About

Monday, December 5, 2011

11/12 Photographer Project

Select-Research-Email(12s only)-Write-Share-Photograph
  1. Select a photographer who is currently living (12s) or dead (11s) and working in the medium. Find a photographer who you are interested in. This is likely the most challenging and important of the steps; find a photographer that inspires you.
  2. Research several using the internet. Find your top 5 five favourite. Write 5 important points about each and put in your journal with an image for each and narrow it down to one.
  3. Email (12s only) your photographer, let them know that you are interested in their work and you are doing a project for school based on their work. Ask them for some information. Print out your email to them and their response.
  4. Write an article about the photographer's life, the medium, photostyle and offer an opinion reflection and commentary of their work in 500 to 750 words. Make sure you include a bibliography.
  5. Share your contemporary photographer with the class any way you want. You are to articulate information from your article to the class verbally, and visually.
  6. Photograph in their style, create a contact sheet and five 5 x 7 prints and one 8 x 10 print.
When you find your photographer, make sure there is some information on them even a resume can be helpful, but it will help to get more. And you will need to find at least five photos of their style.

If that doesn't work for you,
Photography Now- visual list of contemporary photographers.
Yahoo Photo Masters- index of photographers
Museum of Contemporary Photography- look up collections and also browse by artist. (I love Colleen Plumb.)
Magnum Photo
International Center of Photography
CAPIC -The Canadian Association of Professional Image Creators
PPOC- Professional Photographers of Canada
Lisa Pritchard Agency
Women in Photography

Thursday, November 10, 2011

Photo 12- Bubbles!!!

Principles of Design  ……………………………

Balance, Contrast, Emphasis, Movement, Pattern, Repetition, Rhythm, Unity/Harmony.

Photograph a simple subject with a variety of backgrounds, angles, lighting and distances using principles of design.

What to do ………………………………………

Bubbles- a simple subject packed with potential symbolism. You are to take your Bubbles and your camera everywhere. Construct and design frames using the principles of design placing your bubbles in different scenarios each time. Use the Principles of Design definitions from your work sheet as your guide and incorporate a least one of each principal into your series. Really push the boundaries, meaning, and visual concept.
Take some wild and crazy photos, choose digital or both digital and B/W film. Experiment with lighting, back and front, colour balance (digital) and filters or filter effects.

Make 2 + contact sheets, five- working prints for your PhotoDiary, and one 8 x 10 of your best for your porfolio. We will have a critique on the due date. Post best image on the “Lunatic Fringe”.

Evaluation
…………………………………………………….
Each print will be out of 5 marks, part marks will be awarded for the following:
1. Composition with clear use of design principles.
2. Technical exposure and appropriate use of depth of field and shutter speed.
3. Darkroom/Photoshop proficiency (not too much contrast, not too little).
4. Originality.
5. Professional presentation.

Wednesday, November 9, 2011

Photo11 Thrift Item Story Project

Thrift Item

Emphasis, Story Telling & Depth of Field

Photograph a simple subject with a variety of backgrounds, angles, lighting and distances while concentrating on depth of field and composition techniques to tell a visual story about the item.
1st find an item that really interests you, but it must be a tired object that has been tossed for someone else to re-purpose, or something that your family are near to put one the corner with a "Free" sign. You will be taking your thrift item and your camera everywhere, so make sure you are really committed to it. You are to experiment with composition emphasis techniques and different depth of field techniques- short, medium, long and to create a story about your item. Find, construct, and design frames using the composition techniques placing your thrift item in different scenarios to tell your object’s story visually.
What to do……………………………………………………

Find an object, or go thrift shopping. Go out on your own, take wild and crazy photos, on B/W film or digital. Make contact sheets, 5- working prints for your photodiary, and one 8 x 10 of your best image. We will have a critique on the due date…


11 Thrift Item Project Introduction


Ikea lamp commercial from Rob Sbaglia on Vimeo.

