Project 3

Due Dates:

Proposals – November 10
Preliminary Critique – November 17 (grads) 19th (undergrad)
Final Critique – December 8, 11:30-2:00
Artist statement – December 8, 11:30-2:00

Proposals:

2 pages.

• Statement of intent
• Concept
• Technique/Process
• Aesthetic approaches
• How this project is an evolution of your work as a photographer/artist
• Discuss 3-4 relevant, well-established photographic artists that will inform the work and how. Provide references/citations
• How do you imagine this artwork will be a contribution to the world? A lofty question...but what are you really expressing? Honor your intentions.

Project 2, revised schedule

Prelim critique (work prints): 10/13
Final critique: 10/27

Proposals, project 2

(All course levels)

Discuss:

Themes/Ideas/Concepts/Processes/Image Approaches

Discuss work of at least two established photographic artists that may inform your work for this period and how/why

Goggles now required for darkroom chemical use

In compliance with new health and safety regulations, you need to purchase your own splash goggles, if you plan to work with any type of photo chemistry. Fortunately, I’ve found some very inexpensive ones online that are sufficient. They must be googles, not the open glasses-style, so they form a seal on the face offering splash protection. They have have vents to be a bit more breathable. They should be large enough to accommodate personal eye-wear. 

They can be purchased from the following link for less than $3/each

http://www.shop3m.com/3m-safety-splash-goggle-334-40660-00000-10-clear-lens.html?WT.ac=US_EnterpriseCatalog_70071542644

Initial presentations

Prepare a 10 minute presentation. Please cover the following.

• A brief overview of prior work you have completed in your most recent class, grad review, etc. (whatever applies to you). Can be digital presentation on screen, or actual print portfolio
• What you are planning to do over the next few weeks? Where will you start?
• Show some examples of your own work that shows this, or work of other photographers that gives us an idea (choose 3-4 fairly well established folks)

8/25 Tuesday: Sarah, Celestia, Liam, Chi

8/27 Thursday: Zack, Ashley, Tanesha, Lindsey, Dana, Alex

Welcome

This course provides a space for you to experiment, develop and realize your photographic projects. I invite you to make a lot of pictures, try everything, and dig deep into what you need to do. Special topic areas will be explored to enrich your range of knowledge.

Critique Schedule:

9/22
10/6
11/10
12/8 (Exam Week) 11:30am-2pm

Topic explorations, all sections

• Contemplative approaches for seeing, looking and responding to the world photographically in fresh ways
• Advanced darkroom controls
• Split filtration and multicontrast approaches
• Fine tuning ISO and development times
• Local and global print flashing
• Other? Possible grad student topic...
• Advanced digital processing approaches (Photoshop)
• Review of best practices in smart object workflow
• Fine tuning digital files with additional approaches
• Other? Possible grad student topic...
• Experimental digital printing approaches
• Alternate and self-prepared papers and substrates (inkAid)
• Digital emulsion transfers (DASS SuperSauce)
• Other? Possible grad student topic...
• Studio lighting
• Review of basics–everyone gets "certified" to use the lighting studio
• More advanced concerns (as needed)
• Presentation and finishing
• Exploring the options
• Matting styles
• Framing styles
• Cold press mounting on a variety of substrates
• Other? Possible grad student topic...

Expectations, all sections.

• Spend class time working in darkroom, digital lab, lighting studio, digital printing areas, etc.
• Bring all that you need to work (films, papers, digital files, stuff, etc.) to class.
• Have a specific plan for each class, whether printing, experimenting, editing on the computer, shooting in the studio, looking at photo books, writing, etc.
• Photo shoots should be scheduled for out-of-class time, with the exception of studio lighting work and special group work.
• Process film out-of-class except for special things like film testing, etc.
• Be prepared for critiques at the beginning of class–your work is graded at the time of critique

Section specifics

319: Three distinct projects, plus a final portfolio, properly finished and presented. Projects require a written proposal (guidelines will be provided). Artist statement for the final portfolio. Assignments related to topic explorations should be completed.

418: One, two, or three distinct projects of appropriate breadth and depth for the number of projects chosen. For instance one long project should have three distinct phases of development, etc. Projects require a written proposal (guidelines will be provided). Artist statement for the final portfolio. Assignments related to topic explorations should be completed.

518/618: Development of your work appropriate for graduate level. Align your work to the critique schedule. Teaching of one topic area of your choice. Artist talk/presentation. Assignments related to topic explorations should be explored and hopefully, completed.