We are going to have a critique promptly at 9am on Tuesday. This critique will be over your multi print image (your diptych/triptych/quadtych or what have you). For the sake of clarity, let me state that each negative should have its own print. That is to say that you aren't printing multiple negatives to the same piece of paper.
You should have two sets of these images. One that is toned and one that isn't.
There are three toners pre-mixed for your convenience. One is Berg branded Blue, one is Berg branded Sepia, and one is Kodak branded Selenium. I have set the instructions for each next to the respective bottle. Thursday afternoon, I got a Berg branded Copper in but didn't have time to mix it up. If you want to do so, simply follow the instructions. NOTE: Toners are more caustic than the chemicals that you use for processing papers and films. Take the necessary measures to insure that you don't touch them. If you do, wash up right away.
I will not be accepting any late work for this assignment as I have already given you an extension on it. If you don't have the work, then you will receive a Zero.
You should also have shot and processed a negative for the 'Our Generation' theme. We still need a better name for that.
Please bring in your Landscape and Reclamation prints as well so that I can grade them.
Lastly, be sure to put away money for framing as it is likely that you will have to mat and frame at least one print.
Sunday, October 30, 2011
Monday, October 24, 2011
Sunday, October 23, 2011
Thursday, October 20, 2011
LF photographers
A collection of large format photographers:
Edward Weston
Random Sally Mann images
Random Ansel Adams images
ART:21 video with the Sally Mann segment
Clyde Butcher
Vincent Jalet
Johnathan Andrews- Okay, I really don't know if he shoots LF, but I imagine that he does.
Article about Clyde Butcher who is known for his large format swamp images
Aperture article about Gregory Crewdson with information on his process
David Burnett's 4x5 reportage. To see the gallery we looked at go to My Formats > Big Camera
Washington Post article about David Burnett
Gregory Crewdson
Excellent Aperture web feature on Gregory Crewdson. His work is amazing. Sometimes, I think my process of shooting my Three Minute Series is complex, but his process makes me feel inadequate.
Great video about Gregory Crewdson and his beginnings.
Smithsonian article about Crewdson.
Great interview with Gregory Crewdson talking about his work and Normal Rockwell's work.
New York Magazine Article about Gregory Crewdson.
Jeff Wall
NY Times article on Jeff Wall
article about Jeff Wall selling a print to $1,000,000
Excellent resource on Jeff Wall and his work.
MOMA exhibit of Jeff Wall's photography
Long panel discussion featuring Jeff Wall. It starts out in French, but it is in English after the introduction.
Edward Weston
Random Sally Mann images
Random Ansel Adams images
ART:21 video with the Sally Mann segment
Clyde Butcher
Vincent Jalet
Johnathan Andrews- Okay, I really don't know if he shoots LF, but I imagine that he does.
Article about Clyde Butcher who is known for his large format swamp images
Aperture article about Gregory Crewdson with information on his process
David Burnett's 4x5 reportage. To see the gallery we looked at go to My Formats > Big Camera
Washington Post article about David Burnett
Gregory Crewdson
Excellent Aperture web feature on Gregory Crewdson. His work is amazing. Sometimes, I think my process of shooting my Three Minute Series is complex, but his process makes me feel inadequate.
Great video about Gregory Crewdson and his beginnings.
Smithsonian article about Crewdson.
Great interview with Gregory Crewdson talking about his work and Normal Rockwell's work.
New York Magazine Article about Gregory Crewdson.
Jeff Wall
NY Times article on Jeff Wall
article about Jeff Wall selling a print to $1,000,000
Excellent resource on Jeff Wall and his work.
MOMA exhibit of Jeff Wall's photography
Long panel discussion featuring Jeff Wall. It starts out in French, but it is in English after the introduction.
Monday, October 17, 2011
Slideshow of the Parkwood Gallery Proposal images
Here is a slideshow of the 15 images submitted as part of the Parkwood Proposal.
Created with flickr slideshow.
Sunday, October 16, 2011
Reclaiming Toledo, etc.
As we discussed in class last week, your next assignment is to prepare three images for submission to the Reclaiming Toledo gallery show curated by the Gallery Practices class.
Here is a link to the Facebook page with the show details.
