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Course Syllabus

ART 140 – PORTRAIT Course Number 27100

Scottsdale Community College - Main Campus Fall 2016

Instructor: Roger E. Palmenberg

ART 140 – –Syllabus

“It is one thing to take a picture of a stranger. It is a much more difficult thing to make a portrait of a stranger to whom the viewer will care about.”

COURSE NUMBER: ART140 – Portrait Photography Course Number 27100 Two credit hours

INSTRUCTOR: Roger E. Palmenberg

TERM: Fall 2016 – August 30 through December 16, 2016

CLASSROOM: Art Building - Room AB-133 – Main Campus

PHONE NUMBERS: Art Department, 480-423-6344 Instructor, 602-234-0696 ext 170 (M-F, days)

E-mail: [email protected]

OFFICE HOURS: By appointment with instructor

COURSE TIME: Tuesday, 3:00 PM through 7:30 PM and Optional open studio sessions – tentative dates are: 10/16, 11/6, 11/20, and 12/4 – all dates subject to change

PREREQUISITES: ART-131 or permission of the instructor.

“The lesson was that a portrait must get beyond the almost universal self-consciousness that people have before the . If some moment of reality in the personality of the sitter did not happen, you had to provoke it in order to produce a portrait that had an identity with the person. The essential thing was to awaken a genuine response.” , ‘A Life in Photography’

COURSE DESCRIPTION: The course will provide insight into and commercial Portrait Photography. The course will include application of the principles of design, lighting, composition, posing, and portfolio presentation techniques.

This is a creative class; students are expected to have a working understanding of the medium. Expect to be challenged to produce the best images you have ever created. Portraiture, serious portraiture, is a two-way street connecting the with the subject. That connection is expressed in the final print and is evident to anyone looking at the print. It is this level of competence that we will strive to attain in this class. That means it is absolutely necessary for you to have a more-than-elementary understanding of the technical aspects of photography. If you are not at that level, you will be expected to make whatever additional efforts are needed to improve your skill level. When that skill level is attained, your focus will be with your subject,

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not the mechanics of the process. The results will be dramatic and self-evident. Refer to the FAQs for more information on this.

TEXTBOOKS: “ Fair” magazine subscription and student selected texts relevant to the course subject (optional), class notes. Students are expected to keep a ‘composition’ style notebook and a 3-ring loose-leaf binder.

Optional: get a free subscription to ‘Rangefinder’ magazine via the Internet (www.rangerfinder.com) to supplement class notes and ‘Vanity Fair’; other magazines that have been popular include ‘Rolling Stone’, ‘W’, and ‘Vogue’.

COURSE COSTS: There is a course fee paid at the time of registration; this fee is used for class supplies. “Vanity Fair” subscriptions cost $15 or more (depending on different offers). In addition, expect to pay for image processing and printing. There are added costs for preparation of the final portfolio. Expect to shoot dozens (hundreds…!) of digital images or, 20 or more rolls of film, or 50 or more sheets this semester.

EQUIPMENT NEEDED: Camera (any format), , lens selection; should be of a higher functionality (professional or ‘pro-sumer’ grade) including manual controls. A limited inventory of equipment may be available through the college by prior arrangement with the instructor. A hand-held light meter is good to have. And…

 YOUR CAMERA MUST BE ABLE TO UTILIZE OFF-CAMERA STROBE UNITS. BECOME FAMILIAR WITH YOUR CAMERA AND ASSURE YOURSELF OF ITS FEATURES AND HOW IT WORKS.  BRING YOUR CAMERA MANUAL TO CLASS IF YOU ARE UNSURE OF THE FUNCTIONALITY…!  BRING SPARE BATTERIES, EXTRA MEMORY CARDS, A THUMB DRIVE, AND A CARD READER (NICE TO HAVE, NOT ABSOLUTELY NECESSARY);  USE A .  IT IS RECOMMENDED THAT YOU PURCHASE YOUR OWN RADIO SLAVE UNIT.

