Week 15 / Final Critiques / May 2

Final critiques scheduled for Thursday, May 2 from 1:20 - 3:20pm

5 - 10 prints due with project statement

Week 14 / April 23 and April 25

In-class work activity: research and lab time towards completing final project

Final critiques scheduled for Thursday, May from 1:20 - 3:20pm

5 - 10 prints due with project statement

Week 13 / April 16 and April 18

Reschedule critique for Assignment #4 for Tuesday

In-class work activity: research and lab time

Week 12 / April 9 and April 11

In-class work activity: scanning 4x5 negatives and making digital contact sheets and prints

Critique Assignment #4 on Thursday (2 print minimum)

Week 11 / April 2 and April 4

5 exposed sheets of film due on Tuesday

Unload film and ship to lab

Final project proposals due on Thursday:

Develop a series of photographs on the theme of your choice. Your proposal should address the content of your project - it can be an extension of an earlier assignment or a new idea.  You will make 5 - 10 prints with a project statement due for our final critique on Tuesday, April 30.

In-class work activity: research and lab time

Week 10 / March 26 and March 28

In-class work activity: practicing 4x5 camera

Discuss final projects and proposals

Week 9 / March 19 and March 21

Work activity: printing for critique

Critique Assignment #3 on Thursday

Presentations: PHOTOGRAPHING AT NIGHT and HOPPER’S INFLUENCE ON PHOTOGRAPHY: Edward Hopper, Walker Evans, Stephen Shore, Willaim Eggleston, Robert Adams, Harry Callahan, Todd Hido, Gregory Crewdson and others

Reading: In a Lonely Place, Gregory Crewdson

Introduction to 4x5 camera

Video tutorials

Assignment #4 - A State of Mind (5 sheets)

We’ve discussed perspectives on the beauty and darkness of the American vernacular and Edward Hopper’s influence on American photographers and filmmakers who explore themes of mystery, sadness, alienation, and desire.  Expose 5 sheets of 4x5 film revealing how color, light, space, and symbols can suggest possibilities of psychological and emotional states.  You might consider photographing environments without human presence such as domestic or other kinds of interiors and/or natural, suburban, or urban landscapes.  Consider how time-of-day influences the mood of the scene and our perception of the mundane.  

Bring processed film to class on Tuesday, April 2. Two prints are due for critique on Thursday, April 11. 

Spring Break / March 11 - 15

There will be limited open lab hours during the university's spring break.

Week 8 / March 5 and March 7

2 exposed rolls of film from Assignment #3 due on Tuesday

In-class work activity: scanning and making digital contact sheets and prints

Week 7 / Feb. 26 and Feb. 28

Critique Assignment #2 (4 prints)

In-class work activity: scanning, making digital contact sheets and prints

Week 6 / Feb. 19 and Feb. 21

In-class work activity: scanning and printing Assignment #2

Presentation: Intimacy, Autobiography, Community and Subculture

Reading:  Introduction to the Boston School, Lia Gangsito

Assignment #3 [Documenting Your Community]: This assignment encourages you to explore the notion of community - what "community" means to you personally. You can photograph friends, classmates, neighbors or a group of which you are a part.  Take pictures of a number of different people who are connected to one another by belonging to this community and what it is they share - ethnic identity, religious affiliations, living in proximity to one another, mutual interests or something else.  Your photographs can represent them individually or together or a mix of both. Shoot 2 rolls of film (due Tuesday, March 5) and 4 prints (due Tuesday, March 19).

Week 5 / Feb. 12 and Feb. 14

2 exposed rolls of film from Assignment #2 due on Tuesday

In-class work activity: shooting, scanning, making digital contact sheets and

prints

Critique Assignment #1 (6 prints) – guest photographer Rachel Boillot

Visiting Artist Lecture,  Rachel Boillot, Thursday, Feb. 14 at 7pm

Week 4 / Feb. 5 and Feb. 7

Review scanners

In-class work activity: scanning and making digital contact sheets and prints

Week 3 / Jan. 29 and Jan. 31

Demonstration on film scanning and making contact sheets 

Handout: Imacon Scanner

2 exposed rolls of film from Assignment #1 due on Thursday 

In-class work activity: shooting, scanning, making digital contact sheets and prints 

Shooting Assignment #2 [Photographing the Everyday]: Compelling subject matter surrounds us in our everyday life. In class, we looked at work by Walker Evans, William Eggleston, Stephen Shore, Bill Owens, Marc Wise, and Martin Parr, among others.This assignment encourages students to investigate the multiple meanings of the idea of the “everyday” in photography and to develop the aesthetic and technical skills to transform the personal and the ordinary into artwork. Shoot two rolls of film at work, at home, from a window, on a walk in your neighborhood.  How can you turn the ordinary things around you into interesting photographs through your point-of-view? Bring two processed rolls of film for scanning on Tuesday, Feb. 12 and make four prints for critique on Tuesday, Feb. 26. 

Week 2 / Jan. 22 and Jan. 24

Quiz on Tuesday: Basic Color Concepts

Presentation: Film Exposure

Film Screening: William Eggleston in the Real World

Presentation: Photographing the Everyday

Readings:
Travels with Walker, Robert and Andy, On Stephen Shore, from Photography After Frank, Phillip Gefter

Week 1 / Jan. 15 and Jan. 17

Welcome to Color Photo: Theory & Practice.  We will begin class with discussing the course outline and blog and getting to know each other.

Presentation: Color Theory & New Color Photography

Screening: Chungking Express, directed by Wong Kar-Wai

Handout: Basics of Color Theory in Photography 

Study handout for quiz on Basic Color Concepts on Tuesday, Jan. 22

Shooting Assignment #1 [RGB Color Wheel]: The RGB color wheel consist of six colors: Red, Yellow, Green, Cyan, Blue, and Magenta.  Using a 35mm film camera, shoot two rolls of color film and take different photographs where one of each of these colors is the dominant color in the scene.  Try to make these photographs interesting and expressive: at least one picture capturing red, one capturing yellow, one capturing green, one capturing cyan, one capturing blue, and one capturing magenta.  You will get this film processed (due Thursday, Jan 31) and then scan and print six images reflecting each of these dominant colors for a critique on Thursday, Feb. 14. 

Discussion: For class on Thursday, Jan. 17, please bring in at least one book of color photographs, a magazine or other printed materials. You can check out the book from the library or bring in one of your own. Prepare to speak about two different color images - one in which the photographer uses color combinations in a successful and appealing way and another with colors you don't like. Consider why you like the use of color in one image and not the other.  This exercise is intended to help us better understand each other's sensibilities and to create a dialogue about color. Questions to consider: What colors are represented in the image? What mood do these colors create?  Are these bold/aggressive or soft/subtle colors or something else? What kind of color palettes are you general attracted to and what does this suggest about your own personal aesthetic?