Course Syllabus Fashion Photography ART

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Course Syllabus

Fashion Photography ART 237 – 30493

Scottsdale Community College - Main Campus Spring 2015

Instructor: Roger E. Palmenberg ART237 - Fashion Photography – Syllabus

“...I’m an incurable dreamer with a wild imagination. That’s what I truly love about fashion photography—there are no rules, no boundaries, just pure self-expression. Anything your mind can imagine; you have the power to create.” Dixie Dixon, ‘Rangefinder’ January 2012

“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.” Paul Strand

“The lesson was that a portrait must get beyond the almost universal self-consciousness that people have before the camera. 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.” Edward Steichen, ‘A Life in Photography’

“… 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’

COURSE NUMBER: ART 237 – 30493 Fashion Photography (Three credit-hours)

INSTRUCTOR: Roger E. Palmenberg

TERM: Spring 2014 - 16 weeks - January 27 through May 13 including March 17 – no class during Spring Break

CLASSROOM: Art Building - 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 8:45 PM Plus two off-campus weekend trips (one day each)

OPEN STUDIO: The SCC Studio (AB-133) is available for individual use by prior arrangement with the instructor. Often, class will be extended for those participants wanting to stay late to work. The instructor will make the studio available on selected weekend days throughout the semester; times and dates will vary and will be announced in advance.

The tentative dates for our open studio sessions are: Sunday February 8, Sunday March 1, Sunday March 22, Sunday April 5, Sunday April 19, and Sunday May 3. These dates are subject to change as the semester progresses.

PREREQUISITES: ART-138, or ART 140, and/or permission of the instructor. It is preferred that students have portrait and/or commercial photography experience, be proficient shooting and processing images, printing, and have an intermediate to advanced level of competency with camera and studio lighting equipment. Cameras (digital or film) should have manual settings to facilitate use with studio lighting; participants must assure themselves they are competent with their equipment to avoid un-necessary class time figuring out how to use it.

TEXTBOOKS: “Vanity Fair” magazine subscription and student selected texts relevant to the course subject (optional), class notes.

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. “Vanity Fair” subscriptions cost $15-20/year; sign up on-line (www.vanityfair.com). In addition, expect to pay for recording media or film, processing, paper and printing. Expect to shoot every week and to submit images for critique. This will be 20 or more rolls of film (50 or more large format sheets) – or the equivalent number of digital images during this semester.

EQUIPMENT NEEDED: Camera (any format), tripod, lens selection; cameras should be of a higher functionality (professional or ‘pro-sumer’ grade) including manual exposure controls. A hand-held light meter is good to have, same for a radio slave.

YOUR CAMERA MUST BE ABLE TO UTILIZE OFF-CAMERA STROBE UNITS. THERE ARE RADIO SLAVE UNITS AVAILABLE IN THE STUDIO. IT IS ESSENTIAL THAT YOU BECOME FAMILIAR WITH THIS FUNCTIONALITY.

WITHDRAWAL: As defined in the SCC Student Handbook

ATTENDANCE: Success in this class is all about commitment. Attendance at (and participation in) class demonstrates commitment. If you are going to miss class or be late, please e-mail or call the instructor the day before.

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/assignments: 40% Final Portfolio: 40% 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.

Just as it is important to the success of the class that we are able to attract models to the studio, it is equally important that the models receive copies of the work produced. If you photograph models coming in to the studio, it is very important for you to produce and to submit images to those models, and to be sure there is a record of your submittal(s). Participants who make images of the models and do not submit finished and critiqued work to the models will be penalized by at least one grade level.

COURSE DESCRIPTION: The course is a workshop/seminar. The course premise is that the model is a platform for product sales. The course will include a program of instruction to familiarize participants with concepts of fashion photography as well as access to the SCC studio and facilities to practice the concepts presented. Participants are expected to advance their demonstrated skill level in portraiture. Images will concentrate on product sales – clothing, possibly jewelry, and other. The model must complement the product. The course will include application of the principles of design, lighting, composition, posing, and presentation techniques to produce a portfolio demonstrating the course concepts suitable for submittal to an advertising agency art director.

There will be ample opportunity to make images during class – both to practice the lighting and set concepts as well as to photograph models and other class members. However, participants should not expect to meet all of the final portfolio requirements without working outside of class.

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

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.

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.