Explore composition and visual story telling in the Ikea Lamp Commercial. Today as a class me are going to isolate and identify effective compositional techniques used in the video to tell a story. Try to find the following emphasis techniques in the commercial: Leading Lines, Repetition, Framing, Rules of Thirds, Contrast.

The Aperture

Depth of Field Site
Digital Photo School

Assignment- Experiment with your aperture (Av aperture priority) for your next Random Roll. Take short, medium and lond depth of field photos for each of your topics. Print a contact sheet and put one in your photodiary.

Define the following, put in your blog/journal:
  1. Depth of Field
  2. How to Control Depth of Field
  3. Aperture/F-stop
  4. ASA/ISO/Film Speed
  5. Exposure Triangle
Find examples for your journal label each image and guess the aperture settings used on the camera.
Let's try these together...



Thursday, November 3, 2011

Night Photography

Night Shutter Assignment
  1. Still Photo with Street Lights- Camera, tripod/steady low shutter speed, low aperture, higher ISO
  2. Still Photo of Street Light with Star Effect (f-16 or higher)- Camera, tripod/steady even lower shutter speed, high aperture, higher ISO.
  3. Moving Lights/ Camera Still- Camera, tripod/steady low shutter speed, low aperture, higher ISO
  4. Moving Camera with Lights- Camera low shutter speed, low aperture, higher ISO
  5. Painting with Light- Flashlight, Tripod, Camera- Manual, Shutter Speed set to “B” setting. Draw with light. Aperture approx f5.6.
  6. Multiple Exposure 1- Flash, Tripod, Camera- Manual. Shutter Speed B Setting Flash. Flash subject and then have subject move and flash them again repeat as long as you want… Aperture- f 11 or higher.
  7. Multiple Exposure 2 with Painting with Light- Flash, Tripod, Flash Light, Camera- Manual. Shutter Speed B Setting Flash. Flash subject and then have subject move and flash them again repeat as long as you want… Aperture- f 11 or higher.
  8. Slow Blur- Tripod, Camera- Manual. Shutter Speed B Setting Have subject move slowly through the frame with a low light pointed towards them… Aperture- f 11 or higher.
  9. Slow Blur with Freeze Frame- Tripod, Camera- Manual. Shutter Speed B Setting Have subject move slowly through the frame with a low light pointed towards them, but this time, stop partway through the frame and then continue… Aperture- f 11 or higher.
  10. Experiment 
Assignment

  • Find 5 images that exemplify some of the effects from this list post in your jounal.
  • Try at least five of the listed experiments. Take three or four exposures of each.
  • Print a contact sheet- label effects, make sure the exposures are not too dark or light.
  • Put images best image in your PhotoDiary and on Ning site.

Photoshoppin' with a Green Screen image

Here is a tutorial for Green Screen editing in Photoshop.
Green Screen

Today we are going to edit three or four Halloween portraits with Halloween-ish backgrounds using Adobe Photoshop. We will go through the tutorial together with one image and then you can  try two or three on your own. Good luck. Cameron will help you...

Wednesday, October 26, 2011

Inside Out Portraits Check List

Official Inside Out Criteria
  • Journal: Collect 5 theatrical JR portrait images. Use some as a guide/inspiration.
  • PhotoDiary: Put one of your best images from each of your 3 shoots.
  • NingSite: Post at least one, but not more than 5 portraits from each shoot. Critique you buddies portraits.
  • Scan: 1 negative from each of your three shoots and save it to the shared folder.
  • Vote/Spread the Word: The InSideOut Project will be available to view online at: http://lfasinsideout.blogspot.com/ We are going to select the final mural images based on LFAS votes.
  • Model Release: In order for your portrait to be presented on the LFAS wall, you must have model and parent consent.
JR#1:Portraits of LFAS Friends
You will take a series of portraits of one person using the specific portrait “formula” that the class created. To individualize your portrait, explore a variety of expressions, positioning, and maybe some props.
  • Print a contact sheet and one 8 x 10 image.
  • Scan your best negative, save to share file.
  • Paste one photo in your PhotoDiary.
  • Answer the following questions: Describe the person in the photo: Who are they? What is their mood? Is their “Art” obvious? If so, what is their art? How does this represent LFAS?
JR#2: Portraits of Another LFAS Student/Major
Same as above, just photograph someone different this time.
JR#3: Portraits of an LFAS Elementary Student
Same as above, just photograph someone different this time.

