PORTRAIT PHOTOGRAPHY SYLLABUS - Scottsdale...

Course Syllabus

ART 140 – PORTRAIT PHOTOGRAPHY

Course Number 33317

Scottsdale Community College - Main Campus

Fall 2015

Instructor:

Roger E. Palmenberg

ART-140 Portrait Photography– Syllabus

Copyright © by Roger E. Palmenberg, August 2015 - All Rights Reserved

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“It is one thing to take a picture of a stranger. It is a much more difficult thing to make a portrait of a

stranger to whom the viewer will care about.” Paul Strand

COURSE NUMBER: ART140 – Portrait Photography Course Number 33317

Two credit hours

INSTRUCTOR: Roger E. Palmenberg

TERM: Fall 2015 – September 1 through December 15, 2015

CLASSROOM: Art Building - Room AB-133 – Main Campus

PHONE NUMBERS: Art Department, 480-423-6344

Instructor, 602-234-0696 ext 170 (M-F, days)

E-mail: [email protected]

OFFICE HOURS: By appointment with instructor

COURSE TIME: Tuesday, 3:00 PM through 7:00 PM and

Optional open studio sessions – tentative dates are: 10/18, 11/8,

11/22, and 12/6 – all dates subject to change

PREREQUISITES: ART-131 or permission of the instructor.

“The lesson was that a portrait must get beyond the almost universal self-consciousness that people have

before the camera. If some moment of reality in the personality of the sitter did not happen, you had to

provoke it in order to produce a portrait that had an identity with the person. The essential thing was to

awaken a genuine response.” Edward Steichen, ‘A Life in Photography’

COURSE DESCRIPTION: The course will provide insight into fine art and commercial

Portrait Photography. The course will include application of the principles of design, lighting,

composition, posing, and portfolio presentation techniques.

This is a creative class; students are expected to have a working understanding of the medium.

Expect to be challenged to produce the best images you have ever created. Portraiture, serious

portraiture, is a two-way street connecting the photographer with the subject. That connection

is expressed in the final print and is evident to anyone looking at the print. It is this level of

competence that we will strive to attain in this class. That means it is absolutely necessary for

you to have a more-than-elementary understanding of the technical aspects of photography. If

mailto:[email protected]



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you are not at that level, you will be expected to make whatever additional efforts are needed to

improve your skill level. When that skill level is attained, your focus will be with your subject,

not the mechanics of the process. The results will be dramatic and self-evident.

TEXTBOOKS: “Vanity Fair” magazine subscription and student selected texts relevant to the

course subject (optional), class notes. Students are expected to keep a ‘composition’ style

notebook and a 3-ring loose-leaf binder.

Optional: get a free subscription to ‘Rangefinder’ magazine via the Internet

(www.rangerfinder.com) to supplement class notes and ‘Vanity Fair’; other

magazines that have been popular include ‘Rolling Stone’, ‘W’, and ‘Vogue’.

COURSE COSTS: There is a course fee paid at the time of registration; this fee is used for class

supplies. “Vanity Fair” subscriptions cost $15 or more (depending on different offers). In

addition, expect to pay for image processing and printing. There are added costs for

preparation of the final portfolio. Expect to shoot dozens (hundreds…!) of digital images or, 20

or more rolls of film, or 50 or more large format sheets this semester.

EQUIPMENT NEEDED: Camera (any format), tripod, lens selection; cameras should be of a

higher functionality (professional or ‘pro-sumer’ grade) including manual exposure controls. A

limited inventory of equipment may be available through the college by prior arrangement with

the instructor. A hand-held light meter is good to have. And…

YOUR CAMERA MUST BE ABLE TO UTILIZE OFF-CAMERA STROBE UNITS.

BECOME FAMILIAR WITH YOUR CAMERA AND ASSURE YOURSELF OF ITS

FEATURES AND HOW IT WORKS.

BRING YOUR CAMERA MANUAL TO CLASS IF YOU ARE UNSURE OF THE

FUNCTIONALITY…!

BRING SPARE BATTERIES, EXTRA MEMORY CARDS, A THUMB DRIVE, AND A

CARD READER (NICE TO HAVE, NOT ABSOLUTELY NECESSARY);

USE A LENS HOOD.

IT IS RECOMMENDED THAT YOU PURCHASE YOUR OWN RADIO SLAVE UNIT.

