Printing Guide

1. Sign in on the computer closest to the printer.  The same one I use.  Do your image editing in Photoshop.

2. If resizing to fit your image on paper, you may do so automatically in the print dialog box.  If you chose to do it in Photoshop, please make sure to use a resolution of 220-300 ppi if possible, without upsizing the overall resolution or file size.



3. Go to file - Print.  Select the Epson Sylus 7880 Printer.  Make sure you select the right printer or the rest of this will not work out the same.



4. Click on print settings to open the printer dialog box. Click on the correct paper size.  Underneath that, where it says layout, click on that to pull up the print settings.  Select the paper you are using.



5.  Exit out of the print settings, and go back to the Photoshop print window. Where it says color handling. Make sure it says Photoshop Manages Color.  Make sure you select the ICC profile that corresponds to your paper.  This will make it so your print matches what you see on screen (as close as possible).

Paper Buying Guide

Epson Photo Paper Glossy

What you get at the store, servicable quality

Epson Ultra Photo Paper Glossy

Thicker, heavier paper stock, feels better in hands

Epson Ultra Photo Paper Luster

A semi glass with a textured finish, my goto value paper

Epson Ultra Paper Premium Matte

Zero gloss, but the color gamut of the below matte papers are better

Epson Hot Press Paper

Cotton based paper with matte finish, very heavy, good color gamut.  Hot press means it is super smooth. Paper color is slightly warmer. Great for nature and landscape.

Epson Cold Press Paper

like above but with a more textured matte finish

Epson Velvet Fine Art Paper

Cotton based paper with matte finish with a watercolor paper- type texture

Epson Exhibition Fiber Based Paper

Very heavy, fiber based paper, resembles darkroom style photographic prints, great for exhibitions, deep blacks and subtle tonal gradations make this the best paper for black and white.  Also good for portraits.

Third Party brands I support

Red River Metallic Paper

a high gloss finish and a pearlescent base stock that yields an elegant iridescence in your images. Great for images of archetecure, cars, and other high contrast images.  

Red River Baryta 

Kind of like a semigloss version of the Epson Fiber paper, better suited for color printing with a warm white paper color.

Red River Canvas Paper

If you want that painterly look

more options from Red River Paper

Hanemuhle makes probably the best, thickest, most premium paper out there.  If I were going into a museum or new york gallery, I might splurge on this stuff.

Schedule for rest of term

11/7 - studio demo/ abstracts due at end of day

11/12 studio work time

11/14 studio work time

11/19 one/one crits/printing and mounting demo/

11/21 sheena wet plate collodion demo

11/26 final work time

12/3 final work time

Final Project

For your final project consider these 3 options. ...

Create a series of works that represent a new idea, or represents a theme related to your senior exhibition.  (Seniors taking Senior Portfolio in the spring must take this option)

or option 2

Create more work based on an idea that you developed in one of the earlier projects.  

or option 3

Develop a series based around a topic from the class text, or another topic we haven't approached in class already.  

then, this will be the order of assignment deadlines....

Step 1: Proposal

You will need to turn in a one page written proposal for this project, that is due at the end of the day Thursday 11/7.  In your proposal I want you to reference two artists whose work you used for inspiration for your idea. You may get your research from the class text, or Lensculture, one of the two. You can use others but only as extra sources. (50 points) 

Step 2: Check ups

We will meet for a one on one for check up critiques on 11/19 (50 points)

Step 3: Crit

images due at the beginning of class Friday Dec 6th.  You will exhibit a series of 5 images, we will crit them in class.  