Big Print
You are to select your very best from your whole series and print it big 20 x 24. Make sure you test the exposure, contrast, focus so it is absolutely perfect. No splotches, or dust marks will be tolerated. You have one sheet of large paper, make sure before you print including the chemicals (they must be in a large tray and fresh).

InSideOut Project Questions

Questions for InsideOut models
Ask your model 5 or more questions, record the answers and post them with your portait to the class ning site. Take 3 or more questions from the "A" list:

A-List
1) What’s your favorite Art?
2) What type of music do you listen to; what/who is your favourite band?
3) Favorite TV show, and/or movie?
4) Do you have a certain food that you eat before arting?
5) Favorite artist? Role model
6) If you had a chance to take pictures of someone famous, who would you choose and what poses would you get them to do?

B-List
7) What do you do in your spare time for fun?
8) What are your thoughts on the extinction of….
9) What do you want to be when you grow up?
10) If you could travel to anywhere in the world, where would you go?

Lunatic Question of the month (inspired by Keanu):
Go to the Forum on the Ning site to respond to the Lunatic Question of the month:
Same as #6- If you had a chance to take portraits of someone famous, who would you choose, and what pose(s) would you get them to do? Find a visual example and post it with your response.

Monday, October 10, 2011

Inside Out Portraits

In class critiques. Today we are going to take a look at everyone's 1st round of portraits and see how we are doing.
After we look at a few successful images, we are going to take turn to scan the top three negatives from the first shoot and post to the ning site.
Visit your ning buddies and view their portraits tell them which portrait you like the best and why or why you wouldn't choose it. Be constructive with your advice. Please don't just say I like this... cool

As you know, the Oreo® is a cookie with two chocolate wafers on the outside and light, creamy filling on the inside. When you’re critiquing someone’s art or photogaph, think of the chocolate wafers (the parts that hold the whole together) as praise. The fluffy stuff in the center is where you can offer room for improvement
For example . . .
a) Chocolate wafer (praise): I really like your use of complementary colors in the composition. They make the image “pop.”
b) Fluffy stuff (room for improvement): I’m wondering, though, if it might be better without that tree on the left. Or perhaps toning down the green would allow me to focus better on the center.
c) End with another chocolate wafer (praise): Your depth if field works really well to emphasize the subject...

Criticism should be honest, and constructive. Nobody wins if the discussion is simply an exchange of warm fuzzies. The goal of every critique is to discover how to make a design better, not win a gold star for perfection.

Monday, October 3, 2011

LFAS InsideOut Portrait Project

  • The models can either hold something that relates to their art, or not.
  • Models should wear a similar outfit (simple white t-shirt).
  • Models should be expressive with body language.
  • The portrait expressions should be expressive of their art, enthusiastic, fun, and candid.
  • The models should be framed from the waist up.
  • The portraits will be cut out when presented on the wall, but make sure the background is simple when you photograph them.
  • The lighting should be even, from the front, minimal shadows.

Wednesday, September 21, 2011

Camera Talk

Lots of students are asking for advice to buy cameras. So here are a few suggestions:
Nikon FM or FM2, Pentax K1000, Canon AE-1

Tuesday, September 13, 2011

Ken Lum


 Mirror Maze with 12 Signs of Depression,  2002
Ken Lum was born in 1956 in the east side of Vancouver. His parents wanted him to become a scientist, and his art teacher in high school told him that he had no compositional sense. So he went to SFU for a BSc where he took an Art History class with Jeff Wall that changed everything. After graduating from SFU, he continued his education at NYU and UBC for his Masters in Fine Arts. He currently lives in Vancouver and teaches at  UBC.

