Welcome to the blog site for Stan Strembicki's Digital Photo I class. Class assignments and notes for the semester will be posted here as well as student work.
Tuesday, December 9, 2014
Stick a fork in us, we're done!
All portfolios have been graded and returned, students may pick them up anytime. I will have grades posted on line by the end of the week. Have a great holiday break!
Friday, November 28, 2014
End Game Schedule
Here's the final few classes we have left in the Fall Semester:
December 1........Crit for Night Photography assignment #8
December 3........Crit for Self Portrait assignment #9
December 8........Final Portfolios due today no later than 3 pm
December 10......Final Exams Begin for academic classes, all studio cries finished
December 16......Final Portfolios returned
December 1........Crit for Night Photography assignment #8
December 3........Crit for Self Portrait assignment #9
December 8........Final Portfolios due today no later than 3 pm
December 10......Final Exams Begin for academic classes, all studio cries finished
December 16......Final Portfolios returned
Wednesday, October 1, 2014
Monday, September 22, 2014
Assignment #4 the Environmental Portrait
“The subject must be thought of in terms of the 20th century, of houses he lives in and places he works, in terms of the kind of light the windows in these places let through and by which we see him every day.”
"Willie The Lion Smith" by Arnold Newman 1960
Simply put, an environmental portrait is a portrait of a person that includes enough of the environment around that person to provide context that helps the viewer understand more about the defining characteristics of the subject. One of the keys to a successful environmental portrait is that the portion of the scene included in the frame should be "representative" of the environment or context you want the viewer to associate with the subject. The relative importance of the subject to the environment is also important in defining an "environmental portrait." The subject should be the most prominent element in the scene, with the surrounding elements providing strong supporting context. If you are too close to your subject to include enough of the environment, then the image simply becomes a normal portrait. On the other hand, if the subject is so small in the frame that other elements become more prominent, or viewers cannot discern the defining characteristics of the subject, then the image would be better classified as something other than an environmental portrait.
"Baker" August Sander
Shoot a minimum of 50 images/frames. You can shoot this assignment at a number of locations and even on different days. The subject must be part of the process and may include others, no candid photos of random people you have not met however! No animals or no humans under the age of 14 year as primary subject matter.
Submit one print, any size for in class critique on Oct 8
Friday, August 29, 2014
Assignment #3 Street Photography-The Decisive Moment
“You must milk the cow a great deal, to get enough milk, to make a little bit of cheese”
Henri Cartier-Bresson
There come certain moments in our lives when any number of forces (both those we can control and those we can’t) merge together. Everything comes together as if fate had planned it that way. To simplify this in a phrase; being in the right place at the right time.
The French photographer Henri Cartier-Bresson describes this sensation in his work as being “The Decisive Moment”. A point in time and space when those forces (people, buildings, autos, animals, shapes, forms, weather etc.) arrange themselves in front of his camera to present a complete statement, both visually and emotionally. Everything is revealed with perfect clarity.
But this is a very quick and fleeting moment. The power created by all these forces dissolves as quickly as it arises. Cartier-Bresson sees it as his responsibility as a photographer to be aware of such moments and to photograph them at precisely “the decisive moment”.
Your assignment, shoot at least 50 photos of these decisive moments you find in your world. These are best found outdoors and in situations where there are lots of people around. Use ISO 400 speed setting and try to use higher shutter speeds if your subjects are moving, around 250-500 of a second.
Carry your camera in the ready mode, that is pre-focused and the exposure controls adjusted for the lighting situation you are in. Try concentrating on the three basic elements (time, space, and objects in space, like people). Observe their interaction. You skill will increase with practice and timing is everything.
Turn in a minimum of one print that best presents the idea of the decisive moment. The print may be of any size.
For more information, check out the works of Cartier-Bresson in the art and architecture library and the works of Elliot Erwitt and Gray Winnogrand two other photographers who deal with these elements.
Gary Winogrand
Critique for this assignment is
Wednesday, August 27, 2014
Assignment #2 part B Shutter Speed & Motion
The camera has the unique ability to freeze motion or to show an entire motion to the point where it is only a blur. Both of these qualities can be used in a photograph in interpret movement as you would like it to be shown.
A few things to remember are:
1. A higher shutter speed will be required to freeze motion when the motion is parallel to the film than when motion is toward the camera.
2. If you are using a slow shutter speed, those less than 1/30 of a second, you should use a camera support. A tripod is best, however you can brace the camera on a bench, a wall, or place it on the ground.
