Throughout the semester we’ve learned that there are many ways for digital images to originate. They can come from a digital camera, scans from negatives or old photographs, searching the Internet for images – the possibilities are almost endless!
A possibility for the final project is to produce a portfolio of no less than seven finished images. The number of final prints will depend on the design of your final project. Seven finished image files are due for this project regardless of the number or size of the prints. The size of your final prints is your choice. However, if you'd like to print larger than 8 x 10, you will need to provide your own paper.
Please do not hesitate to ask me about this.
The origin and content of the images is also your choice but they MUST be yours, and they must be cohesive.
The remainder of the semester will be open lab AND some lectures, all with the ability to print at EVERY class meeting, except for April 17th when we will be critiquing the stranger assignment.
Think about the ways we have worked and look over the technical assignments. Are there ways of making images that you would like to learn more about? Are there ways of making images that are more enjoyable to you than others?
Please turn in a proposal for your final project this Thursday, April 12th at the beginning of class.
We will have our final critique on Tuesday, May 1st. All images are due by the beginning of class.
Tuesday, April 10, 2012
Monday, March 26, 2012
ASSIGNMENT - DOCUMENT A STRANGER / CREATE A STRANGER
You will create a portrait of a person using strategies of both documentary and fiction. Combine elements of unrehearsed / intuitive shooting with planned / constructed / directorial image making. Through a sequence and/or arrangement of the photographs, tell the story of the person - Who is this person? What do they look like? What do they do? Where do they live? Why are they interesting?
Shoot a minimum of 150 images. Select a minimum of 7 - 10 images that create a compelling portrait of this person. Text can be employed as part of your presentations, but the images should carry most of the narrative weight. You will be turning in 5 images total on April 17th.
Shoot a minimum of 150 images. Select a minimum of 7 - 10 images that create a compelling portrait of this person. Text can be employed as part of your presentations, but the images should carry most of the narrative weight. You will be turning in 5 images total on April 17th.
Monday, March 19, 2012
POST SPRING BREAK SCHEDULE
Note: Schedule updated on 3/26/2012
March 20
-Finish printing BOX OF SPACE ASSIGNMENT
-Critique - BOX OF SPACE ASSIGNMENT
March 22
-Continue BOX OF SPACE critique
March 27
-Finish BOX OF SPACE critique
-Introduce next assignment - DOCUMENT A STRANGER / CREATE A STRANGER
-Slide lecture - Portraiture
-Slide lecture - Fiction
-Slide lecture - Documentary
-Next class: Bring an old or damaged photograph, no larger than 8" x 10"
-Next class (April 3rd) - Bring no less than 150 new images for DOCUMENT A STRANGER / CREATE A STRANGER
March 29 - NO CLASS
-I'll be at the NELSON for my show. Hope you can make it.
-Photograph for DOCUMENT A STRANGER / CREATE A STRANGER
-Next class - Bring an old or damaged photograph, no larger than 8" x 10"
-Next class (April 3rd) - Bring no less than 150 new images for DOCUMENT A STRANGER / CREATE A STRANGER
April 3
-Basic scanning techniques
-Retouching - using the clone stamp and healing brush tools
-In Lab - Scanning and retouching
-In Lab - download and make selects for DOCUMENT A STRANGER / CREATE A STRANGER
-In Lab - work on selects for DOCUMENT A STRANGER / CREATE A STRANGER
-Next class - Full lab day. Begin printing for DOCUMENT A STRANGER / CREATE A STRANGER
April 5
-Introduce Final Project
-In Lab - Printing for DOCUMENT A STRANGER / CREATE A STRANGER
-Next class - Final project proposals due. Printing DOCUMENT A STRANGER / CREATE A STRANGER
April 10
-In Lab - Printing for DOCUMENT A STRANGER / CREATE A STRANGER
-Next class - Final project proposals due. Printing DOCUMENT A STRANGER / CREATE A STRANGER
April 12
-Final project proposals due - Individual meetings with Sean
-In lab - Finish printing for DOCUMENT A STRANGER / CREATE A STRANGER
-Next class - Full lab day for final project
April 17
-Critique - DOCUMENT A STRANGER / CREATE A STRANGER
-In lab - Start working on Final projects
-Next class - Full lab day for final project
I'M TRYING TO SCHEDULE A PIER 24 VISIT SOMETIME BETWEEN 4/10 AND THE END OF THE SEMESTER. I'LL KEEP YOU POSTED
April 19
-In lab - Working on final projects
-Next class - Full lab day for final project
April 24th
-In lab - Working on final projects
-Next class - Full lab day for final project
April 24
-In lab - Working on final projects
-Next class - Full lab day for final project
April 26th
-In Lab - Printing final project
May 1
-FINAL CRITIQUE
May 3
-School's out for summer
March 20
-Finish printing BOX OF SPACE ASSIGNMENT
-Critique - BOX OF SPACE ASSIGNMENT
March 22
-Continue BOX OF SPACE critique
March 27
-Finish BOX OF SPACE critique
-Introduce next assignment - DOCUMENT A STRANGER / CREATE A STRANGER
-Slide lecture - Portraiture
-Slide lecture - Fiction
-Slide lecture - Documentary
-Next class: Bring an old or damaged photograph, no larger than 8" x 10"
-Next class (April 3rd) - Bring no less than 150 new images for DOCUMENT A STRANGER / CREATE A STRANGER
March 29 - NO CLASS
-I'll be at the NELSON for my show. Hope you can make it.
