08 February 2018

PROJ #2: METAPHORIC SCAVENGER HUNT

met·a·phor
ˈmedəˌfôr,ˈmedəˌfər/
noun
a thing regarded as representative or symbolic of something else, especially something abstract.
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EXPLANATION. For the first project, you will make a photograph for half of the words/terms on the list below. Each photograph should be a visual metaphor that represents and is symbolic of that word/term.

DIRECTIONS. 
Put your DIGITAL camera on "auto" function for the time being. Think outside the box and make a photograph that is a visual metaphor for each of the following words/phrases. Brainstorm your ideas first.

DUE: Save to your Google Drive/Photos PRIOR to your class date on 
Friday, Feb. 16 -or- Tuesday, Feb. 20 (whichever is yours).

-Save your photos to your Google Drive/Photos PRIOR TO CLASS TIME. 

-There are 26 items on the list. Choose any 13 to earn full credit for the assignment.
-They do not need to be in order.
-Complete the entire list for extra credit.

THE CHALLENGE.  You are creative and clever so challenge yourself beyond the literal translation. 

THE LIST:
high point
familiar
too much
12 midnight
the end
love
three
contemplation
warning!
electric
sharp
red
reflection
movement
soft
cold
closed
new/old
single
oversized
intimidating
hot
energy
music
community
shadow

The apple above is a photo a student made for the word "forbidden." The photo tells a story in relation to the word? Good, huh? ;) Use this as an example to inspire your creative thinking. Go beyond the obvious. Push your brain to make unusual/unexpected connections to images.

06 February 2018

PROJECT #1: PINHOLE POSITIVE & NEGATIVES (In-class)


PINHOLE POSITIVES & NEGATIVES

HOW YOUR EYES SEE:




HOW CAMERA OBSCURA/PINHOLE SEES:
The "can-era" you will be using is a small camera obscura. 




DIRECTIONS:  IN THE DARKROOM...
1. Put paper in the can. Shiny side of paper facing the pinhole.
2. Lid the can, tape the possible light leaks with black electrical tape. 
3. Return to classroom.
4. Place camera on surface w/pinhole facing you. 
5. Sit/stand in front of pinhole.
6. Remove tape and make an exposure for 2m36sec.
7. After exposure time, cover pinhole w/tape.
8. Return to darkroom and take the paper through the chemical+water bath process. 
9. Hang image to dry for minimum TWO hours. 
10. Come back and collect your image.


EXAMPLES & RESOURCES:



GALLERIES.
Pinhole.org (HERE)
Pinhole @ Photo.net (HERE)
Worldwide Pinhole Day (HERE)
An in depth site about pinhole photography past and present (HIGHLY recommended)

CLICK HERE.

HISTORY OF CAMERA OBSCURA
The pinhole camera is based on the principals of a “camera obscura.” (Camera = Latin for “room” - - Obscura = Latin for “dark”)

The earliest mention of this type of device was by the Chinese philosopher Mo-Ti (approx. 500 BC). He formally recorded the creation of an inverted image formed by light rays passing through a pinhole into a darkened room. He called this darkened room a "collecting place" or the "locked treasure room." Aristotle (384-322 BC) also understood the optical principle of the camera obscura. He viewed the crescent shape of a partially eclipsed sun projected on the ground through the holes in a sieve, and the gaps between leaves of a plane tree. In the 16th century, Leonardo da Vinci is credited with giving a description of the pinhole camera more or less as we think of it today.

CAMERA OBSCURA:





pinholediagram

A BASIC CAMERA:
A pinhole camera is easy to build. The camera can be made from almost anything-from tin cans, shoe boxes, and as Ralph Howell showed you in the video, fruits and vegetables.














When you make your first camera from scratch if you make it like a well made shoe box you can't go too far wrong. The picture above is a VERY simplified diagram of how the parts go together. The actual size of the camera is up to you. As long as you make the 'back' fit snugly onto the 'front' the camera will work.