ASSIGNMENTS: In addition to the Final Portfolio (described below), there will be at least five assignments during the semester. Assignments are to be submitted electronically by uploading them into your assigned master file into the class computer; assignments will then be transferred onto a flash drive or external hard drive and reviewed in class during critiques and by the instructor outside of class. Assignments include:  VANITY FAIR CLONES – Three clones of participant-selected images will be created and submitted for critique. The clone assignments are group projects – two to three person groups select and create the work over a two to three week period.  COMPOSITE SHEET: Participants MUST prepare and submit a single composite sheet for one model suitable for self-promotion. The composite can be submitted anytime during the semester.  MINI-PORTFOLIO: Participants will produce a min-portfolio of three to five images that have a common theme, location, and/or model (in different wardrobe, or other) using the built-in camera in your cell phone. Portfolios will be critiqued on technique and style and should demonstrate use of the optical slave for studio lights or the use of hot lights. Periodically, there will be assignments to deconstruct images from ‘Vanity Fair’ or other so that you can become more proficient in looking at images as you advance your skill level to produce them. These assignments will neither count toward nor detract from your grade.

FINAL PORTFOLIO: Students will photograph and display a personal portfolio by the end of the semester. 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.

ART237 - Fashion FINAL PORTFOLIO SELECTIONS MUST INCLUDE AT LEAST ONE Photography IMAGE FROM EACH OF THE TYPES BELOW

Set Selections: at Full Accent Motion Runway MIXED MEDIA least one image from Group Length Piece Study Location OPTION the selections below

Studio - high key

Studio - low key

Studio - hot lights

Outdoor, ambient

Mixed lighting

IMAGE TYPE: AT LEAST ONE EACH FROM THESE SELECTIONS

Black & White

Color

Students will show work-in-progress for class critique throughout the semester. This is a component of class participation. The final portfolio is to include a ‘mix’ of images demonstrating the concepts learned in class.

In addition:

. Participants are encouraged to complete image records for each image; . Participants MUST have model releases – to be submitted with each image.

There are three acceptable submittal formats for the final portfolio: matted prints, prints in a commercial folio/binder, and a self-published book – or you may submit a mixed media DVD.

For the matted print portfolio:

. Ten (10) prints; . You may either print yourself or have them done commercially. Commercial prints must be ‘custom’ grade; ‘machine’ prints are not acceptable. . 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 (12) prints, minimum; . The final portfolio can be prints in a folio/binder. . 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 colors 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 (20) prints, minimum; . The final portfolio can be a self-published book. . Any self-publishing software is acceptable (i.e. 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 (TBD) 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.

For the Optional Mixed Media Presentation:

. This optional presentation includes a short (i.e., 30-second maximum) B&W or color video including a mix of still images and video footage with audio suitable for commercial viewing (i.e. 1080 HD image quality). The intent of this option is to introduce the video functionality on the newer DSLR cameras - although film-based presentations are acceptable with prior approval of the instructor provided that the final product is digital for presentation to the class on a DVD. . Selection of this final portfolio option does not negate the obligation to produce and show still images during the semester. . The presentation will demonstrate the concepts presented in the semester; . The presentation can showcase product with a single or several models; . Audio can include royalty-free music as well as voice-over by the model(s); . The presentation can be produced with iMovie, Windows MovieMaker, or other editing software. Instruction on editing is NOT a part of this syllabus Presentations will be critiqued for clarity, quality, use of transitions, as well as demonstrating course concepts.

FIELD TRIPS AND WEEKEND WORKSHOPS:

 Lecture demonstration at a commercial photography studio (Date to be announced).  There will be one, possibly two, off-campus trips scheduled for this semester. As the semester progresses, a weekend workshop at an off-campus location will be organized; this attendance-optional workshop will provide opportunity to work with models in a studio location. The specific dates for these activities will be announced.

CLASS EXHIBITIONS: There will be several opportunities to show work:

 Display cases in the Art Building hallway.  Final portfolios are viewed collectively the last day of class; typically we ‘show’ in a meeting room on campus. This semester, we will have an external reviewer participating;  Possible public exhibition at a gallery. Nothing is firm as of the start of the semester.

PLEASE SUPPORT THE COLLEGE’S ON-GOING OUTREACH PROGRAMS BY SUBMITTING A CD WITH YOUR FINAL PORTFOLIO. IMAGES SHOULD BE NO BIGGER THAN 8X10 AT 300 DPI, JPEG. YOUR IMAGES WILL BE CONSIDERED TO ASSIST WITH PUBLICITY.

MODELS: The success of the class is dependent on the availability of models. Class participants are encouraged to invite models to the class. Everyone photographing a model is expected to submit either prints or images in electronic media to the model within one-month. A sign-up list and blanket model release will be kept for each model indicating the class participants involved with that individual as a means to follow-up on the image production. Submittal of these images is a component of class participation. NO OTHER MODEL RELEASES WILL BE ALLOWED FOR MODELS BEING PHOTOGRAPHED ON CAMPUS.

