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.