Christopher W. Weeks




PGY 2801C - 65981
FALL 2007

INSTRUCTOR:  Christopher W. Weeks               E-MAIL:
TIME:  Mon/Wed, 6:00pm – 8:05pm                    PLACE: YVAB 207
OFFICE HOURS: Mondays & Wednesdays, 4:00 – 6:00pm (by appointment only)


“Introducing Digital Photography, Second Edition” by Joseph Ciaglia (ISBN#0-13-117515-7, published by Prentice Hall)
“PHOTOGRAPHY” (Ninth Edition) by Barbara London&John Upton

COURSE DESCRIPTION:.  This course  is intended to introduce students to the basic concerns in digital photography as a fine art medium, and the computer as a darkroom.  Includes digital imaging techniques of scanning, color correction, retouching, composition, content and more.  Hardware, image input and output processes, and software are also discussed.  May be repeated once for credit. Prerequisite: PGY-2801C COURSE OBJECTIVES: The objective of this course is to pursue basic knowledge of scanning and image input, basic knowledge of image retouching and refining, and an understanding of image output and the printing process, including the use and roles of professional service bureaus for output in a professional context.  The recognition of strong image composition and content and the essential knowledge for completion of a final image portfolio will also serve as primary objectives, along with the ability to convey critical knowledge of the photographic and digital processes.  ***A special emphasis will be placed on how color functions both on a technical as well as an emotional level, including:  how the color temperatures of various light sources are perceived both by traditional film as well as by digital cameras, how color shifts created by those various light sources translate into the visual image, and how those color shifts can impact emotional connections between image and viewer.  This is not a technical workshop; students will be expected to be pursuing their own artistic, aesthetic and conceptual concerns within the medium of photography.  Assignments should be cohesive bodies of work revolving around a specific theme/concept of the students choice, while incorporating the technical requirements of the assignments.  Critiques will be provided to gauge your development both in terms of printing skills as well as in terms of your use of the medium to visually express your artistic intents and concepts.  An emphasis on writing about your artwork will also be stressed in this class, most directly in terms of producing artist statements examining the thought processes involved in your work.


COURSE OUTCOMES: Upon completion of this course, the student should demonstrate a basic knowledge of fundamental digital photographic theory and make images which correspond to basic photographic design and communication principles.  Students will also demonstrate proficiency in the use of image manipulation software and digital imaging applications in addition to utilizing major computer hardware components and accessories, including scanners, printers, CD recorders and storage devices while managing the color digital workflow through all production stages from image capture to final output.  Students will also be able to demonstrate an awareness of contemporary aesthetic, legal and ethical considerations in digital imaging.

COURSE CONTENT & PHILOSOPHY:   This course is about more than just using the computer to create cheap and easily dispersible snapshots, or simply downloading images off the internet; it is about learning to efficiently articulate visually using the digital medium.  It is about learning to see digital photography as a fine art form and to create visually  impelling and exciting images within the context of that  framework.  It is about learning to see and think differently by using more complex aesthetic judgments and compositional elements.  And most of all, it is about freeing up your preconceptions of digital photography and allowing you to maximize your artistic expression with this particular medium.Class philosophy will revolve around three main elements of photography:  Technical skill , Conceptual Ideas and Contemporary Theoretical Issues surrounding digital photography.  Classes will consist of lectures, demonstrations, studio work and critiques.  Individual creativity, visual problem solving and precise craftsmanship will be stressed.  This is not a hobby course.  If you were thinking this course would be an easy “A”, THINK AGAIN!  This course will require time, effort, and most of all, your brain. If you are either not willing or not able to put forth the effort that this course demands, it may be to your benefit to either drop this course now, or change your grade status to an audit.  If you fulfill all of the basic requirements of this course, you should receive a “C”.   If you want an “A”, then you’ll need to push yourself to learn, think and take your work to the next level.  Remember, an “A” stands for outstanding work, a “B” is for above average work, and a “C” is average.


INSTRUCTIONAL METHODOLOGY:  This course will be presented in traditional instructional methodology, utilizing lectured derived from the required texts, visual presentations and demonstrations of technical processes to engage the students in the learning process.  Projects and a final portfolio will be required to accomplish the required tasks mandatory for completion of the class assignments and expectations.CLASSROOM CONDUCT:  Any disruptive behavior during class time will not be permitted.  The use of cellular phones and beepers during class time is not allowed.  If disruptive behavior becomes a consistent problem, you may be asked to leave the class.ATTENDANCE:  Your attendance is not requested, it is required.  If you miss any of the lectures, demonstrations, lab days or any of the other class activities you are not fulfilling the requirements of the course.  You are expected to fully participate on all lab days.  Failure to attend a critique will result in a failure of that assignment.  If you accrue more than four absences you will not pass this class.REQUEST FOR


ACCOMODATIONS:    If, to participate in this course, you require an accommodation due to  a physical or learning impairment, you must contact the Office of Services to Students with Disabilities.  The office is located in the FAC building.  You may also reach the office by telephone at (813)253-7757.