When models pose for class, it is imperative that images be produced and given to them. To facilitate this process, it is essential that finished, critiqued images be downloaded onto the class computer and copied onto a CD and sent to each model. To the extent practical, we will attempt to create individual composite CDs for each model including the work of each participant, indexed with the participant’s name. If you elect to send images directly to the model(s), please provide some tangible evidence to the instructor.

THE INSTRUCTOR WILL NOT BE RESPONSIBLE FOR CREATING OR DISTRIBUTING COMPLETED IMAGES TO THE MODELS. COMPLETION OF THIS WORK IS A COMPONENT OF CLASS PARTICIPATION AND WILL AFFECT GRADES.

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 class participants – and to:

 Begin and end class sessions 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 participants of any adjustments to the 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.

Please refer to the Scottsdale Community College catalog and Student Handbook which address 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. Progress can be assessed by comparing images produced at the start of the class 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 syllabus – this win-win system has proven its merits in the past. The results of this process are documented.

OTHER COMMENTS:

. The theme of the class is Fashion Photography. In Fashion Photography, the model is a platform for product sales. The class will explore concepts that take off from competent portraiture to achieve presentation of products (i.e. clothing, jewelry, shoes, make-up, etc.) in advertising or other visual media. . There is no capture media preference - use film or digital capture, color and/or black & white. Class critiques will be either via digital media with projection or hard copy prints.

Formal presentations will be in print media, self-published books, or as a mixed media DVD (optional). . A digital camera will be used to facilitate class demonstrations. We may explore film scans and digital manipulation, although this is not a part of the current syllabus; there are several classes at SCC that are set up to provide this instruction. . The class will be format non-specific. We will use the studio facilities at SCC – lighting, backdrops, and field sessions are all part of the class – field locations will be announced. . The class will include lectures on technique, presentations of student work, presentation of other artists’ work, and other presentations. Fashion photographers we will be discussing include: Steichen, Irving Penn, Albert Watson, Greg Gorman, Annie Leibovitz, Timothy Greenfield Sanders, Avedon, and others. . There will be guest speakers. The goal is to have a fashion designer, representatives of modeling agencies, possibly media representatives, and professional photographers. . There will be a limited discussion on historical fashion photography including daguerreotypes and pictorialists. . 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. . There are dozens, if not hundreds, of books on posing and lighting techniques – get one if you feel you must. The class textbook(s) will be “Vanity Fair” magazine and Xeroxed notes from the instructor – we are looking for fresh style, evolving work, and the best in the field…. . The class will include production of up to three image ‘clones’ from Vanity Fair’. . There will be outside assignments. This class is all about making images; expect to shoot, develop, and print more than 20 rolls of film (50 or more large format frames), or the equivalent number of digital images in order to meet the class objectives. . For film capture, the instructor is available on a limited basis to provide darkroom assistance. We may share darkroom time with other classes such that other instructors may be ‘on duty’ during these sessions. The instructor will make time available on weekends for additional assistance. . There is a continual need for models. If you know persons interested in modeling, please let the instructor know. In the absence of outside models, class participants will be asked to share modeling. . Class participants are encouraged to identify outdoor locations. Photograph them and help maintain a database of suitable ones for the class.

FREQUENTLY ASKED QUESTIONS:

1. 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. 2. Do I have to share my model(s)? See the response given above. 3. 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. 4. 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. 5. What about model releases? There is a blanket model release and conditions of use document 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 – as indicated on the blanket model release. 6. How does my camera work 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. 7. How late can I stay after class? Within reason. Remember, class extends 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. 8. Is nudity 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. 9. 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. 10. 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 fashion photography is a topic for discussion during the semester.

NOTE: PLEASE SIGN AND RETURN THE FORM TITLED ‘ACKNOWLEDGEMENT OF RECEIPT OF THE COURSE SYLLABUS’ INCLUDED WITH THE COURSE HANDOUTS AT THE START OF THE CLASS.

WEEK-BY-WEEK COURSE CONTENT AND CALENDAR

Note: The weekly content is subject to change depending on individual and collective needs in the class.

Weeks 1 through 4 are focused on:

. Introductory concepts; . A review of ‘classic’ fashion photography . Studio sessions to review lighting and portraiture concepts.

