VPA104
INTRODUCTION TO DIGITAL IMAGING WEEK 1
ABOUT
Welcome to VPA104: Tuesdays from 1pm to 4pm
This subject will provide you with some key knowledge regarding photography and digital imaging, including: • Photographic history, science and perspectives; • Realism, Photomontage & Surrealism; • Digital manipulation of photographs and understanding composition; • Image research and understanding resolutions and colour modes; • Theoretical perspectives: reading images, making meaning.
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There is additional studio time for this subject, at it is for you to use as you see fit: work together with your peers, discuss your ideas, or simply use it as quiet study time. While this time is not mandatory, I encourage you to use as many studio hours as available. Search for room 2445 on your timetable to see when meeting times are available. All meeting times are open to all students, regardless of whether you are in the class listed in the timetable.
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We will start each class with the week’s lecture, and then follow with the 2-hour workshop. The first half of the workshop will be structured to teach you some skills in using Photoshop for image composition. The second half of the workshop time is when you can apply those techniques towards your assessment items. It’s to your advantage to use this time well, consult with peers and get used to studio-based practice.
TOPICS
There are three main topics in this subject: Realism, Photomontage and Surrealism. The schedule will be: LECTURE TOPIC
WEEK 1 TUESDAY 28 FEBRUARY INTRODUCTION & REALISM 1: HISTORY, LIGHT AND TECHNOLOGY WEEK 2 TUESDAY 07 MARCH REALISM 2: COMPOSITION (PICTORIALISTS AND THE NEW VISION) WEEK 3 TUESDAY 14 MARCH REALISM 3: COMPOSITION (PHOTOJOURNALISM AND MEANING MAKING) WEEK 4 TUESDAY 21 MARCH PHOTOMONTAGE 1: THE DADAISTS WEEK 5 TUESDAY 28 MARCH ASSESSMENT 1 PRESENTATIONS WEEK 6 & 7 03-14 APRIL MID-SESSION BREAK WEEK 8 TUESDAY 18 APRIL PHOTOMONTAGE 2: ARTIST FOCUS (TECHNIQUES AND PROMINENT WORK) WEEK 9 TUESDAY 25 APRIL PHOTOMONTAGE 3: A TOOL OF SOCIAL CHANGE WEEK 10 TUESDAY 02 MAY ASSESSMENT 2 PRESENTATIONS WEEK 11 TUESDAY 09 MAY SURREALISM 1: HISTORICAL BACKGROUND WEEK 12 TUESDAY 16 MAY SURREALISM 2: ARTIST FOCUS (TECHNIQUES AND PROMINENT WORK) WEEK 13 TUESDAY 23 MAY SURREALISM 3: MODERN SURREALISM WEEK 14 TUESDAY 30 MAY ASSESSMENT 3 PRESENTATIONS WEEK 15-16 EXAM WEEKS (NO EXAMS FOR THIS SUBJECT)
WORKSHOP Introduction/ Macs / Photoshop / Brief Assignment #1 Photoshop Tutorials and Tasks / Assessment prac time Photoshop Tutorials and Tasks / Assessment prac time Photoshop Tutorials and Tasks / Assessment prac time Group Critique/Brief Assignment #2 Object staging and imaging / CHECK EQUIPMENT NEEDED FOR THIS WORKSHOP Photoshop Tutorials and Tasks / PUBLIC HOLIDAY Group Critique/Brief Assignment #3 Photoshop Tutorials and Tasks Photoshop Tutorials and Tasks Photoshop Tutorials and Tasks Group Critique/Presentation Assignment #3
ALL ASSESSMENTS ARE TO BE PRESENTED IN CLASS AND THEN SUBMITTED TO EASTS. YOU WILL HAVE TO PARTICIPATE IN PROVIDING CONSTRUCTIVE CRITICISM FOR YOUR PEERS.
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LECTURE DATE
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WEEK
ASSESSMENTS Your three assessments for this subject will be based on the three overarching topics. They are:
TOPIC 3: SURREALISM Reconstructing the Photographic Reality (40%) Assignment 3 DUE: PRESENT IN CLASS IN WEEK 14, TUESDAY 30 MAY
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TOPIC 2: PHOTOMONTAGE Deconstruction of the Photographic Reality (40%) Assignment 2 DUE: PRESENT IN CLASS IN WEEK 10, TUESDAY 02 MAY
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TOPIC 1: REALISM Construction of the Photographic Reality – True Lies (20%) Assignment 1 DUE: PRESENT IN CLASS IN WEEK 5, TUESDAY 28 MARCH
CONSTRUCTION OF THE PHOTOGRAPHIC REALITY: TRUE LIES
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Assignment 1 (20%) Due: TUESDAY 28 MARCH (Week 5)
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In this topic, we will look at some of the important historical and scientific developments in photography, examine the role of light in composition, and some of the debates around the art, truth and ethics of photography. We will also look at some key theoretical perspectives on photography.