REQUIREMENTS:  Grades (including S/U) are determined by the successful completion of the assignments and participation in critiques.  You can plan on spending probably a minimum of 12-15 hours a week outside of class working in the lab to complete the requirements for this class. 


Each of the assigned projects (Critiques I, II & III) will receive two letter grades, one dependent upon technical skills and image presentation and the other dependent upon conceptual ideas and image content.  The Final Portfolio (Critique IV) – since it represents the culmination of your final efforts – is double weighted

(4.00)  A (90-100)                   Outstanding work.  Work meets all class requirements and demonstrates an
                                                exceptional degree of quality and
                                                effort in assignments. 

(3.00) B (80-89)                     Above average work.  Work meets all class requirements and demonstrates
                                                a high degree of quality and effort in assignments. 

(2.00) C (70-79)                     Average work.  Work meets all the minimum class requirements and
                                                demonstrates an acceptable degree of quality and effort      in assignments.

(1.00) D (60-69)                       Poor work.  Work meets some but not all the class requirements but may be
                                                missing elements and/or lacks quality and/or effort in assignments.

 (0.00) F (59 and below)         Failure.  Meets few of any of the class requirements, Inadequate and/or
                                                incomplete assignments, quality and effort in assignments.
GRADING BREAKDOWN:                         VISUAL ASSIGNMENTS:                   45%
                                                                        FINAL PORTFOLIO:                          30%
                                                                        WRITTEN ASSIGNMENTS:               10%
                                                                        CLASS PARTICIPATION:                  15%


During this course images may be shown which may offend a student on religious, moral, or political grounds.  I acknowledge and support any student’s prerogative to express their displeasure either  in class or privately afterward, or students may discreetly exit the class if offended by any imagery.  I will not, however, censor any image based on objections to content or form.The instructor, Department of Art and Hillsborough Community College are not responsible for any articles lost or damaged during this class.  Please confidentially bring to the attention of the instructor any handicapping conditions requiring special considerations.  


Accepting this syllabus is the equivalent to accepting a binding contract.  You, as the student, will be held to the standards and requirements outlined in this document.  Make sure that you read it carefully and understand all it’s guidelines. 

**(You must fill out a drop slip --  simply no longer showing up to class will get you an “F” not a “W”)


ASSIGNMENT #1:  NATURAL LIGHTING: Shoot images in the various types of natural lighting -- early morning/sunset, late morning/early afternoon, and high noon -- which will be discussed in class. This first assignment is meant to familiarize you with shooting, printing and color balancing with different types of daylight and seeing how colors shift as the time of day and position of the sun change.  It is assumed that you have already begun to develop your own personal artistic style.  Although this assignment is technically based, it is up to you to provide the content of your imagery -- make the technical requirements of the assignment fit into your ideas.


ASSIGNMENT # 4:      FINAL PORTFOLIO: You’re own your own here.  Take what you’ve learned so far in this class and make it your own.  Experiment and push yourself.  This is your chance to develop your own personal conceptual and stylistic approaches to color digital photography.  By this point, you should be working on developing a permanent portfolio revolving around a singular theme, idea and/or artistic style. You will also be required to work with and utilize a professional service bureau for the completed output of your work (this issue will be discussed in class).



  WEEK 1:

WED., 08/22   

Outline of course objectives and supplies.
Tour of digital facilities.
Discussion of procedures for usage and access.                                         

READ:  “Why Does Art Need to Be Explained?” Article
READ:  “Elements of Art” Article
READ: Pages 139 – 146, 151 – 157 & 163 - 187 in 9th Ed. “Photography” text


WEEK 2:                                                     

MON., 08/27      

LECTURE:  NATURAL LIGHTING:  Slide show.  Introduction to the wide world of color photography - or more specifically, the wide world of color photography shot in natural lighting.

VIEW/WRITE: Go to the library and find an image done by an artist discussed in the Natural Lighting slide lecture.  Write a two-page  analysis on the image you’ve chosen.  Include a xerox copy of the image.  This is not to be an artist biography, but rather a critical  analysis  of the image. Discuss your image in terms of subject matter, formal elements, content, symbolism, artist intent.  See “Art Language” section of the Lab Manual for more information. ESSAY MUST BE TYPED!! (DUE: 09/05)                                         

ASSIGNMENT #1                                         

READ:  Pages 94-95 In Ciaglia’s text


WED., 08/29      

Discussion of such Photoshop basics as: Photoshop Toolbar and Preferences, Saving and  Storing files, How Resolution Works, Creating a Digital Canvas and other  basic setup procedures.
READ:  Pages 1-9, 13-29, 33-57, 65-69, 78-79 In Ciaglia’s text                        

Review basic image manipulation/correction techniques such as:
Selection  Tools, layers, history palettes,Copying, Pasting, Adjusting Hue, Saturation, Color Balance, Brightness/Contrast, etc.                        

