Week #10: 4/6/11 A6 Shooting Field Trip

Coney Island Field Trip to shoot A5: Creative Gray!

Meet in the classroom at FIT and we will travel on the subway together!

© Marvin E. Newman

© Peter Granser

More inspirational images for your final project.  

Notice Kajetan's use of a slightly blue gelled fill and hair light!
© Kajetan Kandler

© Kajetan Kandler

© Kajetan Kandler
© Viktoria Sorochinski

© Viktoria Sorochinski

© Viktoria Sorochinski



Understanding RAW and Printing

Understanding Digital Raw Capture - (pdf Whitepaper) article by Bruce Frasier





Color Printing Technique article by Lee Varis - in digitalphotopro.com

Tuesday, January 4, 2011

Color Printing Technique

The leap from computer monitor to printed output is where most professionals experience issues of color shift and a loss of punch in a photograph. Los Angeles-based pro Lee Varis takes us through the steps to get perfect prints.







A5: Creative Gray Photo + Printing

Assigned: Week #9 3/28/12
To be Shot in class:  Week #10 4/11/12
To be Printed in darkroom:  Week #11 4/18/12
Due Date: Week #12 4/25/11

Details:  1 roll color negative film + 1 roll chrome film + RAW digital capture
Images Due:  for critique on 4/25 are:
  •  1 color darkroom print per group 
  • at least 1 mounted chrome per group
  • and at least 1 8x10 digital print per STUDENT


This assignment allows for comparison of negative film versus reversal/chrome film versus digital while at the same time allowing the creative juices to flow!  You will also learn the basics of color balancing by making an enlargement of a color negative in the darkroom week #11.
Please split up into groups of 2, or 3 preferably, in order to complete this assignment.  Each team will be responsible for all 3 photographic mediums as you shoot the same subject at the same time, but not necessarily the same exact photograph.

Here are all of the requirements for the assignment:
·      Shoot in groups of 2 or 3 - Choose any film you would like.
·       One student shoots:  any roll of daylight balanced color negative film
·       One student shoots:  any roll of daylight balanced color reversal/transparency film
·       One student shoots:  RAW digital capture with daylight balanced WB (5000˚K to 5500˚K)
·      The images must have an element of gray in them whether it is gray fabric, paper, clothing, or otherwise.  And it would be helpful, but not necessary, if you could bring a sample of the item with you to the color darkroom to use for reference when learning to color balance a traditional color print.  BE CREATIVE and produce the most interesting and pleasing photograph that you can.
·      We will be shooting together during the class period week 10 4/11/12.  Meet at the classroom with the proper camera and equipment that you need (flash, bounce fill, tripod, etc.) and we will proceed to take the subway together to Coney Island.
·      Once you have photographed your creative assignment involving something gray, process the film at the lab and bring it to class next week to print from. 
·       The color negative film should be developed and contacted.
·       The transparency film can be clip tested and pushed/pulled in processing if you would like, but must be mounted for slide projection! 
·       The RAW digital file should be processed and made into a digital print with proper Color Spaces and ICC printing profiles used.

And again, BE CREATIVE!!!


We will meet in the classroom week #11 4/18/12 and walk over to the darkroom where we will be printing.  Rental of the facilities and printing paper requires additional funds from each student.  I will let you know what you owe, but it should be around $15.

My Own Color Lab - Color Darkroom Rental
18 West 27th Street - 3rd Floor
New York, NY 10001
212-696-4107

Week #9: 3/28/12 A4 Critique


"Cartier-Bresson has said that photography seizes a 'decisive moment', that's true except that it shouldn't be taken too narrowly...does my picture of a cobweb in the rain represent a decisive moment? The exposure time was probably three or four minutes. That's a pretty long moment. I would say the decisive moment in that case was the moment in which I saw this thing and decided I wanted to photograph it". - Paul Strand

"Don't undertake a project unless it is manifestly important and nearly impossible." - Edwin Land

Critique A4 - Achromatic Still Lifes

A5 Discussion

Begin Final Project! 