3. Panning means to move the camera with the subject in motion. This will allow you to freeze motion which is faster than your fastest shutter speed. Panning requires practice, so try this a number of times.
1. Make a series of exposures that show the effects of freezing motion with a high shutter speed.
2. A series of exposures to imply motion using slow shutter speeds.
3. Finally a series of exposures that demonstrate the use of panning technique.
Remember that you must adjust the f stop to match the shutter speed you have selected to get a correct exposure. You may find that you can not use a low or slow shutter speed in the bright sun, as there is too much light present. In that case, you must go someplace where there is less light or wait till dusk. The same is true of high shutter speeds, which often require you to open the lens to get enough light to make a correct exposure, this may not be possible indoors, for example.
Assignment 2 part A: Depth of Field & Focus
Depth of Field and Focus
As you have learned in your lecture, depth of field is the area, from the near point to the far point, which will be in focus in your photograph. This can be used in many ways to make your photograph have more impact, to isolate the subject from a distracting background or to give a photograph more apparent depth. Just to review:
1. Depth of field is directly related to the f stop which you use. A small f stop like f 16 will give greater depth of field (more in focus), and a smaller f stop (like f 2.8) will make the depth of field shallower.
2. When you want fairly accurate indications of depth of field, you should use the depth of field scale on you lens.
3. Focusing on a subject close to the camera will give less depth of field than focusing on a subject farther away.
Assignment:
1. Make at least 2 photographs which show shallow depth of field. Remember to use a wide f stop (like f 2.8).
2. Make at least 2 photographs to show great depth of field. Use a smaller
f stop (like f 16)
3. Use the remaining images to show subjects in background out of focus,
objects in foreground out of focus, and other variations of use of limited and expanded focus.
DUE September 17
Monday, August 25, 2014
Assignment #1 Exposure Variation
In this assignment you will shoot a series of exposures and iso settings on your digital camera as follows:
1. Set Colorspace to Adobe RGB
2. Set Quality to RAW & jpg-large
3. Set Mode to manual
4. Now set ISO and expose images as follows:
-Shoot one subject at iso setting 100; 400; 800; 1600; Do this for 6 scenes for a total of 24 images.
-Shoot one subject at the normal or correct exposure, the one over and one under exposure for a total of three exposures per scene.
Do this for 12 scenes for a total of 36 images. All totaled 60 images.
This assignment is pass/fail, bring in one set of jpg images on a jump drive for in class review. Select best image for shoot and post on class blog.
1. Set Colorspace to Adobe RGB
2. Set Quality to RAW & jpg-large
3. Set Mode to manual
4. Now set ISO and expose images as follows:
-Shoot one subject at iso setting 100; 400; 800; 1600; Do this for 6 scenes for a total of 24 images.
-Shoot one subject at the normal or correct exposure, the one over and one under exposure for a total of three exposures per scene.
Do this for 12 scenes for a total of 36 images. All totaled 60 images.
This assignment is pass/fail, bring in one set of jpg images on a jump drive for in class review. Select best image for shoot and post on class blog.
Your fearless leader hard at work at Mardi Gras.
Sunday, August 24, 2014
Welcome to Digital Photo I 1183 section 01
Prof. Stan Strembicki
Digital Photography I FL
2014 V1.1
ART 1183 section 01
Monday & Wednesday
8:30-11:30
08/25/14 class
intro; exposure and camera set up; assignment
#1-(over under)
08/27/14 Lightroom
5 orientation/downloading images/basic adjustments
09/01/14 No WU
classes-Take Photos Today!
09/03/14 Critique
assignment #1-over under &
assignment-The Color Image
09/08/14 Lecture
for assignment #2-Motion and Focus
09/10/14 Lecture:
Preparing files for output and printing in Lightroom 5
09/15/14 possible
field trip weather permitting
09/17/14 Critique for assignment #2 Motion and Focus
09/22/14 Lecture
for assignment #3 Street
Photography/Decisive Moment
09/24/14 Lecture: Assignment #4
Environmental Portrait
09/29/14 Critique
for #3 Street Photography/Decisive Moment
assignment
10/01/14 Stan’s
Life in Art lecture
10/06/14 Lecture:
Electronic flash
10/08/14 Critique
for #4 Environmental portrait
10/13/14 Lecture
for #5 Still Life
10/15/14 no
Stan-TBA
10/20/14 Lecture
for assignment #6 TBA
10/22/14 Lecture
of assignment # 8 Night Photography &
flash demo
10/27/14 TBA
10/29/14 Critique
for #5 Still Life
11/03/14 Lecture
for studio assignment #7-studio portrait (J. Karsh; R.
