COURSE DESCRIPTION COURSE TIME AND LOCATION Wednesday, 9-4, Columbus 207 INSTRUCTOR INFO Email:
[email protected],
[email protected] Website: www.siberart.com TA – Amiko Li,
[email protected] COURSE CATALOG DESCRIPTION This course refines and expands digital imaging skills learned in previous classes. Emphasis is placed on streamlining digital workflow and fine-tuning input skills in preparation for advanced photographic manipulation and exhibition-quality print output. Workflow techniques include advanced image correction, color management, and sophisticated masking methods. Photo manipulation approaches focus on using Photoshop as a creative tool by exploring the conceptual applications of retouching, image compositing, and other post-production methods. Readings and discussions address contemporary theoretical issues surrounding digital imaging and the malleable relationships between the viewer, the image, and `reality.’ MY APPROACH This class is designed to bring the student up to speed quickly with the technical and creative aspects of digital photographic art using Adobe Photoshop. We will cover proper image capture techniques, but the bulk of the class will focus on processes performed after the image is captured. In addition to digital post-production techniques, we will be discussing and exploring the many options available for presenting and displaying photographs and other media. The main creative thrust of this class is the self-conceived semester project. The technical instruction, readings, and discussions are designed to support and fuel the student’s creativity. I expect that students conceive of a project that interests them and use their newly learned skills to realize their project goals. In addition, critical readings and discussions are designed to put photography in the digital age into contemporary and historical context. PHOTOSHOP CS6 and Creative Cloud (CC) The primary program we will be using in this course is Photoshop CS6. If you have earlier versions of Photoshop on your laptops, please get the upgrade from CRIT. Photoshop CS5 is the previous version to CS6. Significant changes were made to the Camera Raw adjustment sliders between these two versions. While this doesn’t directly affect SAIC students for the time being, Adobe has recently moved to a cloudbased system for accessing their software. The newest version of the Creative Suite is called CC and is only available through a subscription to their cloud server. CS6 is the last version to be available on disc.
This will be more relevant to you when you graduate and need to acquire your own software. You may run into issues with Camera Raw if you have just purchased a new digital camera. It’s possible that there is a new format for that brand’s RAW image files. This problem is usually fixed for free by updating your Adobe software to the latest update. Occasionally, you need to go to the Adobe website and find the specific plug-in for your camera. COURSE BIBLIOGRAPHY • On the Rights of Molotov Man, Joy Garnett and Susan Meiselas, Harper’s Magazine, February, 2007. • Jean Baudrillard, Chapter One (excerpts), Simulacra and Simulation, trans. Sheila Glaser, University of Michigan Press, 1994 (original version in French, 1981). • Steven Skopik, Digital Photography: Truth, Meaning, Aesthetics, History of Photography, v.27, n.3, Autumn 2003. • Errol Morris, Chapter One: Which Came First, the Chicken or the Egg?, Believing is Seeing, The Penguin Press, 2011. Please note that I have added some suggested readings to our Canvas site. RECOMMENDED BOOKS • Adobe Photoshop CS6 for Photographers, Martin Evening, Focal Press, 2012. This is not a required text and I do not teach directly from any book. However, there is no way for me to cover everything there is to know about Photoshop in a single class, nor do I know everything about Photoshop myself. This textbook will give you a second perspective on the program as well as serve as a valuable reference in the future. I keep my Photoshop book on a shelf directly above my computer in my studio. • Believing is Seeing, Errol Morris, The Penguin Press, 2011. We will be reading the first chapter of this book as our last three readings of the semester. It’s around seventy pages. There is a PDF of the chapter on Canvas. However, this is a very relevant and current book written by a talented documentary filmmaker (Standard Operating Procedure, The Fog of War). There are many photographs in this reading and the reproductions in the book are excellent. The copied versions won’t be nearly as clear. I’ve seen used copies of the book on Amazon for under $10. It’s a good one to have on your shelf.
