Open image (jpeg, tiff, etc) Resolution: 300 dpi Mode: RGB Color (8 bit channel)
If working with a color image, Image→Adjustment→Desaturate
Correct using Brightness/Contrast (printer prints dark, so take what looks good on monitor, and add 40-50 pts of brightness)
Flatten Image if there are layers
Make test strip in new document
Print: Printer manages colors Print setting→choose correct paper (demo paper is in small box in shelf behind print wall—DON’T USE THE BOXES THAT SAY SAM-O ON THEM!—should use premium glossy setting for final print)
Printer prints dark, so readjust on main document and make a new test strip on the same previous test document (delete previous layer to save ink)
Image→Adjustment→invert
Image→Image Rotation→flip horizontal
Image→Adjustment→Curves→load preset Desktop→Alternative…→Instructions and curves→choose your process (you can get new curves at AlternativePhotography.com/articles/art026.html
Layer→New Fill Layer→Solid Color Name whatever you want Mode: Color Hit OK Color dialogue box: C: 0 M: 55 Y: 55 K: 0
Negative media in magazine rack in back. Notch in corner goes in upper right corner
When making final print use Print Setting→Glossy photo profile, change from speed to quality.
If you have any questions about these instructions, ask Sam-o.
PHOTO MIXED-MEDIA. Spring 2008 ART064/01.Tues : 1-30pm to 4-45pmm, Wed: PHOTO LAB Pipo Nguyen-duy. Associate Professor OFFICE: ART 112. Office Hours: Tue & Thur 4-30 to 5-30 Email : pipo @oberlin.edu
“ Good taste is the enemy of creativity. “ Picasso
“ Yet the vernacular of beauty, in its democratic appeal, remains a potent instrument for change in this civilization. ……to engage individuals within and without the cultural ghetto in arguments about what is good and what is beautiful.” David Hickey, The Invisible Dragon
" And this led me to reflect, on the inimitable beauty of the pictures of nature's painting with the glass lens of the Camera throws upon the paper in its focus- fairy pictures, creatures of a moment, and destined as rapidly to fade away." William Henry Fox Talbot
“A twenty-year old stands before a microphone and, after declaring himself an all-consuming demon, proceeds to level everything around him- to reduce it to rubble.” Greil Marcus, Lipstick Traces
• This class is designed for advanced students dealing with Alternative Photographic Processes with an emphasis on challenging the boundary of the medium . During the first part of the semester projects are designed to introduce students to the photographic materials and concepts of the 19th century. During the second half of the semester however students will be encouraged to experiment with a variety of methods beyond the traditional two dimensional photographic form to convey their ideas. In the past, thesis from this class have included: paintings, performances, sculptures, installations, projections and artist’s books.
METHODS
We will accomplish our goals through class demonstrations, studio projects and critiques, lectures, reading assignments, attending visiting artist lectures and a field trip to Pittsburgh
ASSIGNMENTS
#1: CONTAINING MEMORY- The Camera as an object. #2: THE STORY OF MY NAME #3: SITES & LOCATIONS #4: THE GIFT
***in addition each student will be required to give a technical demonstration of an alternative photographic process
WORKLOAD
This is an intensive studio class, which will require approximately 20+ 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 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.
COURSE REQUIREMENTS
Attendance is required ( 2 unexcused absents will constitute a drop , 2 tardiness will constitute an unexcused absent) Completion of all projects by the required dates Class participation A technical demonstration Flawless etiquette in the lab (see house rules.)