 WEEK 3:

MON., 09/03      



WED., 09/05      

Discussion on how digital cameras “see” color shifts in lighting.  Also review of how  to use the scanners.  Discussion  on Sizing, Canvas Size, Resolution and other  necessary setups.

Discussion on how to save images/files once they have been scanned.  Use of “thumb” Drives, Naming files, formats, etc.

Discussion on how to create digital contact sheets once image files have been scanned and saved.

***If there is time in class after the demonstrations, students may begin scanning negatives, slides or prints for use in Assignment #1 so have film/slides/prints ready to work with.

READ:  Pages 30-31, 70-75 in Ciaglia’s text
READ:  Pages 212 – 217 in Photography text



MON., 09/10      

LECTURE/DEMONSTRATION:  PRINTING:  Discussion/Demonstration on how to output using the inkjet  printers. Discussion on Sizing, Canvas Size, Resolution and other setups  necessary for preparing for final inkjet outputs.

IN CLASS ASSIGNMENT/REVIEW: Sample image will be provided in class in both color and black and white for direct comparison.  Students required to bring in a sample pack of various types of Epson compatible, coated inkjet paper ready to print on (Sample pack from Red River Paper strongly suggested). Your objective here is to make the tones and colors of your scan (the image on your monitor) match your original image.  Then you will work on making the tones and colors of your printed output match the your image on the screen. 

READ:  Pages 76-77, 88-103 in Ciaglia text
READ:  Pages 200 – 207 in Photography text

WED., 09/12      

Lab Day


WEEK 5: 

MON., 09/17      

Slide show.  Discussion on how various kinds of light artificial light sources have different color temperatures which create different color shifts, and how this affects film/digital cameras.  Discussion of the different properties of various films.

VIEW/WRITE: Go to the library and find an image done by an artist discussed in the Mixing Light slide lecture.  Write a two-page  analysis on the image you’ve chosen.  Include a xerox copy of the image.  This is not to be an artist biography, but rather a critical  analysis  of the image. Discuss your image in terms of subject matter, formal elements, content, symbolism, artist intent.  See “Art Language” section of the Lab Manual for more information. ESSAY MUST BE TYPED!! (DUE: 10/01)


READ:  Pages 147 – 149  in Photography text 


WED., 09/19      

LECTURE/DEMONSTRATION:  Introduction to use of flashes (bring portable/external flash units to class to work with).  We will discuss and practice experimenting with various forms of flash lighting, including Straight Flash, Bounce Flash, Fill Flash and Ambient Fill Flash.                                         

READ:  Pages 234 – 249  in Photography text 



MON., 09/24      



WED., 09/26      

CRITIQUE #1, con’t (if needed, otherwise, Lab Day)



MON., 10/01      

LECTURE/DEMONSTRATION:  Introduction to Split Filtering.
Discussion on more refined methods of color correction to specific image areas.    
Discussion of Photographic Filter Styles meant to mimic use of “On Lens” filters.                                         

READ:  Pages 188 – 189 in Photography text                        



WED., 10/03      

Lab Day


MON., 10/08      

Lab Day      


WED., 10/10      

LECTURE:  Discussion on writing artist statements and talking about art in a formal/professional context.  Discussion of Artist Statements -- view various examples of artist statements and artist interviews, discuss their content, their purpose and how you should write your own.

Discussion of the uses of color and lighting in various contexts.  Colors are often associated with various emotions/feelings.  Your objective for the next assignment is to create a body of work revolving around the ideas/concepts of how various colors can illicit different emotional responses/reactions from viewers.                                         



WEEK 9:MON., 10/15      



WED., 10/17      

CRITIQUE #2, con’t (if needed, otherwise, Lab Day)


WEEK 10:

MON., 10/22      

Lab Day


WED., 10/24      

Lab Day


WEEK 11:

MON., 10/29      

Lab Day   


WED., 10/31      

LECTURE/DEMONSTRATION:  A further discussion on the interrelationship between input, output and resolution.  Discussion on alternative output options (film, transparencies, paper, lightjets, iris prints, dye sub prints, etc) and use of Service Bureaus.   

READ: pages 102-105 from chapter 6 & page 113 from the Appendix of
Ciaglia’s book

Have ideas ready for the work that you would like to pursue for your final portfolios. Since you will have to utilize outside service bureaus for your final output, it is essential that you have your idea first so that you can “work backwards” in order to determine how to approach your work. 

ASSIGNMENT #4                                          

Any time left over will be utilized as a Lab Day; so make sure to have work  ready.


WEEK 12:

MON., 11/05      



WED., 11/07      

CRITIQUE #3, con’t (if needed, otherwise, Lab Day)


WEEK 13: 

MON., 11/12      



WED., 11/14      

Lab Day


WEEK 14:

MON., 11/19      

Lab Day


WED., 11/21      

Lab Day


WEEK 15:

MON., 11/26      

Lab Day


WED., 11/28      

Lab Day


WEEK 16:

MON., 12/03      


WED., 12/05      

FINAL CRITIQUE, con’t         


WEEK 17: