Art 2600 Photography I, sec W-Cina 16 / Course time: 5:00pm 8:55pm

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1 Art 1605 Fundamentals of Photography sec. 1 M-Cina 16 / Course time: 5:00pm-8:50pm Lib Ed Category Information: Fundamentals of Photography fulfills the lib education category 10. Art1605 does not fulfill the photo major or minor required Art2600 photography 1 course. If a student adds a photo minor after they complete the Art1605 Fundamentals they may file an APAS amendment to have the Art1605 course substitute for the Art2600 course, please see your advisor to complete the APAS amendment. No prerequisites. Art 2600 Photography I, sec M/W-Cina 16 / Course time: 2:00pm 3:55pm Lib Ed Category Information: Photography I does not fulfill the liberal education category 10. Prerequisites: Art 1013, and art or art education major or art or photography minor or by permission #. Art 2600 Photography I, sec W-Cina 16 / Course time: 5:00pm 8:55pm Lib Ed Category Information: Photography I does not fulfill the liberal education category 10. Prerequisites: Art 1013, and art or art education major or art or photography minor or by permission #. Grading basis: A-F or audit, Credits: 3.0 credits (max 3) Regular academic session: Spring 2018 (1/10/18 4/27/18) Instructor: Wanda J. Pearcy, Assistant Professor, Art and Design Contact: Instructor website: wpearcy@d.umn.edu Office hours: Will change weekly and will be public listings on Google Calendar, and by appointment. Add me [wpearcy@d.umn.edu] to your colleagues on Google Calendar and you will see my full schedule for the semester. All semester changes will be found on the Google Calendar. Materials required: (a kit is available in the UMD bookstore.) *Write your name on all your supplies. 1) A 64G flash drive (not in the kit). 2) Epson Ultra Premium Presentation Paper, Matte surface ONLY (in the kit). 3) Interleaving Glassine Tissues (15+) (in the kit). 4) A Photographic Presentation Box (in the kit). 5) A flash light (in the kit) and other light tools (not in the kit). 6) A Digital Single Lens Reflex Camera, with lenses and filters (not in the kit). 7) Materials to build transforming tools (not in the kit). 8) A Labtop (Mac Instruction only), Photoshop, Bridge Shutter Speed B 1 ½ ¼ 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000 1/2000 MORE LIGHT LESS LIGHT Aperture 1

2 Suppliers: UMD stores, Kirby street level, First Photo, 316 e. central entrance, Calumet photographic Adorama Nikon B&H photo and video Canon Shutterbug Freestyle photo supplies Equipment: We have lights and tripods available for students to checkout. You will need to provide a student ID, telephone number, and address when checking out equipment. A faculty member, or lab attendant, must be present and available for equipment check out and returns. Never leave equipment sitting outside of the classroom; you are responsible for damaged or missing equipment. If equipment is not returned by the end of the semester, a final grade will not be given, the police will be notified and a hold will be put on the student s record. Course description: Photography I is an introduction to photographic concepts, materials, and Photoshop/Bridge, within a creative context. It is the first photo sequence course for art & design department majors, and photography and art minors. In this course, you can expect: visual presentations, lectures, demonstrations, viewing of photography videos, collaborative hands on on location experiences and group discussions of your creative work produced in the course. It is required, of students, to have a digital camera with adjustable shutter speeds and apertures, and a laptop with Photoshop and Bridge available for the whole semester. Instruction will be presented only on the Macintosh platform, it is possible to use a pc; however, the demonstrations and information will be given from a Mac perspective. Course objectives: Photographic images are central to today s image-saturated culture. Through this course, you'll become increasingly familiar with how photographic imagery speaks, and learn how digital images are shot, refined, altered and printed. Students will be introduced to current work by international contemporary photographers, deliver a presentation of one of these artists and develop a portfolio of beginning photographic work. Course outcomes: Students can expect a growing understanding of digital camera equipment. Students will learn the basic workings of the digital camera and printers to effectively meter, shoot, edit and print photographic imagery within a creative contest. Students will learn to make imagery from thematic ideas. Course Components and Percentages: There are two components to the course: your creative work, and research. Each is worth a percentage of the final course grade. Your final grade is based on the quality of all components averaged with the below percentages. As an art class, emphasis is placed on your overall creative vision and thus your final creative work is the larger percentage of the grade. Art/Artist Research Assignment Part I: 1-2pgs Word Biography Art/Artist Research Assignment Part II: PP presentation of all bio info Photography project 1: Transformation, Place & Tools Photography project 2: Identity, the Body & Light [Lynda.com] Photography project 3: Process, = Art [Lynda.com] Total Points 20pts. 20pts. 30pts. 30pts. 100pts. 200pts. Grade Scales: Artist Research Project Photo Projects 1 & 2 Photo Project 3 Course Points = A = A = A = A = B = B = B = B = C = C = C = C = D = D = D = D 2

