More pictures on their way; check back soon. And don't worry, we've got a better class picture than this.
Saturday, December 12, 2009
beautiful seminar
More pictures on their way; check back soon. And don't worry, we've got a better class picture than this.
Sunday, November 1, 2009
Sepia Toning
Sepia toner comes in 2 parts: A & B
A is bleach and B is toner.
Make sure your print is thoroughly fixed and washed. If the print is dry , make sure to soak it again. Also make sure your print is about one stop darker.
Set up using only with trays that is meant for toning and not clean viewing trays. Also make sure to have a tray with water between the Bleach and Toner
1. Place wet print in part A.
Agitate constantly and pay attention to the highlight, making sure not loosing details
After about 2 minutes move it and let it rest in the water tray
2. Make sure to drain water from the print and place it in part B. Agitate and after 2 minutes or when it looks right, take it out. Rinse for 5 minutes , hypo clear and wash for 20 minutes
*** if taking too long , the toner is exhausted. Notify monitors
A is bleach and B is toner.
Make sure your print is thoroughly fixed and washed. If the print is dry , make sure to soak it again. Also make sure your print is about one stop darker.
Set up using only with trays that is meant for toning and not clean viewing trays. Also make sure to have a tray with water between the Bleach and Toner
1. Place wet print in part A.
Agitate constantly and pay attention to the highlight, making sure not loosing details
After about 2 minutes move it and let it rest in the water tray
2. Make sure to drain water from the print and place it in part B. Agitate and after 2 minutes or when it looks right, take it out. Rinse for 5 minutes , hypo clear and wash for 20 minutes
*** if taking too long , the toner is exhausted. Notify monitors
Vis/Pro Syllabus Complete FALL 2009
#1
09/01 Intro
09/03 Bring camera and film to photograph
Lecture: Camera, Film and Exposure
Demo: Film Developing
Blogs
Class pic
Read: Upton & Upton. Chapter 1,2 &3.
Source Book: 10 Photographers-Names and examples
A paragraph on the most important photograph in your life
09/05-06 Lecture: Project #1
Demo: Making Contact Sheet ,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"
#2
09/08 Printing
09/10 Printing
Source: What is offensive? 10 examples
#3
09/15 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.
09/17 Workday
#4
09/22 Critique#1
09/24 Critique#1
Source: Names and examples of at least 3 artists for possible emulation
09/29
10/01
10/06 Demo: Toning and Matting
10/08 Workday
Source: 20 images lifted from other blogs
10/13 Critique #2
10/15 Critique #2
Fall Break
Vis/pro Sylllabus. Fall 2009
2nd Module
10/27 Lecture: Personae
Demo: Scanning
Sign up for Evaluations
Lab clean up
Sourcebook: 3 portfolio from Zone Zeroe
Check out pinhole resource
10/29
Bring materials for Pin Hole
Demo: Toning
Source Book: Nominating the best 3 blogs
Weekend Brunch @ Pipo
11/03 Lecture: Brief History
Workday
11/05 Lecture: The landscape
Demo: Lighting
Work in Progress
11/10 Workday
11/12 Critique 3
11/17 Critique 3
11/19 Lecture and demo
11/24 Open Lab
11/26 Thanksgiving
12/01 Work in progress
12/03 Workday
12/08 Final Critique
12/10 Final Critique
09/01 Intro
09/03 Bring camera and film to photograph
Lecture: Camera, Film and Exposure
Demo: Film Developing
Blogs
Class pic
Read: Upton & Upton. Chapter 1,2 &3.
Source Book: 10 Photographers-Names and examples
A paragraph on the most important photograph in your life
09/05-06 Lecture: Project #1
Demo: Making Contact Sheet ,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"
#2
09/08 Printing
09/10 Printing
Source: What is offensive? 10 examples
#3
09/15 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.