WITHDRAWAL: As defined in the SCC Student Handbook

ATTENDANCE: Successful portraiture is all about commitment. Attendance at (and participation in) class demonstrates commitment. The attendance policy is:

. Miss two classes – you may be excused provided advance written notice is given; . Miss the third class – interview with instructor about your commitment; . Miss the fourth class and you will be dropped.

GRADES: Class participation: 40% Portfolio: 40%

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Attendance: 20%

It is not possible to earn an ‘A’ grade without attending and participating in class activities, presenting a critiqued portfolio that shows progression in the art form, turning in written assignments – on time, and demonstrating a working understanding of the medium.

“… The role of the photographer in the making of a portrait is to listen and observe, feel and absorb, to take the time to learn that story before ever unpacking the camera. Caring comes before you can capture their story on film. In this way of thinking, to make a portrait is to be a blend of translator and storyteller…’ Brooks Jensen, editor and publisher of ‘Lenswork.’

SCC GENERAL EDUCATION STATEMENT: General Education enhances students’ (participants’) abilities in critically analyzing and effectively communicating in Written, Oral, Visual, and Numerical form. General Education is WOVEN through the curriculum and co- curricular experiences at Scottsdale Community College.

DISABILITY STATEMENT: Students with special needs who believe they may need accommodations in this class are encouraged to contact the Disability & Services Office, Building SC-144 (Phone 480-423-6517) and the instructor. It is college policy to provide reasonable accommodations to students with disabilities.

SAFE LEARNING ENVIRONMENT: The studio/classroom will be a safe learning environment for every participant in so far as I am able to ensure that outcome. This means we will treat each participant and guest with the respect that he or she deserves and in turn we expect respect to be given to the instructor and every individual in this course. Disagreement does not constitute disrespect. We all have different points of view, different personal values, different life experiences, and different personal preferences which bring us to the studio/classroom. We call these differences diversity and diversity is welcome in the academic arena. This is the stuff that great discussions are made of, and potentially, this diversity adds interesting dimensions to our interpersonal relationships. However, we expect each participant to respect the rights and needs of their fellow participants. A participant cannot feel safe to express him or herself without the assurance that those ideas, attitudes, and beliefs will be treated with respect.

SAFETY CONSIDERATIONS: This course includes use of electronic devices that are capable of shock or other injury; some of the studio equipment is heavy and could be a lifting hazard; students are asked to assist in set preparation including use of step-ladders; there are tripping hazards; the studio is crowded and often dimly lit. Exercise caution when performing these tasks and using the equipment. Operating manuals are available, familiarize yourself with the equipment before using it; if you are not familiar with the equipment, ask and the instructor will assist.

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DISCLAIMER STATEMENT: Course content and topic sequence may change or be modified in response to class needs. Modifications, if any, will be written and distributed when appropriate to do so.

“Practice until you perfect your craft so you play in the moment. Having fun and being spontaneous is how magic happens.” Cherie Steinberg, ‘Rangefinder, July/August 2015.’

MODELS/USE OF IMAGES: Models are a part of this course; the success of the class is somewhat dependent on the availability of models. Class participants are encouraged to invite models to the class. Everyone photographing a is expected to submit either prints or images in electronic media to the model within one-month. A sign-up list and ‘Talent Release Form’ will be kept for each model indicating the class participants involved with that individual as a means to follow-up on the image production; the ‘Talent Release Form’ will be kept in the Art Department files. A class sponsor will keep track of the model and the release form. Submittal of images is a component of class participation. There are mandatory conditions for the use of images produced including no commercial use except that use in personal portfolios is allowable, commercial sales of the images is not allowed.

ASSIGNMENTS: There will be assignments throughout the semester which may or may not be included as part of your final portfolios – your choice. Assignments are described in the weekly syllabus updates and/or individual handouts as applicable. Assignments are a part of the class participation component of grading. The assignments are:

1. One portrait – any subject and one ‘Vanity Fair’ image deconstruct (one week); 2. Two portraits - any subject (one week); 3. Self-portrait (multi-week); 4. Portrait Composition (multi-week); and 5. Formal Portrait (multi-week).