COURSE POLICIES COURSE CONDUCT I have a lot of information to impart to you during this class. It is extremely important that you arrive to class on time so that you don’t miss important technical or assignment-based information. I WILL NOT GO OVER MISSED INFORMATION FOR YOU IF YOU STROLL IN LATE. You will be responsible for getting that information from your fellow students. The technical instruction in this class builds on itself, so missing key information early on could make classes very confusing later in the semester. Please bring your laptops and work files to EVERY class. There are some weeks where we will have time to work in class and it is helpful if you can follow along with my demos.
In-class participation is encouraged and expected. Not doing so could affect your likelihood of passing the class. Under no circumstances are students to surf the internet, write/read emails, download music, text, etc. during class time! I understand that you all own laptops and like to follow along during technical demos. This is fine, but the laptops must be closed during discussions and critiques. Save your emailing and texting for class breaks (I do, so can you). There will be many. Please try to remember to turn off your cell phone (I will do the same). It is your job to manage your time. Make sure you leave yourself enough time to get the work done by its due date. ABSENCES AND LATENESS SAIC policy states that students are expected to attend all classes regularly and on time. The Undergraduate Division requires that faculty members keep accurate attendance records and call for attendance at all classes. Students should miss class only with reasonable cause. If a student needs to miss class with reasonable cause, it is the student’s responsibility to contact the instructor to receive instruction for how to make up for the missed class. It is the instructor’s responsibility to give this information to the student. Missing class for other than a reasonable cause may jeopardize the student’s academic standing in the class. If a student misses MORE than three classes, whether or not for a reasonable cause, s/he will fail the class, if s/he does not withdraw from the class prior to the deadline for withdrawal with a grade of “W”. Deadlines for withdrawal: November 1, 2011 (Fall semester); March 28, 2012 (Spring Semester). If a student attends FEWER than three classes his/her financial aid, merit scholarship, academic standing, and/or immigration status will be compromised, regardless of an individual faculty member’s modifications of these recommendations. Reasonable cause to miss a class might include: o Illness or hospitalization (the student should contact Health Services, who will relay information to the faculty in whose class the student is enrolled) o Observation of a religious holiday o Family illness or death IF YOU STROLL IN LATE, MAKE SURE I MARK YOU PRESENT. I will not stop class for you, so I may forget to mark you down. It is very difficult to catch up if you miss a class in the first nine weeks. If you do miss a class, make sure you can get the information from a friend because there is no class time to go over material that has already been covered (even if you had a good reason for missing class). PASSING THE CLASS The expectations for this class are as follows: • Students will complete ALL weekly/biweekly assignments. • Students will create a semester project meeting the course requirements that will be critiqued at the midterm and at the end of the semester. • Students will demonstrate their knowledge of technical information by producing high-quality photographic prints for critiques. • Students will come to class on time and regularly. • Students will participate in class critiques and discussions.
YOU CANNOT PASS THIS COURSE IF YOU DO NOT COMPLETE ALL THE ASSIGNMENTS.
