INTRODUCTION TO PHOTOGRAPHY

FALL-SPRING 2008/09 ● CHIEF DULL KNIFE COLLEGE ● ROOM 206

INSTRUCTOR: John A. Youngbear

TELEPHONE: 406 477 6627/6215
EMAIL: cdkc.photo@gmail.com
WEB: cdkc-photo.blogspot.com

“PHOTOGRAPHY IS SIMULTANIOULSY AND WITHIN A FRACTION OF A SECOND ...

PUTTING ONE'S HEAD AND ONE'S HEART ON THE SAME AXIS.”
—HENRI CARTIER-BRESSON

ABOUT THE COURSE

AC154 INTRODUCES YOU TO THE SKILLS, THEORY AND ETHICS OF PHOTOGRAPHY.

YOU WILL LEARN HOW TO HANDLE A CAMERA AND WORK IN AN INTERACTIVE
ENVIRONMENT. THE EMPHASIS IS BASED ON PHOTOGRAPHIC CONTENT WHILE YOU
PRODUCE IMAGES FROM A VARIETY OF ASSIGNMENTS, SUCH AS; COMPOSITION,
PORTRAIT, QUALITY OF LIGHT AND PHOTO STORY.

COURSE OBJECTIVES

 TO DEVELOP THE TECHNICAL AND INTELLICTUAL SKILLS NEEDED TO EXPRESS

YOURSELF THROUGH PHOTOGRAPHY.

 TO UNDERSTAND WHAT MAKES A GOOD PHOTOGRAPH BASED ON

COMPOSITION, CONTENT AND TECHNICAL QUALITY.

 TO BUILD YOUR VISUAL STORY-TELLING ABILITY.

 TO PRODUCE USABLE IMAGES THAT HELP BUILD A PORTFOLIO.

 TO HAVE FUN IN A CLASS THAT LETS YOU EXPRESS YOURSELF CREATIVELY.

“I HAVE BEEN A WITNESS, AND THESE PICTURES ARE MY TESTIMONY. THE EVENTS I
HAVE RECORDED SHOULD NOT BE FORGOTTEN AND MUST NOT BE REPEATED.”
—JAMES NACHTWEY
“NEVER BE SATISFIED. KEEP LOOKING, KEEP SHOOTING. DON'T THINK THAT YOU'VE
GOTTEN THE PICTURE. KEEP WORKING IT UNTIL THE END. YOU HAVE TO BE AWAKE
AND ALERT TO IT.”
—ELISE AMENDOLA

METHODS

Although we will present mini-lectures, we will spend most of our time in class looking at pictures, and saying what
they mean to us. We will discover the art of seeing and the power of the photograph. It will be an exciting visual
journey.

LABS/LECTURES

A mandatory lab/lecture will meet weekly to provide you with technical training and advice. During the lab, your
instructor will help you edit weekly assignments and shape your final story.

Open lab hours are as follows: POSTED OUTSIDE ROOM 206

Please not the lab is closed during scheduled classes.

** Students with disabilities: If you have a disability that you feel affects your
performance in this class, please come see me and we'll create the right work
environment for you. **

DISCUSSIONS & CRITIQUES

This course combines lectures, critiques and lab time with applied practice. You will be expected to participate in
discussions and critiques, and to examine your work, the work of your classmates and the work of the masters.

ASSIGNMENTS

Shooting assignments receive a lot of weight towards your final grade. Assignment descriptions are at the back of the
syllabus, but they will also be discussed in class. You will be required to photograph 8 single-assignments; in addition,
a picture series, mini-report, photo illustration and final picture story will be required. You need to wait until we
discuss the assignment in class before you photograph for that assignment. Once during the semester, you will be
required to submit a list of story ideas for your picture story.

There will be one test based on the readings, lectures, presentations and current events pertaining to photography.

There will be unannounced quizzes.

SUBMISSION OF THE PHOTO STORY IS REQUIRED IN ORDER TO RECEIVE A FINAL GRADE FOR THE
CLASS.
SUBMISSION OF ASSIGNMENTS

All assignments are due before class begins. Assignments are to be submitted in digital or printed format, depending
on assignment. Printed assignments will be submitted in a 9” x 12” clear plastic folder; Digital submissions are to be
blogged and emailed as an attachment. Each submission must include you name, the course/section number and the
assignment title.