The assignments are to be placed into their respective file folders in each class participant’s ‘master’ file folder on the studio iMac computer on or before the due date. These assignments are EXCLUSIVE of the final portfolio images although you may elect to use the assignments as part of the final portfolio.

There is one optional assignment – produce a six image portfolio using your cellphone camera. Use your imagination to produce a portrait portfolio with your device – a simple, creative way to showcase your work as well as providing backup should your camera fail…!

QUIZZES: There may be several quizzes in the semester. These quizzes are more for the instructor than the students since they are an effective means for measuring interest and progress.

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SUBMITTING WORK: There is an iMac computer in the studio for class use. Each class participant will have a file folder. Assignments are to be placed into the applicable folder(s) with image files clearly labeled with the assignment and/or model name and date. RAM limits on the iMac mean it is preferred that images be in JPEG format and up to 2 Mb in size. Work will be critiqued during class and individually as time permits. The size of the class limits the time available for critique such that three images per participant per week is comfortable – if you feel the need to show more work, ask first…

Assignments can be uploaded to the applicable files via drive. The uploaded files are the basis for determining whether or not assignments have been completed

FINAL PORTFOLIO: Students will and display a personal portfolio by the end of the semester as ‘hard copy’ prints – the only acceptable format. Why? See the FAQ section later in this syllabus. The portfolio will demonstrate progress in the art form and must include at least one image from the ‘Set Selections’ column on the following table (matrix).

Complete this matrix with check marks indicating your portfolio selections, no more than four images per model. Turn in the completed matrix with the Final Portfolio.

FINAL PORTFOLIO STANDARDS – SELECTIONS MUST INCLUDE AT LEAST ONE IMAGE FROM EACH OF THE TYPES BELOW; PORTFOLIOS MUST INCLUDE AT LEAST FOUR ART140 - Portrait Photography DIFFERENT SUBJECTS. ONE IMAGE MAY FIT SEVERAL CATEGORIES….! THE NUMBER OF IMAGES IN THE FINAL PORTFOLIO VARIES DEPENDING ON YOUR CHOICE OF PRESENTATION (SEE INSTRUCTIONS BELOW). REFER TO FAQS FOR ADDITIONAL MATRIX INFORMATION.

Set Selections: at Formal Full Teen, Self- Group Outdoor ¾-Length Head least one image from Indoor Length Senior, Portrait Portrait Portrait Portrait the selections below Portrait Portrait or Baby

Studio - high key

Studio - low key

Studio - hot lights

Outdoor, ambient

Mixed lighting

IMAGE TYPE: AT LEAST ONE EACH FROM THESE SELECTIONS

Black & White or ?

There are three acceptable submittal formats for the final portfolio: matted prints, prints in a commercial folio/binder, and a self-published book.

For the matted print portfolio (Ten Images): . You may either print yourself or have them done commercially. Commercial prints must be ‘custom’ grade; ‘machine’ prints are not acceptable.

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. Prints must be matted, not framed. A single over-mat with backing is acceptable. Mats can be either white or black. . The minimum print (not mat) size is 4x5; the maximum print size is 8x10. All matted prints must be the same overall size (11x14 max) and be placed in a box.

For the bound ‘Folio’ (Twelve print minimum): . The final portfolio can be prints in a folio/binder. If this selection is made, a minimum of twelve images must be included. You will be expected to present demonstration sheet inserts for critique to assess the layout, borders, presentation quality, and other factors as the semester progresses. . Purchase a commercial quality folio binder to accommodate minimum 11x14 size prints, . Design your prints to include logo/personal contact information, uniform borders and border unless you print borderless – BE CONSISTENT; . If you have a mix of vertical and horizontal prints, use a border and a large enough binder that allows all prints to be viewed WITHOUT having to turn the folio; . Prints in a folio facilitate change out and/or present images to clients. This is a generally-accepted way of presenting your work in a commercial setting.