COURSE REQUIREMENTS WEEKLY PROJECTS There will be weekly or bi-weekly projects throughout the semester. A few are technical exercises while others have a conceptual element. These assignments are designed to familiarize you with the medium and help you develop a final project idea. The list of assignments is as follows and are described in the syllabus schedule: • • • •
Highlight/Shadow/Midtone Grayscale The Synthesized “Photograph” The Phenomenology of Scale
SEMESTER PROJECT Your semester project is to be the integration of your technical skill with your intellectual and conceptual creativity. You must come to your final critique prepared to defend all of your technical and creative decisions. We will be assessing the technical quality of your prints (sharpness, clarity, color balance, contrast, etc.) as well as the creativity and clarity of your ideas. A semester project proposal is due week four. Please download the PDF on writing a project proposal from my website. In your proposal you must tell me what ideas you hope to address with your project. There will be a mid-term critique on week eight where we will critique your progress and give you feedback on your project. At least 10 images are due for the week-eight critique (depending on the laboriousness of your project). Your performance at the first critique is significant and is dependent on your ability to show that you have put a significant effort into launching your project. Doubling up on semester projects: I would prefer that you come up with a project idea specifically for this class rather than using the same project for two or three classes. If you are working on a large-scale project and would like to spread it over several classes, please see me and we can discuss it. EXPECTATIONS Semester projects should demonstrate to me a high level of rigor and production. As a general guideline, I would like to see 10-15 images at the final critique. More might be appropriate if your process allows for a high volume of production. Fewer might be more realistic if your project is particularly laborious. If you think ten is too many for you to produce by the end of the semester, please see me and we’ll decide on an appropriate number together. Editing is an important part of art making, especially with photography. I expect that you will edit your images down to the ones you think are best. However, including some that are on the fence or questionable allows you to get feedback from the class as to whether it belongs in the project or not. This might help you reach the quantity I’m looking for at the final. Not showing up to your final critique is an automatic failure for the course. CRITIQUES It is expected that everyone participate in class critiques. I will direct critiques if things are going slowly
but it is the class’s responsibility to give as much feedback as possible to their fellow students. I will always offer my critique as well, but I usually wait until the end after the class has had a chance to speak. ARTIST’S STATEMENT You will be required to write an artist’s statement for your semester project. The first draft of your artist’s statement is due on Week Nine and a second draft is due on Week Thirteen. Download the pdf on writing artist’s statements from my website or the portal for detailed guidelines. EXAM + QUIZ There will be an exam on week twelve that covers technical information and processes we’ve covered in class. The exam will be graded and could affect your passing the class if your performance has otherwise been sub par. There is a quiz on keyboard shortcuts on week six. These are extremely valuable in making your time in front of the computer more efficient. They can also help combat carpel tunnel syndrome and sore wrists. These will help you, I promise. READINGS AND DISCUSSIONS There are readings on digital/art/photo theory, practices, and history throughout the semester. These readings will be followed by a class discussion of the issues presented. It is expected that you come to class prepared to discuss the readings.
SAIC POLICIES AND SERVICES PLAGIARISM The School of the Art Institute of Chicago prohibits "dishonesty such as cheating, plagiarism, or knowingly furnishing false information to the School" (Students' Rights and Responsibilities, Student Handbook). Plagiarism is a form of intellectual theft. One plagiarizes when one presents another's work as one's own, even if one does not intend to. The penalty for plagiarizing may also result in some loss of some types of financial aid (for example, a No Credit in a course can lead to a loss of the Presidential Scholarship), and repeat offenses can lead to expulsion from the School. To find out more about plagiarism and how to avoid it, you can (1) go to the portal, select the "Resources" tab, and click on "Plagiarism" under "Academic Advising and Student Success"; (2) go to the SAIC Web site, select "Departments, Degrees, and Academic Resources," then select "Libraries," then select "Flaxman Library," and then click on the plagiarism links under the "For Our Faculty" tab; or (3) read about it in the Student Handbook under the section "Academic Misconduct." ACCOMMODATIONS Accommodations for Students with Disabilities SAIC is committed to full compliance with all laws regarding equal opportunities for students with disabilities. Students with known or suspected disabilities, such as a Reading/Writing Disorder, ADD/ADHD, and/or a mental health or chronic physical condition who think they would benefit from assistance or accommodations should first contact the Disability and Learning Resource Center (DLRC) by phone at 312.499.4278 or email at www.dlrc.saic.edu. DLRC staff will review your disability documentation and work with you to determine reasonable accommodations. They will then provide you with a letter outlining the approved accommodations for you to deliver to all of your instructors. This letter must be presented before any accommodations will be implemented. You should contact the DLRC as th early in the semester as possible. The DLRC is located on the 13 floor of 116 S Michigan Ave. The Writing Center Help with organizing projects; conceptualizing and refining a writing assignment
Where: MacLean Center Basement, 112 S. Michigan Ave., B1-03 Hours: Monday - Thursday: 10:00 AM - 7:15 PM; and Friday: 10:00 AM - 5:15 PM. (4:15 PM – 7:15 PM, M - Th, are designated as walk-in hours.) SAIC offers free, hour-long writing tutorials at the Writing Center, which is located in the basement of MacLean. Tutors are available to assist all currently enrolled students with any stage of the writing process. To schedule an appointment with a Writing Center tutor, use the online sign-up system: www.supersaas.com/schedule/saic/writingcenter Mental health and distress: Counseling Services, 116 S Mich, 13th floor Disability and Learning Resource Center: 116 S Mich, 13th floor Health Services: 116 S Mich, 13th floor Academic Advising: Sullivan Center, 36 S Wabash, suite 1204 Security: front desk ADD/DROP AND WITHDRAWAL DATES February 5 Last day to add classes or change class sections. March 26 Last day to withdraw from classes.
