2nd Module
10/28 Lecture: Personae and Frabrication
10/30 Open Lab
SB: Choose 3 favorite blogs from Oberlin Photo.
11/01 052/01 12am @pipo’s studio
11/02 052/02 12am @pipo’s studio
11/04 Workday
Vote
11/06 Lighting Demo
Shooting in the field
SB: 10 images defining your time
11/11 Workday
11/13 Crit #3
SB: Upload all of the prior projects and statements
11/18 Workday
11/20 Crit #3
SB: 3 performance / photographers
11/25 Lecture: The Staged Narrative
Demo: Color
11/27 Thanksgiving
SB: 10 classical paintings
12/02 Workday
12/04 Workday
SB: Up load all projects
12/09 Final Critique
12/11 Final Critique
Friday, November 7, 2008
054/01 Syllabus Second Module
Color
2nd Module
10/28 Lecture:
10/30 Demo: Large Format
SB: Choose 3 favorite blogs from Oberlin Photo.
11/04 Workday
Bring work for one on one evaluation
11/06 Workday
SB: 10 images defining your time
11/08 ( Saturday) Field Trip
11/11 Artist Lecture
11/13 Workday
SB: Upload presentation to blogs
11/18 Workday
11/19 Crit #3
11/20 Crit #3
11/25 Lecture: The Portraits
11/27 Thanksgiving
SB:Upload all projects
12/02 Workday
12/04 Workday
12/09 Final Critique
12/11 Final Critique
2nd Module
10/28 Lecture:
10/30 Demo: Large Format
SB: Choose 3 favorite blogs from Oberlin Photo.
11/04 Workday
Bring work for one on one evaluation
11/06 Workday
SB: 10 images defining your time
11/08 ( Saturday) Field Trip
11/11 Artist Lecture
11/13 Workday
SB: Upload presentation to blogs
11/18 Workday
11/19 Crit #3
11/20 Crit #3
11/25 Lecture: The Portraits
11/27 Thanksgiving
SB:Upload all projects
12/02 Workday
12/04 Workday
12/09 Final Critique
12/11 Final Critique
Wednesday, October 1, 2008
Media Check Out Hours
Cage Hours
Media Equipment Depot Hours – Fall '08
Monday – 11:00-1:30 and 4:30-5:30
Tuesday – 11:00-1:00 and 4:30-5:30
Wednesday – 11:00-1:30 and 4:30-5:30
Thursday – 11:00-1:30 and 4:30-5:30
Friday – 11:00-1:30 and 4:30-5:30
Saturday – 1:00-3:00
Sunday – 1:00-3:00
Media Equipment Depot Hours – Fall '08
Monday – 11:00-1:30 and 4:30-5:30
Tuesday – 11:00-1:00 and 4:30-5:30
Wednesday – 11:00-1:30 and 4:30-5:30
Thursday – 11:00-1:30 and 4:30-5:30
Friday – 11:00-1:30 and 4:30-5:30
Saturday – 1:00-3:00
Sunday – 1:00-3:00
Tuesday, September 30, 2008
Jobo Instructions
JOBO
FILL WATER AND SET TEMP
YOU ONLY NEED ENOUGH CHEMISTRY TO FILL HALF OF THE TANK( EX: ONLY 250 ML FOR 2 ROLLS OF 35ML….)
TURN THE MACHINE ON, MAKE SURE THE PUMP IS ON& GIVE IT TIME TO GET CHEMISTRY TO THE DESIRED TEMP ( 68F )
WHEN YOU ARE READY, HOOK THE TANK UP TO THE FIXTURE, ADJUST WATER VALVE TO LUBRICRATE AND TO ALLOW YOUR TANK TO MAINTAIN ITS TEMP
WHEN YOU ARE READY TURN DIAL TO P. POUR IN YOUR CHEM
FOLLOW THE STEPS AS YOU WOULD NORMALLY
MAKE SURE TO TURN THE ROTATION OFF WHEN YOU POUR CHEMISTRY OUT.