Attendance is required! - Friday, March 30th @ 1:30pm
$10 with Student ID

*Please meet promptly at 1:30pm outside of 643 Park Avenue Armory at 67th Street.
to 68th Street or 
  to Lexington Ave./63rd St.

Park Avenue Armory
643 PARK AVENUE
NEW YORK, NY 10065
 
Bonni Benrubi Gallery - © Karine Laval
Joseph Bellow Gallery - © Charles Johnstone
Yancey Richardson Gallery - © Laura Letinsky

“Work In Progress” - An Impossible Staff Group Show / 2012

Impossible Project Space NYC - 425 Broadway, 5th Floor (North of Canal Street)

© Claire Oring

© Max Wagner

© A-Chan


Lomo image sourced from here

Lomography is typically characterized by low quality pictures and odd lighting effects and other imperfections not normally seen in traditional photography. Its also usually a spontaneous style of photography. All this is what gives lomography its unique look and feel.

Brief history
the original Lomography cameras were russian made and were first produced in 1984, this being the LOMO LC-A Compact Automat camera becoming the companies LOMO main activity. The company Holga make a 120mm toy camera in China which has a similar effect of low fidelity.

Diana Camera
Holga Camera


More inspiration images from one of my favorite photographers 
© Eugenio Recuenco




© Eugenio Recuenco

© Eugenio Recuenco
© Eugenio Recuenco

Week #8: 3/21/11 Digital Color Mgt.

"Sitting over a hot computer ain't my idea of fun. My creativity goes almost completely into picture taking. (But) I suppose if I ever retired, I would enjoy learning the Photoshop craft far more than playing golf." - Herbert Keppler - On going digital. (Popular Photography & Imaging, January 2005)


"Focus on content.. be color blind." - Lakshman Iyer

© Stephen Shore - repped by Bill Charles

© Stephen Shore - 303 Gallery
© Stephen Shore - Edwynn Houk Gallery

Now that we understand the digital RGB #s, let's use that knowledge!  Below is a handout detailing how to use a Curves Adjustment Layer to properly adjust for color and tone in our digital images.  


Adobe Camera Raw:
0:00-1:47(Raw)  4:50-7:05(Tools/WB)  12-21(Exposure)  35:35-42:20(Sharpen)




Today we'll be talking about proper color management workflows and how to take an image from monitor to print with as much color accuracy as possible.

Colors on a monitor are displayed using a combination of RGB light, while printed colors are typically created using a combination of 4 inks CMYK.  Because the RGB and CMYK color models use different methods to display colors, each produces a different gamut, or range of colors. 

The color space for a device is defined by the gamut it can produce. And an ICC profile is a description of a device’s color space.  The profiles are used to help ICC systems communicate properly and translate your color gamut from device to device accurately.



Understanding the Color Management Workflow

Color Management Workflow:
STEP 1:  Calibrate your monitor
STEP 2:  Set up the Photoshop Color Management Environment
STEP 3:  Assign a Profile to the image
STEP 4:  Soft Proof your image on screen
STEP 5:  Print your Color-Managed image using ICC Printer Profiles

Below is a handout detailing the proper color management workflow steps for printing to an Epson inkjet printer.



Great links for additional Color Management information:


A wealth of color management related info can be found at www.cambridgeincolour.com/tutorials.htm 

And further Epson Inkjet printing and color management instructions for older Photoshop versions, Lightroom, and Windows printing can be downloaded here: files.support.epson.com/pdf/r2880_/r2880_mc.pdf


L&I Photo and Digital Labs
11:30am with Jack
1 W 22nd Street
New York, NY  10010
212-645-5300


Week #7: 3/14/12 A4 Shoot

"Different levels of photography require different levels of understanding and skill. A 'press the button, let George do the rest' photographer needs little or no technical knowledge of photography. A zone system photographer takes more responsibility. He visualizes before he presses the button, and afterwards calibrates for predictable print values." - Minor White

Shooting Assignment #4: Achromatic Still Life in class today

Midterm Journals are also due today