SOUTHWESTERN MICHIGAN COLLEGE
School/Division of Fine and Performing Arts
Dowagiac, Michigan
COURSE SYLLABUS
Fall Semester/Session, 2004
COURSE TITLE: Photographic Design COURSE NO: ART 105
SECTION NO. 1151, 1152
LABS: 1147, 1148, 1149, 1150
CREDITS/CONTACTS: Credit Hours: 3
Lecture hours/weekly 2
Laboratory hours/weekly 2
A-T hours/weekly 4
INSTRUCTOR: Daniel S. Grohs
Office Hours: M/W/F by appointment
Phone Number: 783-2108
Email:
PREREQUISITE: None
COURSE DESCRIPTION: An introduction to photography as an art medium. A variety of technical experiences in photography are provided with the aim of developing an appreciation and knowledge of the aesthetic potential of the medium. The history of photography is covered as well as darkroom experiences in black and white film processing. NOTE: Students must supply their own 35mm SLR camera.
CORE CURRICULUM: Not Applicable
DISTRIBUTION REQUIREMENTS: Not Applicable
TEXTBOOK: REQUIRED: PHGOTOGRAPHY by London and Upton
OPTIONAL: ______
ADDITIONAL RESOURCES:
NOTICE: The information in the syllabus was to the best knowledge of the instructor, considered correct and complete when distributed for use at the beginning of the semester. The instructor, however, reserves the right, acting within the policies and procedures of Southwestern Michigan College, to make changes in course content or instructional techniques.
HONESTY POLICY
Cheating or plagiarizing will absolutely not be tolerated at Southwestern Michigan College. Any student found cheating or plagiarizing material in any manner might be assigned a failing semester/session grade in this course. A second such incident while at SMC could result in suspension or expulsion from the institution. A student found in violation of this section of the syllabus will not be allowed to drop this course. Additional detail regarding cheating and/or plagiarism may be found elsewhere in this syllabus.
METHOD OF INSTRUCTION: Instruction will consist of in-class lectures, videos, slides and demonstrations, as well as discussions and critiques.
EVALUATION: The medium of photography consists of two basic components, both requiring mastery. First, the physical PROCESS that consists of the essential technical knowledge required for controlling the camera as a visual tool, developing film, the craft of printmaking, and print presentation (matting final prints). Second, and equally important, the CONCEPT, which is the idea (what the photograph is about) through the arrangement of information by composition within the format of the camera frame. A successful photograph will result from controlling both of these elements.
EVALUATION METHOD: Percentage distribution of assignments and final exam:
Quiz (3 @ 5% each) 15%
Comprehensive Final Exam 10%
Matted Photographs (14 @ 5% each) 70%
Notebook (Contact sheets/Negatives) 5%
Total 100%
GRADING SCALE: The following grading scale will be in effect for this course:
GRADE / GPA / PERCENTA / 4.00 / 86.8-100%
A- / 3.67 / 83.4-86.7%
B+ / 3.33 / 80-83.3%
B / 3.00 / 76.8-79.9%
B- / 2.67 / 73.4-76.7%
C+ / 2.33 / 70-73.3%
C / 2.00 / 66.8-69.9%
C- / 1.67 / 63.4-66.7%
D+ / 1.33 / 60-63.3%
D / 1.00 / 56.8-59.9%
D- / 0.67 / 53.4-56.7%
F / 0.00 / 0-53.4%
ATTENDANCE POLICY: Class attendance is MANDATORY. This means everyone. Tardiness is not acceptable; it disrupts the class and is disrespectful to both students and the instructor. Even if you have no work to show during a critique, you are required to attend. These work evaluation sessions are important information times for everyone. During these critique meetings, videos may be shown and discussion of the next assignment(s) may be made. Lab classes (work sessions) will be scheduled, and may be used for printmaking in the darkroom, print presentation preparation (cutting mats), or for processing your film. Students may not leave until the class has been officially dismissed
NOTE: ABSENCES, TARDINESS AND LEAVING EARLY WILL RESULT IN A DEDUCTION OF POINTS FROM YOUR CLASS TOTAL. IF YOU HAVE 5 ABSENCES FROM CLASS IT IS RECOMMENDED THAT YOU DROP THE COURSE!