***MAKE SURE TO HOLD THE BOTTOM OF YOUR TANK WHEN YOU USE THE LIFT TO EASE THE STRESS.
ALSO CHECK TO MAKE SURE THAT AS YOU DUMP YOUR CHEMISTRY OUT THAT THE AMOUNT OF LIQUID IS THE SAME (IF NOT THEN THE LID IS NOT TIGHT)
FILL WATER AND SET TEMP
YOU ONLY NEED ENOUGH CHEMISTRY TO FILL HALF OF THE TANK( EX: ONLY 250 ML FOR 2 ROLLS OF 35ML….)
TURN THE MACHINE ON, MAKE SURE THE PUMP IS ON& GIVE IT TIME TO GET CHEMISTRY TO THE DESIRED TEMP ( 68F )
WHEN YOU ARE READY, HOOK THE TANK UP TO THE FIXTURE, ADJUST WATER VALVE TO LUBRICRATE AND TO ALLOW YOUR TANK TO MAINTAIN ITS TEMP
WHEN YOU ARE READY TURN DIAL TO P. POUR IN YOUR CHEM
FOLLOW THE STEPS AS YOU WOULD NORMALLY
MAKE SURE TO TURN THE ROTATION OFF WHEN YOU POUR CHEMISTRY OUT.
***MAKE SURE TO HOLD THE BOTTOM OF YOUR TANK WHEN YOU USE THE LIFT TO EASE THE STRESS.
ALSO CHECK TO MAKE SURE THAT AS YOU DUMP YOUR CHEMISTRY OUT THAT THE AMOUNT OF LIQUID IS THE SAME (IF NOT THEN THE LID IS NOT TIGHT)
Fiber Paper
DEV: 2-4 MIN
STOP: 1 MN
FIX 1: 3-4 MIN
FIX 2: 3-4 MIN
RINSE: 5 MIN
HYPO CLEAR: 5 MIN (AGITATION)
WASH: 20-30 MIN
DRY: FACE DOWN
STOP: 1 MN
FIX 1: 3-4 MIN
FIX 2: 3-4 MIN
RINSE: 5 MIN
HYPO CLEAR: 5 MIN (AGITATION)
WASH: 20-30 MIN
DRY: FACE DOWN
Sunday, September 14, 2008
Color Syllabus( 054-01)
#1
09/02 Intro
Ordering Materials
Create Blogs
09/04 Color Exposure
Demo: Film Developing
Demo: Printing
EXERCISE#1: Printing a B&W negative using color paper
Project 1
EXCERCISE#1: Printing a B&W negative using color paper
Source Book: 5 inspiring classical paintings
5 photo websites
#2
09/09
Lecture: Project #1
Read: J.Szarkowski’s Introduction to Mirrors and Windows
Source Book: 3 photographs in the early morning , 3 at mid day and 3 in the late afternoon
09/11 Demo: The Digital Contact Sheet
Looking at Exercise #1
Source Book: 10 examples of work and photographers of post 90s
Read: T. Barret Criticizing Photographs First 3 chapters
09/13 On Location
#3
09/16 Critique #1
09/17 Critique #1
09/18 Justine Kurland @ 4-30
Source Book: Review Ms Kurland’s presentation.
09/19 Class Trip ( ? )
#4
09/23 Project #2
Demo Studio Lighting
09/25 Open Lab ( movie? )
Source Book: 10 images made with artificial lightings
#5
10/03 WorkDay
10/05 CRITIQUE #2
#6
10/11 CRITIQUE #2
FALL BREAK
09/02 Intro
Ordering Materials
Create Blogs
09/04 Color Exposure
Demo: Film Developing
Demo: Printing
EXERCISE#1: Printing a B&W negative using color paper
Project 1
EXCERCISE#1: Printing a B&W negative using color paper
Source Book: 5 inspiring classical paintings
5 photo websites
#2
09/09
Lecture: Project #1
Read: J.Szarkowski’s Introduction to Mirrors and Windows
Source Book: 3 photographs in the early morning , 3 at mid day and 3 in the late afternoon
09/11 Demo: The Digital Contact Sheet
Looking at Exercise #1
Source Book: 10 examples of work and photographers of post 90s
Read: T. Barret Criticizing Photographs First 3 chapters
09/13 On Location
#3
09/16 Critique #1
09/17 Critique #1
09/18 Justine Kurland @ 4-30
Source Book: Review Ms Kurland’s presentation.
