The students in this course are to learn in camera special effects photography. Taking the lessons learned earlier to an advance level.

A photograph can be as striking and as haunting as a great painting or a fine poem ~ Anonymous

Course Outline Download :: FA 5th Semester Gallery :: Reference Links ::.

Course Objectives ::.

::. To learn various black and white special effects manipulations techniques in the darkroom
::. To learn various in camera special effects techniques in color
::. To give single image samples of the all the techniques learned
::. And finally to use the acquired knowledge to the best of your abilities, to prepare and present a fictitious photo-essay in color
::. Plus also put together an unadulterated documentary style photo-essay in black and white.

Course Outline ::.

This course emphasizes an increase in technical skills. The students initially begin with a basic black and white photography course in the previous semester (4^th), and as the students advance through the minor’s courses they learn to use a manual camera to its fullest potential in conjunction with basic darkroom manipulation techniques, plus in camera special effects techniques in color. The students are encouraged to work more independently to expand their specialized skills in the creation and presentation of photographic imagery.

A special effect can be something as simple as a two-stop alteration in exposure, or as complex as an electronically manipulative photograph (although at this stage no electronic manipulation is allowed). They will learn to understand and carry out some basic tricks of the trade. Usually, the purpose behind special effects is to raise the impact or level of interest of an image. Photographers who practice special effect techniques depend on the basic belief that photographs do not lie. They exploit this idea by presenting to the viewer images that are seemingly impossible to achieve in reality or which enhance certain features of a subject beyond what’s achievable by normal photographic methods.

Lectures go alongside visual examples of various photographers’ straight and manipulated images, with shooting sessions or demonstrations in order to put the techniques discussed into practice. Effective compositions are emphasized throughout the course alongside technical considerations. Students are encouraged to explore creatively and technically with the full support and involvement of the instructors. They are also encouraged to discuss their ideas for the class assignments amongst themselves, and not just with the instructors, in order to learn independent problem-solving techniques.

The Visual Journal ::.

Students must maintain this journal as part of their creative process. This will become a personal indication of your own photographic ‘escape’. The Visual Journal should contain:

::. A collection of ideas and inspirations
::. Documentation of your research into processes and content
::. Reviews, critiques, quotes, clippings, tear sheets.
::. An information sheet for each and folio assignment
::. Technical requirements and equipment used

Special Effects Techniques with an analogue camera and 35mm color film: A special effect can be something as simple as a two-stop alteration in exposure, or as complex as an electronically manipulative photograph (although at this stage no electronic manipulation is allowed).

::. Cross-Processing
::. Multiple Exposures
::. Zooming
::. Panning
::. Slow-sync flash
::. Bulb Photography
::. Silhouettes
::. Slide Sandwiching
::. Front and Rear Projection

::. Photo-essay One: “... A Riot of Color”: The first photo-essay requires you to finally use the acquired knowledge to the best of your abilities, to prepare and present a fictitious photo-essay collection of 7 images linked conceptually, due to a simple or a complex string of thought.

Creative Darkroom Manipulations: This course refines the techniques and ideas presented in the Basic Black and White Photography course. There is importance given to the relationship between exposure, film development, and the finished print. Students have the opportunity to enhance darkroom skills, experiment with manipulative techniques and explore different photographic materials.

::. Toning –Sepia and Blue
::. Split Toning
::. Hand Coloring
::. Negative & Slide Sandwiching
::. Diffusers and Texture Screens
::. Uneven Development
::. Photocopy on acetate sheets
::. Shape Changes and Image Distortions

::. Photo-essay Two: A Sense of Place & Environmental Portraits: for the black white images assignment. Put together an unadulterated documentary style photo-essay in black and white It should capture a 'sense of place'—the series of images must place importance on individuals (through environmental portraiture); also the environment itself (people may be present in some images, but the photograph must not emphasize their individuality). The images in the photo essay should be presented in a meaningful sequence, and the essay may be connected Take observation notes on the experience: what you see and feel, information and anecdotes; these will add depth to your legends.