TESTING POLICY: Make-up of exams/quizzes and course work is by permission only and must be arranged with the instructor immediately after the missed work. Each class period work is late, 10% will be deducted from the total possible.
OTHER COURSE EXPECTIONS: Students are expected to have read the material to be covered in class prior to class. Students are expected to come to class prepared, i.e. work completed as assigned supplies ready for darkroom/print presentation work, etc.
NOTICE: INSTRUCTIONAL USE OF NUDE MODELS AND IMAGES
During this course, live male and female models may be photographed or images of the human form may be used to assist student instruction and skill development. It is the opinion and policy of the Art Department that the use of live models is an essential component of this course and several art curricula. If any student objects or would be offended by the use or presence of nude human models or images, the Art Department respectfully asks that the student consider changing his/her course selection. For policy, instructional and cost reasons, the Art Department is unable to provide alternative courses.
COURSE OBJECTIVES
1. Acquaint the student with the requisite technical knowledge in the medium of photography.
2. Develop the visual perception skills necessary to make effective visual statements.
3. Successfully operate a 35mm adjustable camera by understanding the major exposure components.
4. Successfully develop black and white film and evaluate the exposures.
5. Successfully print black and white photographs.
6. Successfully mount, mat and present photographic images in various creative ways, as well as traditional methods.
COURSE ASSIGNMENTS
Course assignments, together with due dates, will be distributed throughout the semester.
1. FROM A PRONOUNCED PERSPECTIVE
CONCEPT:
This assignment is about how the subject is looked at. The resulting photograph should make the viewer keenly aware of the artist’s reference to the subject.
GOAL:
The goal is to learn the importance of how the subject/photograph is seen or referred to.
PROCEDURE:
The visual reference must have a pronounced point-of-view or attitude. The three possibilities are “birds eye view”(looking almost straight down), “worms eye view” (looking almost straight up) and “formal format” (structured frontal view with all visual elements parallel or square to each other).
REQUIREMENTS:
A total of three prints are required for this assignment:
One final print, spotted and matted, and one full roll of film is required for each of the following perspectives.
· Bird’s eye view- (1 print and a minimum of 1 full roll of film/contact sheet)
· Worm’s eye view- (1 print and a minimum of 1 full roll of film/contact sheet)
· Formal format- (1 print and a minimum of 1 full roll of film/contact sheet)
DUE:
This assignment is to be turned in with the Mid-term portfolio.
2. SHADOW OR A PATCH(S) OF LIGHT AS A SUBJECT
CONCEPT:
This is about how light defines the subject and/or can become so visually significant that it becomes the subject.
GOAL:
The goal is to learn the importance that light and shadow plays in establishing the attitude and emphasis of the subject. Light and shadow can have a somber passive emotional quality by being diffused or it can establish the three dimensional character of an object by being from a specific single light source. Light and shadow can also be so dominate that it draws so much attention and focus that it becomes what the photograph is about.
PROCEDURE:
Look for subjects that are being affected by a strong point light source. The shadows created are the affect and you can consider them for the subject content. Outdoors, the best time of day to achieve the most interesting images is early morning or late afternoon on sunny days. Indoors, the same time of day is effective or with artificial light, a high wattage bare bulb can be used with a tri-pod and long exposure. Remember that the aesthetic of the subject content is to be effected by light and not to be a photograph of a light source (street lamp, light bulb, desk lamp, etc., etc.).
REQUIREMENTS:
A total of four prints are required for this assignment:
· Two final prints, spotted and matted, and two rolls of film/contact sheets of light as the subject.
· Two final prints, spotted and matted, and two rolls of film/contact sheets of shadow as the subject.
DUE:
This assignment is to be turned in with the Mid-term portfolio.
3. JUXTAPOSITION OF OBJECTS WITHIN THE FRAME
CONCEPT:
This is about the interplay between pictorial content by establishing a narrative content through a relationship(s) with the visual elements.
GOAL:
The goal of this assignment is to learn that everything within the frame interfaces as content and must be considered as important. Foreground, mid-ground and background exist and form the content. All elements in the picture are to be visually considered.
PROCEDURE:
The concept of the photograph is “to be about” an interesting or unusual relationship between the objects within the frame. For example, the principle subjects could be on opposite sides of the camera frame with the center of the frame providing the interesting background setting. Additionally a foreground subject could make a visual reference to the background or objects in the frame may play off words/signs in the picture.
