Monday, June 18, 2012
Locks on Cabinets!
Wednesday, June 13, 2012
Underclass Final Time!
For your final you will need:
- 4 NEW images based on your topic
- 1 darkroom manipulation print
- blurbs for each of your 5 pics (3+ sentences)
- a one page reflection
You need to have all of this by the end of Tuesday next week! Not a lot of time!
Tuesday, June 12, 2012
Seniors!
You need to turn in your final today.
- 2 pics
- 1 page reflection
- 1 darkroom manipulation
- couple sentence blurbs per pic
Wednesday, June 6, 2012
More for your final - written portion!
A one-page reflection is also required
for your final. This can be done electronically and does not need to
be attached/included in your portfolio. In this paper you need
describe what you learned during your project and throughout the term.
Also, each image you plan to use in your portfolio should be accompanied by a 3+ sentence explanation of the image, what you did compositionally, in the darkroom, on the camera, why you chose the image, how it relates to your topic etc. This also should be done for your darkroom experimentation image (explain the process and thoughts behind it).
- What new info/techniques/ideas did you learn about your subject,the darkroom , and photography in general through this final assignment?
- What was easy and difficult about your project/subject?
- What would you do differently if you could start over again?
- Finally, how far along do you think you have come as a photographer this semester (think back to our landscape and other intro assignments getting to know composition, the darkroom and the camera)?
Also, each image you plan to use in your portfolio should be accompanied by a 3+ sentence explanation of the image, what you did compositionally, in the darkroom, on the camera, why you chose the image, how it relates to your topic etc. This also should be done for your darkroom experimentation image (explain the process and thoughts behind it).
Wednesday, May 30, 2012
Portfolio/Final Planning
Please answer the questions in the post below:
http://learn.shorelineschools.org/shorecrest/bstory/index.php?section=discussion&threadID=33562
Items of note for your final:
Final Requirements -
http://learn.shorelineschools.org/shorecrest/bstory/index.php?section=discussion&threadID=33562
Items of note for your final:
Final Requirements -
- once central theme/idea/concept/technique
- minimum of 24 pics for your topic
- 4+ prints (8"x10")
- 1 additional print using a darkroom experimentation (not related to your theme)
- All items need to be cobbled together into a presentable portfolio
- written component to come later.
Timeline:
You will have the remainder of the term to work on this. We will make a darkroom schedule as crunch time hits and the darkroom gets more crowded. It is often a good idea to plan a couple lunch/TAP darkroom sessions to ensure you have time to make the prints you need.
Grading:
Each of your 5 images will be graded as a stand alone assignment. All should be reflective of your best work. This assignment is worth over 300 points!
Tuesday, May 29, 2012
Darkroom experimentations
You have a BUNCH of options for your next project. Pick one:
Double Exposure:
sandwich Negatives -
Firstly, in case you are not familiar with a sandwich print, it is an image made from printing two negatives at the same time.
The end result will look something like the included picture which you may have seen around Venice Arts at some point.
To get started you will need two pictures that you think will work well together. Personally, I like to combine interesting backgrounds with simple portraits.
After you've chosen your two images, you load both of them into the negative carrier like you normally would, except they are stacked on top of each other. Once they are in and taped securely so they won't move around you will probably have to adjust and open up the aperture to be able to see both images. After focusing as usual, you will make test strips to find the best time for the picture. *You will most likely have to use longer increments of time than you normally would, I usually start with 4 seconds but I have had to go up to 6 seconds on occasion.
Next create a test print to see how the entire image looks, how the pictures look together, if you need to adjust the position of any of the negatives, or if some parts are too dark. Next you dodge and burn accordingly.
Creative Dodging and Burning:
For this technique you are exposing a portion of one negative along with a portion of another. You will need to make test strips for both. Once you know your exposure, you will dodge one area while exposing another. Then swap out the negative and expose the other portion and dodge the previously exposed part. Some overlap is helpful.
Solarization - or the Sabbatier effect:
Normal print
00
Solarization (aka the Sabbatier process) is very experimental, and there are many ways to do it.
