Create a folder (labeled w/ your name)
Place your 5 best bracketed exposures in the folder
Copy this folder to the Server, Save a copy to the desktop
From the desktop folder, preview images in Bridge
Pick the best exposure, make changes in Camera RAW, Photoshop, save file to server (place file in the same folder from above, label): “YourNameLowLight.tif”
For both parts of Assignment 4:
Try to preserve detail in the brightest highlights and detail in the darkest shadow areas (as much as you can through RAW and Photoshop).
Thursday, September 22, 2011
Tuesday, September 20, 2011
Assignment 4: High Contrast (in class)
Create a folder (labeled w/ your name)
Place your 5 best bracketed exposures in the folder
Copy this folder to the Server AND Save a copy to the desktop
From the desktop folder, preview images in Bridge
Pick the best exposure, make changes in Camera RAW, save file to server
Place file in the same folder from above, label:“YourNameContrast.tif”
Try to maintain: detail in the brightest highlight, detail in the darkest shadow, and a nice range of mid-tones.
Ideally:
Highlights should not be brighter than 244
Shadows should not be darker than 2
Place your 5 best bracketed exposures in the folder
Copy this folder to the Server AND Save a copy to the desktop
From the desktop folder, preview images in Bridge
Pick the best exposure, make changes in Camera RAW, save file to server
Place file in the same folder from above, label:“YourNameContrast.tif”
Try to maintain: detail in the brightest highlight, detail in the darkest shadow, and a nice range of mid-tones.
Ideally:
Highlights should not be brighter than 244
Shadows should not be darker than 2
Thursday, September 8, 2011
Assignment 3 - Workflow Suggestions
1. Make Camera RAW adjustments
2. Make Adjustments in Photoshop (Layers, Curves, rotate, crop etc)
3. Resize the file 9” LL at 300ppi
4. Check for Adobe RGB
5. Save a backup copy of the original
6. Set up a print (copy twice into a new 16x10” file)
7. Make final adjustments. There should be a very small difference between the images.
8. Set up to Print with white paper as the border
9. Check for Adobe RGB
10. Save to the server, save your own copy
11. Print
12. Submit your best color corrected, digital print. Do not trim borders (at least ½” white please)
2. Make Adjustments in Photoshop (Layers, Curves, rotate, crop etc)
3. Resize the file 9” LL at 300ppi
4. Check for Adobe RGB
5. Save a backup copy of the original
6. Set up a print (copy twice into a new 16x10” file)
7. Make final adjustments. There should be a very small difference between the images.
8. Set up to Print with white paper as the border
9. Check for Adobe RGB
10. Save to the server, save your own copy
11. Print
12. Submit your best color corrected, digital print. Do not trim borders (at least ½” white please)
Tuesday, April 19, 2011
Artists.Ideas.
In response to a couple of students I spoke with lastnight.
Brian Moss - Pinhole images
http://www.mossprojects.net/asleep3_index.html
"Where am I when I'm asleep?"
Back to the future
http://www.pondly.com/2011/02/back-to-the-future/
Brian Moss - Pinhole images
http://www.mossprojects.net/asleep3_index.html
"Where am I when I'm asleep?"
Back to the future
http://www.pondly.com/2011/02/back-to-the-future/
Thursday, April 7, 2011
Photographer Emily Shur Lecture at LMU today!
Hello all
This is very late notice, but Emily Shur will be having a lecture today at the LMU campus in LA at 135pm in rm Burns 152.
http://www.emilyshur.com/shizenkan/
http://www.lmu.edu/about/services/events/Classroom/info/Burns_Fine_Art_Center.htm
This is very late notice, but Emily Shur will be having a lecture today at the LMU campus in LA at 135pm in rm Burns 152.
http://www.emilyshur.com/shizenkan/
http://www.lmu.edu/about/services/events/Classroom/info/Burns_Fine_Art_Center.htm
Sunday, April 3, 2011
Alternative Process Videos
Shadow Catchers at the VA Museum - Select Videos
Floris Neususs
Pierre Cordier
Garry Fabian Miller
Susan Derges
Adam Fuss
Floris Neususs
Pierre Cordier
Garry Fabian Miller
Susan Derges
Adam Fuss
Monday, March 21, 2011
Tuesday, March 15, 2011
Simulacra
Below is a link to an interesting article I think you all should read.
http://deepthiw.com/2008/uncategorized/phases-of-the-image-from-baudrillards-the-precession-of-simulacra
"Picture for Women" (1979), by Jeff Wall
A series entitled "Reality in the Making"
by Ville Lenkkeri
http://www.villelenkkeri.com/
Monday, February 28, 2011
Simulacra / Simulation / The Hyperreal
Hi Everyone,
Here are the excerpts from Baudrillard that I referred to today. Please take a look below. Read all the way through for an extra credit opportunity.