Email to me your Lightroom contact sheet PDF of all the images shot for this assignment (minimum 150), and I also want all the original PSD files for the Final images.  (200 points)

Step 4: Exhibition

We will be meeting on Friday December 6th from 8am-10am (Designated Final Exam Time).  We will go over printing and mounting works for the Hallway Gallery Exhibition.  Each student may print 1-3 images (must be larger than 11x17) and mount, frame, or matte them.  Images may come from any part of the class.  Must be hanging by end of the day.  (100 points)

Project 5 Studio Lighting

You will pair up with a partner (or 2). You have all receive access to the studio in Grant room 240. The assignment is designed to give you practice and experience with basic studio lighting.  You will be turning in 5 final images (in photoshop format).  You need to have examples of:

1. Split Light:  light coming from the side of your subject.  With fill

2. Dramatic side light:  strong contrasty light from the side.  No fill

3. Rembrandt Light:  Light creating a small triangle under the eye.

4. Broad Light: Lighting the near or side of the face towards the camera.

5. Butterfly lighting: Causes a shadow line under the nose.

You will receive a demo for each lighting set up on 11/7, and your team can come anytime after that to finish the project.  Final images will be reviewed at end of class 11/19.  

Reading Assignment Blogpost Chapter 6 - Photography Changes What we Remember -Due 11/12

Which essay from the assigned chapter spoke to your own experience the most?  Summarize the main points of the essay and give a personal anecdote that elaborates on why this article spoke to you the most. Which essay made you think about photography in a new way, or spoke to experiences you may not have been as familiar with?  Again, summarize the article and explain why this essay has reshaped your ideas about photography. Write your 200 word (minimum) response below.  Make sure to put your name in the comment

11/12 Rebecca Ross

11/14 Ezequiel Delgado.

someone to look at (in terms of multiples) Becky Wilkes

http://www.beckywilkesphotography.com/ditched-debris/

More images and art from class

PENELOPE UMBRICO from Paris Photo on Vimeo.

Bernd and Hilla Becher

Corinne Vionett
Eric Kessells 24 hours in Photos
Becky Wilkes

https://hyperallergic.com/500916/snap-share-san-francisco-museum-of-modern-art-sfmoma/
https://layersmagazine.com/10-photographers-creating-enigmatic-works-with-double-exposure.html

https://art21.org/watch/art-in-the-twenty-first-century/s9/robin-rhode-in-johannesburg-segment/

Images from Class

Lenscratch 2019 Diptych exhibition

http://lenscratch.com/2019/05/the-2019-diptych-exhibition/

Dawoud Bey: The Birmingham Project

https://www.nga.gov/exhibitions/2018/dawoud-bey-the-birmingham-project.html

Barbara Bosworth

https://unhvrc.wordpress.com/tag/barbara-bosworth/

Kristy Peet - Objects

http://www.kristypeet.com/objects.html

Margaret Hiden - Glenview Circle

http://margarethiden.virb.com/15-glenview-circle

Gordon Parks Field Trip

Just a reminder we will be meeting at the Computer Lab at 9 am tomorrow. Id like to leave 5 or 10 minutes after so please do not be late. 

Please try to car pool as much as you can, save gas, and have more social time.  All is good there. 

https://www.cartermuseum.org/exhibitions/gordon-parks-new-tide-early-work-1940-1950

Our tour starts at 11am, just so you know.  I assume we will be meeting in the front reception area for the tour, but I am not sure.  Ill ask today. 

Parking – if you park immediately outside the Amon Carter you will have to pay.  It isn’t much, just a couple bucks, but still.  If you want free parking, I suggest parking at the Free lot in front of the Modern Art Museum.  You get to it off Darnell street.  You’ll have to walk about a block to the Amon Carter museum, but it is not bad. 

Reading Assignment Blogpost Chapter 5 - Photography Changes Where We Go -Due 10/31

Which essay from the assigned chapter spoke to your own experience the most?  Summarize the main points of the essay and give a personal anecdote that elaborates on why this article spoke to you the most. Which essay made you think about photography in a new way, or spoke to experiences you may not have been as familiar with?  Again, summarize the article and explain why this essay has reshaped your ideas about photography. Write your 200 word (minimum) response below.  Make sure to put your name in the comment.