09/17 Workday
#4
09/22 Critique#1
09/24 Critique#1
Source: Names and examples of at least 3 artists for possible emulation
09/29
10/01
10/06 Demo: Toning and Matting
10/08 Workday
Source: 20 images lifted from other blogs
10/13 Critique #2
10/15 Critique #2
Fall Break
Vis/pro Sylllabus. Fall 2009
2nd Module
10/27 Lecture: Personae
Demo: Scanning
Sign up for Evaluations
Lab clean up
Sourcebook: 3 portfolio from Zone Zeroe
Check out pinhole resource
10/29
Bring materials for Pin Hole
Demo: Toning
Source Book: Nominating the best 3 blogs
Weekend Brunch @ Pipo
11/03 Lecture: Brief History
Workday
11/05 Lecture: The landscape
Demo: Lighting
Work in Progress
11/10 Workday
11/12 Critique 3
11/17 Critique 3
11/19 Lecture and demo
11/24 Open Lab
11/26 Thanksgiving
12/01 Work in progress
12/03 Workday
12/08 Final Critique
12/10 Final Critique
Monday, September 7, 2009
052/02 Email Fall 2009
brian.becker@oberlin.edu,Brendan.Casey@oberlin.edu,
Gary.Cohen@oberlin.edu, Rachel.cotterman@oberlin.edu,
efeld@oberlin.edu,sjee@oberlin.edu,
slo@oberlin.edu,Rebecca.Mann@oberlin.edu, arhee@oberlin.edu ,
lla@oberlin.edu,Claire.Stepherson@oberlin.edu,lkim@oberlin.edu,colemma@gmail.com,
joanna.percher@oberlin.edu,afine@oberlin.edu,nmine@oberlin.edu
Gary.Cohen@oberlin.edu, Rachel.cotterman@oberlin.edu,
efeld@oberlin.edu,sjee@oberlin.edu,
slo@oberlin.edu,Rebecca.Mann@oberlin.edu, arhee@oberlin.edu ,
lla@oberlin.edu,Claire.Stepherson@oberlin.edu,lkim@oberlin.edu,colemma@gmail.com,
joanna.percher@oberlin.edu,afine@oberlin.edu,nmine@oberlin.edu
052/01 Email Fall 2009
Alyssa.cypher@oberlin.edu, jdevito@oberlin.edu,tfung@oberlin.edu,
sjang@oberlin.edu, sniedbal@oberlin.edu,
Francesca.reinisch@oberlin.edu,nsteinma@oberlin.edu,
aolmsted@oberlin.edu,lbriffa@oberlin.edu,hadass.silver@oberlin.edu,
achomet@oberlin.edu,sblankem@oberlin.edu,apohanka@oberlin.edu,
rblank@oberlin.edu, ddudley@oberlin.edu
sjang@oberlin.edu, sniedbal@oberlin.edu,
Francesca.reinisch@oberlin.edu,nsteinma@oberlin.edu,
aolmsted@oberlin.edu,lbriffa@oberlin.edu,hadass.silver@oberlin.edu,
achomet@oberlin.edu,sblankem@oberlin.edu,apohanka@oberlin.edu,
rblank@oberlin.edu, ddudley@oberlin.edu
Friday, September 4, 2009
Color Group Email. Fall 09
theora.kvitka@oberlin.edu,leah.greenberg@oberlin.edu,
sophia.miles@oberlin.edu,Erika.zarowin@oberlin.edu,
leo.walker@oberlin.edu,elias.steltenpohl@oberlin.edu,
vkarim@oberlin.edu,Sophia.yapalater@oberlin.edu,
James.hagan@oberlin.edu,Meredith.simon-pearson@oberlin.edu
sophia.miles@oberlin.edu,Erika.zarowin@oberlin.edu,
leo.walker@oberlin.edu,elias.steltenpohl@oberlin.edu,
vkarim@oberlin.edu,Sophia.yapalater@oberlin.edu,
James.hagan@oberlin.edu,Meredith.simon-pearson@oberlin.edu
052. Vispro Syllabus, Fall 2009
#1
09/01
09/03 Bring camera and film to photograph
Lecture: Camera, Film and Exposure
Demo: Film Developing Making Contact Sheet
Blogs
Read: Upton & Upton. Chapter 1,2 &3.