Course Reference Links ::.

http://victoriaryanphotography.com/index.html ::. I have pursued the life of a professional photographer for the past twenty-five years. Photography provides me with an insightful way to investigate the world. It has disciplined me to look closely at my subjects and to capture their essence in my images.

http://www.wynnwhitephoto.com/index.html ::. An incredible photographer who excels in doing things the traditional way.

http://www.herbrich.com ::. Thomas Herbrich -spectacular photography.....was born in Duesseldorf in 1955. I trained as a photographer in a still life studio. In a way, even the pictures I create today are "stills", the only difference being that I don't arrange objects on a table but blend different photographs into a new picture. My visual "enlightenment" came when I saw.. this film really threw me off balance.. At the moment, I create about 20 pictures a year, mainly for advertising agencies.

http://www.deanchamberlain.com/main_page.html ::. A true master of light painting and bulb photography, a must see site on countless levels.

http://www.susanbowenphoto.com/ ::. "I use a $20 plastic camera called the Holga. The long overlapping images are created by only partially advancing the film between exposures – the overlapping occurs in the film itself. It delights me how well these mostly unplanned juxtapositions capture my experience of a particular time and place and at the same time have an identity all their own."

http://www.michaelfrye.com/index6.html ::. In order to capture this sense of mystery in my photographs, I've ventured out at night into wild places throughout the American West, taking with me electronic flashes and powerful flashlights. By adding colored filters to the lights, I can "paint" elements of the landscape different colors. I also often combine the man-made lights with natural light, like the stars, the moon, or a twilight sky. Some of the more complex photographs may take several hours to create, as I move lights into different spots, or wait for the moon or some other celestial body to slide into position. Michael Frye.

http://www.frankgrisdale.com/index.php ::. Frank Grisdale ... Most photographs are the result of shooting long hand held exposures. As the camera moves in my hands, real life's fine details begin to merge, overlap, and cancel out on the film, resulting in work which might have been drawn or painted by an early Impressionist.

http://www.susanbowenphoto.com/ ::. I use a $20 plastic camera called the Holga. The long overlapping images are created by only partially advancing the film between exposures – the overlapping occurs in the film itself. It delights me how well these mostly unplanned juxtapositions capture my experience of a particular time and place and at the same time have an identity all their own.

http://www.natureworkshops.com/multiple_exposure_-_part_1.htm ::. Most middle to upper level cameras come with the capability of making multiple exposures, or exposing the same frame film with more than one image. This camera function can be a creative tool and can also be used to help control some difficult exposure problems. Learning about multiple exposure possibilities will add to your technical skills and make you a more creative photographer .Roger Devore

http://www.natureworkshops.com/multiple_exposure_-_part_2.htm ::.

http://digital-photography-school.com/blog/slow-sync-flash/ ::. some interesting images to help explain the slow sync flash technique.

http://www.ilfordphoto.com/aboutus/page.asp?n=133 ::. A company who still cares for the traditional black and white photographers.

http://www.jonathan-bailey.com/pages/galleries.html ::. All of these images - regardless of which camera was used to make them - are gold-toned black and white (gelatin silver) prints. The color you see in these images is a result of the various toners - which are used after normal development and fixing of the print. I use a number of different formulae but they all date from the late 19th and early 20th century.

http://www.handpaintedphotography.com/gallery.html ::. Painting on black-and-white photographs allows me to focus on a single end result while exploring two creative realms. I love the challenge of finding an unspoiled landscape and translating the image to a hand-painted photo. I have always loved the photographic image: Light, space, and time are captured in a way no other media can do and then are uniquely translated to two-dimensional prints. I am fascinated by how lens choice, format, film type, and exposure will change the dynamics of an image. I enjoy blending the technical demands of photography with the emotional free form of hand painting.

http://unblinkingeye.com/Articles/HCP/hcp.html ::. Practically since photography was invented, photographs have been colored by hand. The initial desire was generally to make the photograph as much like the original scene as possible, since color films had not yet been invented. But pretty much as soon as color film was available, colorists were out of work. Then a new reason for coloring emerged, and that was to reinterpret the image in a way that color films could not.

http://www.karenvournakis.com/default.asp ::. The Art of hand painting photographs with oil glazes dates back to the 19th Century. Karen Vournakis’ hand painted black & white photographs takes this tradition to a new level of subtlety in form and color.

http://www.handcraftedphotography.com/ Scenes that suggest mystery, serenity, and simplicity have always inspired me...Original images are printed on a matte surface paper. Translucent photo oil paints, colored art pencils or pastels are carefully applied to each print. Only 25 prints will be made of the same black and white image, however, the hand coloring transforms each photograph in a slightly different way, making each final piece an original work of art.

http://www.elizabethjholmes.com/ Elizabeth has exhibited her infrared, hand-colored photographs in numerous galleries including New Century Artists, the Elaine Benson Gallery, Gallery North, and the Kirkland Art Center. She uses infrared film to create images with a sense of timelessness, and then hand colors the photographs with oils and pencils to add an impressionistic quality.