-Photograph for DOCUMENT A STRANGER / CREATE A STRANGER
-Next class - Bring an old or damaged photograph, no larger than 8" x 10"
-Next class (April 3rd) - Bring no less than 150 new images for DOCUMENT A STRANGER / CREATE A STRANGER
April 3
-Basic scanning techniques
-Retouching - using the clone stamp and healing brush tools
-In Lab - Scanning and retouching
-In Lab - download and make selects for DOCUMENT A STRANGER / CREATE A STRANGER
-In Lab - work on selects for DOCUMENT A STRANGER / CREATE A STRANGER
-Next class - Full lab day. Begin printing for DOCUMENT A STRANGER / CREATE A STRANGER
April 5
-Introduce Final Project
-In Lab - Printing for DOCUMENT A STRANGER / CREATE A STRANGER
-Next class - Final project proposals due. Printing DOCUMENT A STRANGER / CREATE A STRANGER
April 10
-In Lab - Printing for DOCUMENT A STRANGER / CREATE A STRANGER
-Next class - Final project proposals due. Printing DOCUMENT A STRANGER / CREATE A STRANGER
April 12
-Final project proposals due - Individual meetings with Sean
-In lab - Finish printing for DOCUMENT A STRANGER / CREATE A STRANGER
-Next class - Full lab day for final project
April 17
-Critique - DOCUMENT A STRANGER / CREATE A STRANGER
-In lab - Start working on Final projects
-Next class - Full lab day for final project
I'M TRYING TO SCHEDULE A PIER 24 VISIT SOMETIME BETWEEN 4/10 AND THE END OF THE SEMESTER. I'LL KEEP YOU POSTED
April 19
-In lab - Working on final projects
-Next class - Full lab day for final project
April 24th
-In lab - Working on final projects
-Next class - Full lab day for final project
April 24
-In lab - Working on final projects
-Next class - Full lab day for final project
April 26th
-In Lab - Printing final project
May 1
-FINAL CRITIQUE
May 3
-School's out for summer
Tuesday, February 28, 2012
ASSIGNMENT THREE: BOX OF SPACE - MILESTONES and other information
2/28 - Curves lecture
3/1 - Start making prints in lab
3/6 - Continue printing
3/8 - No Class, go to the SFMOMA and see the Djikstra show (remember to take a photo of yourself in one of the galleries, holding your ticket (seriously)).
3/13 - BOS assignment DUE.
3/1 - Start making prints in lab
3/6 - Continue printing
3/8 - No Class, go to the SFMOMA and see the Djikstra show (remember to take a photo of yourself in one of the galleries, holding your ticket (seriously)).
3/13 - BOS assignment DUE.
Thursday, February 16, 2012
IN CLASS 2/21
- Finish printing ASSIGNMENT TWO
- Continue critique of ASSIGNMENT TWO
- Introduce BOX OF SPACE
ASSIGNMENT THREE: BOX OF SPACE
Through the use of consistent tools (camera) and materials (film/paper) create a photographic “catalogue” of an existing space in a series of 10 or more images. The space/environment can range form a single room to a field, to the space under a sofa or in a chest of drawers. it can be actual or fictional. Consider the use of tools and materials as means of formal CLASSIFICATION, as well as a process of honing the SELECTION process. The final “catalogues” do not need to be comprehensive descriptions of place, but should explore your own ideas of what is important about the environment. Consider the final arrangement/sequence of your photographs as a descriptive component of your “catalogue”. The photographs will be placed in a box of your design.