How does a pinhole work? We see things because light rays reflect off of them and these reflected rays form an image on the retina. A camera is a mechanical eye, so it might be useful to think of it in these terms; we use the term 'ray' of light when we talk about using lenses to form an image. We use the term 'beam' of light when we talk about making images with a pinhole. The difference is one of dimension. A ray of light is defined as a line of light, while a beam of light is defined as a bundle of parallel rays.

Light falling on an object reflects off in all directions. When a lens is used to make an image rays from the same point on the object are reflected to its surface, this forms a cone of light. As the rays pass through the lens they are bent or refracted and as they are made to to disperse, they are again formed into a cone, the diminishing end of which is the point of focus...got that?

Consider this...a photograph is really composed of points of light that vary in size. If the points are too large the image will not be sharp. What this means is that pinhole images aren't as sharp as images made with a lens, and that the size of the pinhole will determine how soft or sharp your images are...as well as determining the time you'll need to expose the film or paper for…


"World’s Largest Camera Big Enough to Hold an Airplane"


The story and more pictures HERE.



A homemade "pinorama" camera HERE.
A great site for pinhole photogs HERE.
And a site for pinhole resources HERE.


The shutter of Michael Chrisman’s pinhole camera was open for 31,536,000 seconds.
HERE.

SYLLABUS. SPRING 2018


WHAT IS PHOTO 1? 📷 An image making class where you will learn to gain control of exposure and understand fundamentals of two-dimensional image making. You will explore creative concepts to make photographs that represent your unique creative eye. The class covers a broad range of fundamental principles in photography, from camera control to elements & principles of art and creativity, providing you with a foundation for growth in making photographs.

  • Operation of the camera (SLR) (Standards #1)
  • Wet Lab Darkroom processes and skill (#1)
  • Digital Darkroom processes and skills (#1)
  • History of photography (#3)
  • Elements of two-dimensional design (#1, #2)
  • Aesthetic and theory in photography & art (#2)

THE PLAN (Objectives). We will…
·  Learn about photographic elements of art and principles of design, composition, and lighting.
·  Explore the history of photography - scientific and technological developments, important innovators, and relevance within cultural contexts.
·  Blog and speak about aesthetic, technical and expressive qualities in an image.
·  Learn image techniques and digital manipulation using the digital darkroom.
·  Learn how to manage and creatively alter digital images as well as critically analyze the use of visual media as a means of communication..
·  Explore the significance of photography within the larger context of the art word, & its application to the modern world.
·  Possibly begin formulating your own personal visual vernacular (visual language).

PROJECTS (The Creative Process).
·  Photography is the observance and recording of light: the foundation for all we will do.  
·  Projects will be a range of one-class, overnight, multi-day, and sometimes week(s)-long activities.
·  Critiques (partner, small group, full class) will happen a few times. They’re painless, and will probably make you feel good about your work


Some of what we will do:
  • Pinhole cameras & Photograms (a darkroom process)
  • Photographic scavenger hunt(s)
  • Fundamentals (rule of thirds, balance, leading lines, elements of design, etc.)
  • Light: available, direct/hard, side, back/silhouette, soft/diffused, ambient, spot, reflected, shadow, golden hour
  • Monochrome (Black & white) & tinted images
  • Macro (close-up)
  • Motion blur, light writing, action photography
  • Portraiture
  • Candid photography
  • Landscape
  • Self-portraiture (the final)
  • Photo blog of your work
  • Digital photo basics (resolution, sensors, etc.)
  • Photo editing (Photoshop)
  • Photo experimentation (cloning, infrared, stereographic planet, collage, multiple exposure, developing techniques for a variety of visual effects, etc.)
TAG. To ensure that students designated as “Talented as Gifted” (TAG) receive academic instruction that is appropriate for their rate and level of learning, the curriculum and instruction of this course may be differentiated to include specialized groupings, compacting of curriculum, accelerated pacing, and providing of extension / challenge activities (this would be different work of a complementary nature and not extra work on top of existing assignments).