For the self-published book portfolio (Twenty image minimum): . The final portfolio can be a self-published book. If this selection is made, a minimum of twenty images must be included. . Any self-publishing software is acceptable (i.e. iBook, BookSmart – www.Blurb.com); . Self-published books will be critiqued on presentation, print quality, tonality, and overall quality. . Image records and model releases must be submitted; these can be separate from the book. . Students selecting this alternative must declare their intention no later than November 18 and will be required to show work in progress as prints. . Software proficiency is the individual’s responsibility to acquire – this is not a component of the course.

PLEASE SUPPORT THE COLLEGE’S ON-GOING OUTREACH PROGRAMS BY SUBMITTING A CD WITH YOUR FINAL PORTFOLIO. YOUR IMAGES WILL BE CONSIDERED TO ASSIST WITH PUBLICITY.

“The thing about taking someone’s portrait is you have to connect, otherwise you won’t get a good portrait out of it. There’s this artistic process happening that really facilitates it – even if you’re a complete stranger, by the end…you have a connection.” Michael George, ‘Rangefinder, July/August 2015.

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FIELD TRIPS AND WEEKEND WORKSHOPS:  Lecture demonstration at Markow Southwest, a commercial photography studio in Phoenix (The tentative date is October 27).  There will be one, possibly two, off-campus field trips during class to nearby locations for environmental portraiture.

CLASS EXHIBITIONS: There will be several opportunities to show work:  Display cases 4&5 in the Art Building hallway are ‘ours’ – for the entire semester...!  Final portfolios are viewed collectively the last day of class; typically we ‘show’ in a meeting room on campus. Sometimes, we have an external reviewer participating;

CIVILITY STATEMENT: To establish a positive learning environment for this class, As the instructor, I am expected to be professional, courteous, respectful, and empathetic to students – and to:  Begin and end class on time,  Be prepared for each class session,  Provide academic feedback and grade assignments in a timely manner,  Be available for individual consultation, and  Clarify assignments and inform students of any adjustments to the class schedule.

As a class participant, you are expected to be reflective, courteous, respectful, and empathetic to other participants, the instructor, models, and other College staff assisting you in your learning – and to:

 Attend the class sessions and be on time,  Be prepared for class sessions,  Interact with other participants, the instructors, and the models in a harmonious manner that is conducive to creative work – disruptive, argumentative, or contentious behavior will not be tolerated and will be the basis for being summarily dropped.  Participate in class activities,  TURN OFF CELL PHONES AND DO NOT TEXT MESSAGE DURING CLASS,  Follow instructions and complete assignments,  Keep up with and turn in assignments by the due dates,  Put forth your best effort,  Ask questions when you don’t understand,  Maintain knowledge of your grade status,  Contact the instructor right away about concerns or situations that interfere with your success in the class, and  Comply with policies found in the College catalog and Student Handbook.

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Please refer to the Scottsdale Community College catalog and Student Handbook to address these specific policies required of all students (and faculty):

 Attendance (AR 2.3.2)  Sexual Harassment (AR 2.4.4 & 5.1.8 – 17)  Copyrights (AR 2.4.5 & 3.2)

OUTCOME AND NEEDS ASSESSMENT: Advancing the skill level of class participants through effective teaching and successful learning is an over-arching goal. Student progress can be assessed by comparing images produced at the start of the semester with those included in the final portfolio. This comparison is useful through the satisfaction of seeing your work improve; it is useful for the instructor as a means to refine the course syllabus – this win-win system has proven its merits in the past. The results of this process are documented for use by SCC.