- Make no less than 300 new exposures for this assignment and bring them to class on 2/21/2012.
- Shoot in RAW format is possible.
- The completion date and other milstones for this project will be announced on the 21st.
Monday, February 6, 2012
IN CLASS 2/7
- Saving, Flattening, and Re-sizing Files for Print
- Printing
- Turning in files for ASSIGNMENT TWO
ASSIGNMENT TWO - PART FOUR: SAVING, FLATTENING AND RE-SIZING IMAGES FOR PRINT
SAVING THE FILE FOR PRINT
1. Open your finished un-flattened PSD file from your PSDs folder.
2. Chose File -> Save As and re-save the file into your PRINTS folder adding "for_print" to the filename. If your un-flattened file was named "tree.psd", in the PRINTS folder, name it "tree_for_print.psd" when re-saving it. This avoids the original being overwritten as well as serving as an easy way to identify and archive the file later if it is misplaced.
FLATTENING THE FILE FOR PRINT
1. This is not always a necessary step. However, when working in a group lab environment, sending multiple images to the printer, this helps by dramatically reducing the file size of each print.
2. To flatten the print chose Layer -> Flatten Image. Then save the image.
RE-SIZING THE IMAGE
1. For this assignment, we will be fitting our images on 8" x 10" sheets of paper.
2. Chose Image -> Image Size.
3. Make sure Scale Styles, Constrain Proportions, and Resample Image are all checked.
4. In the Document Size section of the window enter a width and height (in inches) that will allow your image to have at least a one inch border on all sides, on an 8" x 10" sheet of paper.
5. Make the Resolution 300 pixels/inch.
6. Choose the appropriate interpolation algorithm from the drop down list at the bottom of the Image Size window. Pay attention to whether or not you are adding or subtracting pixels when re-sizing.
7. Click OK.
8. Save the image adding the size of the image to file name. For example: "tree_for_print_8x10.psd"
9. Done.
1. Open your finished un-flattened PSD file from your PSDs folder.
2. Chose File -> Save As and re-save the file into your PRINTS folder adding "for_print" to the filename. If your un-flattened file was named "tree.psd", in the PRINTS folder, name it "tree_for_print.psd" when re-saving it. This avoids the original being overwritten as well as serving as an easy way to identify and archive the file later if it is misplaced.
FLATTENING THE FILE FOR PRINT
1. This is not always a necessary step. However, when working in a group lab environment, sending multiple images to the printer, this helps by dramatically reducing the file size of each print.
2. To flatten the print chose Layer -> Flatten Image. Then save the image.
RE-SIZING THE IMAGE
1. For this assignment, we will be fitting our images on 8" x 10" sheets of paper.
2. Chose Image -> Image Size.
3. Make sure Scale Styles, Constrain Proportions, and Resample Image are all checked.
4. In the Document Size section of the window enter a width and height (in inches) that will allow your image to have at least a one inch border on all sides, on an 8" x 10" sheet of paper.
5. Make the Resolution 300 pixels/inch.
6. Choose the appropriate interpolation algorithm from the drop down list at the bottom of the Image Size window. Pay attention to whether or not you are adding or subtracting pixels when re-sizing.
7. Click OK.
8. Save the image adding the size of the image to file name. For example: "tree_for_print_8x10.psd"
9. Done.
Monday, January 30, 2012
IN CLASS 1/31
- Taryn Simon
- Sophie Calle
- Photoshop keyboard shortcuts
- Making a perfect print - adjustment layers and masks
- Assignment 2 due date and details
- Open lab time
ASSIGNMENT TWO, PART THREE: FINAL IMAGES
WHAT IS DUE
For assignment two, you will be turning in a total of:
Requirements for each .PSD file:
TURNING IN THE ASSIGNMENT
Make a folder labeled with your name and assignment two. For example:
smcfarland_assignment_two
Inside the folder labeled with your name and assignment, make two sub folders labeled .PSDs, and PRINTS. Place the six unflattened .PSDs in the .PSDs folder, place the three flattened and sized prints in the PRINTS folder.
Put the folder labeled with your name and assignment two inside my folder on Chestnut Share.
DUE DATES
All the files for this assignment and all the prints must be finished by the end of class on 2/7/2012. No exceptions. We will be critiquing the work on 2/9/2012. Failure to attend class on the 9th will result in a failing grade on the assignment.