3 Attendance: You are responsible for being in class every day. Arriving on time and staying for the entire class is expected and will have a positive impact on your learning experience as well as your grade. Tardiness or leaving class early will have a negative effect on your learning and your course grade. Regular attendance and class participation is expected. When you miss a class, contact your classmates for notes. Also, consult the course website for missed material. There are links to most of the information located on the lower part of the website page. Do not your instructor for class lecture notes or information missed due to an absence. It is never acceptable to schedule an appointment with another instructor during this class time or leave class to register, both situations will result in either or both missing information and lowered participation. An attendance problem will result in a lowered course grade. *IMPORTANT: Missing a critique will result in an F for that assignment and missing the final critique will result in a failing grade for the course. Daily announcements: Each day, after attendance there will be announcements given to clarify questions, change scheduled events or critiques, pick up graded work, and hear about lectures or events happening on campus. It is your responsibility to be in attendance for these daily announcements as you are responsible for the information and changes given, they will not be ed or repeated on a later date. If you are absent, it is your responsibility to get the notes from these announcements from a classmate, do not mail your instructor for this information due to an absence, you will not get a response to such s. Accommodations: It is university policy to provide, on a flexible and individualized basis, reasonable accommodations to students with disabilities that may affect their ability to participate in course activities or to meet course requirements. Students with disabilities are encouraged to contact Disability Resources & Services to discuss their individual needs for accommodations. Please meet with me to discuss any special needs or limitations that could prevent you from fulfilling the requirements of this class in the first week of classes. The University of Minnesota is an equal opportunity educator and employer. Class Critiques: Group critiques of finished projects are a valuable part of the learning process. In addition to presenting your own work, you will be expected to provide critical and productive commentary on the work of fellow students. *IMPORTANT: Critiques will provide you with valuable feedback and serve to sharpen your analytical and conceptual thinking skills; active participation in the critique setting will have a very positive influence on your final grade. I expect attendance and substantial participation from you in every class critique and discussion. I urge you to speak candidly about your opinions in class critique and to listen democratically to the ideas of your classmates. Late Assignments: I do not foster handing in work late; however, I do accept late assignments. If you hand in your assignment late you will forfeit verbal feedback from your classmates. Also, any late assignment, for any reason, will receive a lowered grade, by one full grade and will not be evaluated until the next assignment is due. Personal Responsibilities: In order to complete this course successfully, you will need to budget your time wisely and plan ahead. Keep a steady process of shooting and printing going throughout the semester. Working a little each week, both with your camera and in the digital printing studio (DPS), will teach you about the patience that is needed in the photographic process. Avoid waiting till the day before a critique to start printing your images. The DPS is often full, with a long line of people waiting to print on the night before a critique. *IMPORTANT: Not getting DPS access the night before a critique is not an acceptable excuse to handing in work late without penalty. Engage with the course content and your project each and every day and use the printers during open lab times in the evening to gain practice printing. Keep a journal to allow you to jot down ideas as you go, brainstorm, sketch out ideas, take notation on artists you may want to research. It is your responsibility to ask questions in class and remain up to date on all class activities and projects. It is your responsibility to take notes during all class lectures and demonstrations. We will be shooting on-site as we learn, it is your responsibility to bring your equipment and participate in each photographic shoot. It is your responsibility to travel to the photographic shoots. It is your responsibility to contact me for clarification of any confusion about the course content, as you are responsible for all content given in each class. It is your responsibility to read the syllabus in full the first week of class to clarify questions and expectations before it s too late to drop. Remaining in the class is equal to accepting all policies and course content. 3