OTHER COMMENTS: 1. The focus of the class is Portraiture as Fine Art. , Human Form (i.e. photography) and touch on portraiture but are more ‘focused’ and not part of this syllabus. 2. Class time will be divided between viewing/critiquing work, lecture, and ‘hands on’ studio/outdoor work. Within reason, the instructor often stays late to assist on-going portrait sessions – 9:00 is pushing it….. 3. Digital vs. film media? Your choice – the class is all about the work produced, not the image capture method. We may explore film scans and digital manipulation, although this is not a part of the current syllabus. 4. We will use the studio facilities at SCC – lighting and backdrops; there will be field sessions – field locations will be announced. Class sessions include presentation/critique of student work, and presentation of other artists’ work. Bring your cameras to class. 5. The class will include lectures on technique, critiquing work on digital media (CDs or flash drives) and/or ‘hard copy’ prints. We will use the Apple iMac computer and projection equipment in the studio for presentations. 6. Critiques: Year after year, student feedback is very positive about our in-class critiques. We will be having critiques as often as time allows – typically every week. In order to get meaningful critiques, it is important to have meaningful participation – focusing on style, substance, and the creative features of the work – more than ‘like it – don’t like it’ responses. Don’t be afraid of doing self-critiques in these sessions, either. One-on-one critiques can be done with advance scheduling. 7. There will be several attendance-optional weekend studio sessions periodically throughout the semester – the tentative dates are: October 16, November 6, November 20, and December 4. 8. Portrait we will be discussing include: Steichen, Strand, Weston, , , Shelby Lee Adams, Albert Watson, Greg Gorman, , Timothy Greenfield Sanders, Avedon, and others. Look at their work on the web. There

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will be a limited discussion on historical portraiture including and pictorialists. Get on the Internet and look at some of these artists’ work. 9. There are dozens, if not hundreds, of books on portraiture and lighting techniques – get one if you feel you must – be sure to get one that has lighting diagrams. The class textbook(s) will be “Vanity Fair” magazine and hand-outs from the instructor – we are looking for fresh style, evolving work, and the best in the field…. 10. It is not possible to make all of the portraits required for the final portfolio during class studio sessions. Seek and use other, off-campus locations as you see fit. 11. This class is all about making portraits; expect to shoot and print – dozens (more like hundreds) of digital images, or more than 20 rolls of film, or 50 (or more) large format frames in order to meet the class objectives. The cost for these materials is in addition to other class costs; these costs are the responsibility of class participants. 12. The class has access to the SCC . The instructor will make time available on weekend open studio days for additional assistance.

“Try creating alluring shadows in your work. They are just as important as highlighting your client’s features. For me, sexy lies in the imagination – it is what you don’t see, or almost see, that is much sexier than seeing it all.” Gabe McClintock, ‘Rangefinder, July/August 2015.’

FREQUENTLY ASKED QUESTIONS: 1. Why do I have to produce hard copy prints for the final portfolio? Too many of us are content to view and share our work electronically – we have not pushed ourselves to produce images that can be ‘held’ or openly displayed (i.e. galleries, wall art, etc.). One important part of the final portfolio ‘lesson’ is to develop the ability to produce work in hard copy – to see the differences and challenges needed to make these images in a different media. You will quickly discover that what is seen on the computer screen is very different from what appears on a hard copy print – and you will experience what is needed to produce quality work this way. 2. Can you help me understand the final portfolio matrix? The matrix has more entries than required for the various final portfolio selections. That means you can be selective for your final portfolio – but, you must have at least one image from the lighting techniques in the first column to demonstrate your understanding of these techniques. Next, your final portfolio is to include at least one image in each column demonstrating your understanding of the various poses and compositions we will explore this semester. Finally, if you are a color shooter – at least one image must be in black & white and vice-versa. Submit a copy of the matrix with your final portfolio – it should show at least one check in each row and one in each column. 3. What is meant by having a ‘more than elementary’ skill base in photography? Too often, class time is wasted figuring out basic exposure and navigating thru exposure choices on our cameras. You should be comfortable navigating thru the f-stop, speed, and ISO relationships – equivalent exposures with differing settings. We typically work in ‘Manual’ mode – ‘Auto Everything’ is not acceptable (obviously, certain cameras, like cell phones, are auto everything). You should be able to self-