For assignment two, you will be turning in a total of:
- six un-flattened, un-re-sampled .PSD files
- three flattened .PSD files sized for print
- three final prints - approximately 8" x 10"
Requirements for each .PSD file:
- One black and white adjustment layer
- One levels adjustment layer making a global adjustment to the image. This means that the adjustment layer mask is revealing the adjustment equally and to all areas of the image. Think of this adjustment layer as doing the same thing as exposing a print in the darkroom with a single exposure under the enlarger.
- Two levels adjustment layers with partially revealing masks that adjust only portions of the image. Think of this adjustment as a print that is dodged/burned in the darkroom. Time is either added or subtracted to change the tonality of a specific area in the print, leaving the rest of the print unchanged.
TURNING IN THE ASSIGNMENT
Make a folder labeled with your name and assignment two. For example:
smcfarland_assignment_two
Inside the folder labeled with your name and assignment, make two sub folders labeled .PSDs, and PRINTS. Place the six unflattened .PSDs in the .PSDs folder, place the three flattened and sized prints in the PRINTS folder.
Put the folder labeled with your name and assignment two inside my folder on Chestnut Share.
DUE DATES
All the files for this assignment and all the prints must be finished by the end of class on 2/7/2012. No exceptions. We will be critiquing the work on 2/9/2012. Failure to attend class on the 9th will result in a failing grade on the assignment.
ADOBE PHOTOSHOP KEYBOARD SHORTCUTS
I came across the COMPLETE list of Photoshop CS4 shortcuts. It's a bit overwhelming. Feel free to use it, but need some endless patience and a magnifying glass. They are almost identical to the shortcuts used for CS5.
LINK TO EVERY SINGLE PHOTOSHOP CS4 KEYBOARD SHORTCUT
The handout provided in class provides a much smaller list of useful keyboard shortcuts. No magnifying glass required.
LINK TO EVERY SINGLE PHOTOSHOP CS4 KEYBOARD SHORTCUT
The handout provided in class provides a much smaller list of useful keyboard shortcuts. No magnifying glass required.
Wednesday, January 25, 2012
ASSIGNMENT TWO, PART TWO: EDITING, ARCHIVING, ADJUSTING
Look through all 300 images shot for assignment two. With the aid of Adobe Bridge, choose 6 images and determine the best exposure for each one. Make your choices objectively regarding the tonality of the images - detail in the shadows, detail in the high lights.
For this and all assignments, follow the STEPS HERE for file organizing archiving.
Using entirely non-instructive editing techniques, complete the following for each image:
For this and all assignments, follow the STEPS HERE for file organizing archiving.
Using entirely non-instructive editing techniques, complete the following for each image:
- Convert each of the images to black and white following the STEPS HERE.
- Make two levels adjustment layers for each image. One levels adjustment should reflect a purely objective adjustment, the other, subjective - an adjustment that may render shadows and highlights without detail but enhances the image in some way. Compare how the image looks with both, one, no adjustment. Save them as PSDs.
- Back up your files before leaving lab.
ORGANIZING AND ARCHIVING YOUR FILES
It's good practice to stick with a single way of organizing your digital photographs. For this course, we'll be archiving our files by assignment, using the following structure.
For each project, you'll have a folder. Inside that folder there will be four more folders. Use the following names for each folder.
PROJECT FOLDER (sub-folders below)
For each project, you'll have a folder. Inside that folder there will be four more folders. Use the following names for each folder.
PROJECT FOLDER (sub-folders below)
- RAW- Unprocessed RAW or JPG files. Like the negatives in a sleeve
- PSDs- Working files, unflattened, at original resolution (not re-sampled).
- PRINTS- Final images, flattened and sized for print. All the file in this folder will have a duplicate file that is unflattened in the PSDs folder.
- JPG- small, re-sampled images for web/email.
CONVERTING IMAGES TO BLACK AND WHITE USING PS CS5
Please note. This is one of several ways to convert your images to black and white. We'll be working with other methods later in the semester. For this first assignment, please follow the instructions below.
1. Open your image in Photoshop.
2. Chose Layer -> New Adjustment Layer -> Black and White...
3. A dialog box will appear. Click OK.
4. Chose File -> Save As.
5. Save your image as a *.psd file. This will preserve the black and white adjustment layer that was created. Make sure you provide your image with a filename that will not overwrite your original file.
Below is a video tutorial that describes using this tool in depth.
1. Open your image in Photoshop.
2. Chose Layer -> New Adjustment Layer -> Black and White...
3. A dialog box will appear. Click OK.
4. Chose File -> Save As.
5. Save your image as a *.psd file. This will preserve the black and white adjustment layer that was created. Make sure you provide your image with a filename that will not overwrite your original file.