4 Communication: When you are in need of clarification regarding any aspect of the course, please ask questions while in class, others may have the same question so, you would be doing yourself and others a service, this is one of the advantages of learning in a group setting. You may also see me during office hours, for questions, those times can be found on Google calendar. Please add me to your colleagues in Google calendar and you will see all class information in your own calendar. Outside of the classroom, the official mode of communication at the University of Minnesota Duluth is Google calendar and . Therefore, you should check the Google calendar daily for information on daily activities and your as often as you can for emergency information, and prior to each of our scheduled class periods for updates. If you cannot make it to my office hours, please me in advance to schedule a time to meet. I will do my best to accommodate student s schedules where possible. When ing, please state your full name, your class time/day, and what you are in need of. Security: Although the rooms in the Cina Hall Photography area are secured with electronic key card systems and locks, I encourage you to be aware of your belongings at all times. Items such as purses, backpacks, loaned equipment, or supplies should not be left unattended. When you are working in the DPS, take your valuables with you, as there will be no one watching the lecture room area. Write you name on all your supplies. Consideration: Treat other people s property, and prints with respect. Return all equipment to the appropriate place and in the appropriate time. We will be working in close proximity to one another, to aide in a positive learning experience for all please keep a cooperative attitude and assist in sharing and helping whenever you have the skills and/or tools to do so. If you are the last to leave the photo area please shut the door, as it is a locked environment when not used for classes or open labs. Digital Printing Studio (DPS): Students will receive a password that will allow them to print on the printers in the digital printing studio. The DPS (Digital Printing Studio) will not be open over breaks. It is expected that students using the digital printing studio will be responsible citizens in the studio, to include the following: keeping the area clean, do not eat in the digital lab, do not put any unusual material in the printers, locate any lost items in the lost & found container in the studio, and report any misuse of materials or equipment to the lab technician on duty and your instructor-wpearcy@d.umn.edu. Diversity: We will be viewing a wide range of images covering global, contemporary and historic photographic ideas. These visual elements may contain images of nudity, sexual situations, alternative lifestyles, violence, and /or sensitive or challenging subject matter. It is requested that students be available and open to discussions of diverse subject matter during the course. If material of this nature is offensive to you, please meet with me during the first week of class to discuss concerns and/or alternatives. Respect is expected from and toward all individuals of any age, sex, race, sexual preference, class, culture, disability, or belief system. No disrespectful or inappropriate language or humor will be tolerated. Students with challenges that may affect their performance physically, emotionally or intellectually please inform the instructor within the first week of classes. University s Academic Honesty Policy: All photographs submitted must be your own work; no pictures of posters or images of other artist s work will be accepted as an assignment. It is against policy to accept work ideas that were blatantly stolen or copied Pinterest ideas. It is important that the work you do comes from you researching and linking others ideas in order to create new ideas. Copying other people s ideas, even if you do the photographic work to make it happen, it is still against policy to hand in copied ideas. In college, you are graded on idea and craft, not just craft alone. If I suspect you have copied, it will likely take me 5 minutes to Google and find images you ve stolen/copied. I am very good at this. *IMPORTANT: All students, who have been proven to have copied work and handed it in as their own will receive and F for the assignment and will not be able to make up those lost points, and the student will be reported to the academic dishonesty team in the University, it will go on their internal school record. The University and I take this policy very seriously. Links to academic integrity policy and the student conduct code: 4