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critique an image on your LCD screen and make appropriate setting changes to improve it within reason. ‘I’ll fix it later in Photoshop’ doesn’t cut it. 4. Can I shoot in RAW or should I shoot in JPEG? Well, it is easier to provide over-the- shoulder help as you are shooting by looking at the LCD screen image. You decide what works for you – the best I can do is offer suggestions based on what I see. Pre- visualization of the final image is a desirable (and attainable) attribute. 5. What if my model friend doesn’t want to be photographed by others except me? Models coming into the class need to understand before coming that others in the class will want to photograph them. This is part of the class experience and helps everyone become better able to work with persons unfamiliar to them. Explain this to your model and if this policy is unacceptable, do not bring them to class. 6. Do I have to share my model(s)? See the response given above. 7. Can I access the studio on other non-class days? The studio is available for certain time blocks indicated on the sign-up sheet outside the door. Use the sign-up sheet. Be advised that the course instructor is not on-campus any other time than Tuesday afternoons. This means you will need to coordinate your studio time with another instructor to gain access to the equipment locker for the lights, etc. Weekend open studio times will be scheduled throughout the semester. 8. What about wardrobe for the model(s)? There is a limited set of clothes for use by our (female) models. Encourage your models to bring clothing they are comfortable wearing – and bring a selection. 9. What about model releases? There is a ‘Talent Release Form’ that is the only release to be used for models being photographed on campus. Copies are available through the instructor. Children will need written permission from their parents evidenced by signing the ‘Talent Release Form’. 10. How does my with studio lighting? Read the camera manual and become familiar with this functionality. Bring the manual with you to class. If you don’t have a copy of the manual, do a Google search on the web and find a source to get a copy. Practice…! 11. How late can I stay after class? Within reason, we often stay until 8:30 PM. Be sensitive to the model, the college’s janitorial staff, and the instructor. It is very satisfying to see work being done and the excitement associated with it making it hard to ‘shut down’. Have your model(s) arrive at 5:00 PM to be ready to begin the session. Pre-plan the session beforehand. Avoid overly complex sets, lighting, and wardrobe. 12. Is allowed? Work in class is limited to photographing non-gender specific body parts. If you and the model want to go further, do so off campus. 13. Can I sell my work? Do not bring models into class for commercial work. Do your commercial work off-campus. The blanket model release contains the restriction on use of images produced during class. 14. Are there commercial opportunities associated with this class? Often, there are requests for quotation for commercial work. The instructor will notify class participants via e- mail of these opportunities when they become available. The business of portrait photography is a topic for discussion during the semester.

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THERE IS A CONTINUAL NEED FOR PORTRAIT SUBJECTS. INVITE FRIENDS OR ACQUAINTANCES TO CLASS FOR PORTRAIT SITTINGS – BUT PLEASE MAKE PRIOR ARRANGEMENTS WITH THE INSTRUCTOR.

NOTE:

PLEASE SIGN AND RETURN THE ‘ACKNOWLEDGEMENT OF RECEIPT OF COURSE SYLLABUS’ FORM INCLUDED WITH THE COURSE HANDOUTS AT THE START OF THE SEMESTER.

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COURSE SCHEDULE

WEEK 1: August 30

1. Introductions – instructor and students 2. Collect student names and addresses 3. Course syllabus and Notes are available electronically on the class computer – bring a flash drive to download. 4. Complete and return acknowledgement of receipt of the course syllabus. 5. Discussion – House Rules… 6. Textbook discussion – subscriptions to Vanity Fair, other texts. 7. Discussion – camera format, processing, printing and other equipment needs. Digital shooters – your camera must be able to work with external strobe lighting; all of us should be proficient in Photoshop (or equal) and high quality printing. This class is not about how to use your camera. 8. Discuss SCC Studio Notes: ‘Image Record’ and ‘Deconstruct’ sheets. These forms are available on the class computer- download via a flash drive. 9. Discussion and demonstration of studio equipment, studio use, availability and use including rules, safety, etc. 10. Discussion – Portrait versus Snapshot (Handout – Editorial from Lenswork). 11. Discussion - A look at classical portraiture using web sources – projection 12. Question and answer session. 13. Assignments: A. Assignment 1: Bring one finished portrait, any subject. Due: September 6 – can be electronic or hard copy. B. Get a single copy of “Vanity Fair”, select and ‘deconstruct’ one portrait from it (old copies are readily available for a nominal cost). We will review these – and perform a sample deconstruct. C. Search the web for portrait photography and studio lighting. Take a look at how different folks present the material we will be looking at this semester.