10/31 Rachael Brasovan

11/5 Daniel Amador

11/7 Dan Adame

HDR tips

Setting up your camera for HDR
What is HDR

10 common HDR mistakes
To HDR or not?
50 examples

Project 4 Multiples

Objects Owned by Introverts - Kristy Peet 2018

For the next couple weeks, we will explore strategies that result in a single image, composite, or collage that is comprised of multiple images.  We will explore the following creative solutions, one at a time.  

1.  HDRI (end of the day 10/17)

2.  Diptych (end of the day 10/24)

3.  Multiples (grid, composite, layered, etc...due BEGINNING of the day 11/5)

We will announce the due dates for each step as we move along.  

Concept

Your assignment for each step is elevating a quotidian object or scene to elevate it to something visually extraordinary. (taking something that isn’t particularly interesting to look at and through your photographic decisions making it something interesting to look at). Think about this project in terms of both subject matter and technical process.

Collective Snapshot - Pep Vantosa

TVs from Craigslist - Penelope Umbrico
   

Project 3.1 Narrative part deux

Reconstructed narrative image or images due 10/15.  

Reading Assignment Blogpost - Chapter 4- Photography Changes What We Do (due 10/15)

Which essay from the assigned chapter spoke to your own experience the most?  Summarize the main points of the essay and give a personal anecdote that elaborates on why this article spoke to you the most. Which essay made you think about photography in a new way, or spoke to experiences you may not have been as familiar with?  Again, summarize the article and explain why this essay has reshaped your ideas about photography. Write your 200 word (minimum) response below.  Make sure to put your name in the comment.

10/15 Hunter Island

10/17 Madison Morrow

10/22 Kenjinique Davis

Visiting Artist presentation today

In class we will be joined by Angilee Wilkerson and Jana C. Perez, to discuss their work and how to use photography to construct narratives. 

Project 3 Narrative

Anja's Release - Angilee Wilkerson and Jana C. Perez

Basic Summary

You are to create a series or a single image that implies a narrative.  You can decide to construct one staged tableaux (one image), or create a narrative sequence of multiple images (3-5).  

You must use at least one directional light source in your images.
Your images must show understanding of strong composition and contain no distracting elements
Each image must be of high quality, lighting, composition, storytelling.

Consider the symbols you use in the image.

You may partner up on this, but you each have to turn in your own images.

What do I want you to turn in an how?  

Bring your images to class on Tuesday,  October  8th.  We will discuss how to prepare them for critique and possible exhibition.  

Suggestions and ideas to get started

A staged photograph is like a snapshot from a movie. It’s a ‘scene’, an event which you have constructed and captured at the perfect moment as a still photograph. It can be a simple ‘moment’ like a glance between two strangers on the street (Jeff Wall’s Mimic, 1982) or an elaborate recreation of a dramatic event (Jeff Wall’s A Sudden Gust of Wind, (after Hokusai), 1993).

A narrative sequence can be like a storyboard or comic strip that tells a story in a series of images. The story may be mysterious or humorous like Duane Michals Things are Queer (1973). It can be a fleeting moment or a monumental event. But there’s always the sense of time passing and an event unfolding.

By imply a narrative, I mean you can choose how literal or open ended you want the narrative to be. Images can only explain so much in terms of storytelling, but remember this is a powerful limitation. Generally the more obvious your narrative is, the less interesting it is. You must consider ever part of your image to offer clues as to the what the setting, conflict, and possible resolution of your narrative is.    I do suggest you pick a narrative that you find has a parallel with a personal narrative you have in your own life.  Your narrative must be original, it may be inspired by past works but not slavishly reproducing them.  Use your own life and work experiences as a source of ideas. Or use your dreams. 

Limits:
No toy characters unless you get approval from instructor

Ideas
http://lenscratch.com/narrative-photography/

https://www.lensculture.com/search/projects?fallback=not-found&q=narrative+photography

Architect's Brother: passage Robert and Shana Parkeharrison

Reading Assignment Blogpost - Chapter 3 - Photography Changes Who We Are (due 10/3)

Which essay from the assigned chapter spoke to your own experience the most?  Summarize the main points of the essay and give a personal anecdote that elaborates on why this article spoke to you the most. Which essay made you think about photography in a new way, or spoke to experiences you may not have been as familiar with?  Again, summarize the article and explain why this essay has reshaped your ideas about photography. Write your 200 word (minimum) response below.  Make sure to put your name in the comment. 

