Final Portfolio

The final portfolio consists of the very strongest work created in this course. Images can be pulled from projects and/or assignments. All work should be original work (demo or web images won't do it).

The portfolio will be evaluated as a separate entity from the original projects from which images were drawn. So this provides an opportunity for images to be improved for the portfolio. Editing is also important—choose images carefully. Do ask classmates and instructor for feedback on choices. 

The portfolio consists of two parts:

1. Digital.
• 20 images, 1600 pixel jpegs, high quality
• Due 4/25
2. Print. You have a few options here...
• 8 of the above images, high quality inkjet prints, presented in either a portfolio book (plastic sleeve pages), or window matted.
• Images may be printed by you, or purchased from the print lab.
• Print quality is important. Pay attention to tone, color, and problems such as banding. Laser prints or low quality inkjet prints not acceptable.
• Due 4/25

*OR*

• All 20 images presented in digital book format. Apple, Blurb, etc.
• Due 5/2. This is a week later than critique to allow time for shipping. Allow ample time for book delivery. Books will not be accepted after 5/2.

We will go over how to create a digital book, next Wednesday 4/11, before critique.

Final Project

Create a set of images (the actual number depends on the characteristics of your project) engaging a visual concept/idea/approach of your choice. It is completely up to you, but should be ambitious and coherent. You may expand on a project you have already done in this class, or begin something completely new. Look to artists you admire for inspiration, to ignite the fire. Work with single images, multiple, or composites, but its likely best to settle on a consistent approach. Strive for originality and creative expression.

Images should be handled with best digital practices as covered in class.

Be prepared to discuss proposed idea on Monday, 4/9.

Final images due: Wednesday, 4/25

Project 3: The Uncanny

©Loretta Lux

©Wendy McMurdo

The Uncanny:

Something that is both familiar and foreign at the same time. The uncanny usually rings somewhat odd or disturbing in a subtle, psychological way. Some examples of the uncanny would be: mannequins, wax works, ventriloquists, etc.

For this project, create an image that explores the uncanny, or that somehow challenges the veracity/truth-claim of the photographic medium. Explore the neighborhood between "the real" and "the fabricated". The image should include at least one figure (of some kind) and an interesting (real or composited) background. It might be helpful to think of this image as being staged, or a slightly modified reality. Working with subtlety often makes for a stronger image. The examples below should help clarify some possibilities.

Think big for this one... props? costumes? styling?

There are just a few technical ground rules for this project.

1. At least 16" x 20" @300 dpi. All component pieces should be at adequate resolution
2. At least one of the main subjects should be shot with white screen techniques
3. The white screen subject should be masked and appropriately integrated into the new background, with scale, perspective, point of view, light quality and direction convincingly matched.
4. The finished image should present a "believably uncanny" reality. 
5. Turn in files and large format print

Due Dates:

• White Screen production Shoot: 3/26, 3/28
• Progress Critique: 4/4
• Final Image Due: 4/11

Useful links:

Loretta Lux
Wendy McMurdo

Gillian Wearing

Gregory Crewdson

AES+F
Bill Finger

Patrick Nagatani
Sarah Anne Johnson

Student Work:

Week of 3/5

File Size, resolution, interpolation and printing

For Wednesday, end of class:

• 5 optimized (tone and color) prints (letter size, paper)
• File optimized for large-format output (~16"x20")

Remember the sequence:

• Resize>Sharpen>Print

If you are going to up-sample an image, delete all prior sharpening first. Resharpen after enlargement.

Week of 2/13

Read Chapters 5, 6, 7, for Monday, 2/13.

From each chapter, identify two things you would be apt to try in your own work. Write these down and be prepared to discuss in class.

Bring inkjet paper for printing demo.

Project 2: Photo Extensions

2/20 Progress Critique. Initial shooting/groupings due.

REVISED 2/29 Project due... series, grid, or otherwise, including prints and jpegs

Background

As photographers, the frame is perhaps our most important tool. With the camera, we "frame" our subjects, including what we feel is important for the picture, and excluding what isn't. Essentially, we are editing from the visual world with our frame. A common goal in photography is to try and get it all in one frame—to create a singular image that conveys our full expression.

There's value in that—and it certainly pushes us to be stronger photographers, but it isn't the only way.

Sometimes we need multiple images, multiple frames to convey the breadth and richness of our visual message.