WEEK 2: September 6

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1. Take attendance, 2. Add/drop, finalize class roster. 3. E-mail list – complete and check 4. Review policy on after hour use of studio facilities at SCC. There will be access to students wanting to use the facilities by prior arrangement and use of a sign-in roster. After hours use must be done via sign-up list. The instructor will stay late to keep the studio open and available as long as there is interest in doing so. Weekend work can also be scheduled. 5. Assignment 1 is due. Viewing of student work, discussion, critique. 6. Discussion of selected images from ‘Vanity Fair' and image deconstruction. 7. Discussion: a. Use of model releases. Model releases are a must – from a liability point of view - and as a means to ‘keep in touch’ with your subjects. Use the MCCCD Talent Release form – already provided to you. b. Use of the Power Packs and Safety Considerations (see class notes): 8. Introduction to basic lighting for portraits. a. Studio – strobe versus ‘hot light’ b. Natural – and with artificial light assistance – mixed lighting c. Corrective Lighting Techniques d. Balancing Lights i. Mood, tone, and drama ii. Strobe – , power pack, mini-strobe (brand specific or generic) iii. Tungsten (less important for B&W than color) 9. Assignment 2: Produce two portraits – any subject, any format – for group viewing and critique. Portraits are to be complete with Image Record. Due September 20.

WEEK 3: September 13

1. Add/drop, attendance, check e-mail roster 2. Portrait critique – time permitting. 3. V-F image deconstruct demonstration. 4. Review/continue discussion of ‘Basic Lighting’. 5. Studio sessions in groups or individually to review the studio lighting concepts previously discussed. 6. Assignment: ‘Vanity Fair’ image deconstruct (Optional); Assignment 2 – the two portrait assignment – is due next week – September 20. Consider submitting this assignment in one image with the two portraits side by side – this will make our critiques more efficient.

WEEK 4: September 20

1. Add/drop and attendance, update e-mail list

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2. Handouts: revised syllabus, portrait subject features…. 3. Assignment 2 is due: Presentation of portraits, group critique and discussion. 4. Featured artist review: Irving Penn/Albert Watson 5. Composition and Posing for Portraiture (see handout): a. Basic Principles b. Corrective Techniques c. Natural and Creative Posing i. Groups ii. Individuals iii. Children iv. Couples 6. High and Low Key sets – discussion and demonstration, introduce the Penn Wall 7. Studio/Outdoor portrait sessions. 8. Assignment 3 is due October 4 – self-portrait – of yourself by yourself, including shutter release (see comment below), and continue production of random subject portraits.

WEEK 5: September 27

1. Attendance 2. Presentation and group critique of earlier work. 3. Discussion – continuation of high/low key lighting 4. Discussion – muslin backdrops, diffuser panels, simple lighting 5. Time Permitting - Introduction to Composition: Leave ‘space’ around subject for cropping and composition in printing. Full length, ¾, headshots, etc. ‘The eyes have it”. 6. Studio portrait sessions, demonstrations of studio lighting. 7. Assignment: Assignment 3 – Self-Portrait is due next week – October 4. ‘Vanity Fair’ image deconstruct (not for submittal); random subjects demonstrating concepts already discussed.