09/19 Class Trip ( ? )
#4
09/23 Project #2
Demo Studio Lighting
09/25 Open Lab ( movie? )
Source Book: 10 images made with artificial lightings
#5
10/03 WorkDay
10/05 CRITIQUE #2
#6
10/11 CRITIQUE #2
FALL BREAK
Friday, September 12, 2008
Mapping
Project #1
The Mapping
Map: conventionalized representation of spatial phenomena on a plane surface. Unlike photographs, maps are selective and may be prepared to show various quantitative and qualitative facts, including boundaries, physical features, patterns, and distribution. Each point on such a map corresponds to a geographical position in accordance with a definite scale scale, in cartography, the ratio of the distance between two points on a map to the real distance between the two corresponding points portrayed. The scale may be expressed in three ways: numerically, as a ratio or a fraction and projection (see map projection map projection, transfer of the features of the surface of the earth or another spherical body onto a flat sheet of paper. Only a globe can represent accurately the shape, orientation, and relative area of the earth's surface features; any projection produces maps may also represent such comparative data as industrial power, population density, and birth and death rates. The earliest European printed maps (2d half of the 15th cent.) were made from woodcuts; maps are now reproduced by several processes, including photoengraving, wax engraving, and lithography. See also chart, term referring to maps prepared for marine navigation and for air navigation. All charts show, in some convenient scale , geographic features useful to the navigator, as well as indications of direction.
This project is an examination of the basic function of the camera : the objective witness of facts. It is a research project therefore it is up to you to define what mapping is and what to map and learn to articulate what you are thinking of and to translate your ideas into the visual language.
You will need to have a minimum of 3 prints and this could be RC or Fiber the choice is up to you however RC would be a lot easier to deal with at this point. When I ask for 3 prints this means that you have edited your work down to the most eloquent and the most seductive body of work to present. The prints has to be technically sound and they should flow easy both in form and content so your presentation is very important. During the critique your work should be hung or pinned on the wall or displayed however you think that it is best to present the work.
You should also prepare a statement ( a paragraph or two) so it can be read by the audience, this way they can prepare themselves to give you the critical feedback that you deserve. For the project we will listen to This American Life Mapping and a slide lecture will be presented to get you started.
.
The Mapping
Map: conventionalized representation of spatial phenomena on a plane surface. Unlike photographs, maps are selective and may be prepared to show various quantitative and qualitative facts, including boundaries, physical features, patterns, and distribution. Each point on such a map corresponds to a geographical position in accordance with a definite scale scale, in cartography, the ratio of the distance between two points on a map to the real distance between the two corresponding points portrayed. The scale may be expressed in three ways: numerically, as a ratio or a fraction and projection (see map projection map projection, transfer of the features of the surface of the earth or another spherical body onto a flat sheet of paper. Only a globe can represent accurately the shape, orientation, and relative area of the earth's surface features; any projection produces maps may also represent such comparative data as industrial power, population density, and birth and death rates. The earliest European printed maps (2d half of the 15th cent.) were made from woodcuts; maps are now reproduced by several processes, including photoengraving, wax engraving, and lithography. See also chart, term referring to maps prepared for marine navigation and for air navigation. All charts show, in some convenient scale , geographic features useful to the navigator, as well as indications of direction.
This project is an examination of the basic function of the camera : the objective witness of facts. It is a research project therefore it is up to you to define what mapping is and what to map and learn to articulate what you are thinking of and to translate your ideas into the visual language.
You will need to have a minimum of 3 prints and this could be RC or Fiber the choice is up to you however RC would be a lot easier to deal with at this point. When I ask for 3 prints this means that you have edited your work down to the most eloquent and the most seductive body of work to present. The prints has to be technically sound and they should flow easy both in form and content so your presentation is very important. During the critique your work should be hung or pinned on the wall or displayed however you think that it is best to present the work.
You should also prepare a statement ( a paragraph or two) so it can be read by the audience, this way they can prepare themselves to give you the critical feedback that you deserve. For the project we will listen to This American Life Mapping and a slide lecture will be presented to get you started.
.