YOUR EQUIPMENT (Cameras+) You will need to have access to the following
·  DIGITAL CAMERA. (Ideally) A digital SLR (the kind with a removable lens) – or – digital point-and-shoot – or –  the camera on your smartphone. Bring your camera daily unless otherwise noted.
·  CABLE to connect the camera to a computer – or – a card reader for your memory card – or – your photos sent to yourself through email  – or – saved/accessed via your Google Drive. This will be a daily need.
·  35mm FILM CAMERA. Start looking/asking now. Grandparents, neighbors, coworkers, garage sales, Craigslist, stuff-for-free sites. Begin asking! You might be able to find one for free. 

CLASS EQUIPMENT 
Computers & Darkroom - Each photographer is assigned a computer station for the duration of the semester. The computer can be used for school work only, and is the responsibility of that photographer for the duration of each class period.
Food and drink are not allowed in the room.
Bottled water is to be kept at floor level.
The student/family is responsible for repair/replacing class equipment if the damage is caused by negligence or non-adherence to standards of conduct. 

THE GRADE (Yes, you can!).
·  Up to four (4) points earned for assignments/projects.
·  Each assignment/project is scored using the Creative Challenges Rubric (see below, or click here)
·  A few projects will be worth more than 4 points, as they will involve multiple components.
·  The semester grade is a cumulative total of points earned.

PRESENT/CURIOSITY SCORE.  For each day we meet that you are intellectually & mentally present and engaged for the duration of class you will earn one point. The point is forfeited if you are observed texting, doing other homework, sleeping, staring into space, etc. The whole point of this is to practice being curious and present. The goal is that you are curious about your own experience, and are actively engaged.

EXTRA CREDIT.
·  Extra credit points are only added to your cumulative semester grade at the end of the semester.
·  Extra credit points can be earned by doing more than the minimum (TBD per project) for an assignment.
·  Missing assignments nullify any extra credit earned (Meaning: extra credit does not take the place of a missing assignment).

MISSED/LATE WORK. If you are absent, do the following, in this order:
1.  Check the blog for the current/new assignment. Do this during your absence. Complete that assignment to the best of your ability - even if you were not here for the explanation. Read the class blog and follow the directions.
2.  If you are unable to complete the project as it is posted on the blog - do something(!) so your return can be productive.
3.  When you return from an absence, come to me with questions you have about the assignment on the blog.
4. Ask me to review your blog/work when you have completed and posted the missing work.  

*As per school policy, the number of excused absences are the number of class periods you will have to complete missed work.

ATTENDANCE & TARDIES. Be in class, unless you are sick, have a fever, and/or are contagious.
·  After an excused absence (with a note) – AND after you have reviewed the website - you will be briefed on what was presented when you were absent.

TARDIES. Being late is disruptive and inconsiderate.  If you enter the classroom tardy, please do so quietly.
Every two tardies (without a note) for the semester will result in your final cumulative grade being lowered by 2%.

OUR SHARED SPACE (The Studio Classroom). 
SAFETY & CLASS BEHAVIOR.
·  My top priorities are your physical and intellectual safety, and your artistic/educational growth.
·  Autonomy is inherent to the class. You are trusted to make all you do appropriate.
·  Computers, darkroom, chemicals, and all class equipment are addressed on the attached equipment contract. (Sign & Return)
·  If learning/safety is compromised, a verbal request will be given. If the compromise persists, the student will be removed/ from the class and/or dropped from the course.

THE END (…or Beginning). If you choose to participate, the outcomes should be:
·  Understand technical and aesthetic differences between traditional and digital photography.
·  Make informed choices about composition when photographing and editing digital images.
·  Make informed choices about appropriate technologies for use in a variety of photographic assignments
·  Analyze and discuss complex ideas in works of art and photography.
·  Create original works of art of increasing complexity and skill that reflect their feelings and point of view.
·  Describe the relationship involving the art maker, the process, the product and the viewer.
·  Demonstrate proper camera and digital processing techniques in production of a work of art.
·  Understand and utilize the steps in the creative process.
·  Be aware of the vast amount of career choices in the visual arts.
·  Possibly begin producing a portfolio of work that could be the basis when moving on to Photo 2.