Below is a video tutorial that describes using this tool in depth.
DESTRUCTIVE AND NON-DESTRUCTIVE EDITS
Photoshop edits files in the following two ways. They are...
Destructive edits - changes modifying content in a way that it cannot be changed back to its original state. An example of a destructive edit would be to make a levels adjustment to an image by modifying a layer directly, thus altering it's content permanently.
Non-destructive edits - changes modifying content that modifies the edits rather than the original content. An example of a non-destructive edit would be to make an adjustment layer. Changes can be made to that edit, or adjustment layer without altering other layers or original content. A real world analogy would be walking outside and putting on sunglasses. In doing so you make the world appear darker without actually making it darker. Once you remove your sunglasses, everything is the same as when you put them on.
Destructive edits are BAD! They destroy data, which is information, which is ultimately resolution. Use non-destructive editing techniques whenever possible.
Here's a few types of Adjustment Layers you can add to your image using Photoshop. Please note, these are not all of them, we'll get to the rest later! If you only use adjustments layers to edit your images, you will be making non-destructive edits!
Levels - Adjusts the brightness and contrast using a histogram that represents the tonal values in an image.
Color Balance - Adjusts shifts of color in an image. If an image appears too blue you can make it warmer or more yellow using this tool.
Hue Saturation - Hue is the name of a color, saturation is a color's intensity. An image with no saturation contains no color information, only information on the brightness or darkness of each pixel. This tool adjusts the saturation of any particular hue in an image, or the overall saturation of all the hues.
To make a New Adjustment Layer in Photoshop?
Chose Layer -> New Adjustment Layer -> Levels (or any other desired type of adjustment from the list)
Destructive edits - changes modifying content in a way that it cannot be changed back to its original state. An example of a destructive edit would be to make a levels adjustment to an image by modifying a layer directly, thus altering it's content permanently.
Non-destructive edits - changes modifying content that modifies the edits rather than the original content. An example of a non-destructive edit would be to make an adjustment layer. Changes can be made to that edit, or adjustment layer without altering other layers or original content. A real world analogy would be walking outside and putting on sunglasses. In doing so you make the world appear darker without actually making it darker. Once you remove your sunglasses, everything is the same as when you put them on.
Destructive edits are BAD! They destroy data, which is information, which is ultimately resolution. Use non-destructive editing techniques whenever possible.
Here's a few types of Adjustment Layers you can add to your image using Photoshop. Please note, these are not all of them, we'll get to the rest later! If you only use adjustments layers to edit your images, you will be making non-destructive edits!
Levels - Adjusts the brightness and contrast using a histogram that represents the tonal values in an image.
Color Balance - Adjusts shifts of color in an image. If an image appears too blue you can make it warmer or more yellow using this tool.
Hue Saturation - Hue is the name of a color, saturation is a color's intensity. An image with no saturation contains no color information, only information on the brightness or darkness of each pixel. This tool adjusts the saturation of any particular hue in an image, or the overall saturation of all the hues.
To make a New Adjustment Layer in Photoshop?
Chose Layer -> New Adjustment Layer -> Levels (or any other desired type of adjustment from the list)
Monday, January 23, 2012
IN CLASS ON 1/24
- Basic Terms
- Importing images to the computer
- Re-sizing images for the web
- Lab work - complete LTLYM assignment
- Bracketing Assignment
- In class shooting exercise for Bracketing Assignment
ASSIGNMENT TWO, PART ONE: BRACKETING
We will be looking at light. Photographing light. What hides in shadows, what makes your eyes squint. Photograph the things in the world that you can't touch, or see. Stop where it's warm or where it's cold and make a photograph. How is the temperature changing the light, if at all? Re-visit the same scene throughout the day.
Set your camera to the following:
- lowest ISO
- highest resolution (raw not required)
- turn OFF the flash
Put your camera in manual mode.
Take an exposure based on your in camera light meter reading. From the same place take two more frames underexposing your film a stop in each frame. Then take two more pictures overexposing your film a stop in each frame. First do this by adjusting your shutter speed.
BRACKETING BY ADJUSTING THE SHUTTER SPEED
Example: light meter reads f11 @ 1/125
underexpose one stop (f11 @ 1/250) and two stops (f11 @ 1/500)
overexpose one stop (f11 @ 1/60) and two stops (f11 @ 1/30)
Repeat the same process, except this time adjust your exposure by using the lens aperture.
