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 .
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.
We will accomplish our goals through class demonstrations, studio projects and critiques lectures, reading and writing assignments, attending visiting artist lectures…….
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.
#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.
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.
Flawless etiquette in the lab ( see house rules.)
Meet with Instructor at least twice outside of class for progress report
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
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.
Barret, Terry. Criticizing the Photograph
Jonathan Green . A Critical History. American Photography
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.
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.
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
Negative Storage Container
Color photo paper (TBD)
Photographic Grey Card
Lens tissues and cleaner
Scissors & Can Opener*
Lock for lockers