Presentations

10/3 Kristen McCallister

10/8 Lee Taylor

Reading Assignment Blogpost - Chapter 2 - Photography Changes What We See (due 9/19)

Which essay from the assigned chapter spoke to your own experience the most?  Summarize the main points of the essay and give a personal anecdote that elaborates on why this article spoke to you the most. Which essay made you think about photography in a new way, or spoke to experiences you may not have been as familiar with?  Again, summarize the article and explain why this essay has reshaped your ideas about photography. Write your 200 word (minimum) response below.  Make sure to put your name in the comment. 

Presentations

9/19 Claire Rodgers

9/24 Alvaro Munoz

Project 2 Cyanotypes

 After an introduction to the production of digital negative using the ink-jet printer, you will produce four small prints, using the cyanotype process.

4 prints are due at the end of class Tuesday 9/24

One image must be a photogram, one must use the digital negative.  

"A" quality work will be given to those students who do one of the following

• experiment with brush strokes
• explore toning their prints
• shoot images specifically for the this project

Cyanotype tutorial

https://www.lenovointhelab.com/blog/fifty-shades-of-blue-a-tutorial-on-the-cyanotype-process

Tea Toning (we will cover this on tuesday)

https://mpaulphotography.wordpress.com/2011/04/01/cyanotype-toning-the-basics/

Photograms
https://en.wikipedia.org/wiki/Photogram

Instructions for Digital Negatives

To create a digital negative:

Using Photoshop, create the artwork that you want to cyanotype, 

sized appropriately for the piece of knitting. The finished will be the same size as the negative.

Convert the image to grayscale.

Flip the graphic from left to right, so that any lettering is now backwards. 

You do this because when printing, the negative will be placed face down, ie. ink-side down.

Invert colors to make it a negative.

Print the finished graphic onto inkjet transparency film.

Get some Pictorico Premium Overhead Transparency Film (OHP) from Prof. Ireland. 

Using an inkjet printer, print the reversed image onto the OHP film 

at whatever size you want the final image to be but as big as letter size. 

Since this is a contact printing technique whatever size you make the negative will render 

the same size on the printing surface.

Photo Exposure Review

You can find more online

Photocaddy app for android
or for Iphone


http://photography-mapped.com/index.html

More articles
Digital Photography 101

Society for Photographic Education Conference in Lubbock, TX

Hey there, I am being given some funding from TSU to bring students to the Society for Photographic Education South Central chapter Conference in Lubbock, TX from October 10-13th. If you are interested in going, let me know here or in person, as a can take a certain amount of students with funding help for registration and lodging. The conference includes presentations, workshops, portfolio reviews, events, exhibitions, visiting artist lectures, and great networking opportunities for graduate schools.

Ask Alex Huerta, Amanda Rashael Yowell or Julie Young about it, they had a great time last year.

https://www.depts.ttu.edu/art/landmark-arts/exhibit_folders/2019-10_SPE/index.php

Reading Assignment Blogpost - Chapter 1 - Photography Changes What We Want (due 9/12)

Which essay from the assigned chapter spoke to your own experience the most?  Summarize the main points of the essay and give a personal anecdote that elaborates on why this article spoke to you the most. Which essay made you think about photography in a new way, or spoke to experiences you may not have been as familiar with?  Again, summarize the article and explain why this essay has reshaped your ideas about photography. Write your 200 word (minimum) response below.  Make sure to put your name in the comment.  

Presentations - 

9/10 Sara Watts

9/12 Olivia Teague

Semester Long Reading Assignment

Over the courses of Arts 3361 we will be reading the essays from Photography Changes Everything.  I will put a post on the website for each chapter that you are required to write a 200 word minimum response as a response to the earlier mentioned post that includes the following topics in some order.  

Which essay from the assigned chapter spoke to your own experience the most?  Summarize the main points of the essay and give a personal anecdote that elaborates on why this article spoke to you the most. Which essay made you think about photography in a new way, or spoke to experiences you may not have been as familiar with?  Again, summarize the article and explain why this essay has reshaped your ideas about photography.  

For an assigned date each semester, you will be required to present your topics to the class for a 10 minute presentation.  You may elaborate on the themes you discussed in your essay and include pictures to be shown to the class.  You must however present on essays included in the chapter that you are listed under.

(times subject to change)

Chapter 1 - Photography Changes What We Want (read by 9/17)

9/17 Sara Watts

9/17 Olivia Teague

Chapter 2 - Photography Changes What We See (read by 9/19)

9/19 Claire Rodgers

9/24 Alvaro Munoz

Chapter 3 - Photography Changes Who We Are (read by 10/3)

10/3 Kristen McCallister

10/8 Lee Taylor

Chapter 4 - Photography Changes What We Do (read by 10/15)

10/15 Hunter Island

10/17 Madison Morrow

10/22 Kenjinique Davis

Chapter 5 - Photography Changes Where We Go (read by 10/31)

10/31 Rachael Brasovan

11/5 Daniel Amador

11/7 Dan Adame

Chapter 6 - Photography Changes What We Remember (read by 11/12)

11/12 Rebecca Ross

11/14 Ezequiel Delgado

Class Text - Photography Changes Everything

https://www.amazon.com/Photography-Changes-Everything-Marvin-Heiferman/dp/1597111996

Try to have by week 3, there is only one version so it doesnt matter if you buy an older used version

Making a Pinhole Camera

Lensculture

Here is a site we will often use in class to show examples for projects, and you can look up photographers or subjects to look at works. 

https://www.lensculture.com/

Project 1 Document the Love

For the first project this year I want you to document something that you love.  I want you to really think about that word and all the ideas that come with it.  Love and desire can be the most wonderful feeling, but it is also a powerful feeling, one that we can not control.  sometimes it makes us do weird things. Please remember that love and desire can manifest in ways that are not always happy, healthy, or pleasant.  Love is not simple, and your work should show all the ways this person, place, thing, etc has an effect on your life.  Romantic love can be considered for this project but I'd like you to consider it more openly if possible.  

• Bring at least three photo for Tue 9/3 and be prepared to discuss in class
• Bring in on 9/12,Make 50-100 exposures, RAW processed and edited. 
• In class - Saved series of 6-10 images in B/W due for Silent Critique, later final physical prints due for Midterm critique. due by the end of class.  

Photographers often make the best work when they can focus on what they know best. We often approach the making of images from a variety of vantage points, and the images we make can mean different things to different people. We are all influenced by our particular time and place, our experience and opportunities as well as our beliefs and prejudices. How can photography teach us something about how you are as a person? What is it's role in your life? How does your autobiography and your own images align? Take a stand. Go out on a limb. For this assignment I want you to write your own manifesto in photographs. Using the paired down language of Black & White images show us what matters to you. 

homework - bring square or rectangular box to class

around 18 inches tall - 18 inches wide, more is fine, less is maybe fine

Alison V. Smith, the Dallas based photographer we looked at today

https://www.allisonvsmith.com/Projects/Texas/thumbs

Class Syllabus - Fall 2019

{COURSE DESCRIPTION AND OBJECTIVES}

This is an advanced studio course in photography, with an emphasis on the digital image as a vehicle for creative expression.  This class will examine the many levels in which digital images can construct and carry meaning.  Students will have the opportunity for deeper investigations into selecting subject matter, developing personal aesthetics, and more cohesive portfolio development.  Assignments will be based off concepts inherent to the photographic image.  You will be expected to show a great deal of individual focus and direction with your work.  Advanced topics of image processing and printing including alternative processes will be discussed. 