DISCLAIMER This syllabus is designed to evolve and change throughout the semester based on class progress and interests. You will be notified of any changes as they occur.
COURSE SCHEDULE WEEK ONE – January 29 – Intro and Review Go over syllabus and discuss course strategy. Reconciling the technical and the creative. Why Photoshop? Why Lightroom? Other options? Lecture: Basic Digital Review: analog, digital, binary system, bits, bytes, RAM, ROM, hard drive memory, CPU, hard drive, solid state hard drive, portable hard drive, peripherals, USB, firewire, eSATA, Thunderbolt, Serial ATA, OSX, Windows, RGB, CMYK, bit map, vector graphic. Lecture: Post-Production/Manipulation: History and Background Roger Fenton, Mathew Brady/Timothy O’Sullivan, Man Ray, Soviet Propaganda, Yves Klein, Jerry Uelsmann, fashion. Lecture: Anatomy of a Digital Image: image size, file size, resolution, pixels, dots, bit depth, color mode, gamut, scanners vs digital cameras, image size dialogue box, resampling, bicubic smoother, bicubic sharper, histograms. Slides:
Highlight/Shadow/Midtone assignment.
Slides:
Student and Professional Work
To do:
ASSIGNMENT ONE: Highlight/Shadow/Midtone The first assignment is meant to establish where you are with your printing and exposure skills. This assignment requires you to use color slide film. If you don’t have a film camera, please get one from the cage for this assignment. You can buy slide film from Central or Calumet and it can be processed by CSW who picks up and drops off daily from the digital lab. Please choose 100 ISO, daylight balanced slide film and photograph under natural light. Artificial or mixed lighting conditions are going to cause problems. When you have the film developed, make sure you mark “E-6” on the bag so they don’t process your film like negatives. If you are using 35mm film, do not have the slide mounted. Write “uncut” and “unmounted” on the bag. Use COLOR SLIDE FILM to photograph three different kinds of scenes: 1. Highlights: These are also referred to as “high key” images where most of the tones are lighter than middle gray near the white end of the spectrum. An image of highlights will be mostly white, like whipped cream on vanilla ice cream. 2. Shadows: These are also referred to as “low key” images where most of the tones are darker than middle gray near the black end of the spectrum. An image of shadows will be mostly black, like the proverbial black cat in a coal bin (I will give extra credit to anyone who actually photographs a black cat in a coal bin.) 3. Midtones: This is an unusual kind of photograph where all the tones lie in the middle of the range with no true white or black tones. This is NOT a full spectrum image like an Ansel Adams photograph. An image of midtones will lack a strong highlight and a strong shadow, like a gray-card on asphalt. You should be thinking about the difference between color and tonal value. For instance, yellow is a very bright color but often has the tonal value of a mid-tone. This difference is important to understand when making adjustments to photographs using digital tools. The crux of this assignment addresses the transfer of information from the scene, to the film, to the print. Think about how white your highlights should appear and how black your shadows should appear on your prints. What does manipulating the midtones do to the image? You will not be critiqued on your subject matter, only your technical skill and your ability to follow the assignment. Make three of the best prints you can with the image correction skills you’ve learned in your previous classes. These prints will be a benchmark for improvement over the course of the semester. Three prints due on Week Three Bring slide film to scan for Week Two.