REQUIREMENTS:
Three prints are required for this assignment. Along with one contact sheet from one whole roll of film for each of the following:
Ø One image that deals with Foreground to Background relationship.
Ø One image that has an unusual relationship from Object to Object.
Ø One image with Words to Visual relationship.
DUE:
This assignment is to be turned in with the final portfolio.
3. PORTRAITS
CONCEPT:
This is about how a “Fine Art” Portrait can help to define a person. By photographing the “inner soul” of a person rather than the persons projected image of themselves, the photograph should embody the essence of the person.
GOAL:
The goal of this assignment is to learn that a “Fine Art” portrait is more than the physical outward appearance of a person captured on film.
PROCEDURE:
By photographing the person in a formal setting and more serious attitude (not smiling) you can tell more about the person. Investigate the following by shooting a minimum of one whole roll of film on each:
Ø Formal Portrait.
Photograph the person using a small amount of background information and a formal format (structured frontal view). Keep the lighting simple and the persons expression plain. Shoot not less than one whole roll of film.
Ø Self-portrait.
This photograph is to represent who you are, or at least whom you think you are. Be creative and try different approaches to this idea of “self”. You may or may not, need to be in the photograph. Min. of one roll of film required.
Ø Human Figure (Nude)
You should look for interesting and unique features of the human body to use as your subject. Be aware of how light and shadow help to define and give volume to the form. Use your imagination to be creative and come up with something superior. Shoot at least one, if not two rolls of film to get a print.
REQUERMENTS:
A total of three prints are required for the assignment, also the contact sheets that go with each roll of film.
Ø One Formal portrait image.
Ø One Self-portrait image.
Ø One Human figures (Nude) image.
DUE:
All three of these prints and contact sheets are to be turned in with the final portfolio at the end of the semester.
4. TIME SUPPENDED
CONCEPT:
This is about the content being within a sense of time either short or long.
GOAL:
The goal is to learn that all content exists within time and refers to time in some visual or symbolic way.
PROCEDURE:
The concept of time can dominate the photograph and become essential to the content through many ways. Explore each of the following possibilities using a minimum of one whole roll of film on each:
Ø Zone focus for the “decisive moment” photograph. Using the depth of field scales (DOF) to select the distance near and far to be in focus, photograph a subject without focusing the camera on the principle subject. The zone of focus method of shooting will allow you to concentrate your attention on what is going on within the frame to achieve the most interesting image.
The decisive moment, is a term coined by French photographer Henri Cartier-Bresson to describe the precise instant in which all elements of the photograph come together to form the most perfect construction, balance, tension and drama.
Ø Movement as a symbol for time can be achieved in a number of ways:
1. Use a slow shutter speed with the camera on a tripod to record subject movement against a sharp background. (Blurred subject/sharp background)
2. Another technique is to pan the camera using a slow shutter speed following a moving subject at the same rate of speed to blur the background. (Sharp subject/blurred background).
3. You can achieve frozen motion of both the subject and the background by using a very fast shutter speed.
Use a variety of slow shutter speeds i.e. 1, ½, ¼, 1/8, and 1/15 seconds to get blurred motion. Use a variety of fast shutter speeds i.e. 1/2000, 1/1000. 1/500 and 1/250 seconds to get frozen motion.
Ø Night landscape/cityscape. Expose a test roll of film keeping records (this is critically important) of the exposure (time/aperture combination) for the various lighting conditions of each frame. Bracketing helps a great deal, try the following: f2 @ 1 sec., 5 sec., 15 sec. and 1 min. Also try f8 @ 5 sec., 15 sec., 1 min., 3 min., and 9 min. (use the DOF scales to maximize the zone of focus).
The development of these negatives must be adjusted to achieve proper density in the highlights. T-Max 100 & 400 and Plus X film must be developed for 10% less time, Tri X film must be developed for 20% less.
After you have worked out the most effective time/aperture combination; expose another roll of film concentrating on the creative and aesthetic possibilities of night photography.
REQUIREMENTS:
A total of Five prints are required for this assignment along with the five corresponding contact sheets:
Ø One image that deals with the decisive moment as a concept.