Course Syllabus. Basic Studio Lighting ART 290MC Scottsdale Community College - Main Campus Spring 2017

Transcription

1 Course Syllabus Basic Studio Lighting ART 290MC Scottsdale Community College - Main Campus Spring 2017 Instructors: Rachel Brace-Stille and Roger E. Palmenberg

2 ...I m an incurable dreamer with a wild imagination. That s what I truly love about 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 In the right light, at the right time, everything is extraordinary. Aaron Rose 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 What is the one word that describes a successful photograph? IMPACT Paul Markow, Markow Southwest Phoenix, AZ COURSE NUMBER: ART290MC - Basic Studio Lighting (Three credit-hours) INSTRUCTORS: TERM: CLASSROOM: Rachel Brace-Stille and Roger E. Palmenberg Spring weeks - dates: to be determined Art Building - AB-133 Main Campus PHONE NUMBERS: Art Department, Rachel Brace-Stille: Roger E. Palmenberg: ext 170 (M-F, days) OFFICE HOURS: COURSE TIME: rachel.bracestille@scottsdalecc.edu roger.p@gpimail.com By appointment with instructors Thursday, 3:00 PM through 8:30 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 instructors. Often, class will be extended for those participants wanting to stay late to work. The instructors will make the studio available on selected weekend days throughout the semester; times and dates will vary and will be announced in advance. 1

3 THE TENTATIVE DATES FOR OUR OPEN STUDIO SESSIONS ARE: TO BE DETERMINED. PREREQUISITES: None. It is preferred that students be proficient shooting and processing images, printing, and have an intermediate level of competency with a camera proper exposure control and functionality. 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: Student selected texts relevant to the course, on-line sources, and class notes. Class notes (SCC Studio Notes) will be provided in electronic format at the start of the class. Optional: get a free subscription to Rangefinder magazine via the Internet ( to supplement class notes. Other magazines that have been popular include Arizona Highways, Vanity Fair, Sunset, and Rolling Stone. COURSE COSTS: There is a course fee paid at the time of registration. 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 or call the instructors 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 instructors about your commitment; Miss the fourth class and you will be dropped. GRADES: Class participation/assignments: 40% Final Portfolio: 40% Attendance: 20% 2

4 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. COURSE DESCRIPTION: The course is a workshop/seminar. The course will present a program of instruction to help participants achieve a basic level of competency in lighting for photography - a fundamental skill for producing creative and dramatic images. The course will include basic lighting concepts as well as access to the SCC studio and facilities to practice the concepts presented. Images will be produced to demonstrate course concepts applied to portrait, fashion, still life, and product photography for fine art and/or commercial applications as well as an introduction to color theory and the use of color. 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 third party review and display. Participants are expected to advance their demonstrated photographic skill level. There will be ample opportunity to make images during class both to practice the lighting and set concepts as well as to photograph persons, product, and still life compositions. 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 ). 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 instructors 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. The assignments can be part of the final portfolio. Assignments are to be submitted electronically by uploading them into your assigned master file into the class computer and reviewed in class during critiques and by the instructors outside of class. Assignments include: STILL LIFE: Create a still life image with emphasis on texture, composition, shape; PRODUCT: Create a product image fashion accessory, food, other demonstrating course concepts; PORTRAITURE: Create images of persons using basic portrait lighting concepts; MOTION STUDY: Create an image of a person that is a combination of studio strobe and continuous lighting sources; 3

5 CELLPHONE 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. Periodically, there will be assignments to deconstruct images from readily available sources 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. Basic Lighting for Photography FINAL PORTFOLIO SELECTIONS MUST INCLUDE AT LEAST ONE IMAGE FROM EACH OF THE TYPES BELOW Set Selections: at least one image from the selections below Portrait Head Shot Portrait Full Length Product Still Life Motion Study Flash - high key Flash - low key Studio - continuous Outdoor, ambient Mixed lighting NOTE: PORTFOLIO TO INCLUDE AT LEAST ONE COLOR AND ONE BLACK & WHITE IMAGE 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. 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. DO NOT SUBMIT THE FINAL PORTFOLIO ELECTRONICALLY PART OF THE EXERCISE IS TO GET YOU USED TO PRODUCING QUALITY HARD COPY PRINTS. 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. 4