-----------------------------------WEEK TWO – February 5 – Scanning + Printing, Photoshop Workflow Due: Bring slide film to scan. Demo:
Introduction to Digital Workflow (film vs. digital capture).
Lecture: Principles of Printing and Scanning: histograms, clipping, profiles, RIPs, strategies for
scanning. Adobe Bridge: viewing, arranging files, output feature, batch rename, ranking, keywords, metadata, EXIF, IPTC, .xmp, .dng, Photoshop actions. Color Management: RGB, CMYK, LAB, profiles, calibration, working color space, Adobe RGB (1998), sRGB, ProPhoto, soft proofing, RIPs. Demo:
Scanning: on Imacon scanners. Printing: on the Canon and Epson printers.
Slides:
Student and Professional Work.
To do:
Highlight/Shadow/Midtone assignment due next week.
-----------------------------------WEEK THREE – February 12 – RAW Capture, Conversion + Workflow Due: Highlight/Shadow/Midtone Assignment Critique: Highlight/Shadow/Midtone Assignment. Discuss: Writing Project Proposals. Demo:
Adobe Camera Raw: raw format vs. jpegs vs. tiff, clipping warning colors, temperature, tint, adjusting red or cyan, exposure, highlights, shadows, blacks, whites, contrast, clarity, vibrance, saturation, tone curve, detail, HSL/grayscale, lens correction, workflow options dialog box, save image, open image, cancel, done, working with multiple images, synchronize, prepping for Photoshop vs outputting from Camera Raw. Zoom tool, hand tool, white balance, color sampler, targeted adjustment tool, crop, straighten, spot removal, red eye removal, adjustment brush, graduated filter, rotate, black and white. More Bridge
To do:
Project Proposals due next week.
Reading Due Week Four: On the Rights of Molotov Man, Joy Garnett and Susan Meiselas, Harper’s Magazine, February, 2007. -----------------------------------WEEK FOUR – February 19 – Grayscale Conversion + Printing Due: Project Proposals Discuss: On the Rights of Molotov Man Review: Raw and film workflow. Demo:
Local Corrections with Masks.
Demos: Color to Grayscale Conversions: RAW grayscale, grayscale mode, desaturate, channel mixer, channel throwaway, LAB color, black+white adjustment layer, split channels.
Grayscale Printing: duotone, tritone, quadtone, Epson advanced B/W, perceptual, relative colorimetric. To do:
ASSIGNMENT TWO: Grayscale Capture or scan a full color image under normal, even lighting conditions. Please avoid extreme lighting situations like night time, indoor, backlit, etc.. Studio photos are acceptable but please make sure it is well lit with a full range of tones. This is a technical printing exercise so you will not be critiqued on the conceptual content of your photograph. You will make three prints of this image: (1) Convert, color balance and adjust the image to create the best color print possible on your choice of printer. This should be an improvement over the prints you made on week three. Remember that proper scanning, exposure, and RAW conversion techniques are critical in producing a fine art print. (2) Using one of the grayscale conversions we’ve gone over in class, convert the image to grayscale. Make a black and white print using only the black inks with the Advanced Black and White printing method available on the Epson printers. (3) Use the same grayscale conversion to make a print using the duotone, tritone or quadtone method that utilizes the black inks plus a color. This can be done on any of the printers in the lab. One of the purposes of this assignment is to compare black and white printing methods. In order to facilitate a good comparison, it is best not to choose a dramatically toned duotone setting. Please stick with the gray, warm gray and cool gray settings. Be sure not to get confused between the color-to-black-and-white conversion methods and the printing output methods. The conversion methods are Channel Mixer, Black and White adjustment layer, Split Channels, etc.. These deal with removing color from the digital files only. The printing methods are Advanced Black and White (black inks only on the Epson printers), and Duotone (black inks plus a color). These methods are for putting grayscale digital files on paper. Three prints OF THE SAME IMAGE due on week five (color, black inks, duotone).