5 Exams: There is not an exam for this course. This course is a creative course; your imagery and prints should express what you have learned technically, aesthetically and theoretically and will be assessed accordingly. When you push the button on your camera, you are taking a midterm take home test, treat it wisely and edit as many times as needed to communicate with the full knowledge of what you can do. Do your best and push yourself beyond your limits to find where the limitations are. Research & Presentation: Artists develop by analyzing, connecting to and/or seeing their reflection in other artist s creative choices. This assignment s purpose is to facilitate a pro-active curiosity in another artist s work to develop student s processes, skills, ideas and a beginning understanding of the student s own expressions. Students will present their chosen artist s work, inspirations and biography to the class via a PowerPoint presentation. This assignment will be discussed in class and can be found on the website. Artist Research + Bio Guidelines: PowerPoint Guidelines: Researching Photographic Arts Aperture Photography and Culture Jackson Fine Art Museum of Contemporary Photography at Columbia College Chicago Lens Culture The Metropolitan Museum of Art Contemporary Works View Camera Camera Arts Photographic Project Tips ~ Handing in Work: Hand in all projects, in the black box in your kit, after the critique, the day they are due. Your box should be ready to hand in at the top of the hour. *DO NOT USE CLASSTIME THE DAY OF THE CRITIQUE TO READY YOUR BOX OR YOUR FLASH DRIVE, DO THIS THE NIGHT BEFORE. Bring your box to class, ready to hand in. It will protect and separate your work from your classmates. Late assignments are accepted at the next assignment critique and will be graded with the next assignment; with a forfeit of 1 full grade. Each assignment should include the number of print(s) due, a flash drive with all images shot for the semester organized in Bridge per classroom instruction; no subfolders. The paper you will print on will always be the Epson paper in the kit. Strive for quality and meaning and do it again if you are not satisfied and/or think you can do it better the second time. Redoing work is the nature of how artists perfect their personal standard and my aim is to guide you towards becoming creative professionals. Creative Tips: While shooting and/or designing each project keep in mind the following ways of varying the composition. By varying your position (standing, sitting, laying, upside down, from a ladder, through a window, on your side, etc ) you are more likely to discover new ways of viewing subjects and thus, new ways of understanding or experiencing. By combining techniques or ideas talked about in class (homemade tools, multiple exposures, texture screens, filter use, lens use, symbolism, quality print making, burning and dodging prints, low light shooting, light painting, studio lighting, shooting in the bathtub, etc ) you have more possibilities of coming up with something original or creative. Two old ideas merged together will create a completely new idea. 5

6 Photographic Project #1 Overview ~ Every photographic project has a subject and a theme that employs the photographic tools. The artist may work conceptually and choose their theme first to help them choose the right tools for the job. Project #1 ~ TRANSFORMATION, PLACE & TOOLS: [3 photo shoots/5 prints] Theme = Transformation Subject = The background, a place Tools = Your job is to find and build tools that transform the subject In the viewfinder, the artist has a small amount of space in which to compose meaning and draw the viewer into their world. The photographer learns how to manipulate that space to form meaning with the use of photographic tools. These tools can be in camera tools and/or hand-made tools. The in-camera tools we will go over are: aperture-to maneuver depth of field, shutter speed -to manipulate blur, focus ring-to manipulate focus or blur, and the view finder-to frame the composition. The hand-made tools we will discuss are the variety of filters that can be made and used to alter your subject. Explore the theme of transformation as you explore your subject. How can the aperture create a focus on a place, physical or emotional? How can you manipulate the position of the camera and use the f-stop to create an image that suggests a place? How you position yourself while shooting can give the viewer a different look at a familiar place. A tool you create can help develop a very unique way of seeing and documenting. Think about creating a tool unique to how you see the world. Photography can be seen as a documentation of time via the shutter speed; it can be a moment, or multiple moments seen as a blur. Use the possibilities available to the shutter speed, aperture, viewfinder, homemade filters and focus ring to express an idea of place. The PLACE assignment: Skill Learning Outcomes for Project #1: The differences between street photography and studio photography Cameras and the major camera parts Metering on manual Exposure Triangle: The relationship between shutter speed, aperture and ISO to the exposure of an image Digital Imaging: capture, storage, file formats (RAW, TIFF, PSD, JPEG) + resolution Aperture s effect on depth of field Shutter speeds effect on blur and movement Lenses, focal length & magnification and focus Filter use for transforming your subject Bridge as a finder and organizational tool, labels, batch processing, data storage Basic Editing in Photoshop Creative tool building The expressive quality of a subject via the process of shooting and the use of original tools Archival printing on Epson printers Notes: 6

