ARTS343 Color Photography, Jacopo Santini, Spring 2020
The course program will consist in an intensive study of color digital photography techniques and its applications to both traditional photography, digital cameras and digital printing. Utilizing color film (color transparencies and negatives) made from traditional SLR cameras, students will engage in a specially designed series of classes and learn how to apply them using Camera Raw and Photoshop to produce final digital-images. Students will create prints (particularly in the second half of the course) by using flatbed scanners, Camera Raw, Photoshop, ink jet printers, as well as specific paper types.
Class emphasis will be both creative and technical, focusing on image correction and adjustments to make the desired print by using Photoshop (and particularly its plug in, ACR, i.e. Adobe Camera Raw - levels, contrast, color balance, color hues, histograms, use of masks). In order to do this, color theory will also be taught. Examination of the creative, fine art and critical aspects of digital image making will also be covered and a special care will be devoted to the concept and analysis of the students’ projects. With regard to the creation of the weekly projects (that will be discussed in class once a week) and of the final project (during the second phase of the course). I will try, as a sort of guide, to help the student, as much and frequently as possible, to take advantage of Firenze (the place names as well as persons’ names should never be altered, so forget “Florence,” it doesn’t exist!) as a context and an issue. My belief is that photographing in Italy and Firenze is challenging. A huge postcard, an old, big déjà vu hides the soul of a town, full of beauty and history, but also of contradictions, troubles and unforeseeable grace. My duty and my pleasure as a teacher and as a photographer will be leading the students behind the “postcard” to unfold what, probably, is still unknown to me.
Since there is no traditional (silver halide) printing in this course, students who will decide to use non digital SLRs will have their film ‘process-only’ by an outside lab and then make their prints utilizing the multimedia lab after scanning the negatives. It is essential to consider that a laboratory needs a minimum of 3 to 7 days to process color films. The students must organize their time in order to complete their assignments by given deadlines.
Students are expected to shoot outside of class time. Class time will be spent mainly for digital imaging, but at least two field trips and visits to exhibitions will take place during the course. Students will work weekly on given assignments during the first half of the term, and in the second one they will work on one main, self-assigned project to be decided upon with the instructor. The course culminates with the students presenting a final portfolio with 15 printed “final” images.
Students should have basic or intermediate knowledge of SLR cameras (exposure control, film types, etc.). In any case a complete review about the functioning of an SLR or DSLR (either digital and traditional will be analyzed) Students should feel comfortable using computers, but no knowledge of Photoshop or Apple Computers is necessary.
Attendance is mandatory. In case of illness, medical proof is required. An excused absence form has to be requested from the Dean and submitted to the instructor.
For every 2 unexcused absences, the term grade will be lowered by 1/3 of the grade. Two late arrivals are considered the equivalent of one unexcused absence. Students who miss more than 20% of the course owing to unexcused absences, cannot be given a passing grade.
A- Work that far exceeds the minimum requirements in craftsmanship, presentation, and unity of concept to produce a visual statement of the highest order. Participation in class and in critiques is frequent and insightful.
B- Above average work that far exceeds the minimum requirements. Skillful handling of the materials with good concepts, showing initiative in critiques and class participation.
C- Average work completion with only adequate control of the materials. Minimum class and critique participation.
D- Failure to complete assignments resulting from a minimum amount of effort, poor execution, and sloppy craftsmanship in the handling of the materials, with little or no class participation.
F- Little or no effort with consideration to the assignments. No participation in class or critiques.
Weekly studies and presentation 20%
Midterm critique 30%
Final Critique 40%
Students are expected to be doing work also out of class time.
Students in MFA, MA, and Post-Bac programs are expected to complete additional assignments and to produce work at a level appropriate for students in a graduate program. They are graded accordingly and, if they successfully complete all course requirements for graduate students, receive graduate-level credit for the course.
Periodically field trips may be planned. Scheduling and destinations will be made available as soon as exhibition dates are known. They are serious, and also fun! It is an occasion to see how we all photograph. The instructor will photograph as well as students, and they can observe the methods used.
It is necessary to have a 35 mm single lens reflex (SLR) or (preferably) digital SLR (DSLR) camera with the possibility of manual controls. Any other camera will be insufficient for the completion of class projects. No point and shoot cameras will be allowed.
- 35 mm camera with manual control settings
- Negative anti static cloth (if using film)
- Digital Printing Paper (to be discussed in class - do not purchase in advance)
- 35mm clear negative sleeves (if using film)
- External hard drive
- Card reader
The instructor will provide all of the necessary reading material, either as a hard copy or sent via email as an attachment.
In compliance with the Higher Education Opportunity Act Textbook Provision, SACI provides, when possible, the International Standard Book Number (ISBN) and retail price of required and recommended reading. Note: Many required and recommended texts are available for loan or can be consulted in the SACI Worthington Library.
Henri Cartier Bresson, The Mind's Eye: Writings on Photography and Photographers , Aperture, 1999.
ISBN: 9780893818753 (Retail price: $19.95)
Roland Barthes, Camera Lucida, trans. by Richard Howard, Vintage Books, 1993.
ISBN: 9780099225416 (Retail price: To Be Determined)
Susan Sontag, On Photography, Penguin, 1979.