{LEARNING OUTCOMES}

Students who complete this course will:

• Develop advanced skills in photographic processing using a digital darkroom.
• Learn advanced printing techniques based on historical and contemporary processes.
• Concentrate on the development of a distinctive personal style and will pursue individual interests and research in their work. 
• Apply critical thinking to analyze and critique their own work and the work of others
• Engage in an ongoing study of the history of photography
• Appreciate photographic works of art across time and cultures
• Develop a portfolio of accomplished photographic work

{COURSE TEXTBOOK AND FEES, REQUIRED EXPENSES}

All students will be required to purchase the class text: 

Photography Changes Everything by Marvin Heiferman

ISBN-10: 9781597111997

As part of the discourse in class, critical and theoretical readings from the above text, among others, will be given out periodically and discussed.

{SUPPLIES AND MATERIALS}

• A professional DSLR camera, if you do not have one you might want to consider getting one as you will gain the most from the class with one. 
• An external harddrive or place to back up your work.  
• Whatever camera SD or CF cards you need. All the cables or card readers you might need to download your photos.  
• In class we will be using Adobe Lightroom CC and Photoshop CC 2019, you are not required to own these yourself but it is recommended.  
• Whatever materials or props for assignments you might require.  
• Future printing demos might require you to supply paper.  More info coming

{CLASS TIME}

Class time will involve:

·       a combination of lectures and discussions on pertinent issues within the medium

·       presentations by local businesses and artists about career options in art/design

·       application demos and technical instruction

·       screening of artists, videos, and films that significantly connect to class projects

·       work time for projects

·       critiques of projects.

Completing assignments outside of class WILL involve taking pictures, travel, and reading/writing. While skill is obtained through practice with the camera, ideas are nurtured through other sources, so resourcefulness is key! Look for ideas everywhere.  

{COURSE RULES}

1.) Blog: www.tsuarts3361.blogspot.com: All assignments and required source material will be posted online. Specific Xeroxed articles, tutorials and other online source material will be assigned and posted on the blog as the course progresses.   

2.) Attendance: Consistent and engaged attendance and participation in all aspect of the class is required. Repeated absences will result in the lowering of your grade. More than three absences (excused or unexcused, they are all the same) lower your final grade 1 grade down each absence. Come prepared for work in class or you will receive an absence. Since most class material is covered at the beginning of class, being notably tardy also counts as an absence. Checking Facebook during class lectures or videos will make you absent for the day. 

3) Projects: There will be 9 to 10 key assignments in this course. They are always due at the beginning of class on the deadline date. See the assignment tab on the course webpage for updates on this soon.  No late work accepted unless under extenuating circumstances.  4 to 5 assignments will be done outside of class, and there will also be 4 to 5 key inclass assignments that we will do as a group. These assignments will involve special equipment and techniques that we will do together. 

4.) Critiques: Students are expected to participate in class critiques of works, both completed and in progress. As the term evolves, we will orient towards weekly progress critiques. Talking about your work and others is a crucial aspect of assessing whether your design communicates effectively. Attendance on these days is mandatory. 

5.) Grading: Students will be evaluated (graded) through a combination of assignments, attendance, quizzes, and participation. Full participation in all aspects of the class including critiques will be graded. Additionally, because this is an art class, students will be evaluated on creativity and their ability to produce work. This means that if you make a considerable effort, the instructor will take your labor into account, though this does not guarantee an "A."

For maximum success, concern yourself less with your grade, and focus on investing yourself into the process of photography and art making. For some of you, this might mean the one and only art class you ever take, while for others it might be the beginning of something you will continue to do indefinitely. If you want feedback approach me in class, and listen to my remarks, I will send grades and remarks via email but I never do it as soon as I would like.  Treat the class seriously and challenge yourself to learn the most you can about photography.

Grading Scale:

A: Excellent work and growth in the course. It demonstrates a prolific and focused body of work that is conceptually and technically accomplished. It is also reflective of one's personal growth over the semester including their attendance and consistent participation during class critiques, readings, and discussions. 