WEEK 1: January 27

1. Introductions - instructor and students; 2. Collect student names, addresses, and e-mail; 3. Handout course description and schedule, grading policy, review and discuss Final Project (see OTHER COMMENTS), class performance standards; discuss scholarship opportunities, outcome assessment 4. Textbook discussion – subscriptions to Vanity Fair, other texts. 5. Discussion – concepts of fashion photography. The model must complement the clothing (or other product) – form, fit, color, lighting, set design all work together to complement the product. 6. Discussion on film choices, formats, camera selection and lenses. 7. Handout and discuss ‘Image Record’ sheets and Model Release forms. 8. Discussion and demonstration of studio equipment, studio use, darkroom availability and use including rules, safety, etc. 9. Discussion of SCC policy on borrowing equipment; 10. Discussion on models and locations; 11. Question and answer session. 12. Assignment – Get a single copy of “Vanity Fair”, select and ‘deconstruct’ one portrait from it (old copies are readily available for a nominal cost); bring at least one example of work to class for group viewing and critique – select a print appropriate to fashion photography and present its rationale, etc.

WEEK 2: February 3

1. Take attendance, add/drop, e-mail list update; 2. Collect assignment – “Vanity Fair” image deconstruction; 3. Review policy on after hour use of studio facilities at SCC;

4. Random selection and viewing of student work, discussion, critique. 5. Discussion of selected images from ‘Vanity Fair' and the image deconstruction. 6. Discussion/demonstration: High/Low Key Lighting. 7. Studio/Outdoor sessions in groups or individually. 8. Two week assignment: Produce a ‘Vanity Fair’ clone - break down class into two – or – three person groups, select and produce one image from the current ‘Vanity Fair’ – for group viewing and critique on February 21.

WEEK 3: February 10

1. Add/drop, attendance, update e-mail list 2. Review/continue discussion of ‘High/Low Key Lighting’ 3. Review preparation of Image Record diagrams. 4. Discussion – Introduction to Color; handout: color wheel 5. Studio sessions in groups or individually to review the lighting concepts previously discussed. 6. Assignment: Continue production of ‘Vanity Fair’ image clone.

WEEK 4: February 17

1. Add/drop and attendance, update e-mail list; 2. Update on class visit to photography studio. 3. Presentation of first ‘Vanity Fair’ clone images. 4. Discussion (Edward Steichen and Irving Penn) to demonstrate concepts – class discussion. 5. Review of earlier topics. 6. Discussion – Selective Focus for accent pieces 7. Studio/Outdoor portrait sessions. 8. Assignment – Deconstruct one image from ‘Vanity Fair’ and continue production of random subject images.

At the conclusion of this class, everyone should have shown and been critiqued on at least two images.

Weeks 5 through 9 will focus on:

. Studio work to assist portfolio development; . Guest presentations; . Portfolio critiques.

WEEK 5: February 24

1. Attendance, submit/return assignment (image deconstruct)

2. Presentation and group critique of earlier work. 3. Review/Continue discussion of earlier topics. 4. Discussion – Albert Watson. 5. Guest speaker: to be determined 6. Studio/Outdoor portrait sessions. 7. Assignment: ‘Vanity Fair’ image deconstruct; random subjects demonstrating concepts already discussed.

WEEK 6: March 3

1. Attendance roster, return assignments 2. Handouts: syllabus with lecture notes, “The Photographer’s Right”, “The Confrontation” 3. Random presentation and critique of student work. 4. Discussion – Portfolio presentations – printing, mat size, etc. 5. Deadline to declare intention to produce self-published book; 6. Studio/Outdoor portrait sessions. 7. Two week assignment: Produce a ‘Vanity Fair’ clone - break down class into two – or – three person groups, select and produce one image from the current ‘Vanity Fair’ – for group viewing and critique on March 28.

WEEK 7: March 10

1. Attendance, turn in, return assignments 2. Student Presentation and critique of earlier work 3. Review/Continue discussion of earlier topics. 4. Guest speaker. 5. Studio/Outdoor sessions. 6. Assignment: ‘Vanity Fair’ image deconstruct. Continue production of portfolio. At this point in time, students should have completed at least four images suitable for inclusion in the final portfolio.

WEEK 8: March 17 – No Class - Campus Closed for Spring Break

WEEK 9: March 24

1. Attendance, turn in, return assignments 2. Presentation of class work – Vanity Fair ‘Clone – 2’ 3. Bring portfolio and in-progress work for random presentation and critique. 4. Studio/Outdoor sessions. 5. Assignment: Random portraits of interesting subjects.

Weeks 10 through 14 will focus on:

. Completion of the final portfolio; . Visit to a commercial studio; . Outdoor location work; . Business considerations for Fashion Photography.