For the single picture assignments, include the following inside the folder or digital attachment:

 One finished image per assignment (unless I tell you specifically to submit more than one) with your name
and the assignment to accompany.

 All thumbnails (contact sheet) you shot for the assignment, submitted as a print or digital submission.

 Complete and accurate caption information for your print/digital submission on a separate document to
accompany your work. A caption is a couple of sentences of pertinent information, including who, what,
when, where, why and anything that is not told in the picture. A submission without a caption is incomplete.

Even if all your images are ruined or damaged, turn them in as you regularly would. Why, you ask? Because
any assignment turned in on time will give you a better grade versus a zero if you turned in nothing at all. And,
any graded assignment (except the picture story) can be resubmitted.

Details for submission of the photo story are at the end of the syllabus.

Story ideas for the picture story must be emailed and blogged. You are expected to turn in a minimum of three ideas
(week 6). Each idea is to be at least one paragraph in length. The goal is to help you think like a photographer and
realize that great photographers begin with great ideas. You are your own best artist! This will be discussed more in
class.

EQUIPMENT

You are required to have a 5 mega-pixel digital camera. More on equipment, on your supply list.

You will not be using any flash units in this class. Your assignment grade will be lowered quite significantly of you
use a flash. Every assignment will be photographed in available light―sunlight, indoor lighting, etc.
GRADING & GRADING CRITERIA

One of the main objectives of this class in learning.

Because I don't expect you to be proficient in the field of photography at first, I will grade the first photo assignments
easier than the others.

Equipment performance or failures are your responsibility; assignments are to be turned in on time. If you fail
to turn it in, a zero for that assignment, will be applied to your final grade―if you fail to turn it in on time.
Please take care of your equipment, it has to last throughout the course for you to pass the course.

Each shooting assignment receives two grades; one for content and one for execution. The content grade is for the
captions/written portion, what your images say, creativity, graphic organization (which is composition) and the
freshness of your vision. The execution grade is for how effectively you used technical skills for that assignment. I
will look at the quality of the original images, the prints and the presentation. Does your print have proper contrast?
Does your print have neat clean borders? Is it clean, without marks?

Each grade for weekly assignments will be on a 10-point scale. There will be 8 weekly photo assignments, for a
possible 80 points.

The final photo story will be worth 100 points, attendance & participation will count 100 points. I also pay
attention to improvement throughout the semester in your assignments. You picture series assignment will be worth
30 points, mini-report worth 50 points and to finish it off, there will be presentations, quizzes and essays worth 40
points.

 Assignments Singles (8) 80 points

 Participation & Attendance 100 points
 Presentations, Quizzes and Essays 40 points
 Picture Series (3 pictures) 30 points
 Mini Report 50 points
 Photo Story (Final) 100 points

400 points for a possible total

GRADING SCALE

320 - 400 A
240 - 320 B
160 - 240 C
80 - 160 D
0 - 80 F
DEADLINES

Assignments must be handed in at the start of the class―no exceptions. A late assignment will receive a zero grade.
Deadlines are not flexible in photography or in this class. A late assignment is one that is turned in after the start of
class.

MY CLASS STARTS AT: ____________, WHAT TIME WOULD IT BE, FOR MY

ASSIGNMENT TO BE COUNTED AS LATE? ____________.

Signature: ____________________________________, Date: _____________.

RESUBMISSIONS

You will be allowed to resubmit any graded assignment you turn in on time, except the picture story. If you want to
resubmit a graded photo assignment, you must do so within on week.

I will grade the second version, and your final grade for that assignment will the whatever is the highest of the two
versions. Resubmissions need to be more than just four or five frames quickly taken. You need to put in the same
effort you did on the first version. You will be shooting the equivalent to one roll of film with 36 exposures per
roll, which, will represent the number of rolls required per assignment. I want you to learn. This provides you
with the opportunity to do so, plus a chance to improve your grade, You cannot resubmit your photo story.