7 Photographic Project #2 Overview ~ Every photographic project has a subject and a theme that employ the photographic tools. The artist may work conceptually and choose their theme first to help them choose the right tools for the job. Project #2 ~ IDENTITY, THE BODY & LIGHT: [3 photo shoots/5 prints] Theme = Identity is the theme Subject = The human form Tools = The intentional use of light is your technique Using the human body and light express an idea related to the concept of identity. Focus on perfecting your images to create a meaningful composition and maybe discover a new perspective of your own identity. How does the tone or direction of light affect what an artist expresses about their identity? Is it the quantity or placement of light that is most important to your expression? How much is being revealed? How much is hidden? Can light be used to express juxtaposition of group identity and internal identity? The IDENTITY assignment: Skill Learning Outcomes for Project #2 Available light Studio lighting Light painting in night photography Metaphor The of the body as a subject Photoshop curves to correct tone and contrast The use of highlights and shadows to correct tone Photoshop adjustment layers Lynda.com as a tool for teaching yourself unique techniques or broadening your creative process Self-motivation as your biggest tool Tonal quality Basic image editing in Photoshop Archival printing on Epson printers Texture Screens Notes: 7

8 Photographic Project #3 Overview ~ Every photographic project has a subject and a theme that employ the photographic tools. An artist may choose a process that they enjoy or speaks to them personally and in the act of committing to a particular process, the artist is allowing their approach to varying their subjects and tools to create their theme. In working this way, often times, the artist is unaware of their theme[s] until after they have completed multiple pieces and evaluated them. Project #3 ~ PROCESS; = ART: [3 photoshoots/10 prints] Theme = The process of combining the tools and subjects will create the theme Subject = Choose two subjects and vary how you combine them, in each image Tools = Use 4 [Lynda.com] techniques/tools and vary how you apply them All creative work includes a combination of subjects and techniques employed to make imagery. When an artist limits their subjects and techniques and explores how they can vary their choices within their limitations a body of work can be developed. When an artist chooses their subjects based on personal preference a natural theme will start emerging as well as a style that is unique to that artist. In this final photographic project explore Combine multiple techniques learned over the semester or researched on Lynda.com and fuse them together via a repeatable process. The foundation of all art making is a balance between artist s choice (created by adding variety) and craft (created by adding repetition). Artist s focus on something important to them and use their skill(s) or craft to bring it to form. In your final portfolio focus on shooting what you love in your real life or fantasy life and bring it to form with the techniques that we have covered in the course as well as Lynda.com. Use techniques you feel comfortable with, eliminate the ones you didn t care for. Photograph a dream life, a fantasy story, a real story etc Merge your background and subjects to speak of your life, fantasy, truth, utopian vision The website assignment link: Skills Learning Outcomes for Project #3 Brainstorming ideas for making unique imagery Application of camera and editing techniques towards creative ends Artistic voice delivered via formal combinations of subjects, tools and techniques Using the Photoshop editing tools to create color, light and tonal changes Application of Lynda.com tutorials for personal aesthetic choices Using the printer color profiles as tools to affect print quality Brainstorming ideas for making unique imagery Re-doing work to perfect a technique and style. Notes: 8