BRACKETING BY ADJUSTING THE APERTURE
Example: light meter reads f11 @ 1/125
underexpose one stop (f16 @ 1/125) and two stops (f22 @ 1/125)
overexpose one stop (f8 @ 1/125) and two stops (f5.6@ 1/125)
If your camera cannot manually adjust the aperture and shutter speed independently, please come talk to me. We'll spend some time shooting during class to ensure you can complete the assignment as close to the requirements as possible.
Make no less than 300 total exposures. Yes, 300.
Bring the images to class on 1/26.
TURNING IN ASSIGNMENT ONE: LTLYM
You have completed three assignments from the Learning to Love You More website and documented the results using a digital camera. Download the images to your computer following the steps in this post below in the post below.
Once you have downloaded all the images, look at them in Adobe Bridge and select the images that best represent the documentation required by the assignment.
Open them in Adobe Photoshop and follow the steps in this post below to re-size them for the web and email.
Save each file as a jpg with your name and the assignment number.
For example: "sean_mcfarland_27.jpg"
Place all the files for the assignment in a folder labeled with your name and LTLYM.
For example: "sean_mcfarland_LTLYM"
Place the folder created in the step above in the share drive (I'LL PROVIDE THE NAME OF THIS), inside the folder labeled: "SEAN_MCFARLAND"
All done.
Once you have downloaded all the images, look at them in Adobe Bridge and select the images that best represent the documentation required by the assignment.
Open them in Adobe Photoshop and follow the steps in this post below to re-size them for the web and email.
Save each file as a jpg with your name and the assignment number.
For example: "sean_mcfarland_27.jpg"
Place all the files for the assignment in a folder labeled with your name and LTLYM.
For example: "sean_mcfarland_LTLYM"
Place the folder created in the step above in the share drive (I'LL PROVIDE THE NAME OF THIS), inside the folder labeled: "SEAN_MCFARLAND"
All done.
TERMS, DOWNLOADING AND RESIZING IMAGES
Some Basic Terms:
Resolution = Information
PPI vs. DPI
Megapixel
Monitor Resolution vs. Printer Resolution
Bit Depth
Grayscale
RGB Color
JPG
TIFF
RAW (NEF, CR2)
PSD
Downloading images to the computer
1. Turn on and plug your camera in the computer, or insert your card into the card reader.
2. iPhoto or Adobe Bridge may automatically launch and ask if you'd like to use one of them to download your photographs. You don't. Quit them if this happens.
3. Make a new folder on the desktop named with the date and your name. For example, I would make a folder named "1.24.2012_mcfarland".
4. Click on the hard drive icon on the desktop and navigate to the applications folder. Double click and open the application "Image Capture". It has a camera for an icon. This icon might also be in the dock.
5. It should recognize your camera or card. From the "Download To:" drop down box, chose "Other". Then, navigate to the folder you just created on the desktop and click the "Open" button.
6. Click the "Download All" button. Your photographs will begin downloading to the computer and into the folder your designated. You may chose to only download some of the images on the camera or memory card. If so, click the "Download Some" button, then, select the images you'd like to download.
Resizing images for the web and email using Photoshop
1. Save a copy of your image with a new name. You'll want to do this to avoid overwriting a high resolution image with your new smaller re-sized image. For example, the original file might be named "landscape.jpg", the new file could be called "landscape_for_web.jpg"
2. From the menu, chose Image -> Image Size
3. A dialogue box will appear. In the top of this box is a section labelled "Pixel Dimensions". Change the width to somewhere in between 500 and 800 pixels, make sure the "Constrain Proportions" option is checked.
4. Click "OK" and save your image as a jpg.
Resolution = Information
PPI vs. DPI
Megapixel
Monitor Resolution vs. Printer Resolution
Bit Depth
Grayscale
RGB Color
JPG
TIFF
RAW (NEF, CR2)
PSD
Downloading images to the computer
1. Turn on and plug your camera in the computer, or insert your card into the card reader.
2. iPhoto or Adobe Bridge may automatically launch and ask if you'd like to use one of them to download your photographs. You don't. Quit them if this happens.
3. Make a new folder on the desktop named with the date and your name. For example, I would make a folder named "1.24.2012_mcfarland".
4. Click on the hard drive icon on the desktop and navigate to the applications folder. Double click and open the application "Image Capture". It has a camera for an icon. This icon might also be in the dock.
5. It should recognize your camera or card. From the "Download To:" drop down box, chose "Other". Then, navigate to the folder you just created on the desktop and click the "Open" button.