Wednesday, September 10, 2008
How to make a B&W print
How to make a print
Remove negative from file
Insert negative in carrier, emulsion side down
Make sure that negative is clean
Lift open enlarger
Insert negative carrier and close enlarger
Turn on enlarger, check to make sure lens is clean
Open up Lens, turn timer to focus
Roughly focus the image, make adjustment for size
Use grain focuser to sharpen the negative
Adjust easel, adjust aperture
Turn timer to time
Set timer to desire time for test strip
Proceed with test strip starting with Filter #2
1.Find the proper exposure time
2,Find the proper contrast
Make final Print
*** all chemistry are mixed with a 1 to 9 ratio
make sure to check fix with Hypo Check
Remove negative from file
Insert negative in carrier, emulsion side down
Make sure that negative is clean
Lift open enlarger
Insert negative carrier and close enlarger
Turn on enlarger, check to make sure lens is clean
Open up Lens, turn timer to focus
Roughly focus the image, make adjustment for size
Use grain focuser to sharpen the negative
Adjust easel, adjust aperture
Turn timer to time
Set timer to desire time for test strip
Proceed with test strip starting with Filter #2
1.Find the proper exposure time
2,Find the proper contrast
Make final Print
*** all chemistry are mixed with a 1 to 9 ratio
make sure to check fix with Hypo Check
Wednesday, September 3, 2008
Fall 08 Vispro Syllabus
Vis/pro 052
Fall 2008 Dates
#1
09/02 Introduction. Handing out materials
09/04 Bring camera and film to photograph
Lecture: Camera, Film and Exposure
Demo: Film Developing & Making Contact Sheet
Read: Upton & Upton. Chapter 1,2 &3.
James Lewis, Cuba without Kodak.
Source Book: 10 Photographers-Names and examples
A paragraph on the most important photograph in your life
#2
09/09 Lecture: Project #1
Demo: The Print
Read: Chapter 4&5. **memorize chart on pg 99 ( B&W zones ).
Recommend : Chapter 16, History o f Photography.
Exerciset#1: read The Vocabulary of Form. William Henry Fox Talbot, " Some Account of the Art of Photogenic Drawing"
09/11 Printing
Source: Collect one example each for the following: organic, geometric, pattern, repetition, variety, symmetrical balance, asymmetrical balance, vertical balance, horizontal balance, approximate balance.
****09/12 Printing
#3
09/16 Critique Exercise #1
Lecture: A Short History
Source: Photo of 3 people that you know, 3 people that you would like to know, and 3
strangers
Recommend: Peter Turner. History o f Photography Chapter 5: Brave New World. The Rise of Modernism.
09/18Work Day. Justine Kurland @ 4-30
***09/21 Critique#1
#4
09/23 Critique#1
09/25 Born into Brothels
Read: T. Barret, Criticizing Photographs Begin to research on an artist for the paper & project #2
Source : Constructing a narrative from t.v. stills ( set Ss @ 1/15 )
Collect 10 offensive photographs
#5
09/30 Shooting in the Field
10/02 Demo: Toning and Matting
#6
10/07 Workday
10/09 Yom Kippur
#7
10/14 Critique #2
10/16 Critique #2
FALL BREAK
Fall 2008 Dates
#1
09/02 Introduction. Handing out materials
09/04 Bring camera and film to photograph
Lecture: Camera, Film and Exposure
Demo: Film Developing & Making Contact Sheet
Read: Upton & Upton. Chapter 1,2 &3.
James Lewis, Cuba without Kodak.
Source Book: 10 Photographers-Names and examples
A paragraph on the most important photograph in your life
#2
09/09 Lecture: Project #1
Demo: The Print
Read: Chapter 4&5. **memorize chart on pg 99 ( B&W zones ).
Recommend : Chapter 16, History o f Photography.
Exerciset#1: read The Vocabulary of Form. William Henry Fox Talbot, " Some Account of the Art of Photogenic Drawing"
09/11 Printing
Source: Collect one example each for the following: organic, geometric, pattern, repetition, variety, symmetrical balance, asymmetrical balance, vertical balance, horizontal balance, approximate balance.