Sequence

Duane Michals used extended sequence of images to convey complex and (often amusing) narratives. Some of these visual story lines went in a straight line, sometimes they made bizarre spirals.

Multiples (diptych, triptych)

Uta Barth is a photographer of place. Instead of creating visual descriptions of places, like a traditional landscape photographer would do, she is more interested in evoking or suggesting how we experience places. Often working with multiple frames, she changes the scale, plane of focus (in some she focuses on the "space between" foreground and background), in an attempt to more closely mimic the process of human perception, as well as the passage of time.

On more of a documentary, story-telling mode, Lucia Ganieva, creates rich biographical portraits of people relating their persona to their vocation, past, workplace, etc. using diptychs and triptychs. Notice how the frames work together to build meaning.

The congruence/incongruence exercise is also a good example of this kind of work

Series/Typology

Jeff Brouws (and numerous others going back to Bernd and Hilla Becher) are obsessed with cataloging and "collecting" with their camera. For instance, Brouws isn't interested in singular train cars, but the almost endless variations between numerous cars. Working with a mode called typology, he creates grids that simultaneously show similarity and contrast.

Idis Khan quite literally quotes Bernd and Hilla Becher's work with industrial architecture, but layers the multiple variations of structures within a single frame instead of a grid.

There is a long history in photography of objectification based on race, gender, stereotypes and notions of the "other". African Americans have been notably objectified in this way. Photographer Myra Greene turns the tables on this history with her clever and effective series: "My White Friends".

Jeffrey Milstein creates a typology of aircraft.

Grids

Sparky Campanella makes non-tradition portraits of people by mapping the textures of their skin and displaying them as large grids. What are the implications of this work—portraits that are literally "skin deep"?

Keith Johnson works now works almost exclusively with grids, exploring the hidden language of forms found in the natural and human landscape.

Joiners, many-make-one, panoramas

Robert Richfield has an interesting take on the panorama. Instead of stitching together a seamless expanse, he presents it with the frame divisions. How does this affect the meaning of his work and how we "read" it?

For examples of Contact Sheet Sequences, look at Thomas Kellner.

Essentially these are a form of what the book author terms joiners, or many-make-one, extended images that functions like fragmented panoramas both vertically and horizontally. David Hockney is well known for working this way. The following images, by Hockney, show some variations of this approach. How do they differ?

This last Hockney image begins to imply the passage of time—in particular, the time it takes to shift one's gaze, looking around a room, or having a conversation. Uta Barth, mentioned above, also references the time we take to experience and perceive reality, often working with diptychs that reveal a few minutes' difference in time.

Atta Kim compresses different moments of time within a singular frame, using extended exposures. Something similar can be accomplished with multiple exposures and layers.

There are others. Check out those from the reading, this blog, and other sources:

Project Description

For this project, create imagery in an extended format. Using grids, diptychs, triptychs, panoramas, sequences, series, etc. Choose one format for the whole project to best explore your subject and what else you are trying to convey about the subject. Use examples presented above for ideas or even use the class exercise exploring congruency/incongruency to help you get started. This is a fun one—the more adventurous you can be with your subject matter, the more exciting it will be.

Turn in:

• Final "extended format" version of your extended image (one file containing all supporting pictures). If you are doing a grid, this would mean one file. For diptychs, this would mean one file per diptych, etc. Format: jpeg, quality 10+, sRGB, no longer than 1500 pixels in one direction (use image processor to set this up)
• Prints of the above
• How much to do? If you are doing diptychs or triptychs, turn in at least 3 separate ones. If you are doing a large grid, one would be fine. It depends on your project—discuss with instructor. If you are doing a series, aim for 6-8 images.
• All of your individual photos that go into this project should be edited appropriately in photoshop. This includes the skills covered so far in class: WP/BP, global tone adjustments (brightness and contrast using curves and/or camera raw), color adjustments, local adjustments (dodge and burn, blending mode curves with masks), sharpening. All Raw conversions must be smart objects.

Now remember that when you are assembling your multiples (grids, panos, diptychs or otherwise), save out flattened versions of your work files just to keep things manageable. But make sure you are not losing your layers; after flattening, always "Save As," rather than "Save"

Some Student Work:

Week 4

Wednesday: Preliminary critique, project 1

Next Monday 2/6: Photoshop skills assessment