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PR/PHTO 230 Fine Art Photography & Workshop

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PR/PHTO 230 Fine Art Photography & Workshop Syllabus of Record Program: CET Photography at FAMU Course Code / Title: (PR/PHTO 230) Fine Art Photography and Workshop Total Hours: 63 Recommended Credits: 3 Primary Discipline / Suggested Cross Listings: Photography / Studio Art Language of Instruction: English Prerequisites / Requirements: Previous experience in photography is required Description This course covers all forms of illustrative and self-expressive photography, from independent art to subjective or sociological documentary. Although the themes listed in the Course Outline below are essentially technical in nature, the course approaches them holistically, from philosophical, aesthetic, and historical points of view. Each lecture starts with an analysis of images that represent previously-studied techniques. Some time is also devoted to a survey of works of Czech photographers and their relation to the movements in European and world photography. The second part of each class (workshop: supervised studio time) comprises demonstrations and in-class assignments that help students improve not only their theoretical knowledge but also their practical skills. After basic skills are reviewed, the course leads students to an understanding of all kinds of photographic transformation: pinhole camera, changing of image tonality by dying and toning, solarization, Kodalith, Cyanotype, printing-out papers, platinum and palladium print, gum-bichromate, as well as color processing and printing. The course also aims to explain basic questions of light construction, especially for portrait and studio still life shooting. A special seminar is devoted to lighting. Objectives Through their participation in this course, students: • develop a foundation in the history of photography (with emphasis on Czech photography), photographic techniques, and studio photography, • gain knowledge and practice in art photography as well as develop practical skills in advertising and fashion photography, • improve their photographic skills, both technical and compositional, • demonstrate their accomplishments by producing a professional portfolio. Course Requirements Students are expected to abide by CET’s Attendance Policy and to attend all sessions having completed all practical and reading assignments. Readings are assigned for some sessions only, but are of critical importance. During the course, students complete the following assignments: CET Academic Programs l 1155 Connecticut Ave NW, Suite 300 l Washington, DC 20036 www.cetacademicprograms.com l 1.800.225.4262 l [email protected] Syllabus of Record • Creative-technical assignments done during the studio lighting seminar or the darkroom practice • Homework assignments pertaining to a theoretical topic • Midterm critiques: over the course of the term, students are required to meet with the instructor for individual consultations. These consultations are designed to review and critique plans and drafts of the final project. Students should bring to the meetings one or more of the following: sketches, contact sheets, working prints, model of a book, final object, or installation. • The final project, which consists of the following two components: o Photographic book o Collection of images for an exhibition • Students must also submit a written explanation (3 to 6 pages) of the final thematic project, including evidence for final project choices. This paper serves as the basis for the final presentation and critique. The paper must describe the process of creative decisions for the expression of the visual language of photography. Grading The final grade is determined as follows: • Creative-technical and homework assignments 20% • Midterm critiques 20% • Final book 10% • Final project paper, presentation, and critique 25% • Final project (exhibition) 25% Readings Atkins, Robert. Art Speak. New York, London, and Paris: Abbeville Press Publishers, 1997. Clarke, Graham. The Photograph. Oxford and New York: Oxford University Press, 1997. Hirsch, Robert, and John Valentino. Photographic Possibilities. The Expressive Use of Ideas, Materials and Processes. Boston and Oxford: Focal Press, 2001. Mora, Gilles. Photo Speak. New York, London, and Paris: Abbeville Press Publishers, 1998. Rudman, Tim. The Photographer’s Master Printing Course. Boston and Oxford: Focal Press, 2000. Outline of Course Content Topic 1: The Photograph as Fine Art • Light-tonal concepts: The role of determining exposure during image visualization • The Zone system and other systems of reading • The importance of controlling development in relation to the tonal make-up of the negative and final image • The use of special films, and the characteristics of processing and printing developers • The photographic spirit of Prague – brief survey of Czech master photographers. Syllabus of Record Topic 2: Studio Lighting • Basic principles of Studio Lighting for portraiture. • Applied principle systems of portrait studio lighting in a fashion shoot. • Principles and practice of fashion or product lighting. Topic 3: Introduction to Fashion Photography • Introduction to the theory of fashion photography, and to significant recent photographers – Erwin Olaf, Berhina Reims, David La Chapelle, Patric Demarchelier, Jurgen Teller, Terry Richardson – in continuity with names from fashion photography history such as Richard Avedon, Helmut Newton, and Oliviero Toscani. Works of the above mentioned photographers were included in great art collections around the world and have passed the borders of fashion photography, moving it towards artistic expression. • Principles of using a camera: change of focusing, blurring, using long time exposure. Topic 4: Alternative versus Mainstream in Magazine Culture • Presentation of magazines and fashion photography published in Great Britain, France, USA, and Japan since the 1980s. Towards the end of the 20th century, the fashion magazine market began to change in connection with changes in society. An inspiring example is ID magazine, arising in London in 1980 which launched a phase of alternative magazines that acquired cult status because of their impact on fashion design and photography. • Working with fashion models and specific architecture or city landscapes. Topic 5: Fashion in Advertising • Long-term fashion photography is formed by the development and trends in advertising. Labels such as Benetton (photographer Oliviero Toscani), , or the advertising campaign of the Milan Design Festival try to keep the art quality of the shot while creatively filling the contents and displaying ideas in the photo. Students are introduced to theoretical principles and laws of advertising photography and get a chance to confront their opinions on individual campaigns. Topic 6: Fashion as Social Status - Developments and Trends in Subcultures • In the way we dress, we define ourselves as part of a certain social group. Even fine details are often socially classifying. There are more obviously profiled movements often influenced by a music scene and art, or movements stating political and ideological orientation. Students get to know different phases of fashion development in connection with larger or smaller subcultures. • Shooting a studio portrait and figure with emphasis on light modeling and maximum range of detail lighting. Creating a daylight impression in a studio with flash lights. Making a portrait focusing on definition and simplicity of the photo. Topic 7: Darkroom Workshop • The role of printing technologies in a creative process: making an archival print; monumental images, wallpapers, toning and dying, digital “darkroom” process. Topic 8: The Photography Book • Basic principles of graphic design and technical aspects of bookmaking in studio practice. Syllabus of Record Topic 9: Building up a Portfolio • Photo finishing. Preparation for final presentation. .
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