ACADEMIC HONESTY

IMPORTANT: Nothing that has been shot before this semester may be turned in for this class. It is expected that you
will turn in new work for each assignment in the class. It is also expected that all work done in this class on
photographic exercises, captions, quizzes, etc., will be your own. Any act of academic dishonesty will result in a
lowering of your grade and referral to the proper college authorities for disciplinary action.

PROFESSIONALISM & ATTENDANCE

This course seeks to create a professional environment. That means, among other things, that we respect each of our
colleagues in the classroom. Ninety percent of what you do in the day-to-day professional world is how you deal with
people. Your attitude in the classroom and to each other is vitally important. It also means missing a class is like
missing a day of work. I expect you to show up on time, and show up prepared. If we start class with a quiz or an
exercise and you come in late, you will not get a chance to make up the work.

If you know that you are going to miss a class or be late, let me know in advance. An “excused absence” generally
involves personal or family illnesses or emergencies. Routine medical appointments, job obligations, computer
problems, and scheduled interviews are not valid reasons for missing class.

You attendance will be graded. Regular and timely attendance is crucial in this class, and you are expected to
participate in critiques. Much of the information covered in class will not be provided in text or readings. You
will be responsible for material covered in your absence, and your assignments will still be due at their scheduled
times. Critiques are an important part of class, and unexcused absences will be noted.

INTERNET USE will not be tolerated during class time except when directed. Unauthorized use will result in a
zero for that day.
SUPPLY LIST
Required Equipment & Supplies

 Digital camera, 5 mega-pixel (minimum)

 External memory card, 1 gigabyte (minimum)

 Battery charger w/batteries

 1-inch binder w/loose leaf paper

 Camera case (strongly recommended)

Optional Equipment & Supplies

 Thumb/Jump drive (optional)

 2 CD/CDRW (optional)

 Glossy inkjet photo paper (optional)

T/TH 3:30 – 4:50 p.m. AC154 In tr oduc ti on to Pho tog raph y Fall 2008

SCHEDULE OF TOPICS, ASSIGNMENT DUE DATES, AND LABS

“I THINK THE PRINCIPLES ARE THE SAME. PEOPLE ARE LOOKING FOR STRONG
IMAGES AND THE BOTTOM LINE IS THAT YOU HAVE TO COME BACK WITH A GOOD
STORY AND GOOD IMAGES. IF I SHOOT SOMETHING AND COME BACK WITH WEAK
WORK, WHETHER THERE ARE FIVE OUTLETS OR 500, I WILL STILL HAVE A DIFFICULT
TIME SELLING IT.”
—AMI VITALE

SHO OTI NG ASSI GN ME NTS

(NO TE: T he f oll owin g is su bj ect to chan ge wit h no tic e)

WE EK 3

SE LF PO RTRAI T (5/5 pt s)

Taking a self portrait is the perfect way to express yourself through photography. This will be a two part assignment
with half the credit assigned on the due date, and the other 5 points assigned at a later date. Shoot 36 images for this
assignment.

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WE EK 4

DE PT H OF FI ELD ● QU ALI TY O F LIG HT ( 10/10 P TS)

Photograph 30 images total, 15 minimum Depth of Field, and 15 maximum Depth of Field. We are looking for
two examples. First, shoot and example of minimum D.O.F., where you isolate a subject from the background and
foreground―this should draw attention to the subject. Second, shoot for maximum D.O.F., where the entire picture is
in focus from front to back. Turn in the best of each.

This should be a photograph that shows how light works. Must use sunlight as your main light source. Pay
attention to the quality of light. It can be shade, direct, diffused or reflected light. Notice the effects of light on an
image: texture, shape, mood, and intensity. Be careful how you expose your photograph. At least half of your frames
must have people in them. Remember, do not use electronic flash on this or any other assignment for this class. Shoot
72 images for this assignment.