Start shooting for Assignment 3 -- Critique for Assignment 2 is next week.
Rebecca
The following are excerpts from Jean Baudrillard, Selected Writings, ed. Mark Poster (Stanford; Stanford University Press, 1988), pp.166-184:
The simulacrum is never that which conceals the truth--it is the truth which conceals that there is none.
The simulacrum is true.
If we were able to take as the finest allegory of simulation the Borges tale where the cartographers of the Empire draw up a map so detailed that it ends up exactly covering the territory (but where, with the decline of the Empire this map becomes frayed and finally ruined, a few shreds still discernible in the deserts — the metaphysical beauty of this ruined abstraction, bearing witness to an imperial pride and rotting like a carcass, returning to the substance of the soil, rather as an aging double ends up being confused with the real thing), this fable would then have come full circle for us, and now has nothing but the discrete charm of second-order simulacra.
Abstraction today is no longer that of the map, the double, the mirror or the concept. Simulation is no longer that of a territory, a referential being or a substance. It is the generation by models of a real without origin or reality: a hyperreal. The territory no longer precedes the map, nor survives it. Henceforth, it is the map that precedes the territory — precession of simulacra — it is the map that engenders the territory and if we were to revive the fable today, it would be the territory whose shreds are slowly rotting across the map. It is the real, and not the map, whose vestiges subsist here and there, in the deserts which are no longer those of the Empire, but our own. The desert of the real itself.
In fact, even inverted, the fable is useless. Perhaps only the allegory of the Empire remains. For it is with the same imperialism that present-day simulators try to make the real, all the real, coincide with their simulation models. But it is no longer a question of either maps or territory. Something has disappeared: the sovereign difference between them that was the abstraction's charm. For it is the difference which forms the poetry of the map and the charm of the territory, the magic of the concept and the charm of the real. This representational imaginary, which both culminates in and is engulfed by the cartographer's mad project of an ideal coextensivity between the map and the territory, disappears with simulation, whose operation is nuclear and genetic, and no longer specular and discursive. With it goes all of metaphysics. No more mirror of being and appearances, of the real and its concept; no more imaginary coextensivity: rather, genetic miniaturization is the dimension of simulation. The real is produced from miniaturized units, from matrices, memory banks and command models - and with these it can be reproduced an indefinite number of times. It no longer has to be rational, since it is no longer measured against some ideal or negative instance. It is nothing more than operational. In fact, since it is no longer enveloped by an imaginary, it is no longer real at all. It is a hyperreal: the product of an irradiating synthesis of combinatory models in a hyperspace without atmosphere.
In this passage to a space whose curvature is no longer that of the real, nor of truth, the age of simulation thus begins with a liquidation of all referentials - worse: by their art)ficial resurrection in systems of signs, which are a more ductile material than meaning, in that they lend themselves to all systems of equivalence, all binary oppositions and all combinatory algebra. It is no longer a question of imitation, nor of reduplication, nor even of parody. It is rather a question of substituting signs of the real for the real itself; that is, an operation to deter every real process by its operational double, a metastable, programmatic, perfect descriptive machine which provides all the signs of the real and short-circuits all its vicissitudes. Never again will the real have to be produced: this is the vital function of the model in a system of death, or rather of anticipated resurrection which no longer leaves any chance even in the event of death. A hyperreal henceforth sheltered from the imaginary, and from any distinction between the real and the imaginary, leaving room only for the orbital recurrence of models and the simulated generation of difference.
and...
Disneyland is there to conceal the fact that it is the "real" country, all of "real" America, which is Disneyland (just as prisons are there to conceal the fact that it is the social in its entirety, in its banal omnipresence, which is carceral). Disneyland is presented as imaginary in order to make us believe that the rest is real, when in fact all of Los Angeles and the America surrounding it are no longer real, but of the order of the hyperreal and of simulation. It is no longer a question of a false representation of reality (ideology), but of concealing the fact that the real is no longer real, and thus of saving the reality principle.
Extra Credit for Blog Readers only: What does this mean to you? Can you state Baudrillard's argument in your own words? What are some examples of the hyperreal in your everyday experiences? Write one page in response and submit before spring break for extra credit.
Here are the excerpts from Baudrillard that I referred to today. Please take a look below. Read all the way through for an extra credit opportunity.
Start shooting for Assignment 3 -- Critique for Assignment 2 is next week.
Rebecca
The following are excerpts from Jean Baudrillard, Selected Writings, ed. Mark Poster (Stanford; Stanford University Press, 1988), pp.166-184:
The simulacrum is never that which conceals the truth--it is the truth which conceals that there is none.
The simulacrum is true.
