arts1850f12 syllabus swarts · PDF file Photography Reborn: Image Making in the Digital Era...

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    Loretta Lux “The Drummer” 2004. Nancy Burson, Untitled, 2003

    arts1850 digital photography CCRI Fall 2012 3.00 credit hours section 01: mw 11am-12:50pm section 02: thurs-6-10pm matthew swarts [email protected] cel l phone: 617.571.2883

    what is digital photography for? Technology has recently altered our ability to clearly define photography, and this is liberating. This class will explore image-making from a digital perspective. We will spend time discussing the theoretical and historical implications of imaging technology, but our time will be primarily focused upon discovering new ways for using the digital camera and the computer to make interesting things, with a de-emphasis on worrying about how to name or define them.

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    What constitutes photography is up for grabs, and an interesting question. Don’t let anybody tel l you otherwise. We will work with Adobe Photoshop and any other programs you are interested in sharing and exploring. Roughly half the semester will be spent exploring and acquiring technical skills, with the remainder of the time devoted to independent work. The focus of this class is really your independent work. Each of you is responsible for creating a signif icant body of work. This could take many forms: a series of images or objects, a web or slide show, a movie, or group of animations, hundreds of stickers, tshirts, etc. Toward the end of the semester we will decide collectively how to showcase our work: as, for example, an exhibition, a website, a porfolio, a movie, a series of emails, a deck of playing cards, etc.

     A word about critiques: each week or at least every other week, we will try to make time to discuss each other’s work. This will take the form of a discussion where each of us should have an equal footing, with myself serving as something of a moderator. From the beginning, you should try your best to speak from your hearts and to learn from each other’s comments. Please respect each other’s voices—often many of the true gems of a workshop experience come from your peers. Remember from the outset when discussing someone else’s work to keep comments and criticisms as constructively honest and helpful as possible. This is very important. Hopefully, when we look at pictures, we will be looking at and talking about art. So please remember: in matters of art, there are no facts, only opinions. Please act accordingly.

    Recommended texts

    The Complete Guide to Digital Photography (5th Edit ion)

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    Michael Freeman ISBN-10: 1600599214 Photography Reborn: Image Making in the Digital Era Jonathan Lipkin ISBN: 0810992442

    Further Reading Adobe Photoshop CS6 for Photographers: A Professional Image Editor's Guide to the Creative Use of Photoshop for the Macintosh and PC (Paperback) by Martin Evening ISBN-10: 024052604X Ways of Seeing, by John Berger On Photography, by Susan Sontag Crit ic iz ing Photographs: An Introduction to Understanding Images, by Terry Barrett

    Andreas Gursky, 99 cent store

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    Daniel Lee, Self Portraits # I, II, III & IV Schedule/Semester-At-A-Glance Week 1: (September 5-6) Introduction Week 2: (September 10-13) Digital Basics & Camera Technology Week 3: (September 17-20) Camera Controls and Basic Exposure Week 4: (September 24-27) Image Management Week 4: (Oct 1-4) Light & Strobe Week 5: (Oct 10-11 ) The Photoshop Workspace: an Introduction Week 6: (Oct 15-18) Image Enhancement Week 7: (Oct 22-25) Image Manipulation Week 8: (Oct 29-Nov1) Output Week 9: (Nov 5-8) Presentation Week 11: (Nov 14-16) Introduction to Independent Work

    Week 12: (Nov 19-21) Week 13: (Nov 26-29) Brief Introduction to Digital Video Week 14: (Dec 3-6) Independent Work Week 15: (Dec 10-13) Independent Work Week 16: (Dec 13-17) Final Review

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    luis gispert •A word at the outset: this class will challenge you. •Take things seriously from the beginning, and I promise you will find your time spent here rewarding, engaging, and perhaps even fun. •You must come to class each week, be prepared with all the relevant materials, and complete all the assignments. Assignments are given based upon the technical, formal, and theoretical material discussed each week in class. Late assignments are your responsibility and will not, in most cases, be discussed in class the following week. If

    you miss an assignment one week, you are expected to make it up by the end of the following week, knowing that work turned in a week late drops your grade for that assignment by one letter grade. Assignments not completed after this period result in an incomplete for that class, even if you were in attendance. More than two such incompletes and you will receive an incomplete for the whole semester. •The class weblog is located at Each week you will be responsible for uploading work via both as a means for sharing and a record of the semester’s progress. •Assignments are detailed verbally in class and accompanied by an emailed pdf file. Keep this in mind, for although all the material will be available online, you need to be present in class or have a friend relay information to you to know the assignment for coming weeks. You will always have something to do for this class, so allot several hours per week for making your work both in the field and in the lab. These facilities get heavy traffic, so plan ahead and schedule your time in the lab accordingly. It is your responsibility to make arrangements each week to get into the lab to make your work. After we all have proper materials and access, excuses about lab crowds or an inability to access facilities will not be tolerated.

    •Photocopied readings will be provided as handouts each week, or will be discussed and referred to in their PDF format. Occasionally, we will read and discuss them as a group, but they are

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    intended as an optional but highly recommended supplement to our class time. I hope you will find ways to make use of them both within and outside the scope of this class. •In accordance with College policy, I will use your CCRI college email address ( to communicate with you about all course related matters. •One short paper will accompany an assignment investigating the work of an artist who has influenced your work. •Attendance: No greater than two absences will be tolerated. Miss more than two classes— lecture or lab and regardless of excuse—and you receive an automatic incomplete, without exception. •Students are expected to read and understand CCRI’s Academic Integrity Policy, which can be found in the CCRI Catalog. Members of the CCRI community are expected to be honest and forthright in their academic endeavors. Students who are suspected of violating this policy will be referred to the Office of the Dean of Students. •Grading: You will receive a grade for each assignment, including the final review, based on the following scale: C=Satisfactory. Work is complete but wholly lacking engagement and originality. B=Good. Complete work with some evidence of originality, technical competence, and thought beyond merely getting things done. A=Outstanding. Work shows clear evidence of originality, passion, and engagement. Technical and conceptual elegance; several noteworthy steps beyond merely going through the motions to complete the assignment. Incomplete=Unacceptable. Assignment must be redone (see above) or incomplete will carry over to final grade. (Note: there are no “+” or “-“ symbols next to these grades. None will be given. Everything is A, B, C, or incomplete until the final grade is averaged.) Your final class grade will be based upon individual grades for the following criteria: Attendance 10% Class Participation 20% Completion of Assignments 20% Short Paper/Influence Assignment 10% Final Review 40% Note: if you require course adaptation or accommodations because of a documented disability, please email me immediately to set up an appointment to meet during office hours.

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    Materials and Faci l it ies

    Mariko Mori

    Parts of this class will be expensive. By the second week of classes, you are required to have a ful ly operational digital camera with a minimum resolution of 5.0 megapixels. No exceptions will be granted for the use of camera devices not meeting this minimum resolution. You are required to have a working memory card that matches your camera. Size is up to you, but the more you can afford is always better, as extra storage allows you to make more images during any given situation. Remember that the higher the resolution for your camera, the lower the number of images it can store for any given memory card size when compared to a camera of lower resolution. Each of you will be required to establish and maintain a account f