6. Click the "Download All" button. Your photographs will begin downloading to the computer and into the folder your designated. You may chose to only download some of the images on the camera or memory card. If so, click the "Download Some" button, then, select the images you'd like to download.
Resizing images for the web and email using Photoshop
1. Save a copy of your image with a new name. You'll want to do this to avoid overwriting a high resolution image with your new smaller re-sized image. For example, the original file might be named "landscape.jpg", the new file could be called "landscape_for_web.jpg"
2. From the menu, chose Image -> Image Size
3. A dialogue box will appear. In the top of this box is a section labelled "Pixel Dimensions". Change the width to somewhere in between 500 and 800 pixels, make sure the "Constrain Proportions" option is checked.
4. Click "OK" and save your image as a jpg.
Wednesday, January 18, 2012
IN CLASS ON 1/19
Camera Lecture
LTLYM Assignment - Due 1/24
- Controlling and reading light; Aperture, Shutter Speed, ISO
- Exposure
- Lens types
- Brief discussion of camera resolution and file types
LTLYM Assignment - Due 1/24
ASSIGNMENT ONE - LEARNING TO LOVE YOU MORE
Go to http://www.learningtoloveyoumore.com.
Look over the assignments. Spend some time looking at ALL the assignment, there are some hidden gems.
Choose three, complete them, and document the results using your digital camera. Before you begin photographing, make sure your camera is set to make exposures at the highest resolution possible
Bring all the images you made for this assignment to class on 1/29. In addition to your images, please being any cords needed to connect your digital camera to the computer
Do Not alter or adjust your images before we meet in lab. Instead, spend your time and effort on photographing! Remember to bring everything you need to get your images off your memory card/camera and onto the computer.
P.S. this one is really amazing.
http://www.learningtoloveyoumore.com/reports/47/hearn_kara.php
More about LTLYM:
Learning to Love You More is both a web site and series of non-web presentations comprised of work made by the general public in response to assignments given by artists Miranda July and Harrell Fletcher. Yuri Ono designed and managed the web site.
Participants accepted an assignment, completed it by following the simple but specific instructions, sent in the required report (photograph, text, video, etc), and their work got posted on-line. Like a recipe, meditation practice, or familiar song, the prescriptive nature of these assignments was intended to guide people towards their own experience.
Since Learning To Love You More was also an ever-changing series of exhibitions, screenings and radio broadcasts presented all over the world, participant's documentation was also their submission for possible inclusion in one of these presentations. Presentations have taken place at venues that include The Whitney Museum in NYC, Rhodes College in Memphis, TN, Aurora Picture Show in Houston, TX, The Seattle Art Museum in Seattle, WA, the Wattis Institute in San Francisco CA, among others.
From 2002 to its close in 2009, over 8000 people participated in the project.
Look over the assignments. Spend some time looking at ALL the assignment, there are some hidden gems.
Choose three, complete them, and document the results using your digital camera. Before you begin photographing, make sure your camera is set to make exposures at the highest resolution possible
Bring all the images you made for this assignment to class on 1/29. In addition to your images, please being any cords needed to connect your digital camera to the computer
Do Not alter or adjust your images before we meet in lab. Instead, spend your time and effort on photographing! Remember to bring everything you need to get your images off your memory card/camera and onto the computer.
P.S. this one is really amazing.
http://www.learningtoloveyoumore.com/reports/47/hearn_kara.php
More about LTLYM:
Learning to Love You More is both a web site and series of non-web presentations comprised of work made by the general public in response to assignments given by artists Miranda July and Harrell Fletcher. Yuri Ono designed and managed the web site.
Participants accepted an assignment, completed it by following the simple but specific instructions, sent in the required report (photograph, text, video, etc), and their work got posted on-line. Like a recipe, meditation practice, or familiar song, the prescriptive nature of these assignments was intended to guide people towards their own experience.
Since Learning To Love You More was also an ever-changing series of exhibitions, screenings and radio broadcasts presented all over the world, participant's documentation was also their submission for possible inclusion in one of these presentations. Presentations have taken place at venues that include The Whitney Museum in NYC, Rhodes College in Memphis, TN, Aurora Picture Show in Houston, TX, The Seattle Art Museum in Seattle, WA, the Wattis Institute in San Francisco CA, among others.
From 2002 to its close in 2009, over 8000 people participated in the project.
CAMERA SIMULATOR
Learn more about how manual camera adjustments determine the way an image looks. This is an amazing tool - really nerdy, but still amazing. Be prepared for total wonderment.