WITHDRAWAL: As defined in the SCC Student Handbook

ATTENDANCE: Successful portraiture is all about commitment. Attendance at (and

participation in) class demonstrates commitment. The attendance policy is:

Miss two classes – you may be excused provided advance written notice is given;

Miss the third class – interview with instructor about your commitment;

Miss the fourth class and you will be dropped.

http://www.rangerfinder.com/



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GRADES: Class participation: 40%

Portfolio: 40%

Attendance: 20%

It is not possible to earn an ‘A’ grade without attending and participating in class activities,

presenting a critiqued portfolio that shows progression in the art form, turning in written

assignments – on time, and demonstrating a working understanding of the medium.

“… The role of the photographer in the making of a portrait is to listen and observe, feel and absorb, to

take the time to learn that story before ever unpacking the camera. Caring comes before you can capture

their story on film. In this way of thinking, to make a portrait is to be a blend of translator and

storyteller…’ Brooks Jensen, editor and publisher of ‘Lenswork.’

SCC GENERAL EDUCATION STATEMENT: General Education enhances students’

(participants’) abilities in critically analyzing and effectively communicating in Written, Oral,

Visual, and Numerical form. General Education is WOVEN through the curriculum and co-

curricular experiences at Scottsdale Community College.

DISABILITY STATEMENT: Students with special needs who believe they may need

accommodations in this class are encouraged to contact the Disability & Services Office,

Building SC-144 (Phone 480-423-6517) and the instructor. It is college policy to provide

reasonable accommodations to students with disabilities.

SAFE LEARNING ENVIRONMENT: The studio/classroom will be a safe learning

environment for every participant in so far as I am able to ensure that outcome. This means we

will treat each participant and guest with the respect that he or she deserves and in turn we

expect respect to be given to the instructor and every individual in this course. Disagreement

does not constitute disrespect. We all have different points of view, different personal values,

different life experiences, and different personal preferences which bring us to the

studio/classroom. We call these differences diversity and diversity is welcome in the academic

arena. This is the stuff that great discussions are made of, and potentially, this diversity adds

interesting dimensions to our interpersonal relationships. However, we expect each participant

to respect the rights and needs of their fellow participants. A participant cannot feel safe to

express him or herself without the assurance that those ideas, attitudes, and beliefs will be

treated with respect.

SAFETY CONSIDERATIONS: This course includes use of electronic devices that are capable

of shock or other injury; some of the studio equipment is heavy and could be a lifting hazard;

students are asked to assist in set preparation including use of step-ladders; there are tripping

hazards; the studio is crowded and often dimly lit. Exercise caution when performing these

tasks and using the equipment. Operating manuals are available, familiarize yourself with the



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equipment before using it; if you are not familiar with the equipment, ask and the instructor

will assist.

DISCLAIMER STATEMENT: Course content and topic sequence may change or be modified

in response to class needs. Modifications, if any, will be written and distributed when

appropriate to do so.

“Practice until you perfect your craft so you play in the moment. Having fun and being spontaneous is

how magic happens.” Cherie Steinberg, ‘Rangefinder, July/August 2015.’

MODELS/USE OF IMAGES: Models are a part of this course; the success of the class is

somewhat dependent on the availability of models. Class participants are encouraged to invite

models to the class. Everyone photographing a model is expected to submit either prints or

images in electronic media to the model within one-month. A sign-up list and ‘Talent Release

Form’ will be kept for each model indicating the class participants involved with that individual

as a means to follow-up on the image production; the ‘Talent Release Form’ will be kept in the

Art Department files. A class sponsor will keep track of the model and the release form.

Submittal of images is a component of class participation. There are mandatory conditions for

the use of images produced including no commercial use except that use in personal portfolios

is allowable, commercial sales of the images is not allowed.

ASSIGNMENTS: There will be assignments throughout the semester which may or may not

be included as part of your final portfolios – your choice. Assignments are described in the

weekly syllabus updates and/or individual handouts as applicable. Assignments are a part of

the class participation component of grading. The assignments are:

1. One portrait – any subject and one ‘Vanity Fair’ image deconstruct (one week);

2. Two portraits - any subject (one week);

3. Self-portrait (multi-week);

4. Portrait Composition (multi-week); and

5. Formal Portrait (multi-week).

The assignments are to be placed into their respective file folders in each class participant’s

‘master’ file folder on the studio iMac computer on or before the due date. These assignments

are EXCLUSIVE of the final portfolio images although you may elect to use the assignments as

part of the final portfolio.

There is one optional assignment – produce a six image portfolio using your cellphone camera.

Use your imagination to produce a portrait portfolio with your device – a simple, creative way

to showcase your work as well as providing backup should your camera fail…!



