Due Dates

Images and final contact Due Oct 24
Progress contact sheets Due in assignment folder Oct 17
Prints Due Oct 31
Reading Due
* Wm Mitchell Reading, optional but highly recommended. We will NOT discuss this in class
* In the digital age, the family photo album fades away Reading, Due Oct 17


Summary

Create 5-8 images, four prints (Made at MCaP), and contact sheets (one final and variable in process)
In this assignment you will learn about High Dynamic Range (HDR) Imaging and apply it, along with digital manipulation (if you want) to tell a visual story.

If we can get to the printer (TBD) you are required to make one print on your own using a printer in the PC lab (I hope).
We will cover this in class, but the steps are below:

PINTING STEPS FOR THE EPSON 4880


Reading 3
OPTIONAL
The Reconfigured Eye, Visual Truth in the Post-Photographic Era , William J. Mitchell, MIT Press, 1992.
Adobe Acrobat .pdf format
Chapter 3 - Intention and Artifice


REQUIRED
"In the digital age, the family photo album fades away" , NPR, 2013.



Objectives

To further learn the technical idiosyncrasies of advanced photography.
To learn the technical aspects of HDR photography.
To understand how to appropriately use HDR photography in your art.
To learn how to tell visual stories with your images.
To continue the process of understanding good digital prints.
To perfect making your own digital print on a quality printer.
To analyze and make artistic comments on visual story telling.
To work at understanding intellegent and non-cliche uses of HDR photography.


Methodology

After class instruction in HDR photography, use a digital camera capable of bracketing, Photomatix and Photoshop to learn aspects of creating HDR photgraphs. Apply this technique to create a body of work that tells some sort of story. This is your chance to tell a story with images.

Notes on STORY TELLING
When we think of stories or narratives, we often think of books or some narration that exists over time, for example, movies, videos, or film. Consider a story contained in one single frame. What does time have to do with this kind of story, is time infinite? What about a story over three images, Must it be literal? What is a story? What are some of the differences between a story told over time, like animation or an interactive work, and a story told in an image? What are some of the challenges? How can you use color, shape, form, texture, and character lines to tell a story?
It is up to you if a single image or a series of images will tell a story and if the narrative is linear on not.

Think of these questions when you make this body of work.

SPECIAL CHALLANGE
HDR photography is an effect that too easily falls into heavy cliche. Your challange is to understand how you can use it for the technical edge it gives you and to put it to use in service of your intention to tell a story. To understand what I mean by cliche HDR photography, do a google search on it. Stay away from this use.

Review the artists covered in class:

Andreas (Andi) Baumgartner
(See Traces of Entropy)

Chris Clor
These images are examples of story telling AND CGI. A lot of Chris Clor's conceptual work is good story telling, but some of it is too much about technique, while others are cliche. Some images are strong. Which ones do you think work (and why) and how do you feel about others?

20 HDR photographers
Let's look at these and see what you think about how they are using HDR. Is it cliche? Is any of this original? Critique it.

The rest is about telling stories with images:

Duane Michaels

Duane Michaels (more)

Edward Hopper
See especially:
Night Hawks
New York Movie
Office at Night


More Edward Hopper

Francis Bacon, Triptych - August 1972

Winslow Homer, The Gulf Stream, 1899

Sally Mann

More Sally Mann

Even MORE Sally Mann

Cindy Sherman

Joel Peter Witkin

From SIGGRAPH 2003
DIANE FENSTER: From the series: Your Dreams And Omens Revealed, which are anecdotal stories that translate as predictions of the future and interpretations of the past.
QUINTIN GONZALEZ, Ghost Of Time, which is serial-like imagery that reads like a narrative
PATRICK LITCHEY, whose work is a series of stills from a low end time based camera.

Create a backup system with a file structure that works for you, I won't check this.


Constraints

Create in progress contact sheets, stored in your assignment folder.

Create a final contact sheet, stored in your assignment folder

You are required to use a camera that allows you to bracket. Auto bracketing is even better.

Make a body of work that tells a story or images that each tell a different story. In either case, the works need to look as if they were created as a series.

Print your four best images. You must use MCaP to make the prints. There is no size requirement.



Submission Requirements

Create a folder with your last name on it in the Assignment 3 folder:
Classes->ARTC4250->Assignment 3-> Your Name

Put your contact sheets (final and in progress) in this folder.

Put all five to eight images in this folder.
Images should be 5MB or smaller (turn-in version only) and be jpeg.

Bring prints to class on October 31, including the one you made yourself. You will be making the one yourself any time after we go over printing. In order to make sure that you get a chance to print, I suggest you make your own print sooner rather than later.


Grading

You will be graded on your ability to complete all parts of the assignment.

You will be graded on concept, formal qualities (composition, color, etc.), and technical mastery.

To see how this assignment is weighted, see "assignments" in canvas in the course shell.


Please note

Ask any questions in class or contact me by email or stop by office hours to clarify any questions you have about the assignment.