If we were able to take as the finest allegory of simulation the Borges tale where the cartographers of the Empire draw up a map so detailed that it ends up exactly covering the territory (but where, with the decline of the Empire this map becomes frayed and finally ruined, a few shreds still discernible in the deserts — the metaphysical beauty of this ruined abstraction, bearing witness to an imperial pride and rotting like a carcass, returning to the substance of the soil, rather as an aging double ends up being confused with the real thing), this fable would then have come full circle for us, and now has nothing but the discrete charm of second-order simulacra.
Abstraction today is no longer that of the map, the double, the mirror or the concept. Simulation is no longer that of a territory, a referential being or a substance. It is the generation by models of a real without origin or reality: a hyperreal. The territory no longer precedes the map, nor survives it. Henceforth, it is the map that precedes the territory — precession of simulacra — it is the map that engenders the territory and if we were to revive the fable today, it would be the territory whose shreds are slowly rotting across the map. It is the real, and not the map, whose vestiges subsist here and there, in the deserts which are no longer those of the Empire, but our own. The desert of the real itself.
In fact, even inverted, the fable is useless. Perhaps only the allegory of the Empire remains. For it is with the same imperialism that present-day simulators try to make the real, all the real, coincide with their simulation models. But it is no longer a question of either maps or territory. Something has disappeared: the sovereign difference between them that was the abstraction's charm. For it is the difference which forms the poetry of the map and the charm of the territory, the magic of the concept and the charm of the real. This representational imaginary, which both culminates in and is engulfed by the cartographer's mad project of an ideal coextensivity between the map and the territory, disappears with simulation, whose operation is nuclear and genetic, and no longer specular and discursive. With it goes all of metaphysics. No more mirror of being and appearances, of the real and its concept; no more imaginary coextensivity: rather, genetic miniaturization is the dimension of simulation. The real is produced from miniaturized units, from matrices, memory banks and command models - and with these it can be reproduced an indefinite number of times. It no longer has to be rational, since it is no longer measured against some ideal or negative instance. It is nothing more than operational. In fact, since it is no longer enveloped by an imaginary, it is no longer real at all. It is a hyperreal: the product of an irradiating synthesis of combinatory models in a hyperspace without atmosphere.
In this passage to a space whose curvature is no longer that of the real, nor of truth, the age of simulation thus begins with a liquidation of all referentials - worse: by their art)ficial resurrection in systems of signs, which are a more ductile material than meaning, in that they lend themselves to all systems of equivalence, all binary oppositions and all combinatory algebra. It is no longer a question of imitation, nor of reduplication, nor even of parody. It is rather a question of substituting signs of the real for the real itself; that is, an operation to deter every real process by its operational double, a metastable, programmatic, perfect descriptive machine which provides all the signs of the real and short-circuits all its vicissitudes. Never again will the real have to be produced: this is the vital function of the model in a system of death, or rather of anticipated resurrection which no longer leaves any chance even in the event of death. A hyperreal henceforth sheltered from the imaginary, and from any distinction between the real and the imaginary, leaving room only for the orbital recurrence of models and the simulated generation of difference.
and...
Disneyland is there to conceal the fact that it is the "real" country, all of "real" America, which is Disneyland (just as prisons are there to conceal the fact that it is the social in its entirety, in its banal omnipresence, which is carceral). Disneyland is presented as imaginary in order to make us believe that the rest is real, when in fact all of Los Angeles and the America surrounding it are no longer real, but of the order of the hyperreal and of simulation. It is no longer a question of a false representation of reality (ideology), but of concealing the fact that the real is no longer real, and thus of saving the reality principle.
Extra Credit for Blog Readers only: What does this mean to you? Can you state Baudrillard's argument in your own words? What are some examples of the hyperreal in your everyday experiences? Write one page in response and submit before spring break for extra credit.
Where to get RA-4 Color Darkroom printing paper?
Freestylephoto.biz is still offering FUJICOLOR Paper!
Freestyle also gives student 5% discount.
You can get a box of 100 8x10 for $36.99
http://freestylephoto.biz/600008963-Fujicolor-Crystal-Archive-RA-4-Color-Print-Paper-Type-II-8x10-100?cat_id=1201
Address of Freestyle Photo store in Los Angeles:
5124 West Sunset Boulevard, Los Angeles - (323) 660-3460
Address of warehouse in Sante Fe Springs:
12231 Florence Ave
Santa Fe Springs, CA 90670
323.660.3460 ext. 620
*For the warehouse I usually call ahead so they would have my order ready to go!*
Amazon has Kodak Ultra Endura Paper, a box of 50, 11x14 glossy for $46.89
http://www.amazon.com/Kodak-Ultra-Endura-Coated-Enlarging/dp/B00009XW0N/ref=sr_1_2?ie=UTF8&s=electronics&qid=1298917931&sr=1-2
Hopefully this helps!