****09/12 Printing
#3
09/16 Critique Exercise #1
Lecture: A Short History
Source: Photo of 3 people that you know, 3 people that you would like to know, and 3
strangers
Recommend: Peter Turner. History o f Photography Chapter 5: Brave New World. The Rise of Modernism.
09/18Work Day. Justine Kurland @ 4-30
***09/21 Critique#1
#4
09/23 Critique#1
09/25 Born into Brothels
Read: T. Barret, Criticizing Photographs Begin to research on an artist for the paper & project #2
Source : Constructing a narrative from t.v. stills ( set Ss @ 1/15 )
Collect 10 offensive photographs
#5
09/30 Shooting in the Field
10/02 Demo: Toning and Matting
#6
10/07 Workday
10/09 Yom Kippur
#7
10/14 Critique #2
10/16 Critique #2
FALL BREAK
Tuesday, September 2, 2008
How to Develop B&W film
Developing Film
General Outline
1. Measuring Chemistry ( 250ml/roll of film, and read instruction forJOBO.)Place chemistry in 68F bath, and arrange them according to their logical order. ***Note: always test the fix with hypo-check.
2. Go in to film loading room. Arrange what you need clearly on the counter. Make sure to have extra reels and tank ready. When ready turn light off, and/or close the door behind you. Wait long enough for the flourescent light to stop working. In the dark make sure to check for light leaks. ****If loading your film takes longer then 20 mn, don’t panic!!!!!! Put your film in an empty container, close the lid, and go out to get help.
3. Follow instructions to develop your film. Make sure to replenish or dump certain chemicals
****sometimes the fix comes out looking a bit strange in color, but if it was checked , it is o.k.
When hypo-clear change its color, it is time to ask the monitor to change
4. Once you are done, make sure to clean up after yourself.
5. Drying film should not take longer then 20 min. When opening and closing the dryer, make sure to have the fan turned off.
6. Once the film is done, take it to a dry area to follow the rest of the way
DEVELOPING B&W FILM
****Temperature must be kept constant @ 68F or 20C.
Unless indicated agitation must be constant during the first 30secs, and afterward 5 secs for every 30 secs cycle.
____________________________________________________________________________________
PRE-SOAK
water 5 minutes constantAGITATION
DEV replenish
TIME read directions
AGITATION normal
STOP water or stop
TIME 1 min for water
30 secs for stop
AGITATION constant
FIX save
fix
TIME 6-8 minutes until clear
AGITATION normal
RINSE
water
TIME 1 minute
AGITATIONconstant
HYPO-CLEAR save
hypo clear
TIME 3 minutes
AGITATION constant
WASH
hurricane washer
20 minutes
N/A
FOTO-FLOW dump
one drop
TIME 30 secs
AGITATION constant
****make sure to always test fixer
It is best to use distilled water for photo flow
Rinse and put away containers…..
General Outline
1. Measuring Chemistry ( 250ml/roll of film, and read instruction forJOBO.)Place chemistry in 68F bath, and arrange them according to their logical order. ***Note: always test the fix with hypo-check.
2. Go in to film loading room. Arrange what you need clearly on the counter. Make sure to have extra reels and tank ready. When ready turn light off, and/or close the door behind you. Wait long enough for the flourescent light to stop working. In the dark make sure to check for light leaks. ****If loading your film takes longer then 20 mn, don’t panic!!!!!! Put your film in an empty container, close the lid, and go out to get help.
3. Follow instructions to develop your film. Make sure to replenish or dump certain chemicals
****sometimes the fix comes out looking a bit strange in color, but if it was checked , it is o.k.
When hypo-clear change its color, it is time to ask the monitor to change
4. Once you are done, make sure to clean up after yourself.
5. Drying film should not take longer then 20 min. When opening and closing the dryer, make sure to have the fan turned off.
6. Once the film is done, take it to a dry area to follow the rest of the way
DEVELOPING B&W FILM
****Temperature must be kept constant @ 68F or 20C.
Unless indicated agitation must be constant during the first 30secs, and afterward 5 secs for every 30 secs cycle.