Reading Due Week Five: Jean Baudrillard, Chapter One (excerpts), Simulacra and Simulation, trans. Sheila Glaser, University of Michigan Press, 1994 (original version in French, 1981). -----------------------------------WEEK FIVE – February 26 – Image Compositing Due: Grayscale Assignment Critique: Grayscale Assignment Discuss: Jean Baudrillard, Simulacra and Simulation. Discuss: Keyboard Shortcuts. Discuss: The Synthesized “Photograph” assignment. Slides:
Examples of Synthesized “Photograph” Assignment Ben Gest, Osamu James Nakagawa, Nathan Baker, Beate Guestchow, Gregor Graf, Peter Funch.
Demo:
Image Compositing Techniques Selections: review basic selection tools, lasso, marquee, magic wand, move, quick mask. Masks and Compositing: layer masks, channels panel, blending modes, paint brush, gradient tool, smart objects, free transform, image warp. Retouching: healing brush, spot healing brush, patch tool, despeckle, dust and scratches, noise, film grain, blur, lens correction filter, reduce noise, content aware.
To do:
ASSIGNMENT THREE: The Synthesized “Photograph” Image compositing has become a very popular technique among all forms of photographic practice (even the journalists are trying to squeak it by). It allows the photographer to incorporate elements into an image that were not in front of the camera at the time the base image was made. This is not like the patchwork style of David Hockney and others. The purpose of this assignment is to create a holistic single image that is actually comprised of many images. You will produce two different composite images for this assignment. One will appear “credible” in terms of the way it relates to photographic expectations and aesthetics (not necessarily logic). Your manipulation of the image should have intent and meaning, but we may not know what you’ve done just by looking at it. The other image will appear “fantastical.” This image will immediately appear manipulated and will break the aesthetic conventions of “straight” photography. For this image you can play with scale, focus, color, etc. to create an over-the-top image that communicates your idea. These two images do not have to express similar ideas. They can be completely independent of each other. This is the first assignment where we will be addressing the ideas and motivations behind your image. Think about how you can use this technique to create images that communicate an idea. The idea is up to you. Remember that one should not use these techniques frivolously. They should be used with intent and meaning in mind. Please come to critique prepared to discuss the meaning and motivations behind your image. Please do not reproduce yourself in your living room, bedroom, kitchen, etc., doing different things unless you have a REALLY good idea for this technique. Two prints due Week Seven. Keyboard Shortcut Quiz next week.
-----------------------------------WEEK SIX – March 5 – Sensor Profiles and Step Wedges – QUIZ Demo:
Calibrating your sensor with the Passport Color Checker.
Demo:
Creating, Printing and using a Step Wedge.
Demo:
More Compositing Techniques.
Demo:
Removing Elements from a Photograph: clone stamp, healing brush, patch tool, content aware, reconstruction, gradient tool, add noise, add grain.
Reading Due Week Seven: Steven Skopik, Digital Photography: Truth, Meaning, Aesthetics, History of Photography, v.27, n.3, Autumn 2003.
-----------------------------------WEEK SEVEN – March 12 – Sharpening + Advanced Masking Due: The Synthesized “Photograph” Assignment Critique: The Synthesized “Photograph” Assignment. Discuss: Skopik reading. Discuss: Writing an Artist’s Statement. Demo:
Techniques and Strategies for Large-Scale Printing: input strategies, cameras, mediums, tripods, mirror lock-up, shutter timers, remote releases, resampling, upsampling, Perfect Resize.