Ann
Freestyle also gives student 5% discount.
You can get a box of 100 8x10 for $36.99
http://freestylephoto.biz/600008963-Fujicolor-Crystal-Archive-RA-4-Color-Print-Paper-Type-II-8x10-100?cat_id=1201
Address of Freestyle Photo store in Los Angeles:
5124 West Sunset Boulevard, Los Angeles - (323) 660-3460
Address of warehouse in Sante Fe Springs:
12231 Florence Ave
Santa Fe Springs, CA 90670
323.660.3460 ext. 620
*For the warehouse I usually call ahead so they would have my order ready to go!*
Amazon has Kodak Ultra Endura Paper, a box of 50, 11x14 glossy for $46.89
http://www.amazon.com/Kodak-Ultra-Endura-Coated-Enlarging/dp/B00009XW0N/ref=sr_1_2?ie=UTF8&s=electronics&qid=1298917931&sr=1-2
Hopefully this helps!
Ann
Sunday, February 27, 2011
Camera swap meet
Hi there! Last week a lot of people seemed interested in finding the best deals on equipment. I love to go to the Pasadena Camera Swap meet. It's held the second Sunday of every month at the Elk's Lodge on Colorado, right across from the Norton Simon Museum. Here is a link to the website:
http://www.bargaincamerashows.com/
Also, to complete your cultural Sunday don't forget: the Norton Simon is FREE with your student ID! For the past few years they have been "hosting" incredibly famous paintings. Raphael's "Cowper Madonna" is there right now. Their website:
http://www.nortonsimon.org/
-Allison
http://www.bargaincamerashows.com/
Also, to complete your cultural Sunday don't forget: the Norton Simon is FREE with your student ID! For the past few years they have been "hosting" incredibly famous paintings. Raphael's "Cowper Madonna" is there right now. Their website:
http://www.nortonsimon.org/
-Allison
Thursday, February 24, 2011
Choosing a Medium Format Camera
I came across this website that had information on different types of medium format cameras, this might be interesting for some of you =)
http://photo.net/equipment/medium-format/choosing
http://photo.net/equipment/medium-format/choosing
Monday, February 21, 2011
Thursday, January 27, 2011
A good place to look at photography books - for FREE
Hi Color Class this is Ann one of the assistants. I wanted to let you know about the Annenberg Space for Photography in Los Angeles. I've visited the space a few times and for those of you who haven't, you should =). There is always FREE admission, and parking in the structure is $3.50 for the first 3 hours. There is also a mini library inside of the space as well, with tables and chairs, I sometimes just go to browse around and sit with the books. You all should take advantage of this.
here is a link with more information
www.annenbergspaceforphotography.org/about/hours-info.asp
=)
here is a link with more information
www.annenbergspaceforphotography.org/about/hours-info.asp
=)
Wednesday, January 26, 2011
Saturday, January 22, 2011
Color Photography Spring 2011
Welcome Spring 2011 Color Photo Students!
This blog is intended to provide you with additional resources related to assignments, readings and image production for this course. It will be maintained by myself as well as Allison Stewart and Ann Lee (your trustworthy grad assistants).
For Next Monday --
Blog Assignment:
1. I would like you to explore several of the links on the right. In particular, please take a look at those that revisit information from 2D Design. (more information on color section)
2. Pick a Cabinet Magazine reading and write a short response to the way that color is described and enlivened by the author. How do their descriptions open up new perceptions of that color? Your short (one page) response is due at our next meeting.
3. Gather materials and start shooting for assignment 1.
4. If you are shooting film, try to shoot and process it before next class. Otherwise, bring your memory card with images and card reader. It is best if you have most of your shooting finished before next week.
p.s. - I have left up some resources from last semester so that you can take a look. They will apply to assignments later in the semester. To avoid confusion, check the posting date. This semester's postings are listed first.
This blog is intended to provide you with additional resources related to assignments, readings and image production for this course. It will be maintained by myself as well as Allison Stewart and Ann Lee (your trustworthy grad assistants).
For Next Monday --
Blog Assignment:
1. I would like you to explore several of the links on the right. In particular, please take a look at those that revisit information from 2D Design. (more information on color section)
2. Pick a Cabinet Magazine reading and write a short response to the way that color is described and enlivened by the author. How do their descriptions open up new perceptions of that color? Your short (one page) response is due at our next meeting.
3. Gather materials and start shooting for assignment 1.
4. If you are shooting film, try to shoot and process it before next class. Otherwise, bring your memory card with images and card reader. It is best if you have most of your shooting finished before next week.
p.s. - I have left up some resources from last semester so that you can take a look. They will apply to assignments later in the semester. To avoid confusion, check the posting date. This semester's postings are listed first.
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