Lum is a conceptual artist, who works with a variety of materials and mediums to communicate his ideas. Using signs, furniture, photos and text and mirrors and text, his works often explore race, vulture, laguage, class, race and identity. Born into a Chinese Canadian famile living in East Vancouver his background has influenced his work. He is often associated with the "Vancouver School", of artists (photographers) who work in photo-conceptualism an explore and deliberately blurr the boundaries between the worlds of art and commerce. He likes making art that confuses art with non-art, he says in the end, he is an artist who makes art.

As an internationally respected artist, has taught in Canada, Paris, Munich, SanFransisco, and Hangzhou. His works have been exhibited throughout the world in North America, Europe and China. He has had more than 100 solo exhibits in major museums is Shanghai, Johannesburg, Istanbul, Liverpool, SaoPaolo, and Sydney to name a few.

Find our more about Ken Lum here Vancouver Art Gallery- Ken Lum 
A blog about a few of his works

STEVE, 1986

Ken Lum Assignment
Select one of Ken Lum's works from the Vancouver Exhibition below (you can also find or "Google" a different one, but clear it with the Usher first).
  1. Describe the piece.
  2. What do you think Ken Lum is trying to communicate?
  3. How does it explore race, culture, language, class, and/or identity?
  4. Define "conceptual art", how is this work a conceptual art piece?
 
Melly Shum Hate her Job, 1990


Sandhu's Maple Leaf, 2002
 

Rorschach Shopkeeper Signs
 


Red Circle, 1986


Ken Lum: Monument of East Vancouver


Sunday, September 11, 2011

Lunatic Fringe Photography Sharing Site

Today we are going to start "Ning-ing". We have an on-line photo sharing site called Lunatic Fringe. This is where we share images and ideas, critique each other's work, give encouragement and offer advice. I will be giving at least one critique assignment per month. The first excersize will be assigned today. You will have some time to set up, or update your space. I will help with details.
Don't forget about the field trip on Thursday. Bring your forms.

Wednesday, September 7, 2011

Welcome to Photography 2011/2012

Arts Matter at LFAS. This year, you will notice some extra energy around the arts with the Arts Matter lecture series where artists from all across Canada will share experiences, and ideas to divulge why the "Arts Matter" to them.

First we are going to start the year with an "Arts Matter" Portrait project to communicate why the Arts matter to us by taking photos of fellow classmates. Then we are going to take photos of friends to practice expressive portraits to get an idea how to direct people and decide what we are looking for- to best express why the Arts Matter. And finally we will invite select students from all grades and arts areas in the whole school community .



JR on TED talks
InsideOut Project
JR's Site

Wednesday, June 1, 2011

12s Zone/Bracket Project Criteria


Ansel Adams

Imogen Cunningham
Hey 12s here is the Zone/Bracket Project Criteria. Check it out!

Friday, May 27, 2011

Thursday, May 26, 2011

Wednesday, May 25, 2011

12- Zone System

Your camera’s metering modes are built to give you a correct reading under most average situations. But when you’re faced with an exceptional situation, your camera’s metering can easily be fooled, thinking a scene is brighter or darker than it actually is. This is where knowledge of the zone system can save you a lot of trouble, and help you capture not only correct but also intriguing exposures every time.

Although calculations for the zone system were originally based on black and white sheet film, the Zone System is also applicable to roll film, both black and white and color, negative and reversal, and even to digital photography.