CLICK HERE TO USE THE CAMERA SIMULATOR
CLICK HERE TO USE THE CAMERA SIMULATOR
Monday, January 16, 2012
SYLLABUS
SAN FRANCISCO ART INSTITUTE
PH-120-1 DIGITAL PHOTOGRAPHY I
SPRING 2012 TUESDAY, THURSDAY, 9:00 – 11:45AM, 20A
INSTRUCTOR
Sean McFarland
Email: mcfarland.sean@gmail.com (faster response) OR smcfarland@sfai.edu
COURSE DESCRIPTION
This course is an introduction to the fundamentals of digital photography, applying the basic principles of the medium and the comparable concepts and history of traditional photography. Students will gain an understanding of digital image creation and capture, image adjustment, file management, and digital fine art printing methods. In the classroom, through lectures, critiques and discussions, students will develop an ability to think and participate in critical discourse regarding images and image making.
TECHNICAL STUDENT LEARNING OUTCOMES
· Operation of manual, digital SLR cameras
· Basic color management
· Basic scanner operation
· Resolution management and output of digital files to print
· Adjustment and manipulation of digital photographs
· Fine art inkjet printing
· Archiving and storage of digital images
· Completion of successful and coherent portfolio of 10-15 exhibition quality images
GRADING
75% - Participation and Studio Project Assignments (all equal in weight)
25% - Final Project
25% - Final Project
Unexcused absences will result in a lower grade. Three absences will lower your final grade by 10 percent (one letter grade). Six or more unexcused absences will result in a failing grade. If you’re going to be absent, please let me know. Persistent lateness will result in a lower participation grade.
GRADING POLICY
A
Inspired growth and/or consistent excellence
Strong contribution to class critiques
Punctuality and outstanding class participation
Have no more than three unexcused absences
Punctual
B
Consistent high quality response to assignments
Active participation in critiques
Punctuality and appropriate class participation
C
Average response to assignments
Marginal attendance and participation
D
Little or no effort in work and in participation
F
Failing grade
TEXT
There is currently no requirement for purchasing a textbook. Most, if not all readings throughout the semester will be provided.
BLOG
All handouts can be found at the class blog. If you miss a lab/class, you are responsible for finding the time to make up the work on your own. This is be resource for you to use throughout the semester. However, do not rely on it as substitute for being present in class.
EQUIPMENT
DLSR or equivalent with manual adjustment of focus and exposure.
At least 16 gigabytes of portable storage, flash drives, hard drives - your choice.
RECOMMENDED MATERIALS
Notebook / Sketchbook, tripod, extra battery, extra memory card
MAIL ORDER SUPPLIERS
Freestyle Photographic Supplies (THIS IS THE BEST OPTION)
B&H
LOCAL SUPPLIERS
Calumet
2001 Bryant Street at 18th Street, San Francisco, CA, (415) 643-9275
Photographer’s Supply
436 Bryant Street (Between 2nd & 3rd), San Francisco, CA, (415)-495-8640
Adolf Gassers
2181 Second Street at Howard (downtown), San Francisco, CA, (415) 495-385
Looking Glass
2848 Telegraph Ave., Berkeley, CA 94705, (510) 548-6888
SOME HINTS AND RULES FOR STUDENTS AND TEACHERS by JOHN CAGE
Rule 1
Find a place you trust and then, try trusting it for a while.
Rule 2
General Outline of Duties of a Student:
Pull everything out of your teacher.
Pull everything out of your fellow students.
Rule 3
General Outline of Duties of a Teacher:
Pull everything out of your students.
Rule 4
Consider everything as an experiment.
Rule 5
BE SELF DISCIPLINED. This means finding someone wise or smart and choosing to follow them. To be disciplined is to follow in a good way. To be self-disciplined is to follow in a better way.
Rule 6
FOLLOW THE LEADER. Nothing is a mistake. There is no win and no fail. There is only MAKE.
Rule 7
The only rule is work. If you work it will lead to something. It is the people who do all of the work all the time who eventually catch on to things. You can fool the fans – but not the players.
Rule 8
Do no try to create and analyze at the same time. They are different processes
Rule 9
Be happy whenever you can manage it. Enjoy yourself. It’s lighter than you think.
Rule 10
We are breaking all the rules, even our own rules. And how do we do that? By leaving plenty of room for X quantities.
HELPFUL HINTS:
Always be around. Come or go to everything.
Always go to classes.
Read everything you can get your hands on.
Look at movies carefully and often.
Save everything. It may come in handy later.
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