B: Good sound work. All work was turned in on time and shows clear intention and technique.  Work should be devoted to an idea, but still needs room for developing a sophistication with the concepts. Participation and attendance is consistent. 

C: Very average. The completion of projects are turned in on time, but suffers from technical issues and attention to ideas and concepts. Things are unresolved and there is minimal class participation. Attendance is consistent.

D: A poor attempt. Lacks analytical and conceptual skills, technique, and inconsistently meets the course requirements. No participation. 

F: Failing work and grade. Reveals a huge deficiency in overall effort. Please do not let it get to this point. Take responsibility and consult with the university's academic calendar drop period to see if this is an option.

6.) Lab Etiquette: Always back up your work. Data loss—from a lost, fried and/or stolen hard drive, or satanic software - cannot be used as an excuse for late or missing work.

Students are not permitted to use the internet or any electronic devices during lectures or student presentations. Cell Phones must be turned off unless instructed otherwise.

{SCHEDULE}

Schedule Subject to Change (and will)

Week 1          Tue 8/27 Syllabus/Class Objectives, Outside Assignment 1 discussion

                        Thu 8/29 In class Assignment 1 Pinhole photography

Week 2          Tue 9/3 Review of Camera techniques, DSLR basics, Lightroom controls

                        Thu 9/5 Digital Negative Creation

Week 3          Tue 9/10 Photo History – Alternative Process, Archive Project

                        Thu 9/12 Assignment 1 due

Week 4          Tue 9/17 Cyanotype printing demo

                        Thu 9/19 Van Dyke Brown printing demo

Week 5          Tue 9/24 Class work day

                        Thu 9/26 Allegory and Tableaux discussion

Week 6          Tue 10/1 Archive Project due

                        Thu 10/3

Week 7          Tue 10/8 Advanced Lighting demo, studio strobes

                        Thu 10/10 SPE CONFERENCE

Week 8          Tue 10/15 Allegory and Tableaux dproject due

Thu 10/17 CHRIS OUT OF TOWN

Week 9          Tue 10/22 Narrative assignment discussion

                        Thu 10/24 Gordon Parks Exhibition at Amon Carter Museum

Week 10       Tue 10/29 Art of sequencing photographs

                        Thu 10/31 Advanced Photoshop demos, printing demo

Week 11       Tue 11/5 Considering your own symbolism, Personal Mythologies Project

                        Thu 11/7 Narrative Assignment due

Week 12       Tue 11/12 Individual Meetings with Professor on final project

                        Thu 11/14 Writing About Photography and your work

Week 13       Tue 11/19 Open Lab Day

                        Thu 11/21 Open Lab Day

Week 14       Tue 11/26 Open Lab Day

                        Thu 11/28 THANKSGIVING

Week 15       Tue 12/3 Last day Final Crit – Personal Mythologies Project

{MAJOR ASSIGNMENTS}

Semester Long Reading – Photography Changes Everything

Over the courses of Arts 3361 we will be reading the essays from Photography Changes Everything.  I will put a post on the website for each chapter that you are required to write a 200 word minimum response to that includes the following topics in some order.  

Which essay from the assigned chapter spoke to your own experience the most?  Summarize the main points of the essay and give a personal anecdote that elaborates on why this article spoke to you the most. Which essay made you think about photography in a new way, or spoke to experiences you may not have been as familiar with?  Again, summarize the article and explain why this essay has reshaped your ideas about photography.  

For an assigned date each semester, you will be required to present your topics to the class for a 10 minute presentation.  You may elaborate on the themes you discussed in your essay and include pictures to be shown to the class.  You must however present on essays included in the chapter that you are listed under.

Assignment 1: Narrative

Requirements:

• You are to create a series of at least 5 images that implies a narrative.  

By imply a narrative, I mean you can choose how literal or open ended you want the narrative to be. Images can only explain so much in terms of storytelling, but remember this is a powerful limitation. Generally the more obvious your narrative is, the less interesting it is. You must consider ever part of your image to offer clues as to the what the setting, conflict, and possible resolution of your narrative is.    I do suggest you pick a narrative that you find has a parallel with a personal narrative you have in your own life.  Your narrative must be original, it may be inspired by past works but not slavishly reproducing them.  