■■■

WE EK 5

CO MP OSI TI ON ● HIG H & LOW A NG LE (10/10 PT S)

This should be a photograph that shows an aspect of composition and how it works to organize the content of
the picture. Also, pay attention to the quality of light. Be careful how to properly expose your photograph. At least
half of your frames must have people in them. Shoot 72 images for this assignment.
Knees to bend, and chairs do hold people.
Shoot 40 images total, 20 high angle, 20 low angle―concentrating on angles. The subject matter is open, but at
least half of your images must have people in them. Shoot from extreme high angle and extreme low angles. Move
your body, and find different perspectives. Your subject will look different from different angles. This primarily an
exercise in how to see.

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WE EK 6

PO RTRA IT (10 PT S)

Avoid students and professors. Get off campus and into the community. You will shoot two types of portraits. First
shoot an environmental portrait. An environmental portrait must contain information about the subject―activities
or occupation. Begin by talking to your subject. Find out about them: their work, their family, or what they like to do,
why they live in Lame Deer, Busby, Westside, Colstrip. Find out something about them and about who they are. The
best portraits are those that tell us something about the person.
The second portrait is to be a candid portrait. Capture the person doing something that reveals something about
their personality. And don't forget...think about your light.
Shoot 144 images, but turn in only one portrait. Due next week.

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WE EK 7

IN TE RA CTI ON (10 PT S)

Photograph how two or more people feel about each other, revealing the essential nature of their relationship at the
moment. Action and reaction, a sender and a receiver are implied.
Pay attention to timing and subject distance. Get close to your subjects without disturbing what is happening. As
always, pay attention to the background and framing. This assignment requires patiences and waiting for the right
moment to occur. You will need to shoot more that one frame per situation. Watch the interaction unfold in front of
your eyes and through the lens. Concentrate on the moment and on your composition. Shoot 36 images. Due next
week.

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WE EK 8

TH RE E PI CT UR E S ER IE S (10 PTS )

Subject matter is people. You may photograph someone you know. This assignment should begin to prepare you to
shoot the picture story assignment. This is not expected to be a picture story. Shoot an event of a "found situation"
unfolding in front of your eyes. Show us the situation in three pictures. Vary the pictures. Don't shoot all wide shots
or all from a distance. Don't shoot the three shots of the same person from the waist to the head. Don't shoot all
verticals or all horizontals. Also, don't say the same thing with each image. Show us something different in each
picture, and make the three images work together to say one thing about the event or situation. Shoot 3 situations, a
minimum of 3 pictures each. Due next week.

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WEEK 9

PHOTO STORY (100 PTS)

Refer to Photo Story portion of this syllabus.

■■■

WE EK 10

DAY IN T HE LIF E (100 PTS )

The assignment will essentially be a mini-report of an actual event. One of your pictures will exemplifying your
event by capturing the moment

■■■

WE EK 11

PH OTO I LL UST RATIO N (10 PT S)

An image produced by the use of one or more photographs to produce a contrived result. This assignment will be
explained further at a later date.

■■■
 PHOTO STORY

DUE DATE
Three Story Ideas Week
Three Story Ideas Week
Photo Story Week
Photo Story – 2 rolls Week
Photo Story – 4 rolls Week
Photo Story – 4 rolls Week
Photo Story – 4 rolls Week
Photo Story – 8 rolls Week
Photo Story – 3 rolls Week
Photo Story – 25 rolls=900 images

Project Summary
A photo story is a set of pictures that work together to present a single topic. The end product of your final project will
be a minimum of 5 pictures (can be more), a text of at least two to five typed pages and a caption for each picture. Put
all the captions on one document. These should be the best pictures and prints of the semester. You will also turn in
contact sheets.

Story Assignment
Choose ONE adult person (must be at least 18 years old).
Most importantly, choose one adult person as your subject! Keep your story simple and specific. The story of one
person's struggle or triumph will touch the reader's heart more deeply that an attempt to portray a broad issue, cause or
organization in a small number of photographs. The story must be on a person that is NOT immediately-related to
you. If you photograph a person falls into this category, you will lose one letter grade. This does not mean that you
can't present a broad issue, but, if you do, present the issue through a story of someone who is involved of affected by
the issue. For example, if you want to do a story about parenting, do a story about one single parent. If you want to
tell about the developmentally disabled, do a story about a person who is developmentally disabled.
Of course, many images can, and may need, to have more than one person in them. Parents, friends, co-workers,
etc.―may be important elements of the story. You can add impact by showing how your subject interacts with others.
However, keep your main subject prominent in the overall story.