WEEK 10: March 31 – Studio Visit (tentative)

WEEK 11: April 7

1. Attendance, turn in assignments 2. Review of studio visit; 3. Comments on grading policies and impressions so far. 4. Discussion – outdoor location work with a schedule for specific locations 5. Studio/Outdoor sessions – individual and groups. 6. Two week assignment: Produce a ‘Vanity Fair’ clone - break down class into two – or – three person groups, select and produce one image from the current ‘Vanity Fair’ – for group viewing and critique on April 22.

WEEK 12: April 14 – POSSIBLE OUTDOOR LOCATION DESTINATION

WEEK 13: April 21

1. Attendance, turn in, return assignments 2. Presentation of student work-in-progress. Bring in portfolios for individual review and critique of progress. 3. Discussion – Richard Avedon 4. Discussion and demonstration: Runway Modeling and Lighting 5. Studio/Outdoor sessions. 6. Assignment: Continue production of portfolios.

WEEK 14: April 28

1. Attendance, turn in, return assignments 2. Presentation of class work – Vanity Fair ‘Clone – 3’ 3. Introduction to “The Business of Fashion Photography” – catalog work, reportage, studio/glamour – marketing & advertising – promotional techniques, media considerations (i.e. niche markets), advertising. 4. Individual discussions with instructor – ‘catch-as-catch can’. 5. Operating a Photography Business a. Considerations: personal, financial b. Small Business Practices c. Promotional Techniques

d. Personal experiences 6. Discuss presentation locations and select student presentation sequence for individual portfolios. 7. Discussion of final submittal – 10 finished prints, image record, contact sheets, prior print with critique if the final one is a re-print of an earlier version. 8. Open discussion of topics discussed during the semester. 9. Studio/Outdoor sessions. 10. Assignment: Continue production of portfolios. It is permissible, in fact encouraged, to re-print individual images as techniques improve...

WEEK 15: May 5

1. Time available for personal critiques and/or printing demonstration. 2. Class critique 3. Open discussion of topics discussed during the semester. 4. Studio/Outdoor sessions.

WEEK 16: May 12 – Last Day of Class

1. Presentation and critique of student portfolios.

THERE IS A CONTINUAL NEED FOR MODELS – A MIX OF TALENT IS VERY IMPORTANT – SEX, AGE, GENDER, ETHNICITY, AND PHYSIQUE.

INVITE FRIENDS OR ACQUAINTANCES TO CLASS FOR SITTINGS WITH PRIOR ARRANGEMENT WITH THE INSTRUCTOR.

A BLANKET MODEL RELEASE WILL BE KEPT FOR EACH MODEL TOGETHER WITH A LIST OF THE CLASS PARTICIPANTS INVOLVED WITH THAT MODEL AS A MEANS TO ASSURE SUBMITTAL OF IMAGES TO THE MODELS IN A TIMELY MANNER.

ACKNOWLEDGEMENT OF RECEIPT OF THE COURSE SYLLABUS

I, ______, hereby acknowledge that I have received a copy of the course syllabus for ART 237- Fashion Photography for the Spring 2015 semester at Scottsdale Community College (Main Campus). The course instructor was Roger E. Palmenberg.

______(Signature) (Date)

______(Print Name)

MCCCD Official Course Description:

Fashion Photography 2 Credits 5 Periods

Fashion photography for product sales. The model is a platform for product sales. Application to commercial photography, marketing, advertising, illustration, and interpersonal communication. Prerequisites or co-requisites: ART140 and Photo2/3 or permission of instructor.

MCCCD Official Course Competencies:

Fashion Photography:

1. Use camera and lighting in studio and outdoor settings. (I) 2. Utilize compositional theories as related to and incorporated into the foundational elements of design. (II) 3. Employ design and composition concepts to critically evaluate photographs. (II) 4. Examine and review the historical foundations of fashion photography. (II) 5. Utilize photography skills to produce fashion photographs. (III) 6. Utilize marketing and advertising theories to edit fashion photographs. (IV) 7. Present a fashion photography portfolio for critique and evaluation. (V)

MCCCD Official Course Outline:

Fashion Photography:

I. Camera and lighting a. Studio b. Outdoor c. Corrective techniques II. Composition and design a. Evaluate photographs b. Historical foundations of fashion photography c. The model as a platform for product sales III. Production of fashion photographs IV. Marketing and advertising a. Promotional techniques b. Media considerations i. The business of advertising ii. Niche markets V. Presentation of fashion photograph portfolio