9 Photography I section 1 University of Minnesota, Duluth, Art + Design Department Provisional Syllabus Wanda J. Pearcy, Assistant Professor WEEK DATE TOPIC Spring 2018 Attendance is required for all days. It is the student s responsibility to manage course time with photographic shooting time outside of class. Be prepared for lectures and lab each and every day with your supplies on hand. Bring your cameras for each camera demonstration and if you have a camera question. Also, keep your camera instruction booklet available in your camera bag at all times. WEEK 01 WEEK 02 WEEK 03 WEEK 04 WEEK 05 WEEK 06 WEEK 07 WEEK 08 Review syllabus and discuss class structure and materials. Watch the video American Photography; A Century of Images Continuation of the video American Photography; A Century of Images. Discussion of video, and look at art books to introduce the research project. Introduce Project #1 Introduce Artist Research Assignment Camera Parts: functions & modes / Lenses / Filters / Image Quality Shutter Speed / Aperture / ISO / Manual Metering / Exposure Camera Parts: Review of ISO-Shutter Speed-Aperture and Lenses-focal length-filters PHOTO SHOOT: METERING & LONG EXPOSURE Scanning in the DPS / Bring a book of your chosen artist s work for scanning. Digital Imaging / Capture, Storage, File Format and Resolution Artist Research Presentations / 1 page artist bio, flash drive with the artist bio and a folder of the artist s high-resolution scans, and a PP with bio, images and critique presented w/the theme of the artist s work. Artist Research Presentations continued Organizing & storing using Bridge / Intro to Image Editing-Photoshop Image Editing [Spring break, No classes or use of studios] WEEK 09 Printing in the DPS (bring all supplies, paper, glassine sheets, box) PHOTO SHOOT: FILTERS AND HOME-MADE TOOLS WEEK 10 Critique #1 - refer to the website for details. Introduction of Project #2: IDENTITY - Lynda.com Research WEEK 11 PHOTO SHOOT: STUDIO LIGHTING BRING PROPS AND FLASHLIGHTS. Everyone is required to bring at least one creative prop, costume, mask, object smoke machine, be creative!!!! WEEK 12 Critique #2 Introduce project #3 WEEK 13 Develop a process for shooting via in-class brainstorming PHOTO SHOOT: TESTING THE PROCESS THE CLASS DEVELOPED WEEK 14 Workday WEEK 15 Critique #3 WEEK 16 See Google calendar for the final critique days and times. 9

10 Photography Project #1: Transformation, Place & Tools Evaluation STUDENT NAME Evaluation Sheet To develop a strong body of work it takes the following: 1. Brainstorming ideas and a well thought out plan 2. Extensive research and/or experimentation in process and idea 3. Commitment to bringing that idea to fruition 4. A keen eye to evaluate whether the idea needs to be altered 5. Commitment to mastering the form in editing and/or shooting 6. Work, physical labor, willingness to shoot over 7. Organization of all the elements of the process 8. The willingness to alter the project when new developments happen or even if the project just doesn t have the strength to make it worth continuing. 9. Playful and/or intelligent and/or heart-filled spirit Below are the art elements and numerical scales that I ve chosen to evaluate the above process. Each section below is worth 10 PTS, 30 PTS TOTAL (9-10 = A) (7-8= B) (5-6 = C) (3-4= D) (27-30 = A) (24-26= B) (21-23= C) (18-20= D) 1. FORM/CRAFT/ORGANIZATION Completed the correct amount of prints Proper use of all file formats and labels, organized in Bridge Technical proficiency evident in shooting, editing or tool building Attention to detail, formally or thematically Professionally presented prints organized in your professional presentation box Good use of color Well edited and printed 2. CREATIVITY/VOICE/AESTHETICS Personal creative vision, thematically and/or formally driven Experimentation and risk taking in shooting Experimentation and risk taking in tool building Aesthetically engaging Intellectually compelling Excellent shooting or editing process to communicate your ideas. Interesting and informative artist statement 3. PROJECT GROWTH & DEVELOPMENT /RELEVANT WORK/CONTENT [3+] Multiple shoots per project, reshoot to perfect ideas on flash drive Depth of the idea; moves past basic understanding of concepts widely understood Growth of the visual and conceptual idea via tools and techniques Creative risk taking and changes in the project The relevance of the work to the present era 10

