QUALITY OF LIGHT

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EDITORIAL PHOTGORAPHY

This class is all about editorial photography—so let’s discuss what that means.

The word "editorial" refers to the marketplace in which you'll be selling your photographs. The editorial marketplace has traditionally consisted of publishing companies that create physical products such as books, magazines, newspapers, newsletters, and so forth. However, since the mid-1990s, the concept of "editorial" has also grown to encompass digital and online publications—whether they exist on the web, on tablets, or on smart phones.

Basically in this course, you'll be learning about how to create and market work to publishers—whether they're small or large. In this class, we'll concentrate on the "editorial style" of photography, but we'll avoid delving into related genres such as photojournalism, or documentary, reportage, or fashion photography. Those genres of photography are addressed elsewhere in the photography curriculum—in great detail. You'll find, however, when you're finished with this class, that much of its lessons can be applied to those other genres of photography, when you begin studying them in more detail.

Create eight to twelve portfolio-quality images.

Learn business skills that are unique to the editorial market.

This class is divided into three parts:

Part one: An overview of editorial photography. we'll survey the five factors that most contribute to the creation of a great editorial portrait: subject, setting, action/concept, lighting, and wardrobe. 

Part two: The nuts and bolts. the real in's-and-out's of editorial photography—information about the field's techniques, practices, and strategies:

Part three: shooting intensive modules. a prolonged series of shooting intensive modules. You'll have very little reading material to explore throughout these modules but will, instead, dedicate your time almost exclusively toward creating new work for your portfolio.


Contemporary landscape

Contemporary means we'll focus on artwork created since the 1970s. Why the '70s? It marks the last major shift in the practice of landscape photography. Many of today's artists are still engaged with the issues that were introduced 40 years ago.

So, what is landscape?

In short, landscape is land that has been aesthetically processed. It's a natural scene mediated by culture. It is land that has been edited, organized, and reduced to the point at which human eyes can comprehend its breadth and depth in a short time or with one frame. In short, think of land as the raw material. Landscape is that material processed and shaped for aesthetic, expressive, or political ends. It transforms space into place.

The class is divided into five parts:

part one: introduction, basic technical and practical matters

part two: history and theory

part three: survey of contemporary landscape art

part four: advanced technical issues

part five: Conclusion


 

motion project (BFA)

This is an intermediate course in video production and video editing using Adobe Premiere. Students learn how to fix common distortion problems, change the speed of clips in the timeline, create advanced titles, remix audio using Premiere’s Essential Sound panel, and adjust color and exposure.

The second half of the course addresses the exciting world of drone videography and photography. we'll study best practices for flying a drone safely, study some of the FAA regulations for recreational and commercial uses of drones, learn how to search airspace restrictions and check the weather before flying, and discover how to incorporate drone photography/videography into a commercial business.


DIGITAL PRINGINT TECHNIQUES (MFA)

printing workflow, the benefits of making a test print, creating custom ICC profiles, creating hard proofs, evaluating and correcting prints, outputting in black-and-white, managing print size and interpolation, choosing substrates to match artistic intent, and presenting your work to the fine art marketplace.


PHOTOSHOP & LIGHTROOM FOR PHOTGORAPHERS

This is the beginner class. You will use probably Lightroom at the beginning of your workflow and then use Photoshop at the end for precise or finely detailed adjustments. Photoshop expert Jeff Schewe says that, when considering Lightroom and Photoshop, the Pareto principle, or the 80–20 rule applies. You’ll probably do 80 percent of your work in Lightroom and 20 percent in Photoshop.

we'll investigate the first step in any photographic workflow: capture. In particular, we are going to analyze how your style and your concept is affected by some nuts-and-bolts things: your choice of camera, lens, ISO setting, aperture setting, shutter speed, and photographic process. 

In Module 4, you will learn how to import images into Lightroom, attach metadata, create collections, and delete unwanted images. In Module 5, you will learn how to rate, rank, and sort images and then apply basic image adjustments to them. Then, in Module 6, we will survey basic retouching tools in Lightroom and learn how to export images into Photoshop.

In Module 7, we will ease into Photoshop by surveying its interface and various preference settings. Your Midterm, an exam that accounts for 10 percent of your final grade, will also be due.

In Module 8, we delve a little deeper in Photoshop. We will encounter layers and channels: interfaces you will use for any image adjustment. In Module 9, we will review how to crop and resize images and pay special attention to how aspect ratio and presentation size affect concept

In Module 10, we will explore global adjustments: manipulations you make to the entire image. Although many photographers perform this step in Lightroom, it is still worth knowing how to do in Photoshop.

In Module 11, we will learn the basics of color manipulation and expression using Photoshop. This is another technique that might be best done early in a workflow with Lightroom. Still, you need to know how to do it in Photoshop.

After the intensity of Modules 12 and 13, we will study something easier in Module 14: tinting images and converting images to black-and-white. Your Final Project will be due this module. 


MOTION CAPTURE & VISUAL STORYTELLING

So, although there's more video content being produced today, most of it is not very good at all. This creates an opportunity for you, the ambitious photographer; you already know composition, lighting, and most of the technical factors behind video-based exposure. If you can learn a few new skills—capturing audio, stabilizing the camera, telling video-based stories, and video editing—then you will be will positioned to be a leader in the cultural and commercial marketplace.

e will discuss how to set your camera up to record video. we will learn the best practices for recording audio.different ways to steady the camera. the video production workflow:

The four things every successful story must have

Ways to hook viewers at the beginning of your video

Three things every ending must do

The importance of tension and complication to any story

How to outline or storyboard your video

The second half of the semester is all about learning Adobe Premiere, which is our video editing software. We will learn Premiere by following the nine steps of the postproduction workflow: Assembly, organizing, creating a rough dit, adding transitions, tilting, refining the sound, screening, revising, and exporting the video.


HEADLINE

HEADLINE


PORTRAITURE

Portraits reflect our tendency to think about ourselves, ourselves in relation to others, and others in relation to themselves. Portraits emphasize the uniqueness of the individual, and, by extension, human dignity. They challenge the brevity and the transiency of human life.

Portraits initially seem to be a simple topic, but like an onion, they reveal multiple layers of depth. This sweeping course addresses portraitur. It covers the history of portraiture from antiquity to today, the four elements of portraiture (environment, clothing, pose, face, the role facial position plays in the meaning of a portrait, the six categories of contemporary self-portrait, practical tips for shooting and lighting portraits, and the different conceptual uses of portraiture in contemporary photography.