Avedon)
&
studio portrait lighting demo
11/05/14 Lightroom
tool bar extra demo/lecture
11/07/14 Slides for Self
portrait #9
11/10/14 Critique for Assignment #6 TBA
11/12/14 Critique
for assignment # 7 Studio portrait
11/17/14 Lecture/Demo Presentation, mounting &
matting issues
11/19/14 Critique
for assignment #8-Night photography
11/24/14 workday
with Stan
11/28/14 Thanksgiving Break-no WU classes-labs closed
12/01/14 Critique
for # 9 Self Portrait
12/03/14 workday
12/08/14 final
portfolio due today
12/10/14 final
exams begin
12/16/14 portfolios
returned
Assignments:
- Exposure and development
- Motion and focus
- Street Photography-decisive moment
- Environmental portrait
- Still Life
- TBA-
- Studio portrait
- Night photography
- Self portrait
Final Portfolios:
You are expected to shoot images,
perform all lab work, and final presentation. Students who use other students’
prints or files without attribution are guilty of cheating and will be referred
to the Associate Dean for further action, and fail the class. Final portfolios
consist of 15-20 matted or mounted prints, printed to your highest
standards. Portfolio may include
assignments, may be thematic, or may just have 15 of your best images. All prints should be ready for
presentation. All prints must be in
something that resembles a folder or case.
No trash bags or loose prints please.
Label all mats on rear with your name and class.
Attendance policy:
Students are expected to attend
all classes, in case of medical excuse, students are responsible for supplying
documentation to faculty. Excessive
absence (five unexcused) will result in
lowering of grade, one letter and seven unexcused, failure of class
entirely. Students should plan on
arriving to class on time. Excessive tardiness will result in a lowering of the
final grade.
Grading:
Work will be graded in two parts,
1) craft and technique, which refer to camera handling skills, and print
quality and 2) concept and creative solution to assignment problem.
Final grade comprised of the
following guidelines:
25%
assignment
25%
attendance and class participation
50%
final portfolio
Grade values:
A+, A, A-: Superior
work and effort. This grade level is for those who demonstrate and maintain
strong, creative concepts, intellectual curiosity, focused work ethic, and
courage to push beyond safe limits. They produce work consistently, and create
technically and conceptually excellent work that is innovative and resolved.
They actively participate in critiques, and show a high level of independence
and motivation facilitating the studio community and their education.
B+, B, B-: Very
good work and effort. This grade implies above average work,
participation/citizenship
and demonstrates an effort beyond expectations to discovery in the process of
developing a solid studio practice. The B student works hard but struggles with
technique and process; or has good conceptual goals but does not put forth
substantial skill/effort to communicate them effectively.
The B range student
may be doing minimal outside research to develop ideas but makes use of the
faculty/peer suggestions and dialogue.
C+, C, C-: Average
work and effort. This grade indicates good attendance, completion of ideas, and
some extra work. Adequate time spent in studio. The C student struggles with
resolving projects in a coherent manner, or may struggle with the development
of a consistent and rigorous studio practice. Their participation and
initiative in critique settings and seminar is minimal, and they often fail to
initiate peer/faculty feedback.
D+, D, D-:
Unsatisfactory work. Often, these grades are earned through poor attendance,
late work or not following directions.
F: Failing work.
Digital Etiquette:
This should go without saying, but let’s say it anyway: you should
turn off your cell-phone and/or other devices (iPods, etc) before you enter the
classroom. If your phone rings once during class this semester, we’ll all laugh
and I’ll ask you to turn it off. If your phone rings again during class this
semester, we’ll need to have a talk.
I understand that your phones connect you with your friends and
family, but the classroom should be a place apart, however briefly, from the
outside world. You will learn more, in short, if you can concentrate on the
class while you’re in class. If you’re really into your phone to that extent,
consider taking my class being scheduled for Spring 2015 “Cell Phones, Snapshots and the Social Network”, it’ll all be about
the mobile device and making art.
Stan’s office number/voice mail: 935 8406
Stan’s cell 314 440 2894
Stan’s E mail address:
Strembicki@wustl.edu
Monday, February 3, 2014
Assignment #3 The Decisive Moment
“You must milk the cow a great deal, to get enough milk, to make a little bit of cheese”
Henri Cartier-Bresson
There come certain moments in our lives when any number of forces (both those we can control and those we can’t) merge together. Everything comes together as if fate had planned it that way. To simplify this in a phrase; being in the right place at the right time.