____________________________________________________________________________________
PRE-SOAK
water 5 minutes constantAGITATION
DEV replenish
TIME read directions
AGITATION normal
STOP water or stop
TIME 1 min for water
30 secs for stop
AGITATION constant
FIX save
fix
TIME 6-8 minutes until clear
AGITATION normal
RINSE
water
TIME 1 minute
AGITATIONconstant
HYPO-CLEAR save
hypo clear
TIME 3 minutes
AGITATION constant
WASH
hurricane washer
20 minutes
N/A
FOTO-FLOW dump
one drop
TIME 30 secs
AGITATION constant
****make sure to always test fixer
It is best to use distilled water for photo flow
Rinse and put away containers…..
Monday, September 1, 2008
Syllabus Color
PROBLEMS: COLOR PHOTOGRAPHY. Fall 2008
Tues & Thur : 7 to 10 pm. PHOTO LAB
PIPO NGUYEN-DUY, ASSOCIATE PROFESSOR
OFFICE HOURS: WED 11am to 1pm
Email : pipo @oberlin.edu
…a polished and meticulous realism in which there is no sign of brush work and no traces of impressionism, the atmospheric effects being achieved by infinitely careful of ton, by the most exact study of the relative clarity of near and far , and by a precise rendering of the variations in texture and color produce by direct and reflect rays.
John I.H. Baur , Whitney Museum Director, 1954
“ Could Raphael have looked upon a Hillotype just before completing his Transfiguration, the palette and brush would have fallen from this hand, and his picture would have remained unfinished.” The Daguerrian Journal 1850
I photograph to find out what something will look like photographed. Garry Winnogrand
I am not a Historian, I create History. These images are anti-decisive movement. It is possible to create any image one thinks of this possibility, of course, is contingent on being able to think and create. The greatest potential source of photographic imagery is the mind. Les Krim
Life itself is not reality. We are the ones who put it into stones and pebbles. Frederick Sommers
• This class is designed for intermediate photography students with a strong foundation in picture taking and darkroom practice. This is an Art Studio Class dealing with Color Photography with an emphasis on the history of the medium and its relationships to contemporary culture and to the other art media .
OBJECTIVES
We will refine our camera skills, creating the good working negative, and learning how to make a fine color print. Good technical skills and a strong foundation on photographic design will help to create visually seductive and arresting photographic images.
Good technical skills and formal strength, however, are not the only goals of this class. Students will be introduced to photographic theories and issues as well. Students will be encouraged to apply their critical skills in order to discuss the photograph in both form and content, and to be able to contextualize what they learn in the classroom and what they create to the history of photography, to other art media, and to the real world.
METHODS
We will accomplish our goals through class demonstrations, studio projects and critiques lectures, reading and writing assignments, attending visiting artist lectures…….
ASSIGNMENTS
Assignments are designed to introduce students to critical photographic topics and it is organized along the timeline of the medium’s history. On the first half of the semester assignments are focused on the medium formal and technical elements. In the second half, assignments are more content oriented, and their focus will be the transgression of the medium's boundaries. Finally, students will design their own final project after having familiarized themselves with the technical and conceptual possibilities within the medium.
#1:
#2: A Sense of Place
#3: Interpretations and reinterpretations
#4: Eden: Reconsidered
#5: Final Project
DIGITAL SOURCE BOOK (BLOG)
Each week, students are asked to collect at least 20 images to be stored for future reference. In addition to the weekly 10 new images, there will be assignments designed specifically to be included in the source book. Students will be asked to share their source books with the class and in the end the source books will be considered as a part of their final grades.
COURSE REQUIREMENTS
Your timely attendance is required
2 unexcused absents will constitute a drop, 15 minutes late is considered an absent
Completion of all projects by the required dates. Late projects will not be considered for critique
A 20 minutes presentantion. After reading selected chapters from Barret, Terry. Criticizing the Photograph, students will be asked to review an artist or a photographic movement of their choice.
Class participation
Flawless etiquette in the lab ( see house rules.)
Meet with Instructor at least twice outside of class for progress report
HOUSE RULES
The working area and the darkroom must be kept free of personal materials at all times.
Only students enrolled in class or students with instructor’s permission can work in the lab
Students must pay the appropriate lab fee
Students must sign in each time he/she uses the lab
Students will contribute their time to the maintenance of the facilities.