WEEK 6: October 4

1. Attendance roster, 2. Assignment 3 Due: Self-Portrait – with critique this evening. 3. Discussion: “The Photographer’s Right” 4. Random presentation and critique of student work. 5. Composition a. Motif e. Direction b. Creating a Setting c. Leading Lines d. Shape

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Copyright © by Roger E. Palmenberg, August 2016 - All Rights Reserved

6. Studio portrait sessions 7. Assignment 4: Composition Exercise – see handout – This is a two-week assignment – due October 18…

WEEK 7: October 11

1. Attendance 2. Student Presentation and critique of earlier work. 3. , Yousef Karsch – brief discussion of their work 4. Review earlier topics – composition, basic lighting. 5. Studio/Outdoor portrait sessions. 6. Assignment: Assignment 4 is due next week (Oct 18). 7. Continue production of portrait portfolio.

WEEK 8: October 18

1. Attendance 2. Critiques – Assignment 4 – Portrait Composition; 3. Web-based Discussion – Avedon; 4. Demonstration – ‘Ring Lighting’ (see SCC Studio Notes No. 17) 5. Studio/Outdoor portrait sessions. 6. Assignment: Random portraits of interesting subjects.

WEEK 9: October 25 - Markow Studio Visit (tentative) – meet at 4:00 PM

The studio is located at 2222 East McDowell Road in Phoenix; phone 602-273-7986

WEEK 10: November 1

1. Take attendance; 2. Presentation and critique of student work-in-progress – two images max; 3. Shelby Lee Adams – discussion of his work; 4. Review of Markow Studio visit last week – see handout; 5. Studio/Outdoor portrait sessions; 6. Assignment: Assignment 5 – Formal Portrait – is due November 15. Continue production of portfolios.

WEEK 11: November 8

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Copyright © by Roger E. Palmenberg, August 2016 - All Rights Reserved

1. Take attendance 2. Presentation and critique of student work-in-progress. 3. Dorothea Lang discussion; 4. Studio/Outdoor portrait sessions. 5. Assignment: Assignment 5 – Formal Portrait – is due November 15 (see handout). Continue production of portfolios.

WEEK 12: November 15

1. Attendance 2. Group critique of Assignment 5 - Formal Portrait Assignment; 3. Review SCC Studio Notes No. 14 ‘Outdoor Lighting’, No. 15 ‘Mixed Lighting – Outdoors’; 4. Tonight: Introduction to the Business of Portrait Photography – SCC No. 18 5. Operating a Portrait Photography Business a. Considerations i. Personal ii. Financial b. Small Business Practices c. Promotional Techniques 6. Studio/Outdoor portrait sessions. 7. Assignment: Vanity Fair deconstruct; continue production of portfolios.

WEEK 13: November 22 – Field Trip – Location TBD - (Thanksgiving is Thursday November 24)

WEEK 14: November 29

1. Attendance; 2. George Hurrell – Hollywood Lighting; 3. Critique of work; 4. The Business of Portrait Photography, cont. (SCC Studio Notes No. 18) 5. Discuss presentation locations and select student presentation sequence for individual portfolios. 6. Discussion of final portfolio. 7. Group portrait (see SCC Studio Notes No. 16) 8. Assignment: Continue production of portfolios. It is permissible, in fact encouraged, to re-print individual portraits as techniques improve.

WEEK 15: December 6

2 ART-140 Portrait Photography– Syllabus

Copyright © by Roger E. Palmenberg, August 2016 - All Rights Reserved

1. Attendance, 2. Presentations/critique of work; 3. Discussion of final submittal; 4. Create CDs for models, sponsors to distribute them; 5. Open discussion of topics discussed during the semester. 6. Assignment: Continue production of portfolios. It is permissible, in fact encouraged, to re-print individual portraits as techniques improve.

WEEK 16: December 13 - Last day of class

1. Presentation and critique of student portrait portfolios. 2. Class critique

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ACKNOWLEDGEMENT OF RECEIPT OF THE COURSE SYLLABUS

I, ______, hereby acknowledge that I have received a copy of the course syllabus for ART 140 – Portrait Photography for the fall semester, 2016 taught at Scottsdale Community College (Main Campus). The course instructor was Roger E. Palmenberg.

______(Signature) (Date)

______(Print Name)

______(Preferred e-mail – please print legibly)