GRADING
70% Visual projects 30% Class participation, and lab conduct
HOUSE RULES
Only students enrolled in class or students with instructors 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 are responsible for the repair of broken equipment Students must abide to the lab's posted hours Students 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
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 Hirscht. Photographic Possibilities. William Crawford The Keepers of the Light James. The Book of Alternative Photography****
The Photo Co-Op Loomis Camera, Elyria Dodd's Photo, Cleveland B & H, NY. 1-800-947-7785. www.bhphotovideo.com Freestyles Sales Co., LA.1-800-292-6137. www.freestylesalesco.com
Sources for pinhole sheets
The Pinhole Resource Star Route 15 Box 1355 San Lorenzo NM 88041 USA Phone (505) 536-9942 pinhole@wnmc.net
Pinholes made in full-hard stainless steel stock (excellent and affordable) are available from: W. Joseph Christiansen 7586 County H Post Office Box 313 Maplewood, WI 54226 920-856-6842 bubba@mail.wiscnet.net A basic set of 12 pinhole sheets is $28.00, but special orders are accepted: exact size; two pinholes on a single sheet, etc.
Bostick & Sullivan ( Alternative Chemistry) 1-505-474-0890 1-505-474-2857 -- FAX
1st Module
02/05 Introduction 02/06 Cyanotype
02/12 Kodalith 02/13 Workday Begin research on Demo
**02/15 Pittsburg meet in parking lot @10am
02/19 Lab Day 02/20 Lecture: Photography, the early years Begin research on Demo
02/26 Lab Day 02/27 Critique: The Camera
03/04 Lab Day 03/05 Reading the Story of My Name
03/11 Reading the Story of My Name 03/12 DEMO
03/18 Lab Day 03/19 Critique: The Story of My Name
ART 052/01. Tues & Thur : 9-00am to 11-45 pm. PHOTO LAB
PIPO NGUYEN-DUY,ASSOCIATEPROFESSOR
Email : pipo @oberlin.edu
Office Hours: Tue & Thur 4-30 to 5-30 pm
One day, quite some time ago, I happened on a photograph of Napoleon's youngest brother, Jerome, taken in 1852. And I realized then, with an amazement I have not been able to lessen since: "I am looking at eyes that looked at the Emperor."Roland Barthes, Camera Lucida
I was told once that more photographs exist than bricks...........Photographs, like bricks, are everywhere. Can there be anyone left who has not seen a photograph?Peter Turner, History of Photography
" And this led me to reflect, on the inimitable beauty of the pictures of nature's painting with the glass lens of the Camera throws upon the paper in its focus- fairy pictures, creatures of a moment, and destined as rapidly to fade away."William Henry Fox Talbot
I photograph to find out what something will look like photographed. Garry Winnogrand
MINOLTA
When you are the camera and the camera is you- advertisement (1976)
• This class is designed for students with very little or no photographic background. This is an Art Studio Class dealing with Photography as a medium of the visual language. The emphasis of the course isthe history of the medium and its relationships to contemporary culture and to the other art media .
OBJECTIVES
During the first half of the semester we will explore the basic techniques of silver based process and during the second half of the course, students will be introduced to the Digital Darkroom. We will learn to understand the camera, to create the good working negative, and make thefine print.. Good technical skills and a strong foundation on photographic design will help students creating 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: Sites and Locations: A Mapping Project
#2: Emulation
#3: Personae and the Fabricated Identity
#4: Utopia
DIGITAL SOURCE BOOK (Blog)
Each week, students are asked to collect at least 20 imagesfor future reference. In addition to the weeklyimages, 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 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
=One technical quiz
=Class participation
=Flawless etiquette in the lab ( see house rules.)
=A Digital Portfolioto be submitted at the end of the semester
HOUSE RULES
The working area and the darkroom must be kept free of personal materials at all times.
Equipments cannot be taken outside of the area.
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 must abide to the lab's 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 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 for students in the open-reserved area for their independent research.
Upton & Upton. Photography(open reserved). Also available at the Photo Lab
RECOMMENDED PUBLICATIONS
Contact Sheet
Color
Aperture Magazine
CameraWork
RECOMMENDED TEXTS
Barret, Terry. Criticizing the Photograph
Ansel Adams. The Camera, The Negative, The Print
Vicki Goldberged. Photography in Print
Beaumont Newhall,ed. Photography: Essays & Images
WORKLOAD
This is a labor intensive class. 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 also 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.