If any student, after 2 warnings, continues violate lab rules he/she will loose access to the darkroom
REQUIRED TEXTS
All reading materials with the exceptions of handouts are kept in the reserved or the open-reserved sections of the art library. There are many books set aside in the open-reserved area for your independent research.
Robert Hirsh,.Color Photography( open reserved). Also available at the Dome.
RECOMMENDED PUBLICATIONS
Contact Sheet
Color
Aperture Magazine
CameraWork
RECOMMENDED TEXTS
Barret, Terry. Criticizing the Photograph
Jonathan Green . A Critical History. American Photography
WORKLOAD
This is a labor intensive class, which will require approximately 15+ hours beyond normal class time. If you are signed up for this course, be aware of the intensity of the class, and schedule your classes accordingly.
COSTS
This class could be prohibitive because of its costs. Students will spend approximately $300 to $600 per semester on materials.
HEALTH & SAFETY
Appropriate clothing, shoes are required at all time. And precautions must be taken when working with extremely hazardous materials such as toners. Beyond your personal safety, you must be sensitive to our environment, you have to make sure of knowing how to dispose of chemicals appropriate and to conserve water whenever you can.
PHOTO SUPPLIERS
The Photo Co-Op
Loomis Camera, Elyria www.loomiscamera.com
413 Broad St,Elyria, OH 44035.(440) 322-3325
Dodd's Photo, Cleveland www.doddcamera.com
Phone: (216) 361-6800Toll free: (800) 507-1676
2077 East 30th Street. Cleveland, OH 44115
The Framing Workshop (matting and framing), Oberlin
B & H, NY. 1-800-947-7785. www.bhphotovideo.com
Freestyles Sales Co., LA.1-800-292-6137. www.freestylesalesco.com
WEB RESOURCES
http://zonezero.com/
http://www.khake.com
http://historymatters.gmu.edu/mse/Photos/online.htm
http://www.masters-of-photography.com/
http://www.artandculture.com/index.html
http://www.geh.org/photographers.html
http://www.photography-guide.com/
www.iheartphotograph.blogspot.com/
http://ffffound.com/
MATERIALS
Manual Camera
Film (TBD)
Negative sleeves
Negative Storage Container
Color photo paper (TBD)
Photographic Grey Card
Hand towel
Lens tissues and cleaner
Scissors & Can Opener*
Tripod*
Cable release*
Lock for lockers
Tues & Thur : 7 to 10 pm. PHOTO LAB
PIPO NGUYEN-DUY, ASSOCIATE PROFESSOR
OFFICE HOURS: WED 11am to 1pm
Email : pipo @oberlin.edu
…a polished and meticulous realism in which there is no sign of brush work and no traces of impressionism, the atmospheric effects being achieved by infinitely careful of ton, by the most exact study of the relative clarity of near and far , and by a precise rendering of the variations in texture and color produce by direct and reflect rays.
John I.H. Baur , Whitney Museum Director, 1954
“ Could Raphael have looked upon a Hillotype just before completing his Transfiguration, the palette and brush would have fallen from this hand, and his picture would have remained unfinished.” The Daguerrian Journal 1850
I photograph to find out what something will look like photographed. Garry Winnogrand
I am not a Historian, I create History. These images are anti-decisive movement. It is possible to create any image one thinks of this possibility, of course, is contingent on being able to think and create. The greatest potential source of photographic imagery is the mind. Les Krim
Life itself is not reality. We are the ones who put it into stones and pebbles. Frederick Sommers
• This class is designed for intermediate photography students with a strong foundation in picture taking and darkroom practice. This is an Art Studio Class dealing with Color Photography with an emphasis on the history of the medium and its relationships to contemporary culture and to the other art media .
OBJECTIVES
We will refine our camera skills, creating the good working negative, and learning how to make a fine color print. Good technical skills and a strong foundation on photographic design will help to create visually seductive and arresting photographic images.
Good technical skills and formal strength, however, are not the only goals of this class. Students will be introduced to photographic theories and issues as well. Students will be encouraged to apply their critical skills in order to discuss the photograph in both form and content, and to be able to contextualize what they learn in the classroom and what they create to the history of photography, to other art media, and to the real world.