11 Photography Project #2: Identity, the Body & Light STUDENT NAME Evaluation Sheet To develop a strong body of work it takes the following: 1. Brainstorming ideas and a well thought out plan 2. Extensive research and/or experimentation in process and idea 3. Commitment to bringing that idea to fruition 4. A keen eye to evaluate whether the idea needs to be altered 5. Commitment to mastering the form in editing and/or shooting 6. Work, physical labor, willingness to shoot over 7. Organization of all the elements of the process 8. The willingness to alter the project when new developments happen or even if the project just doesn t have the strength to make it worth continuing. 9. Playful and/or intelligent and/or heart-filled spirit Below are the art elements and numerical scales that I ve chosen to evaluate the above process. Each section below is worth 10 PTS, 30 PTS TOTAL (9-10 = A) (7-8= B) (5-6 = C) (3-4= D) (27-30 = A) (24-26= B) (21-23= C) (18-20= D) 1. FORM/CRAFT/ORGANIZATION Completed the correct amount of prints Proper use of all file formats and labels, organized in Bridge Technical proficiency evident in shooting, editing or tool building Attention to detail, formally or thematically Professionally presented prints organized in your professional presentation box Good use of color Well edited and printed 2. CREATIVITY/VOICE/AESTHETICS Personal creative vision, thematically and/or formally driven Experimentation and risk taking in shooting Experimentation and risk taking in tool building Aesthetically engaging Intellectually compelling Excellent shooting and/or editing process to communicate your ideas. Interesting and informative artist statement 3. PROJECT GROWTH & DEVELOPMENT /RELEVANT WORK/CONTENT [3+] Multiple shoots per project; reshoot to perfect ideas on flash drive Depth of the idea; moves past basic understanding of concepts widely understood Growth of the visual and conceptual idea via tools and techniques Creative risk taking and changes in the project The relevance of the work to the present era 11

12 Photography Project #3: Process; = Art STUDENT NAME Evaluation Sheet To develop a strong body of work it takes the following: 1. Brainstorming ideas and a well thought out plan 2. Extensive research and/or experimentation in process and idea 3. Commitment to bringing that idea to fruition 4. A keen eye to evaluate whether the idea needs to be altered 5. Commitment to mastering the form in editing and/or shooting 6. Work, physical labor, willingness to shoot over 7. Organization of all the elements of the process 8. The willingness to alter the project when new developments happen or even if the project just doesn t have the strength to make it worth continuing. 9. Playful and/or intelligent and/or heart-filled spirit Below are the art elements that will be evaluated. Each section below is worth 25 PTS, 100 PTS TOTAL (22-25= A) ( = B) ( = C) (15-17= D) (100 = A) (32-35 = B) (28-31 = C) (24-27 = D) 1. FORM/CRAFT Completed the correct amount of prints, and followed the directions for the assignment, 2 subjects, 4 techniques, 1 artist statement Technical proficiency evident in shooting Exceptional use of color, and well edited and printed Well organized files, correct use of file formats 2. CREATIVITY/VOICE/AESTHETICS Add something new to the assignment, personal responsibility is the first step to developing a creative voice Experimentation and risk taking in shooting Implement variety in how the chosen techniques and subjects are applied Aesthetically engaging and/or intellectually compelling 3. EFFICIENT, DEDICATED WORKFLOW Proper use of all file formats and labels, organized in Bridge All files included in your flash drive Evidence of research in your flash drive The labels chosen are fluid and allow easy access to all information and data 4. PROJECT DEVELOPMENT OVER TIME/RELEVANT WORK/CONTENT [3+] Multiple shoots per project; reshoot to perfect ideas on flash drive Depth of the idea; moves past basic understanding of concepts widely understood Growth of the visual and conceptual idea via tools and techniques Creative risk taking and changes in the project 12

13 Complete Course Breakdown of Points PHOTOGRAPHY: Art 1605 Fundamentals of Photography and Art 2600 Photography I STUDENT NAME ASSIGNMENT POINTS AVAILABLE POINTS EARNED 1. Artist Research Bio Artist Research Presentation Photo Project #1: TRANSFORMATION Photo Project #2: IDENTITY Photo Project #3: PROCESS 100 Total Points 200 Grade Scale = A = A = B = B = B = C = C = C = D = D -119 = F 13