Rear Window

In film and theatre, the concept of the fourth wall implies a separation between the audience and the actors. The actors engage in a drama while the audience passively spectates. The fourth wall is “broken” when the audience is confronted directly by the actors and stage activity. This engagement places the audience in an active role. Another example has actors speaking directly to the audience. A more extreme example might be a theatre production with audience participation.

Film Screening: Thursday, 4/14, in class, digital lab.

Please read before and after screening:

1. Michel Chion article (handout)
2. Kate Bellmore blog article: (below)

https://reelclub.wordpress.com/2013/08/04/dont-be-afraid-to-stare-rear-window-a-film-in-support-of-voyeurs/

Q&A
Based on reading, film and other sources you might find, please prepare answers to following questions for class discussion Thursday, 4/21

Rear Window Questions

1. The main character L.B. "Jeff" Jefferies (played by James Stewart) was based loosely on the famous war-correspondent photographer Robert Capa. What significant traits do the real and fictional versions of this photographer share, especially with regard to photography?
2. The modern usage of the word camera has origins in the Camera Obscura, or dark chamber. How can Jeff's apartment be considered analogous to a large camera?
3. In the most general sense, what defines the fourth wall in photography? Is this the same for film/cinema?
4. How does the film Rear Window call attention to the fourth wall (and perhaps challenge it) through visual means? Pay attention not only to the set itself, but to camera work.
5. How does Rear Window call attention to the fourth wall through the storyline/plot/narrative?
6. Describe the most poignant moments in which the fourth wall is challenged or broken in Rear
7. Overall, what seems to be Hitchcock’s attitude towards voyeurism here? Who is looking or spectating? Who is being observed? Are we as audience complicit in any way with Jeff’s fixation on his neighbors?
8. How does the concept of fourth wall relate to the notion of point-of-view? How could you use some of these ideas to engage your audience more directly in you own work?

Balancing Ambient and Strobe Exposures

f7.1 @ 1/60th second

ambient : strobe = 1:1

f7.1 @ 1/125th second

ambient : strobe = 1:2 

Ambient exposure is half as bright as strobe exposure.

f7.1 @ 1/250th second

ambient : strobe = 1:4 

Ambient exposure is one fourth as bright as strobe exposure.

Project/Phase 2

Prelim Critique: 3/10
Final Critique: 3/31

Directorial Mode

https://vimeo.com/27206443

https://www.youtube.com/watch?v=So_FK4qnz5Q

https://vimeo.com/123074890

https://www.youtube.com/watch?v=S7CvoTtus34

SM and SGAG Gallery Visits and Discussion of Reading

Thursday, 2/11

We will share a class discussion, based on the readings/discussion questions.

Focus questions for discussion:

1. Describe the historical, social and cultural background from which the "pictures generation" emerged. 
2. The author, Douglas Eklund, describes the pictures generation as the last cohesive art movement. What were some of the main concerns that these artists took up?
3. The term "hipster" might be what the author, Douglas Eklund, describes as a "commercialized pastiche of rebellious stances prepackaged for consumption." (Think about it...) This would surely cause some to bristle. How might the attitudes and methods of the pictures generation artists be categorized as proto-hipster (even if such as question might cause some to bristle)? 
4. What are the main ideas or concepts Laurie Simmons engages in her work?
5. What are some distinct differences between the conceptual approaches of Cindy Sherman and Laurie Simmons?

Grad student question:

1. Describe the important components (and problems) of postmodernism, as author Andy Grunberg describes them, such as pluralism, structuralism/poststructuralism (deconstruction), artifice, pastiche, media self-referentiality, appropriation, etc.

Useful Links:

Conceptual Art:

http://www.tate.org.uk/learn/online-resources/glossary/c/conceptual-art

Pop Art

http://www.theartstory.org/movement-pop-art.htm

Metro Pictures

http://www.metropictures.com

The Met, The pictures generation

http://www.metmuseum.org/exhibitions/listings/2009/pictures-generation

Richard Prince

http://www.richardprince.com/photographs/cowboys/#/detail/1/

Sherrie Levine

http://blog.art21.org/2011/04/15/how-to-explain-sherrie-levine-to-your-grandmother/#.VrYr7kJwWWU

Cindy Sherman

http://www.moma.org/interactives/exhibitions/2012/cindysherman/#/3/

Laurie Simmons

http://www.lauriesimmons.net/photographs/

Class Demo Schedule

1/28 Lighting Studio Orientation and Demo. Basic portrait set-ups
2/2 Darkroom demo: Split filtration techniques, toning, matting/finishing
2/4 Work Day
2/9 Prelim Critique

Revised Critique Schedule

Critique Schedule

2/9 (project/phase 1, Preliminary)
2/18 (project/phase 1, FINAL)

3/9 (project/phase 2)
4/20 (project/phase 3)
4/27 Final Portfolio

Assignment: Multi-contrast printing

Due 2/9

Work with an inspiring negative, in the darkroom, to create an expressive, "exhibition-ready" print. This negative might be one you have already printed, or a new image.

Use the multi contrast printing techniques as demonstrated in class, and process archivally. Work with  Chris as you see this print through... this is a learning opportunity.

Final image should be matted.

The Dust and Scratches Trick

The Dust and Scratches Trick

This is an incredibly powerful trick for reducing dust and artifacts quickly, with minimal effort. It works on most images, especially those that have some sort of background grain – in other words, most film-based images.  When retouching, I usually use this technique first and see how far it gets me. Then I resort to the traditional tools (healing, clone, patch, etc.) to pick up the pieces. This technique requires a little patience and exactitude to work correctly, but it’s well worth it!