The Zone System’s Key Concepts
The zone system divides a scene into 10 zones on the tonal scale (though there are variations of 9 and 11 zones). Every tonal range is assigned a zone. Every zone differs from the one before it by 1 stop, and from the one following it by 1 stop. So every zone change equals 1 stop difference. Zones are identified by roman numbers, with the middle tone (with 18% reflectance) being a zone V which is zone 5.
Photographers, usually are only concerned with zones III through VII (zones 3 through 7). The darkest part of a scene would fall into zone III, while the brightest part of a scene would fall into zone VII. Anything darker than zone III would render as pure black with no detail (under-exposed), while anything brighter than zone VII would render as pure white with no detail (over-exposed).
If you point your camera at an area with average reflectance and obtain the correct meter readings (a zero on the light meter), that area would be rendered as average. If you open up your lens or slow down your shutter speed by one stop, that area will become over-exposed by one stop. If you close down your lens or increase your shutter speed by one stop, that area will become under-exposed by one stop.
Now, we’ve agreed that an average tone is naturally placed into zone V. If you over-expose it by one stop, you’ll be placing it in zone VI (zone 6), causing it to render brighter than it actually is. If you under-expose it by one stop, you’ll be placing it in zone IV (zone 4) causing it to render darker than it actually is.
--------------------------------------------------------------------------------

The Zone System is a photographic technique for determining optimal film exposure and development, formulated by Ansel Adams and Fred Archer in 1939–1940. The technique is based on the late 19th century sensitometry studies of Hurter and Driffield. The Zone System provides photographers with a systematic method of precisely defining the relationship between the way they visualize the photographic subject and the final results.



0-I-II-III-IV-V-VI-VII-VIII-IX


Zone Scale
0 Pure black

I Near black, with slight tonality but no texture

II Textured black; the darkest part of the image in which slight detail is recorded

III Average dark materials and low values showing adequate texture

IV Average dark foliage, dark stone, or landscape shadows

V Middle gray: clear north sky; dark skin, average weathered wood

VI Average Caucasian skin; light stone; shadows on snow in sunlit landscapes

VII Very light skin; shadows in snow with acute side lighting

VIII Lightest tone with texture: textured snow

IX Slight tone without texture; glaring snow

X Pure white: light sources and specular reflections


The relationship between the physical scene and the print is established by characteristics of the negative and the print. Exposure and development of the negative are usually determined so that a properly exposed negative will yield an acceptable print on a specific photographic paper.



Wednesday, April 13, 2011

12s Survey

All Grade 12s are required to complete this survey:

www.bced.gov.ca/sat_survey/access.htm
I will give you a special # assigned just for you.

There are 2 sections, after section 1, it will say thank-you + then there are a few more question.

12 Still Life

Texture, Glass, Metal Stil Life

You are to create three studio still life compositions using metal, glass and textured objects. Compose a series of photos for each object; include backgrounds, a table and covering, and use one or two lights. Be creative with your objects, consider the compositions, backgrounds, exposures, depth of field (you are the art director, photographer and technician). For each you are to set-up your lighting carefully. Try different lighting techniques to gain a greater understanding of lighting styles. Try to vary the lighting intensity to vary the depth of field. Brighter lights= more in focus. Remember compostition techniques and be creative to make your simple objects extraordinary!

Contact Sheet(s) and 3 Prints Due April 19 in your Portfolio.


Project Criteria

Define LFAS/Why Art Matters

Post a comment below, or visit my event on facebook:
http://www.facebook.com/event.php?eid=184367654942852&pending
We are looking forward to your response.

Wednesday, April 6, 2011

Spontaneous Combustion- Year End Show

It's that time of year... start getting your major piece together for the final show! YooHoo!!
Dates to Remember:
  • May 8, 1-5 || Manditory Rehearsal Sunday ||
  • May 9 & 10, afterschool 3-6 || Rehearsals || (only students working for the show being rehearsed have to be there)
  • May 10 & 11, 7pm || SHOW TIME || (curtain call @6pm, door opens at 6:45pm) You must be there for both nights, either you will be in the audience for your piece, or you will assist the running of the show.
Year End Show Criteria
  1. Plan/Music Selection
  2. Contact Sheet
  3. Edit, Organize & Manipulate Images
  4. Final Projected Light Extravaganza
  5. Critique
Official Spontaneous Combustion Criteria

Monday, April 4, 2011

Final Show Inspiration



What sort of visual compositions are used in Adele's Rolling in the Deep?
What sort of story/theme is communicated?