Re-size your image without Photoshop
Here is some info on resizing your images for your submissions without the use of Photoshop. You can use Pixlr which is a free online image editor similar to Photoshop. www.pixlr.com/editor
Here is a link to a video tutorial on how to resize an image using Pixlr.http://www.youtube.com/watch?v=ok0g2FLq9iY
In the case of the CVA Gallery presentation, you would set the pixel dimension to 1000 pixels for the longer dimension. Save the files as JPEGs. Use the highest quality JPEG settings.NOTE: Pixlr doesn't work with RAW files, so you have to begin with TIFFs or JPEGs.
-Seder
Sunday, October 9, 2011
Scanning a print larger than your scanner’s bed
Scan the first section, fitting as much of the image onto the scan bed as you can. Make sure that this section is abutted to one of the edges of the scanner’s bed as best as possible. Then scan the second section also insuring that the edge is lined up nicely. Make certain that you do not change any settings from one scan to the next. Now, you have two partial images.
You can use the Photomerge function, designed to assemble multi image panorama, in Photoshop CS, CS2, CS3, CS4, CS5 and Photoshop Elements 3, 4, &5 to assemble the individual pieces back into one image. Sometimes it works great, sometimes not. You might want to try this method before putting them back together yourself as outlined below.
Alternative assembly method:
What you need to do is make the canvas (the area that you have to work with, the area that the image rests on) larger. Let’s assume you have an 11 x14 inch print but your scanner’s bed is only 8.5 x 11. You would position the print on the bed so that you could scan an 11 x 8.5 inch section each time. So each image would by 11 x 8.5 (at whatever pixels per inch you set your scanner to sample at). You need an additional 5.5 inches of working room to accommodate the full 11 x 14 inches of the print once you assemble it. In Photoshop Elements you would go to Image > Resize > Canvas Size. You will see a box that indicates what the width and height currently are. You will want to change the width to 14 inches. You would then want to click on one of the squares in the diagram indicating the position of your image in relation to the soon to be enlarged canvas. If you are adding canvas to the left section of the print, then you would want to click on the left most center square which would indicate that all the additional width would be added to the right hand side which is what we want since we need to add the right section. Now we need to get that other section onto the newly created canvas. Click anywhere on the window of the image to make that the active window. Then from the main menu go to Select > All. You will then see the marching ants walking around the second section. Then go to Edit > Copy. Then click anywhere on the other window to activate it and go to Edit > Paste. The copy of the second section is now visible in the window of the first section. That section was put onto its own layer, so it can be moved around easily. Select the Move tool from the toolbar (located in the top right corner of the toolbar). Move your mouse over the second section and while holding down the left mouse button, drag the image to the right, trying to position it so that it lines up with the first section. This is hard to do, as you can’t see through the top layer to make sure it is lined up well. So, what we will do is lower the opacity (make it semi-transparent). Click on the layers tab so see your layers. Click on Layer 1 to make the layer made up of the second section active. Then click on the Opacity tab above. This will then give you a little slider that you will drag to the left to make the top layer semi-transparent. This allows you to see how all the elements are lining up. Select the move tool and drag the second layer into position. When you get it close, use the arrow keys to move the layer in very fine increments. If the second layer is out of kilter with the first one because it is spun in relation to the first one, then go to Image > Rotate > Free Rotate. This will give you handles around your top layer. If you move the mouse just outside one of its corners, you will get a curved double arrow. Hold the mouse button down when you see this and drag left or right. This rotates your layer. Do this till you have it aligned with the underlying section. When you think you have it, return the opacity to its full intensity. How does it look? You are likely to notice a line running vertically where the top layer overlaps the background layer. Select the Eraser tool, choose a large soft edged brush and then go over this line. Like magic, the line disappears leaving you a seamless 11x14 image!
You can use the Photomerge function, designed to assemble multi image panorama, in Photoshop CS, CS2, CS3, CS4, CS5 and Photoshop Elements 3, 4, &5 to assemble the individual pieces back into one image. Sometimes it works great, sometimes not. You might want to try this method before putting them back together yourself as outlined below.