Source Book: 10 Photographers-Names and examples
A paragraph on the most important photograph in your life
09/05-06 Lecture: Project #1
Demo: Making Contact Sheet ,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"
#2
09/08 Printing
09/10 Printing
#3
09/15 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.
09/17
#4
09/22 Critique#1
09/24 Critique#1
09/29
10/01
10/06 Demo: Toning and Matting
10/08 Workday
10/13 Critique #2
10/15 Critique #2
Fall Break
09/01
09/03 Bring camera and film to photograph
Lecture: Camera, Film and Exposure
Demo: Film Developing Making Contact Sheet
Blogs
Read: Upton & Upton. Chapter 1,2 &3.
Source Book: 10 Photographers-Names and examples
A paragraph on the most important photograph in your life
09/05-06 Lecture: Project #1
Demo: Making Contact Sheet ,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"
#2
09/08 Printing
09/10 Printing
#3
09/15 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.
09/17
#4
09/22 Critique#1
09/24 Critique#1
09/29
10/01
10/06 Demo: Toning and Matting
10/08 Workday
10/13 Critique #2
10/15 Critique #2
Fall Break
078/01 Syllabus. Fall 2009
#1
09/01 Intro
Ordering Materials
Create Blogs
09/03 Color Exposure
Demo: Film Developing
Demo: Printing
Project #1
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
09/05-06
#2
09/08 Looking at Exercise #1
09/10 Demo: The Digital Contact Sheet
Source Book: 10 examples of work and photographers of post 90s
Read: T. Barret Criticizing Photographs First 3 chapters
#3
09/15 Critique #1
09/17 Critique #1
Making a book
#4
09/22 Lighting
10 images made with artificial lightings (not yours)
09/24 Lighting
your 3 images with artificial lights
#5
09/29 Workday
10/01 Workday
#6
10/06 Crit# 2
10/08 Crit #2
#7
10/13 Project #3
Source: 5 photographers working with staged narratives
10/15 Open
Fall Break
Wednesday, April 8, 2009
Syllabus. 064/01 Spring 09 , 2nd module
3/30 Movie: The Vertical Ray of the Sun
4/01 Project #3
4/04 Field Trip: Abandoned Green House
4/05 Cleveland Museum of Art : Lee Frielander
4/06 Work Day
4/08 #3 Critique ( 5 prints)
4/13 Work Day
4/15 #3 Critique ( continues)
4/20 Work Day
4/22 #3 Critique ( continues)
4/27 Slides lecture. Looking at blog. Final Crit date
4/29 Open Lab
5/04 Work Day
5/06 Final Project Crit ?
4/01 Project #3
4/04 Field Trip: Abandoned Green House
4/05 Cleveland Museum of Art : Lee Frielander
4/06 Work Day
4/08 #3 Critique ( 5 prints)
4/13 Work Day
4/15 #3 Critique ( continues)
4/20 Work Day
4/22 #3 Critique ( continues)
4/27 Slides lecture. Looking at blog. Final Crit date
4/29 Open Lab
5/04 Work Day
5/06 Final Project Crit ?
Wednesday, February 25, 2009
064Spring 09 Syllabus
Problems: PHOTOGRAPHY.
ART 064. MON & WED 7pm to 9-45pm.