In essence, the process involves flashing a partially developed print with white light, and then allowing development to complete. The result is a print in which some of the tones are reversed (highlights become shadows, shadows take on a silvery glow), and you may also get white "Mackie lines" separating highlights and shadows. Often, the result is dark and muddy; the objective is to produce a print that displays the typical characteristics of a solarized print but that is not so dark. The process tends to work best with graded papers, and especially with papers of higher contrast grades.
Take the print out of the developer, and then turn on the white light briefly. How briefly is part of the experimental nature of the process, and will vary from one print to the next.
In some instances it is necessary to put the print back into the developer. In other cases, you can simply let the print sit for a moment while the developer in the emulsion does its thing, and then transfer the print to the stop. Again, its an experimental process.
HOLGA!
You can shoot a roll of 120 film through a plastic Holga camera. The results are unique, fun, and random!
Paper Negative:
Double Exposure:
sandwich Negatives -
Firstly, in case you are not familiar with a sandwich print, it is an image made from printing two negatives at the same time.
The end result will look something like the included picture which you may have seen around Venice Arts at some point.
To get started you will need two pictures that you think will work well together. Personally, I like to combine interesting backgrounds with simple portraits.
After you've chosen your two images, you load both of them into the negative carrier like you normally would, except they are stacked on top of each other. Once they are in and taped securely so they won't move around you will probably have to adjust and open up the aperture to be able to see both images. After focusing as usual, you will make test strips to find the best time for the picture. *You will most likely have to use longer increments of time than you normally would, I usually start with 4 seconds but I have had to go up to 6 seconds on occasion.
Next create a test print to see how the entire image looks, how the pictures look together, if you need to adjust the position of any of the negatives, or if some parts are too dark. Next you dodge and burn accordingly.
Creative Dodging and Burning:
For this technique you are exposing a portion of one negative along with a portion of another. You will need to make test strips for both. Once you know your exposure, you will dodge one area while exposing another. Then swap out the negative and expose the other portion and dodge the previously exposed part. Some overlap is helpful.
Solarization - or the Sabbatier effect:
00Solarization (aka the Sabbatier process) is very experimental, and there are many ways to do it.
In essence, the process involves flashing a partially developed print with white light, and then allowing development to complete. The result is a print in which some of the tones are reversed (highlights become shadows, shadows take on a silvery glow), and you may also get white "Mackie lines" separating highlights and shadows. Often, the result is dark and muddy; the objective is to produce a print that displays the typical characteristics of a solarized print but that is not so dark. The process tends to work best with graded papers, and especially with papers of higher contrast grades.
Take the print out of the developer, and then turn on the white light briefly. How briefly is part of the experimental nature of the process, and will vary from one print to the next.
In some instances it is necessary to put the print back into the developer. In other cases, you can simply let the print sit for a moment while the developer in the emulsion does its thing, and then transfer the print to the stop. Again, its an experimental process.
HOLGA!
You can shoot a roll of 120 film through a plastic Holga camera. The results are unique, fun, and random!
Paper Negative:
- From a digital image name a negative in PhotoShop
- print on a printer
- Lay a piece of unexposed paper down with the emulsion side facing up
- Place the paper negative, face down, onto the unexposed paper
- Place a have piece of plexiglass on top of the papers
- Press/squeeze to ensure a good contact with no air bubbles
- Expose via your enlarger lamp for a few of seconds (again, you will need to make a test strip - every negative is different)
- Process and dry the new image as you would any print
Wednesday, May 23, 2012
Time to start planning for your FINAL!
You only have 2 assignments left. One is an experiment in darkroom techniques or film processes. The other is your final. Today you should start considering your final.
Final Details:
Final Details:
- A topic of your choice (can be a camera technique or a compositional topic)
- one roll of film (contact sheet)
- 4 images
- a reflection paper
- a couple sentences describing your images, relation to your topic, darkroom adventures etc.
- Music in Seattle
- Abstract
- Slow shutter speeds
- high contrast portraits
- snails eye view
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