The Process
The process you'll go through is as important as the end product. You begin with an idea. Next, you do research and
get to know something about your subject. Then comes your explanatory shooting. At this stage, you and your subject
get acquainted, you pick up your first impressions, and your subject gets used to your camera.
The you process your images and evaluate the results. What pictures work well? What pictures need to be re-shot?
How can you solve your technical problems? What additional pictures do you need to tell the story? Do you need to
change story ideas? Often the heart of the story emerges only after you have some preliminary pictures. You will
brainstorm in labs and help each other with ideals that will make the story more complete.
With a clearer idea of the story and how to tell it, you will return and make more photographs. You will likely now
find it easier to to take images that more clearly tell the story. They will have more meaning and power. You may want
to repeat the process several times. The sooner you start your project, the better.
Evaluating Your Story Idea
Here are some questions to ask yourself when choosing a story:
• Is the story interesting to you and to others?
• Has the story already been covered to death?
• Can you complete the story by the end of the semester?
• Is the story visual?
• Will the subject cooperate and let you come back again and again?
• Does the story depend on a one-time event that would prevent you from re-shooting?
• What technical problems can you expect?

HAVE THREE FINAL STORY IDEAS BY OCTOBER 11 (WEEK 7)

Story ideas are to be emailed and blogged. You are expected to turn in three ideas, and each idea is to be at least one
paragraph in length. You will turn these ideas in during class, and I will write comments on them. You will also
discuss them during class the next week. You may begin shooting the story at that time, but discuss the idea with the
instructor before you start shooting to make sure it's okay. You should also have permission from your proposed
subject and be ready to begin shooting when you turn in the ideas. The sooner you have your ideas for the project, the
better.

Kinds of Photos
Each photo should add information and not repeat what the other photos say. The following list should help you get
the variety of pictures that you need.
1. The Three Basic Shots: Start with three basic shots: Long Shot (wide angle usually), Medium Shot and
Close Up. Remember that the long shot shows the overall scene and helps the reader understand the
relationships of the parts. The medium shot moves in on the action, and the close up reveals the details and
emotions.
2. Lead Photo: This is the photo that sums up the story and is played the largest in a layout. Finding a strong
lead photo is often the major challenge in shooting a photo story.
3. The Portrait: This isn't necessarily posed. It is a close up of the face, of the main subject. It should be more
than a shot for the record; it should show this person's personality or emotions involved in the story.
4. Interaction: The subject should be shown relating to people. This is an important element in most stories and
one that most beginners often miss. To get good interaction photos, you must be in a position where you can
what is happening. You must anticipate because these moments go by quickly.
5. The Sequence: Many stories won't lend themselves to sequences, but if they are these, shoot them. A sequence
isn't necessarily a motor drive series, but any progression through time.
6. The Detail Shot: This is an extreme close up of a small detail. It might be a cowboy's boots outside the
bunkhouse door, or his worn hands on the rains of his horse. This adds flavor to the story and brings viewers
closer to something they otherwise wouldn't see.
7. The Closer: This is the shot that ends the story. A good closer is not necessarily the last shot taken, but it is the
shot with which we say goodbye. It gives visual closer. Sometimes a good story should end before every detail
is told.
How to Submit the Story
Submit your photo story like your weekly assignments. Include:
• All contact sheets.
• Extended captions for each picture.
• Typed story of two to five pages, double-spaced.
• Minimum of five cropped, edited and presentable images.

The Words
The text should tell what the photos couldn't tell. Type it double-spaced, from two to five pages. Type a short caption
for each photo that does not repeat what is in the text. On second reference, refer to your subject by last name only.

Grading the Photo Story

The story has a 100-point total. The grading breakdown is as follows: 50-points for photographs and contacts, 20-
points for story, 20-points for image quality and 10-points for captions.