Post an inspiring music video for others to check out.
Comment on why you recommend this video. Mention visual elements that attracted you to it and how the images work with the music.

Tuesday, March 29, 2011

12s Concentration Critique

Part 1- Self Reflection-
Discuss your concentration. Type your critique using Word, add it to your journal.
  1. Identify the topic, how is it meaning full to you?
  2. How is your message communicated?
  3. What are you trying to say about your topic through your images? Site specific examples.
  4. Of the different mediums that you used to portray your concentration, which do you think works best with your topic? Explain why and give specific examples.
Post 4 or more of your Concentration photos in VoiceThread. Email the link to your buddies, or post the link to your Lunatic Fringe page so they can find your VoiceThread post to comment.



Part 2- Reflect on Photos of 3 Buddies (note new buddy group)
  1. Identify topic of the concentration.
  2. How is the message communicated?
  3. Which image best communicates the topic (explain why/how)?

 

Wednesday, March 16, 2011

JR's Inside Out Project

JR, a semi-anonymous French street artist, uses his camera to show the world its true face, by pasting photos of the human face across massive canvases. At TED2011, he makes his audacious TED Prize wish: to use art to turn the world inside out. Learn more about his work and learn how you can join in at insideoutproject.net.
http://www.jr-art.net/
Women are Heros Trailer



Part A
Choose one of the following topics from JR’s InsideOutside Project. Find an image from the series that you are noting and add the photo(s) and your comment in your journal/blog:
  1. What was the initial intention of JR’s first installation project? Was it effective? Why or why not? Give examples of his work and explain its impact on the community.
  2. Select an image, or series that impacted you, explain how it has impacted you and the community that it was created for.
  3. How does JR’s art make a difference? Site a specific series and specific images. Explain the reason for the images and potential impact that it has on the community.
Part B
Visit "VoiceThread" select an image and comment either via microphone, typing, or email...VoiceThread

Part C
Now consider and discuss the following in your journal and on the ning site:
  1. Define your school community.
  2. What do you value about your school community?
  3. If it were threatened, how would you stand up for it?
  4. Based on your answers to #1, 2, 3 how could you best communicate this via the InsideOut project?

Monday, March 14, 2011

Please send words of hope for students in Japan:
http://www.wallwisher.com/wall/hope-for-Japan

Friday, March 11, 2011

Photoshop In-Class Assignment

We are going to take a portrait and turn it in to a vector image to give it a cartoon like appearance. Start with a digital portrait, open it in Photoshop and follow along. When you are done, we are going to pull it into Comic Life and add a quote, song lyric, or poem...

Here are a few tutorials:

Friday, March 4, 2011

Pumpkin Pinhole!

My Cookie Eating Monsters!

Here's a short video from someone named BARKS making a fun pumpkin pinhole. Pay attention to the time and effort it takes to make a functioning camera with no light leaks! But more importantly, take CLOSER attention to the beautiful images that this pumpkin camera makes! They're incredible! There are plenty of other things you can use, but this video kind of shows you what is involved so be CREATIVE and try it out! Bring ideas to class on Monday!


Edible Pumpkin Pinhole Camera- the making of from BARKS on Vimeo.


Self Critique for Self Portrait/Alter Ego Essay Assignment

Dear Wonderful 12s,

Here are what you'll need to keep in mind when you're writing your self critique essays for the Self Portrait/Alter Ego project:

1. When you look at your self portrait, is it how you see yourself and is it how you want others to see you? Why?

2. Are there any emotional qualities that you portray in your self portraits? Were you successful or unsuccessful? How could you have made them better?

3. Your alter ego, how does it differ from your self portrait? Why did you choose this as your alter ego?

4. Does your alter ego bring out an something that is dark or light? How did it make you feel to become this other person? Were you uncomfortable? Can you see your alter ego fit into portions of your daily lives in a certain degree?