6 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 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. 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; 5

7 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: Class participants are encouraged to invite models to the class as part of the Portraiture block of instruction. If you invite a model to class, you become the model s sponsor and will be responsible for getting images produced to the model. Models will sign a Talent Release form to meet District requirements. NO OTHER MODEL RELEASES WILL BE ALLOWED FOR MODELS BEING PHOTOGRAPHED ON CAMPUS. Everyone photographing a model is expected to submit either prints or images in electronic media to the model within one-month. Submittal of these images is a component of class participation. 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 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 instructors. THE INSTRUCTORS 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 instructors, we are 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 instructors, 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, 6

8 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 instructors 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 & ) Copyrights (AR & 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 instructors 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: Can you navigate exposure adjustments? That means being able to immediately critique a digital image in camera, make the necessary exposure adjustment (i.e., f-stop, ISO, white balance) this means you should have a working knowledge of f-stop-shutter speed ISO relationships we frown on shooting in Auto everything. 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. Photographers we will be discussing include: Edward Weston, Edward Steichen, Irving Penn, Albert Watson, Greg Gorman, Annie Leibovitz, Timothy Greenfield Sanders, Avedon, and others. 7

9 There will be guest speakers. There may be several quizzes in the semester. These quizzes are more for the instructors 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 contemporary magazines relevant to the topics discussed and electronic notes from the instructors we are looking for fresh style, evolving work, and the best in the field. 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 instructors are 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 instructors will make time available on weekends for additional assistance. 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. 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 one of the instructors, Roger Palmenberg, is not on-campus any other time than before, during, and after class. This means you will need to coordinate your studio time with other instructors to gain access to the equipment locker for the lights, etc. Weekend open studio times will be scheduled throughout the semester. 2. 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. The same applies to learning and using Manual exposure control. 3. 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 instructors. 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. 4. Can I sell my work? Do not expect to use the class or SCC facilities for commercial work - do your commercial work off-campus. 5. Are there commercial opportunities associated with this class? Often, there are requests for quotation for commercial work. The instructors will notify class participants via of these opportunities when they become available. The business of photography is a topic for discussion during the semester. 8

10 6. 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. 7. Do I have to share my model(s)? See the response given above. 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. 9

11 ACKNOWLEDGEMENT OF RECEIPT OF THE COURSE SYLLABUS I,, hereby acknowledge that I have received a copy of the course syllabus for ART 290MC Basic Studio Lighting for the Spring 2017 semester at Scottsdale Community College (Main Campus). The course instructors were Rachel Brace-Stille and Roger E. Palmenberg. (Signature) (Date) (Print Name) 10

12 MCCCD Official Course Description: Basic Studio Lighting 3 Credits 5 Periods Basic Studio Lighting. Application to commercial photography, marketing, advertising, illustration, and interpersonal communication. Prerequisites: None. Basic Lighting for Photography: MCCCD Official Course Competencies: 1. Use camera and lighting in studio and outdoor settings. (I) 2. Utilize studio lighting to create images of persons, products, and still life for fine art and commercial applications in a series of photographic exercises. (I) 3. Utilize compositional theories as related to and incorporated into the foundational elements of design to attain proficiency with studio lighting equipment. (II) 4. Employ design and composition concepts to critically evaluate photographs. (II) 5. Examine and review contemporary photography relevant to the course. (II) 6. Utilize photography skills to produce photographs. (III) 7. Utilize marketing and advertising theories to edit photographs. (IV) 8. Present a photography portfolio for critique and evaluation. (V) Basic Lighting for Photography: MCCCD Official Course Outline: I. Camera and lighting a. Studio b. Outdoor c. Mixed (artificial and natural) d. Motion studies II. Composition and design a. Evaluate photographs b. Evaluate contemporary photographs relevant to the course III. Production of photographs IV. Marketing and advertising a. Promotional techniques b. Media considerations i. The business of photography ii. Niche markets V. Presentation of photography portfolio 11