METHODS
We will accomplish our goals through class demonstrations, studio projects and critiques lectures, reading and writing assignments, attending visiting artist lectures…….
ASSIGNMENTS
Assignments are designed to introduce students to critical photographic topics and it is organized along the timeline of the medium’s history. On the first half of the semester assignments are focused on the medium formal and technical elements. In the second half, assignments are more content oriented, and their focus will be the transgression of the medium's boundaries. Finally, students will design their own final project after having familiarized themselves with the technical and conceptual possibilities within the medium.
#1:
#2: A Sense of Place
#3: Interpretations and reinterpretations
#4: Eden: Reconsidered
#5: Final Project
DIGITAL SOURCE BOOK (BLOG)
Each week, students are asked to collect at least 20 images to be stored for future reference. In addition to the weekly 10 new images, there will be assignments designed specifically to be included in the source book. Students will be asked to share their source books with the class and in the end the source books will be considered as a part of their final grades.
COURSE REQUIREMENTS
Your timely attendance is required
2 unexcused absents will constitute a drop, 15 minutes late is considered an absent
Completion of all projects by the required dates. Late projects will not be considered for critique
A 20 minutes presentantion. After reading selected chapters from Barret, Terry. Criticizing the Photograph, students will be asked to review an artist or a photographic movement of their choice.
Class participation
Flawless etiquette in the lab ( see house rules.)
Meet with Instructor at least twice outside of class for progress report
HOUSE RULES
The working area and the darkroom must be kept free of personal materials at all times.
Only students enrolled in class or students with instructor’s permission can work in the lab
Students must pay the appropriate lab fee
Students must sign in each time he/she uses the lab
Students will contribute their time to the maintenance of the facilities.
If any student, after 2 warnings, continues violate lab rules he/she will loose access to the darkroom
REQUIRED TEXTS
All reading materials with the exceptions of handouts are kept in the reserved or the open-reserved sections of the art library. There are many books set aside in the open-reserved area for your independent research.
Robert Hirsh,.Color Photography( open reserved). Also available at the Dome.
RECOMMENDED PUBLICATIONS
Contact Sheet
Color
Aperture Magazine
CameraWork
RECOMMENDED TEXTS
Barret, Terry. Criticizing the Photograph
Jonathan Green . A Critical History. American Photography
WORKLOAD
This is a labor intensive class, which will require approximately 15+ hours beyond normal class time. If you are signed up for this course, be aware of the intensity of the class, and schedule your classes accordingly.
COSTS
This class could be prohibitive because of its costs. Students will spend approximately $300 to $600 per semester on materials.
HEALTH & SAFETY
Appropriate clothing, shoes are required at all time. And precautions must be taken when working with extremely hazardous materials such as toners. Beyond your personal safety, you must be sensitive to our environment, you have to make sure of knowing how to dispose of chemicals appropriate and to conserve water whenever you can.
PHOTO SUPPLIERS
The Photo Co-Op
Loomis Camera, Elyria www.loomiscamera.com
413 Broad St,Elyria, OH 44035.(440) 322-3325
Dodd's Photo, Cleveland www.doddcamera.com
Phone: (216) 361-6800Toll free: (800) 507-1676
2077 East 30th Street. Cleveland, OH 44115
The Framing Workshop (matting and framing), Oberlin
B & H, NY. 1-800-947-7785. www.bhphotovideo.com
Freestyles Sales Co., LA.1-800-292-6137. www.freestylesalesco.com
WEB RESOURCES
http://zonezero.com/
http://www.khake.com
http://historymatters.gmu.edu/mse/Photos/online.htm
http://www.masters-of-photography.com/
http://www.artandculture.com/index.html
http://www.geh.org/photographers.html
http://www.photography-guide.com/
www.iheartphotograph.blogspot.com/
http://ffffound.com/
MATERIALS
Manual Camera
Film (TBD)
Negative sleeves
Negative Storage Container
Color photo paper (TBD)
Photographic Grey Card
Hand towel
Lens tissues and cleaner
Scissors & Can Opener*
Tripod*
Cable release*
Lock for lockers
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