PIPO NGUYEN-DUY, ASSOCIATE PROFESSOR
OFFICE: ART 112. Wed 11 to 1
PHONE: 5-8133. Email : pipo @oberlin.edu
" In photography's early decades, photographs were expected to be idealized images. This is still the aim of most amateur photographers, for whom a beautiful photograph is a photograph of something beautiful, like a woman, a sunset ".Susan Sontag. " America, Seen Through Photographs, Darkly "
" A photographic portrait, is a picture of someone who knows he's being photographed." Richard Avedon
" Everything looks real, and therefore it is real, and the things is real even if, like Alice in Wonderland, it never existed." Umberto Ecco. Travel in Hyperreality
" Of the same order as the impossibility of rediscovering an absolute level of the real is the impossibility of staging an illusion. Illusion is no longer possible, because the real is no longer possible. It is the whole political of the parody, of hyper simulation or offensive simulation..." Jean Baudrillard. The Evil Demon of Images/ Simulacra.
• This class is designed for intermediate to advance students in photography. This is a Studio Class dealing with advance photographic techniques within the context of Artificiality and Fabrication. Technically, this class will cover Color and Large Format Photography. Thematically, students will address issues concerning The Real vs The Fabricated, Fiction vs Non-Fiction by actively staging their photographs.
METHODS
We will accomplish our goals through class demonstrations, studio projects and critiques, lectures, reading assignments, class presentations, attending visiting artist lectures, a field trip to NY
ASSIGNMENTS
Assignments are designed to introduce students to new photographic techniques and to contemporary critical photographic topics. During the first half of the semester, assignments are designed to incorporate new studio practices such as studio lighting and the large format camera. During the second half of the semester, students will design their own projects with newly acquired photographic tools, techniques and ideas.
#1: Images inspired by pre 18th century paintings from the Allen Art Museum
a collaborative project
#2: Metaphor & Equivalence: Short stories.
#3: Reinterpreting Eden
#4: Independent Project
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
A blog
Class participation
Flawless etiquette in the lab ( see house rules.)
An edition for the class portfolio
A photo portfolio
HOUSE RULES
The working area and the darkroom must be kept free of personal materials at all times.
The working area must be returned to its original conditions and go the extra step if you are the last one
Only students who are 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 must abide to the lab's and the equipment check-out posted hours
Students, if needed, will contribute their time to the maintenance of the facilities.
If any student, after 2 warnings, continues violate lab rules he/she could loose access to the darkroom
RECOMMENDED 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 for students in the open-reserved area for their independent research.
Robert Hirsch. Exploring Color Photography
Ansel Adams. The Camera, The Negative, The Print
Terry Barret , Criticizing the Photograph.
WORKLOAD
This is an intensive studio 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.
HEALTH & SAFETY
Appropriate clothing, shoes are required at all time. And precautions must be taken when working with extremely hazardous materials such as C41 chemistry. Beyond your personal safety, you must be sensitive to our environment, you have to make sure of knowing how to dispose of chemicals appropriately and to conserve water whenever you can.
PHOTO SUPPLIERS
The Photo Co-Op
Loomis Camera, Elyria
Dodd's Photo, Cleveland
The Framing Workshop (matting and framing), Oberlin
B & H, NY. 1-800-947-7785. www.bhphotovideo.com
Abbey Camera, PA. 1-800-252-2239. www.abbeycamera.com
Freestyles Sales Co., LA.1-800-292-6137. www.freestylesalesco.com
Light Impressions (matting and framing) .1-800-828-6216
WEB RESOURCES
http://zonezero.com/
http://historymatters.gmu.edu/mse/Photos/online.htm
http://www.masters-of-photography.com/
http://www.artandculture.com/index.html
http://www.largeformatphotography.info/
http://www.photography-guide.com/
Dates
2/02 Intro
Catching up and review
Exercise # 1
2/04 4x5
Color Film
Color Printing
***materials
2/07 Field Trip
2/09 Exercise # 1 due
Lighting
4x5 focus
2/11 More Demo
Movie : Boxfull of Moon Light
2/12 2/15 NYC?
2/16 Work Day
2/17** Work Day
2/23 Open Lab
2/25 Critique
3/02 Project #2
3/04 Movie: Vertical Ray of the Sun
3/09 Workday
3/11 Workday
3/16 Critique
3/18 Critique
Spring Break
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