The French photographer Henri Cartier-Bresson describes this sensation in his work as being “The Decisive Moment”. A point in time and space when those forces (people, buildings, autos, animals, shapes, forms, weather etc.) arrange themselves in front of his camera to present a complete statement, both visually and emotionally. Everything is revealed with perfect clarity.
But this is a very quick and fleeting moment. The power created by all these forces dissolves as quickly as it arises. Cartier-Bresson sees it as his responsibility as a photographer to be aware of such moments and to photograph them at precisely “the decisive moment”.
Your assignment, shoot at least 50 photos of these decisive moments you find in your world. These are best found outdoors and in situations where there are lots of people around. Use ISO 400 speed setting and try to use higher shutter speeds if your subjects are moving, around 250-500 of a second.
Carry your camera in the ready mode, that is pre-focused and the exposure controls adjusted for the lighting situation you are in. Try concentrating on the three basic elements (time, space, and objects in space, like people). Observe their interaction. You skill will increase with practice and timing is everything.
Turn in a minimum of one print that best presents the idea of the decisive moment. The print may be of any size.
For more information, check out the works of Cartier-Bresson in the art and architecture library and the works of Elliot Erwitt and Gray Winnogrand two other photographers who deal with these elements.
Gary Winogrand
Critique for this assignment is Feb 18.
Wednesday, January 22, 2014
Assignment #2b Motion & Shutter speed
The camera has the unique ability to freeze motion or to show an entire motion to the point where it is only a blur. Both of these qualities can be used in a photograph in interpret movement as you would like it to be shown.
A few things to remember are:
1. A higher shutter speed will be required to freeze motion when the motion is parallel to the film than when motion is toward the camera.
2. If you are using a slow shutter speed, those less than 1/30 of a second, you should use a camera support. A tripod is best, however you can brace the camera on a bench, a wall, or place it on the ground.
3. Panning means to move the camera with the subject in motion. This will allow you to freeze motion which is faster than your fastest shutter speed. Panning requires practice, so try this a number of times.
1. Make a series of exposures that show the effects of freezing motion with a high shutter speed.
2. A series of exposures to imply motion using slow shutter speeds.
3. Finally a series of exposures that demonstrate the use of panning technique.
Remember that you must adjust the f stop to match the shutter speed you have selected to get a correct exposure. You may find that you can not use a low or slow shutter speed in the bright sun, as there is too much light present. In that case, you must go someplace where there is less light or wait till dusk. The same is true of high shutter speeds, which often require you to open the lens to get enough light to make a correct exposure, this may not be possible indoors, for example.
Tuesday, January 21, 2014
Assignment #2a Depth of Field and Focus
Depth of Field and Focus
As you have learned in your lecture, depth of field is the area, from the near point to the far point, which will be in focus in your photograph. This can be used in many ways to make your photograph have more impact, to isolate the subject from a distracting background or to give a photograph more apparent depth. Just to review:
1. Depth of field is directly related to the f stop which you use. A small f stop like f 16 will give greater depth of field (more in focus), and a smaller f stop (like f 2.8) will make the depth of field shallower.
2. When you want fairly accurate indications of depth of field, you should use the depth of field scale on you lens.
3. Focusing on a subject close to the camera will give less depth of field than focusing on a subject farther away.
Assignment:
1. Make at least 2 photographs which show shallow depth of field. Remember to use a wide f stop (like f 2.8).
2. Make at least 2 photographs to show great depth of field. Use a smaller
f stop (like f 16)
3. Use the remaining images to show subjects in background out of focus,
objects in foreground out of focus, and other variations of use of limited and expanded focus.