ISBN: 9780140053975 (Retail price: To Be Determined)
Susan Sontag, Regarding the Pain of Others, Farrar, Straus and Giroux, Inc., 2003.
ISBN: 9780374248581 (Retail price: $14)
John Berger, About Looking, Vintage International, 1991.
ISBN: 9780679736554 (Retail price: $15.95)
John Berger, The Shape of a Pocket, Bloomsbury, 2001.
ISBN: 9780747558101 (Retail price: $16)
John Berger, Another Way of Telling, Vintage, 1995.
ISBN: 978067937247 (Retail price: $21)
Berger, John, Photocopies, Editions de l'Olivier, 1999.
ISBN: 9782879292120 (Retail price: To Be Determined)
Robert Adams, Beauty in Photography: Essays in Defense of Traditional Values , Aperture, 1996.
ISBN: 9780893813680 (Retail price: $16.95)
Geoff Dyer, The Ongoing Moment, Abacus, 2007.
ISBN: 9780500201879 (Retail price: $16.95)
Ian Jeffrey, Photography, a Concise History, Thames and Hudson, 1996.
ISBN: 9780500201879 (Retail price: £8.95)
Georges Perec, Species of Spaces and Other Pieces , Penguin, 2008.
ISBN: 9780141442242 (Retail price: $18)
Italo Calvino, Invisible Cities, trans. by William Weaver, Vintage Books, 1997.
ISBN: 9780099429838 (Retail price: £7.99)
Italo Calvino, Difficult Loves, Mariner Books, 1985.
ISBN: 9780156260558 (Retail price: $14.95)
William Klein, Contacts
Dziga Vertov, The Man with a Movie Camera
Chris Marker, La Jetee / Sans soleil
Zana Brizky, Born into Brothels
Christian Frei – James Nachtwey, War Photographer
Laura Israel, Don’t Blink: Robert Frank
Werner Herzog, Land of Silence and Darkness
Federico Fellini, Amarcord
John Maloof, Finding Vivian Maier
Wim Wenders and Juliano Ribeiro Salgado, The Salt of the Earth
Tim Hetherington and Sebastian Junger, Restrepo
The Genius of Photography (BBC)
Suggested Web Resources
(students will be asked to share with the class and in class their preferences about websites and photographers)
Where To Purchase Photo Materials
Via Por Santa Maria n. 82/r - Tel.: 055 2398972
Tue-Sat 9am–1pm, 3-7pm
Closed on Monday
Viale Strozzi 18 R
For Camera Repairs
PUNTO REFLEX tel. 055-353733
Via Ponte di Mezzo 16 R
For Computer Repairs (MAC)
- JUICE APPLE PREMIUM
Via Fra Giovanni Angelico n. 6/R
Tel. 055 660337 – Fax. 055 667415
- APPLE FIRENZE – Piazza della Repubblica – 50123 Firenze
- I GIGLI - Via San Quirico, 164, 50013 Campi Bisenzio (FI)
(Please note: This schedule is subject to change.)
Tuesday, January 14
Reading (a gift rather than homework): an excerpt from Invisible Cities by Italo Calvino. It will be your guide during the semester through Italy and Europe
Thursday, January 16
Sign up list for the: “Artist Presentation” by a student.
Tuesday, January 21
Lecture: John Szarkowski’s The Photographer’s Eye
Thursday, January 23
Humanae, Angélica Daas’s project about the representation of the entire chromatic spectrum of human skin’s colors: http://www.angelicadass.com/ humanae-work-in-progress/ and her TED conference: https://www.ted.com/talks/ angelica_dass_the_beauty_of_ human_skin_in_every_color
Tuesday, January 28
Reading: John Szarkowsky’s introduction to William Eggleston’s exhibition at MoMa
Talking about Colors and their social history: view of Le Ballon Rouge by Albert Lamorisse. Link: https://www.youtube.com/watch?v=DiGFcVf34PM
Suggested Movie: The Red Desert by Michelangelo Antonioni (Red), Vertigo by Alfred Hitchcock (Green and Red), Blue by Derek Jarman (Blue, only blue).
Thursday, January 30
Tuesday, February 4
Thursday, February 6
Tuesday, February 11
Thursday, February 13
Tuesday, February 18
Thursday, February 20
Tuesday, February 25
Thursday, February 27
MIDTERM BREAK (February 29 – March 8)
Tuesday, March 10
Thursday, March 12
Tuesday, March 17
Thursday, March 19
Tuesday, March 24
“Artist Presentation” #8
Thursday, March 26
Tuesday, March 31
Thursday, April 2
Tuesday, April 7
Thursday, April 9
Individual review of the students’ work.
Tuesday, April 14
Thursday, April 16
FINAL EXAM WEEK: April 20 – 24
Tuesday, April 21
Thursday, April 23
THERE ARE NO EXCUSES FOR MISSING A FINAL CRITIQUE. YOU ARE REQUIRED TO ATTEND BOTH CLASSES. STUDENTS CANNOT BOOK EARLY FLIGHTS OR MISS THEIR SCHEDULED CRITIQUE ORDER. THIS IS A FINAL EXAM, AND IT IS CONDUCTED IN GROUP (CLASS) FORM, NOT INDIVIDUALLY.
General Safety & Emergency Instructions
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