In this topic, you will explore the idea that different images (or elements of different images) can be used and juxtaposed against each other to create a photographic image that does not necessarily seek to appear optically-correct but to communicate a message within the photographic elements you have selected. You will be asked to research a number of photographers who have worked in this genre. From their work, you will be asked to take elements of different images to make a new image that is not lifelike but clearly conveys a message.
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Deconstruction of the Photographic Reality: Photomontage
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Assignment 2 (40%) Due: TUESDAY 02 MAY (Week 10)
Reconstructing the Photographic Reality: Surrealism
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(40%) Assignment 3 Due: TUESDAY 30 MAY (Week 14)
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In the final topic, you will engage with surrealism. Originally, photography was thought to be based in the real world; that photographers could only record real objects. Quickly, that notion was challenged by the production of images that were ‘untrue’ or made-up. Far from demoting photography from its Realist enterprise, these made-up images demonstrated that photography could be as diverse and malleable as any medium. You will create your own surrealist images based on the real world and the unconscious imaginings. Although the scenarios of your final images may be impossible to exist in the real world, they should be optically correct.
NOTES *This information is in your subject outline, so please refer to it if you need to. Also make sure you have read the outline carefully so that you understand all of the requirements of the assessment items.
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All images must be accompanied by a Word Document, which includes: 1. Thumbnail sized images of all of your source images including name of photographer (where identified), site name and URL (when sourcing from the internet). Make sure you follow the correct APA referencing style. 2. A paragraph or two pertaining to those photographers whose work you have researched and has inspired your own (include refs to websites, journals, or books etc.). Again, make sure any resources you have used are included as APA style references.
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In weeks 5, 10 and 14, you will all be presenting your assessment work in class. These are also the due dates of those assessments. You will also need to submit your work to EASTS by midnight of the due date. See the subject outline for more information on this.
WORKSHOP • Introduction to the Photoshop interface; • Examine various tools and their uses; • Show you how to find panels; • How to set up your own workspace; • Get information on image colour mode, resolution and size/measurements; • How to create a new canvas and then place an image into it;
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• Open images;
• Understand destructive and non-destructive editing; • Working with adjustment layers
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• Look at what layers are and how to organise them;
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Left: William Henry Fox Talbot Wrack: From the “Bertoloni Album,” 1839 http://www.metmuseum.org/toah/works-of-art/36.37%2825%29 Next Page: William Henry Fox Talbot “Nelson’s Column under Construction, Trafalgar Square” 1844 http://www.metmuseum.org/toah/works-of-art/2009.279
Nicéphore Niépce View from the Window at Le Gras, 1826–27.
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Louis–Jacques–Mandé Daguerre, ca. 1844 Unknown Artist Daguerreotype; 3 1/2 x 2 3/4 in. (8.9 x 7cm) Source: http://www.metmuseum.org/toah/works-of-art/2005.100.611
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Landscape with Cottage,1845. Marie-Charles-Isidore Choiselat (French,1815–1858); Stanislas Ratel (French, 1824–1904) Source: http://www.metmuseum.org/toah/works-of-art/1994.417
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Rufus Choate, ca. 1850. Albert Sands Southworth (American, 1811–1894); Josiah Johnson Hawes (American, 1808–1901) Source: http://www.metmuseum.org/toah/works-of-art/37.14.48
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THE CAMERA OBSCURA
LIGHT IN PHOTOGRAPHY
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FORM CONTRAST & DRAMA
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Photo: Humphrey Bogart (https://static-secure.guim.co.uk/sysimages/Observer/Pix/pictures/2014/1/15/1389791626829/ Humphrey-Bogart-from-the--014.jpg)
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http://urthmama.com/beach-friends/
SILVER HALIDE CRYSTALS...
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Source: http://motion.kodak.com/ motion/uploadedFiles/US_plugins_ acrobat_en_motion_education_ kodak_color_films.pdf
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Source: http://motion.kodak.com/motion/uploadedFiles/US_plugins_acrobat_en_motion_newsletters_filmEss_04_ How-film-makes-image.pdf
Light Cavities
Colour filter array
Source: http://www.cambridgeincolour.com/tutorials/camera-sensors.htm
Photosites with colour filters
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Cavity Array
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SENSOR SIZE Source: http://photography.tutsplus.com/articles/understandingthe-fundamentals-of-camera-sensors--photo-7101
EXPOSURE
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Correct exposure Photo: Willhemina Wahlin
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Over exposure
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Under exposure
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APERTURE Ansel Adams: Photo at Mt Moran http://www.archives.gov/research/ansel-adams/images/aag05.jpg
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SHUTTER SPEED Source: http://www.thephotoargus.com/wp-content/uploads/2010/09/fs1.jpg
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Source: https://m1.behance.net/rendition/modules/24105398/ disp/e100065fec28c9d437549e1c9484f60d.jpg
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PAUL MCCARTNEY: SELF PORTRAIT, 1959. SOURCE http://3.bp.blogspot. com/-ZSlAtAYdg98/VXitbFG8HHI/ AAAAAAAAYjs/d_gUFITBt9E/s1600/ paul%2Bmccartney.jpg
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The rise of the “Celebrity Selfie”