DUE January 30
Monday, January 13, 2014
Welcome to Digital Photo I sec 01
Here is the class outline & fine print for this Spring's class:
01/14/14 Class
intro; exposure and camera set up; assignment
#1-(over under)
01/16/14 Photoshop
Bridge orientation/downloading images/basic adjustments
01/20/14 No WU
classes MLK day
01/21/14 Critique
assignment #1-over under exposure &
ISO test
01/23/14 Lecture
for assignment #2-Motion and Focus
01/28/14 Lecture:
Preparing files for output and printing
01/30/14 Critique
for assignment #2 Motion and Focus
02/04/14 Lecture for assignment #3 Decisive Moment and the street
02/06/14 Lecture and demo on additional Photoshop tools
02/11/14 No Stan: burning and dodging with TA
02/13/14 Lecture: Assignment #4
Environmental Portrait
02/18/14 Critique
for #3
Street Photography/Decisive Moment assignment
02/20/14 Critique
for #4 Environmental portrait
02/25/14 Lecture:
Electronic flash and Assignment #9 Night Photography
02/27/-03/06 No Stan
03/10 & 14 WU Spring Break, no classes, lab closed
03/18/14 Lecture
for #5 TBA
03/20/14 Lecture for studio assignment #8-studio
portrait (J. Karsh; R. Avedon)
03/25/14 Lecture - Presentation-mounting & matting
03/27/14 Slides
for Self portrait #9
04/01/14 Critique for #5 TBA
04/03/14 Lecture for assignment #6 (TA)
04/08/14
04/10/14 Critique
for assignment #7 Still Life
04/15/14 Critique
for assignment # 8 Studio portrait
04/17/14 Critique
for #6 (TA)
04/22/14 Critique
for assignment #9-Night photography
04/24/14 Critique
for # 10 Self Portrait
04/29/14 final
portfolio due today
05/01/14 final
exams begin
05/03/14 portfolios
returned
- Exposure and development
- Motion and focus
- Street Photography-decisive moment
- Environmental portrait
- TBA
- TBA-Mystery Assignment
- Still life assignment
- Studio portrait
- Night photography
- Self portrait
Final Portfolios:
You are expected to shoot images,
perform all lab work, and final presentation. Students who use other students’
prints or files without attribution are guilty of cheating and will be referred
to the Associate Dean for further action, and fail the class. Final portfolios
consist of 5 matted or mounted prints, printed to your highest standards &
10-15 additional prints. Portfolio may
include assignments, may be thematic, or may just have 5 of your best
images. All prints should be ready for
presentation. All prints must be in
something that resembles a folder or case.
No trash bags or loose prints please.
Label all mats on rear with your name and class. A CD with jpegs of all
final images must also be included with your final portfolio as required by the
School of Art as documentation for accreditation.
Grading:
Work will be graded in two parts,
1) craft and technique, which refer to camera handling skills, and print
quality and 2) concept and creative solution to assignment problem.
Final grade comprised of the
following guidelines:
25%
assignment
25%
attendance and class participation
50%
final portfolio
Grade values
A+, A, A-: Superior
work and effort. This grade level is for those who demonstrate and maintain
strong, creative concepts, intellectual curiosity, focused work ethic, and
courage to push beyond safe limits. They produce work consistently, and create
technically and conceptually excellent work that is innovative and resolved.
They actively participate in critiques, and show a high level of independence
and motivation facilitating the studio community and their education.
B+, B, B-: Very good work and effort. This grade implies
above average work,
participation/citizenship
and demonstrates an effort beyond expectations to discovery in the process of
developing a solid studio practice. The B student works hard but struggles with
technique and process; or has good conceptual goals but does not put forth
substantial skill/effort to communicate them effectively.
The B range student
may be doing minimal outside research to develop ideas but makes use of the
faculty/peer suggestions and dialogue.
C+, C, C-: Average
work and effort. This grade indicates good attendance, completion of ideas, and
some extra work. Adequate time spent in studio. The C student struggles with
resolving projects in a coherent manner, or may struggle with the development
of a consistent and rigorous studio practice. Their participation and
initiative in critique settings and seminar is minimal, and they often fail to
initiate peer/faculty feedback.
D+, D, D-:
Unsatisfactory work. Often, these grades are earned through poor attendance,
late work or not following directions.
F: Failing work.
Attendance policy:
Students are expected to attend
all classes, in case of medical excuse, students are responsible for supplying
documentation to faculty. Excessive
absence (five unexcused) will result in
lowering of grade, one letter and seven unexcused, failure of class entirely. Students should plan on arriving to class on
time. Excessive tardiness will result in a lowering of the final grade.
Digital Etiquette:
This should go without saying, but let’s say it anyway: you should
turn off your cell-phone and/or other devices (iPods, etc) before you enter the
classroom. If your phone rings once during class this semester, we’ll all laugh
and I’ll ask you to turn it off. If your phone rings again during class this
semester, we’ll need to have a talk. I understand that your phones connect you
with your friends and family, but the classroom should be a place apart,
however briefly, from the outside world. You will learn more, in short, if you
can concentrate on the class while you’re in class.
Stan’s office number/voice mail: 935 8406
Stan’s cell 314 440 2894
Stan’s E mail address:
Strembicki@samfox.wustl.edu
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