Take time to really analyze your images and write up an comprehensive reflection paper of this project. This is for you to introspectively study yourself and become inspired with new ideas. If you know yourself, you can better make work that you are passionate about. Please please PLEASE don't just answer the questions. I want to read an actual essay and this is worth 10 points towards your overall total. So it shouldn't have any grammatical errors, spelling mistakes, etc. One page typed up.

Due Monday March 7th.

Monday, February 28, 2011

Alter Ego Critique

Hello Class,

We will be having a critique on Tuesday for your Self Portrait/Alter Ego shoots. Please keep in mind that if you didn't hand in your assignment today (Monday, February 28th) you will have received zero on this project.

Donna and I are not accepting any late assignments for this project as you all have had an entire month to work on it AND we have reduced the printing requirements to 2 8x10 contact sheets and 2 8x10 FINAL prints. If you did more (ie the 5x7 work prints, you will receive bonus marks).

Some things to keep in mind while we do our critique and you will be required to write a reflection for your OWN pieces:

1. When you look at your self portrait, is it how you see yourself and is it how you want others to see you? Why?

2. Are there any emotional qualities that you portray in your self portraits? Were you successful or unsuccessful? How could you have made them better?

3. Your alter ego, how does it differ from your self portrait? Why did you choose this as your alter ego?

4. Does your alter ego bring out an something that is dark or light? How did it make you feel to become this other person? Were you uncomfortable? Can you see your alter ego fit into portions of your daily lives in a certain degree?

Take time to really analyze your images and write up an comprehensive reflection paper of this project. This is for you to introspectively study yourself and become inspired with new ideas. If you know yourself, you can better make work that you are passionate about. Please please PLEASE don't just answer the questions. I want to read an actual essay.
Due Monday March 7th.

Wednesday, February 23, 2011

Pinhole!

Pinhole!


11s


You need to make a pinhole camera out of any light tight container. Explore with one or multihole pinhole cameras. Once you are finished with your camera, you will need to make 12 exposures with your new camera. Be sure to keep a log of each exposure that you make. When you have completed your 12 exposures, trade your camera with a classmate and make another 6 exposures. Now that you have experience with times for your exposures, experiment with different subjects, movement, multiple exposures, etc. Keep a log of all the exposures that you make. Write down things like exposure time and environmental conditions.



12s


Your challenge is to make a pinhole camera out of an unconventional object! This could be anything that is already light tight or something you MAKE light tight. Examples of unconventional objects could be: garbage bags, vans, your mouth, bread, etc. Use your imagination when thinking of your object. After you have created your camera, you will need to use it to ‘see’ with. Tell a story through the persepective of your camera. Keep a log of all the exposures that you make. Write down things like exposure time and environmental conditions.



Criteria


11s


12 exposures from your first camera


6 exposures from your classmate’s camera with the experimentations (subject, movement, multiple exposures, etc)


2 contact prints


2 scanned images


1 pinhole log (this needs to be handed in!)



12s


6+ good exposures (not just black and white, there should be shades of grey and also details in the shadows and highlights) from your camera


6+ contact prints


2+ scanned images


1 pinhole log (don't forget to do this, you will need to hand it in!)

Friday, February 11, 2011

Alter Ego Self Portrait Assigment Criteria

Alter Ego Self Portrait Assignment

Your self portrait:

Important aspects of yourself that you think people see in yourself.

How do other people see you?

What are some emotional qualities that you want to portray?

How would you represent yourself on film?

Your alter ego:

How does your alter ego differ from yourself?

Which aspect is the main conflict of your own personality?

Does your alter ego bring out the best or the worst in you? Why?

How would you represent your alter ego on film?

This assignment is an exploration of your self. There are many facets to your personality and each part plays into our daily lives. It will be interesting to bring one of them out into the foreground for the world to see. It allows you a chance to investigate another side of you.

You will be expected to shoot two different distinct self portraits. One of your ‘regular’ self and one of your alter ego. Both will be done in colour. Format will be up to you, however, if you choose to use medium format, keep in mind that there are no local developing resources and you will have to schedule that time wisely.

