Last Blog Entry for Fall 2013

Grades have been submitted and all portfolios are ready to be picked up. Portfolios left over break will be stored until the second week of the spring term then tossed. Please pick your work up in a timely manner.

I had a great semester with you all, keep up the good work and keep pushing that shutter button. Remember what I told you on the first class, you can't get better at this by sitting on your ass, drinking coffee and bullshitting about making photographs, you need to actually get out there and make them!

photographing in New Orleans

End of Semester December Countdown

Here is the end of term dates you need to keep in mind:

December 3-self portrait assignment #9 critique

December 5-work day with Stan-LAST DAY TO SUBMIT ASSIGNMENTS FOR GRADES

December 10-leave final portfolios on or before this date

December 19-portfolios returned

You will need to submit a minimum of 15 prints of which 5 need to be matted or mounted. The 15 may be thematic or greatest hits from the work you did this fall. The work must be in a reusable container.

Assignment #9 Self Portrait

Assignment #9 Self Portrait

Robert Cornelius, self portrait 1839

Hippolyte Bayard, Self Portrait as Drowned Man

1840

Assignment due for crit December 3!

Studio Lighting demo and class portrait

Assignment #7 Studio Portrait

Assignment #7 Studio Portrait

The studio is the ultimate additive photographic experience. It is a clean slate you build visually from the ground up. In this assignment you will select a subject, human, no younger than 14 years old and if under 18, with written permission of the parent or guardian as your subject.

Using a range of lighting styles, flood, spot light or soft box, photograph the subject to speak to issues discussed in the class lecture. Review work of Avedon, Karsh, Scavullo and Leibovitz to name a few.

Shoot 50-100 images, process files and bring best images to class for crit on November 14th.

Richard Avedon 1981

Assignment #8 Night Photography

Assignment #8 Night Photography

The world is a very different place at night, light, which normally falls from the sky to the earth, now radiates up. Pleases once illuminated are now in deep, deep shadow. The color of light is also an issue, mixed light sources record in a range of color.

What are our tools in night photography?

ISO experimentation, with excessive noise in mind, try a range of ISO's on your camera depending on conditions.

Tripod. While not always necessary (see further on for how to cheat on this), a tripod will give you the greatest flexibility to get the angles you need while keeping your camera steady for those long exposures. The department has some for limited check out.

Wide-angle lenses. This is a personal preference, but I love the way they work in night photography. If these are out of your price range – don’t worry! Try it out with whatever you’ve got as the only thing that will limit you is your imagination.

A lens hood. To minimize lens flares from light entering at angles outside of your frame.

A flashlight. Sometimes you’ll want to draw attention to or simply lighten up an important part of the foreground which is too dark.

Tools lie all around us in everyday objects to help us make our work better in this; I’ve used bicycle lamps, lampposts and newspaper boxes to get it done.

The same composition rules that apply to day apply to night, except with night we have our long exposures to take advantage of and more negative space to consider.

Stan Strembicki, Florence, Italy 2005

Assignment #6 Narrative

Gregory Crewdson

Assignment due November 7.

Assignment #5 Still Life

Assignment #5  Still Life

Assignment #4 Environmental Portrait

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.”

Arnold Newman

                                       "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 for crit October 8th

Assignment #3 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

Submit best effort, one print minimum for crit September 26th.

Assignment #2

Assignment #2 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!

 Don’t forget, as you change the f stop, you must compensate the exposure by also changing the shutter speed.  In some cases, it will be too bright to use a open apeture like f 2.8, or too dark to use f 16.

by J.H. Lartigue

Assignment #1

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
-Shoot same subject at each iso at normal exposure, the one over and one under exposure

This then is what you'll end up with, 12 shots of each scene, shoot a total of 4 scenes for a grand total of 48 exposures.

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 photographing on Bourbon Street.

Welcome to Stan Strembicki's Digital I Class!

This is the unofficial blog site for Professor Stan Strembicki's digital I class ART 1183 sec 03.

Assignments:
1. Exposure variation P/F
2. Motion & Focus
3. Street Photography/Decisive Moment
4. Environmental Portrait
5. Still Life
6. TA's Choice
7. Studio Portrait
8. Night Photography
9. Self Portrait

Here is some of the fine print for this class:

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.

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

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. If you’re really into your phone to that extent, consider taking my class this spring 2013  “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@samfox.wustl.edu

Assignment #5 Time of Day

  In this assignment you will explore how light defines a space based on weather, time of day and general atmospheric conditions. First select a place of interest, then over a period of days and times, photograph this location so that our understanding of this place is altered by the variable elements. Submit a sequence of at least 3 and no more than 5 images of each location, although you are only required to present one location, you may choose to work with more than one. Choose a location that is not difficult for you to get to and visit on a regular basis. For reference, check out the work of Joel Meyerowitz and in particular, his book "Cape Light". Critique for this assignment is April 4.

From the series Bay/Sky

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.”

Arnold Newman

                                       "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 March 5!

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

Assignment #2

Assignment #2 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 FEB 5!

 Don’t forget, as you change the f stop, you must compensate the exposure by also changing the shutter speed.  In some cases, it will be too bright to use a open apeture like f 2.8, or too dark to use f 16.

by J.H. Lartigue

Assignment #2

Assignment #2 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 # 1

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
-Shoot same subject at each iso at normal exposure, the one over and one under exposure

This then is what you'll end up with, 12 shots of each scene, shoot a total of 4 scenes for a grand total of 48 exposures.

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.