1.     Unlock background Layer, by double clicking it and turning it into a regular layer

1.     Open History Options: Check ON “Allow Non-Linear History” (located in this menu)

2.     Create New Snapshot and label “dirty”

3.     Go to Filter>Noise>Dust and Scratches

4.     Adjust Radius and Threshold as appropriate (careful!)

a)    Magnify your view so you can see the scratches as well as the grain of the film.

b)    Radius should be just enough to make MOST of the scratches disappear (usually between 2 and 6). Have threshold on lowest setting while you determine this.

c)    Then gradually move the threshold slider over until the grain of the film begins to come back, but not so far that “crunchies” appear. This shouldn’t be much more than your radius setting. Click a few times in the little preview window. If you have it right, the only change should be the absence of dust.

5.     Click okay, and then (IMMEDIATELY, Pronto, RIGHT away!) make a new snapshot. Label this “clean”

6.     Target the “dirty” snapshot, so that it is highlighted (blue, in this picture)

7.     Then click in the little box to the far left of the clean snapshot. The history brush icon should appear there. This basically means that you are painting with “clean” onto the “dirty”

8.     Choose a nice, fat, soft brush, for your history brush and start painting over the dust marks.

For light scratches, paint with brush mode: Darken

For dark splotches, paint with brush mode: Lighten

9.     Retouch at 100% magnification

10.   Hint: make sure your healing brush is set to 100% opacity, and be sure you’ve targeted/sourced the correct snapshots.

This technique won’t fix everything...but it will get you far along. If you try to make it do TOO MUCH by setting your levels too high, your image quality will begin to suffer. Also be careful about where you “paint-out” the scratches. Sometimes you will obliterate parts of the image you may want to keep (delicate highlights, for example.)

Assignment: Digital Workflow

For Tuesday 1/26:

Using best practices, scan 3 negatives, adjust in PS, optimize and print

Using best practices, process and print 3 digital captures.

Initial Presentations 1/19

Please prepare a short (5-10 minute) presentation about the work you produced in your last photography course, as well as what you intend to create for project 1.

Please support this presentation by sharing one of the following:

1. Final portfolio from last course... physical prints/objects
2. Work from a specific project from last course... physical prints/objects
3. Digital documentation of prior portfolio/projects... for on-screen sharing 

Welcome

This course provides a space for you to experiment, develop and realize your photographic projects. I invite you to make a lot of pictures, try everything, and dig deep into what you need to do. Special topic areas will be explored to enrich your range of knowledge.

Critique Schedule (tentative)

2/18 (project/phase 1)
3/9 (project/phase 2)
4/20 (project/phase 3)
4/27 Final Portfolio

General topic areas

• Contemplative approaches for seeing, looking and responding to the world photographically in fresh ways
• Theories and concepts 
• Group Projects–Production Photography
• Advanced darkroom 
• Split filtration and multicontrast approaches
• Fine tuning ISO and development times
• Local and global print flashing
• Other? Possible grad student topic...
• Advanced digital processing approaches (Photoshop)
• Review of best practices in smart object workflow
• Fine tuning digital files with additional approaches
• Other? Possible grad student topic...
• Experimental digital printing approaches
• Alternate and self-prepared papers and substrates (inkAid)
• Digital emulsion transfers (DASS SuperSauce)
• Other? Possible grad student topic...
• Studio lighting
• Review of basics–everyone gets "certified" to use the lighting studio
• More advanced concerns (as needed)
• Presentation and finishing
• Exploring the options
• Matting styles
• Framing styles
• Cold press mounting on a variety of substrates
• Other? Possible grad student topic...

Expectations, all sections.

• Spend class time working in darkroom, digital lab, lighting studio, digital printing areas, etc.
• Bring all that you need to work (films, papers, digital files, stuff, etc.) to class.
• Have a specific plan for each class, whether printing, experimenting, editing on the computer, shooting in the studio, looking at photo books, writing, etc.
• Photo shoots should be scheduled for out-of-class time, with the exception of studio lighting work and special group work.
• Process film out-of-class except for special things like film testing, etc.
• Be prepared for critiques at the beginning of class–your work is graded at the time of critique

Project Categories:

Light Sensitive / Analog Processes

• Film/Darkroom Printing (a.k.a. gelatin silver)
• Alt-Process / Experimental  (cyanotype, Vandyke brown, photograms, lumin prints, etc.)
• Alt-format camera (pin-hole, medium or large-format)
• Studio lighting project
• Other?

Digital Processes

• Digital capture (or scanning of negatives), processing and printing
• Altenative capture...scan-o-grams, etc.
• Alt-Process / Experimental digital (DASS transfers, InkAid, murals, installations, etc.)
• Studio lighting project
• Other?

Course Requirements:

Art 319: Three distinct projects, plus a final portfolio, properly finished and presented. Projects require a written proposal (guidelines will be provided). Artist statement for the final portfolio. Assignments related to topic explorations should be completed.

• For projects, choose two Light Sensitive / Analog Processes, and one Digital Process

Art 418: Three distinct (or conceptually related) projects, plus a final portfolio, properly finished and presented. Projects require a written proposal (guidelines will be provided). Artist statement for the final portfolio. Assignments related to topic explorations should be completed.

Analog-track students (prior course was 318 or 319):

•  For projects, choose two Light Sensitive / Analog Processes, and one Digital Process

Digital-track students (prior course was 328 or 338):

•  For projects, choose one Light Sensitive / Analog Process, and two Digital Processes

518/618: Development of your work appropriate for graduate level. Align your work to the critique schedule. Teaching of one topic area of your choice. Artist talk/presentation. Assignments related to topic explorations should be explored and completed.