This is also not a studio project, you are to use ambient light for this shoot, any colour; photos should be taken during with natural sources of light. Digital is not allowed, no Photoshop correction either. This is an all colour darkroom assignment.

If you need to shoot with props, costumes, makeup, etc, please be ready with necessary equipment on the day that you are scheduled to shoot. Otherwise, you will need to reshoot outside of class time. If you miss these days, you will be behind; you will need to make up this time at home. Colour printing is very difficult and you will need all the darkroom time you get.

Prints:

2 8x10 contact sheet (one from self and one from ego)

2 8x10 final print (one from self and one from ego)

4 5x7 prints (two from self and two from ego)

11-Theatrical Portraits

Project Criteria

Tuesday, February 8, 2011

11s Darkroom FX


Man Ray
It's time for more fun in the darkroom. This project is designed for you to expand your darkroom creativity and give you the ability to print more professional and provocative prints. You are required to try the following experiments and print five 3.5x5 photos from the same, or using 5 different negatives that are appropriate for the effect...
Experiments
Here are the ones that I showed you how to do in class~
  1. Photogram- Place objects on top of your paper before you print to block out the light so that a silhouette of the object is left on your print. Print one with only the objects as the image, and print another with a negative in the enlarger. Design it so that the shapes work with the image and it creates a strong composition.
  2. Dodge and Burn- Block out an area on your print that is too dark, or expose another area that is too light for longer. 
  3. Double Print- Either sandwich your negatives, or print the same one twice on the same sheet, or use two different ones and dodge an area, print two images on one sheet of paper. 
  4. Contact Negative- Make a print in negative. Place one print faced down on top of un-exposed paper (works best in a contact holder), expose the light through the print, develop it, and volia. 
  5. Solarizing- This is when you print a contact negative and then expose it to light part way through the developing stage.
... and or here are some more you can try...
  1. Vignette
  2. Spray on Developer or Fix
  3. Curve Paper
  4. Textured Screen
  5. Oober High Contrast
  6. Painting Chemicals
  7. Embossing
  8. Posterization
  9. Experiment...
DON'T FORGET TO KEEP A DARKROOM LOG!
Marking Criteria
5 Experiments- 3.5x5 The prints will be marked for creativity, composition, success

Tuesday, January 11, 2011

Photographer Presentation Condenced

  1. Show 5 photos from your chosen photographer.
  2. Talk about their life and work- 5 important points about your photographer i.e. how they got their start, what is important about their work, discuss their style, what they photograph and maybe how they photograph. Your info should be based on your Photographer paper.
  3. Then show your own top 5 photos on how you attempted their style.
You can put it together however you want ie Powerpoint, Movie Maker, Prezi... or even just put the images in a file and view slideshow and use recipe cards for the info.

It's basically the same thing, just shorter and less formal. The whole thing will be marked out of 15 (5 marks per image, or info bite).  Due Friday (12s) Monday (11s).

Monday, January 3, 2011

This Year in Pictures

It is the beginning of a New Year. We're going to reflect on events that happened throughout 2010 that were where documented with photographs. We are going to take a look at the MSNBC photos of the year together as a class.

View the photos from either site (or both sites)

http://www.msnbc.msn.com/id/4999736/
or
http://uk.reuters.com/news/pictures/slideshow?articleId=USRTXVJJH#a=1

Here's what you do:
  1. Select your favourite "news" photo from 2010.
  2. Print or upload to journal/blog.
  3. Comment why it is your favourite.
  4. Explain what the event is.
  5. How does the image document the event? How does the image tell the story? 
  6. Identify the subject?
  7. What emphasizes the subject and how does it emphasize it? Leading lines, repetition, rule of thirds, contrast, framing?
Then
  1. Select your favourite New Year's Photo.
  2. Print or upload to journal/blog.
  3. Comment why it is your favourite.
  4. Explain what the event is.
  5. How does the image document the event? How does the image tell the story?
  6. Identify the subject?
  7. What emphasizes the subject? Leading lines, repetition, rule of thirds, contrast, framing.