Alternative assembly method:
What you need to do is make the canvas (the area that you have to work with, the area that the image rests on) larger. Let’s assume you have an 11 x14 inch print but your scanner’s bed is only 8.5 x 11. You would position the print on the bed so that you could scan an 11 x 8.5 inch section each time. So each image would by 11 x 8.5 (at whatever pixels per inch you set your scanner to sample at). You need an additional 5.5 inches of working room to accommodate the full 11 x 14 inches of the print once you assemble it. In Photoshop Elements you would go to Image > Resize > Canvas Size. You will see a box that indicates what the width and height currently are. You will want to change the width to 14 inches. You would then want to click on one of the squares in the diagram indicating the position of your image in relation to the soon to be enlarged canvas. If you are adding canvas to the left section of the print, then you would want to click on the left most center square which would indicate that all the additional width would be added to the right hand side which is what we want since we need to add the right section. Now we need to get that other section onto the newly created canvas. Click anywhere on the window of the image to make that the active window. Then from the main menu go to Select > All. You will then see the marching ants walking around the second section. Then go to Edit > Copy. Then click anywhere on the other window to activate it and go to Edit > Paste. The copy of the second section is now visible in the window of the first section. That section was put onto its own layer, so it can be moved around easily. Select the Move tool from the toolbar (located in the top right corner of the toolbar). Move your mouse over the second section and while holding down the left mouse button, drag the image to the right, trying to position it so that it lines up with the first section. This is hard to do, as you can’t see through the top layer to make sure it is lined up well. So, what we will do is lower the opacity (make it semi-transparent). Click on the layers tab so see your layers. Click on Layer 1 to make the layer made up of the second section active. Then click on the Opacity tab above. This will then give you a little slider that you will drag to the left to make the top layer semi-transparent. This allows you to see how all the elements are lining up. Select the move tool and drag the second layer into position. When you get it close, use the arrow keys to move the layer in very fine increments. If the second layer is out of kilter with the first one because it is spun in relation to the first one, then go to Image > Rotate > Free Rotate. This will give you handles around your top layer. If you move the mouse just outside one of its corners, you will get a curved double arrow. Hold the mouse button down when you see this and drag left or right. This rotates your layer. Do this till you have it aligned with the underlying section. When you think you have it, return the opacity to its full intensity. How does it look? You are likely to notice a line running vertically where the top layer overlaps the background layer. Select the Eraser tool, choose a large soft edged brush and then go over this line. Like magic, the line disappears leaving you a seamless 11x14 image!
*****SUPER IMPORTANT STUFF*******
This Thursday morning, Deborah Bright, the Dean of the Rhode Island School of Art and Design (RISD) whose work is on display in the CVA gallery, will be joing our class for a group critique.
You can check out her website if you want more information on her. Here is her faculy bio at RISD.
To this end, please bring 4-5 of prints to class for her review. These can be from any photography project from any photography class. For that matter, it can be photos that you shot outside of class. If you aren't sure what you want to show, bring your work on Tuesday and we can sort it out then. This is a great oppurtunity to recieve feedback from a very accomplished artist.
On a different note, I have written a draft proposal for Parkwood Gallery. You can read it here. Please read it and we can discuss it as a group on Tuesday.
Dippy, Trippy, etc..
Your next assignment is to create a diptych/triptych/quadtych.
You all saw some of Jeff Brouws diptychs.
Check out this series by Masataka Nakano titled Tokyo Nobody.
You are to create this piece utilizing the shift/rise/fall capabilities of your camera. Next class, I will demonstrate how to insure you don't vignette too much.
Next class, we will discuss this in greater detail. This assignment is an oppurtunity for you to shoot any subject matter that you like.
Thursday, October 6, 2011
Need by Tuesday
Digital images of your two prints for inclusion in the Parkwood Proposal. Two images downsampled such that the longest dimension is 2000 pixels. Highest quality JPEG. Please email it to sedernb@hotmail.com. I may only submit one image per person.
Your artist resume that is to be no longer than one page. It should have your address and phone number of it. You can check out Cher's artist resume if you are not familiar with the concept. www.cherilynpaige.com.
Your artist resume that is to be no longer than one page. It should have your address and phone number of it. You can check out Cher's artist resume if you are not familiar with the concept. www.cherilynpaige.com.
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