Assignment 2: Engaging the Archive

Requirements:

• Make 50-100 exposures, RAW processed and edited.

• Archive Materials.

• Series of 8-15 images, documents, objects, etc. due for Midterm critique.

Create a narrative in the form of an archive. You can create all your own imagery or use found photographs (family photos, photos from antique stores, etc.), selecting the images to make new meaning, new stories. Create your own images to add to the archive. You should also use found or created documents, objects, etc.

Assignment 3: Directional/Staged/Constructed Tableaus

Requirements

• Turn in 5-10 prints due for the assignment.

• This assignment is meant to explore the creative potential of tableau. Control over all aspects of the image will be the focus of this body of work. You have the option of using the studio or portable lights. You must use live human models/actors.

Assignment 4: Final Portfolio with Artist Statement

Requirements:

• A series of 12 - 15 final prints with a clear unifying concept

• Matted & covered in crystal clear bags or protected with Mylar sleeves in an archival print box

• Artist statement (series specific)

• Digital folder with Final Project 'Smart Objects'

• File management and Meta Data must be complete

Note: Your printed portfolios must demonstrate effective printing techniques; emphasis will be on composition and print tonal accuracy. The portfolio must also be conceptually consistent; the specific topic is your choice, though subject to instructor’s approval.

{ACADEMIC HONESTY}

Cheating, plagiarism (including using someone else’s photographs without proper credit), or doing work for another person who will receive academic credit are all impermissible. Turning in work made before this class, or from other classes, is also a violation of academic honesty. Disciplinary action may be taken beyond the Department of Fine Arts. Learn to be ethical with your research and studio work. 

This is the Tarleton statement….  Tarleton State University expects its students to maintain high standards of personal and scholarly conduct.  Students guilty of academic dishonesty are subject to disciplinary action.  Academic dishonesty includes, but is not limited to, cheating on an examination or other academic work, plagiarism, collusion, and the abuse of resource materials.  The faculty member is responsible for initiating action for each case of academic dishonesty that occurs in his or her class.

{STUDENTS SUCCESS STATEMENT - ADA}

It is the policy of Tarleton State University to comply with the Americans with Disabilities  Act (www.ada.gov)  and other applicable laws. If you are a student with a disability seeking accommodations for this course, please contact the Center for Access and Academic Testing, at 254.968.9400 orcaat@tarleton.edu. The office is located in Math 201. More information can be found at www.tarleton.edu/caat or in the University Catalog.

{UNIVERSITY CORE VALUES}

In case you forgot…. (http://www.tarleton.edu/strategicplan/2016-2020/mission-vision.html)  

{DISCLAIMER}

Please note that some of the photographs we might look at during this course may include nudity, be graphically violent or be politically provocative. Some individuals may find these images disturbing or even offensive. Such works are included because they presented important challenges to artistic traditions and conventions, to social mores, to standards of beauty and taste, and ultimately, to the definition and history of photography itself. Students will not be required to subscribe to any particular theory of the purpose and meaning of photography, nor will they be required to like all of the images shown. However, if you choose to take this course, you will be expected to understand the issues involved and why they are important. Critical thinking in all areas is something I believe in. I want students to be exposed to good work, I want my students to be able to grapple with difficult ideas, and I want them to develop their own sensitivities and skills. If you have any special concerns, please discuss them with me.

{ANY QUESTIONS????!!!!????}

As you've probably guessed, you will have to spend plenty of time in and outside of class shooting, editing, and talking about your work. You should therefore photograph subjects that you consider important or have strong feelings towards. Making good art always takes longer than you think! Trust the process. This is an advanced level class, so I expect advanced level work and commitment.  If you are not really into pushing yourself and working/playing hard, then you will probably not like this class.  I take this subject matter very seriously, and I want you all to make good work for your portfolio.  Good luck this semester!

-Chris Ireland August 2019