To do:
First Semester Project Critique Bring at least 10 images to class on Week Eight for critique and feedback on your progress. You may bring outtakes, alternates, work-in-progress, etc. as long as there is enough work for us to get an idea of what you are doing. Your evaluation for the critique will depend on how much you are able to demonstrate significant progress on your project and your technical progress with your print quality and manipulation (if applicable). Take this opportunity to get feedback from your peers to help you develop your project. ASSIGNMENT FOUR: The Phenomenology of Scale This assignment asks you to consider output size as an important aspect of visual communication. While testing your technical skills with a large-scale print, this assignment requires you to previsualize your image at size when you’re conceiving and making your picture. You will make two NEW images for this assignment. These images could be part of your semester project, but I don’t want you to use old work. Make one image with the intent of making a mural print at a minimum of 30x40 inches. Make a second image with the intent of printing it very small, at 5x7 or smaller. Think carefully about the ideas behind your images and how you’d like the audience to interact with it. How will these print sizes affect the meaning of the images? The two images do not have to be related or deal with similar subject matter. We will be addressing the photographs individually unless directed to do otherwise. This is a conceptual assignment. This is not an excuse for you to make a ‘cool’ image big. You will be assessed on your ability to defend your reasons for making this particular photograph into a mural as well as on the technical quality of your print. Two prints due Week Eleven.
-----------------------------------WEEK EIGHT – March 19 – MIDTERM PROGRESS CRITIQUE Critique will take all of class time today. -----------------------------------WEEK NINE – March 26 – Matt is away this week. Schedule to be determined. Afternoon Session: Open work time. Please bring material to work on. Amiko can provide individual help
and instruction. To do: First Drafts of artist’s statements due next week. (Printed, 12pt Font, Double Spaced) Reading Due Week Ten: PART ONE - Errol Morris, Chapter One: Which Came First, the Chicken or the Egg?, Believing is Seeing, The Penguin Press, 2011. -----------------------------------WEEK TEN – April 2 – Retouching - Individual Meetings Due: First Drafts of Artist’s Statements (Printed, 12pt Font, Double Spaced) Discuss: Morris reading, Part I Demos: Advanced Sharpening: unsharp mask, find edges. Basic Skin Retouching: Gaussian blur, lens blur, layer masks, soft light, hard light, paint brush, eye dropper, opacity sliders, despeckle, dust + scratches. Afternoon Session: Open work time and individual meetings. In the morning you will sign up for a time slot to meet with me individually during the afternoon session. Please bring material to work on while the meetings are being conducted. Amiko will be available for technical instruction. To do: Phenomenology of Scale Assignment due next week. -----------------------------------WEEK ELEVEN – April 9 – Digital Photography Workflow Due: Phenomenology of Scale Assignment Critique: Phenomenology of Scale Assignment. Demo:
Full workflow demos with film and raw.
Reading Due Week Twelve: PART TWO - Errol Morris, Chapter One: Which Came First, the Chicken or the Egg?, Believing is Seeing, The Penguin Press, 2011. -----------------------------------WEEK TWELVE – April 16 – Expanding Photographic Limits Discuss: Morris reading, Part II. Demo:
High Dynamic Range (HDR): exposure bracketing, RAW, Bridge, 32 bit per channel.
Demos: Camera Raw and Smart Object alternative workflow. Highlight, Shadow and Midtone Masking Afternoon Session: Open work time. Please bring material to work on. Amiko and I can provide individual help and instruction.
Reading Due Week Thirteen: PART THREE - Errol Morris, Chapter One: Which Came First, the Chicken or the Egg?, Believing is Seeing, The Penguin Press, 2011. -----------------------------------WEEK THIRTEEN – April 23 - EXAM Due: Second draft of Artist’s Statements. Discuss: Morris reading, Part III. Catch up on or supplement technical instruction. Afternoon Session: Open work time. Please bring material to work on. Amiko and I can provide individual help and instruction. -----------------------------------WEEK FOURTEEN – April 30 – Critique Week – NO CLASS -----------------------------------WEEK FIFTEEN – May 7 – FINAL CRITIQUES