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QUIZZES: There may be several quizzes in the semester. These quizzes are more for the

instructor than the students since they are an effective means for measuring interest and

progress.

SUBMITTING WORK: There is an iMac computer in the studio for class use. Each class

participant will have a file folder with sub-folders so that assignments can be placed directly

into them. Assignments are to be placed into the applicable folder(s) with image files clearly

labeled with the assignment and/or model name and date. It is preferred that images be in

JPEG format and of a size suitable for screen projection. Work will be critiqued during class

and individually as time permits throughout the semester. The size of the class limits the time

available for critique such that three images per participant per week is a comfortable limit – if

you feel the need to show more work, ask first…

Assignments can be uploaded to the applicable files via flash drive. The uploaded files are the

basis for determining whether or not assignments have been completed

FINAL PORTFOLIO: Students will photograph and display a personal portfolio by the end of

the semester. The portfolio will demonstrate progress in the art form and must include at least

one image from the ‘Set Selections’ column on the following table (matrix). The final portfolio

standards include a completed image record; and a model release.

Complete this matrix with check marks indicating your portfolio selections, no more than four

images per model. Turn in the completed matrix with the Final Portfolio.

ART140 - Portrait Photography

FINAL PORTFOLIO STANDARDS – SELECTIONS MUST INCLUDE AT LEAST ONE IMAGE

FROM EACH OF THE TYPES BELOW; PORTFOLIOS MUST INCLUDE AT LEAST FOUR

DIFFERENT SUBJECTS. ONE IMAGE MAY FIT TWO CATEGORIES….! THE NUMBER OF

IMAGES IN THE FINAL PORTFOLIO VARIES DEPENDING ON YOUR CHOICE OF PRESENTATION

(SEE INSTRUCTIONS BELOW).

Set Selections: at least one image from the selections below

Self-Portrait

Group Portrait

Formal Indoor Portrait

Outdoor Portrait

Full Length Portrait

¾-Length Portrait

Head Shot

Teen, Senior, or Baby

Studio - high key

Studio - low key

Studio - hot lights

Outdoor, ambient

Mixed lighting

IMAGE TYPE: AT LEAST ONE EACH FROM THESE SELECTIONS

Black & White or Color?



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There are three acceptable submittal formats for the final portfolio: matted prints, prints in a

commercial folio/binder, and a self-published book.

For the matted print portfolio (Ten Images):

You may either print yourself or have them done commercially. Commercial prints

must be ‘custom’ grade; ‘machine’ prints are not acceptable.

Prints must be matted, not framed. A single over-mat with backing is acceptable. Mats

can be either white or black.

The minimum print (not mat) size is 4x5; the maximum print size is 8x10. All matted

prints must be the same overall size (11x14 max) and be placed in a box.

For the bound ‘Folio’ (Twelve print minimum):

The final portfolio can be prints in a folio/binder. If this selection is made, a minimum of

twelve images must be included. You will be expected to present demonstration sheet

inserts for critique to assess the layout, borders, presentation quality, and other factors

as the semester progresses.

Purchase a commercial quality folio binder to accommodate minimum 11x14 size prints,

Design your prints to include logo/personal contact information, uniform borders and

border colors unless you print borderless – BE CONSISTENT;

If you have a mix of vertical and horizontal prints, use a border and a large enough

binder that allows all prints to be viewed WITHOUT having to turn the folio;

Prints in a folio facilitate change out and/or present images to clients. This is a

generally-accepted way of presenting your work in a commercial setting.

For the self-published book portfolio (Twenty image minimum):

The final portfolio can be a self-published book. If this selection is made, a minimum of

twenty images must be included.

Any self-publishing software is acceptable (i.e. iBook, BookSmart – www.Blurb.com);

Self-published books will be critiqued on presentation, print quality, tonality, and

overall quality.

Image records and model releases must be submitted; these can be separate from the

book.

Students selecting this alternative must declare their intention no later than November

18 and will be required to show work in progress as prints.

Software proficiency is the individual’s responsibility to acquire – this is not a

component of the course.

PLEASE SUPPORT THE COLLEGE’S ON-GOING OUTREACH PROGRAMS BY SUBMITTING

A CD WITH YOUR FINAL PORTFOLIO. YOUR IMAGES WILL BE CONSIDERED TO ASSIST

WITH PUBLICITY.



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“The thing about taking someone’s portrait is you have to connect, otherwise you won’t get a good

portrait out of it. There’s this artistic process happening that really facilitates it – even if you’re a

complete stranger, by the end…you have a connection.” Michael George, ‘Rangefinder, July/August

2015.

FIELD TRIPS AND WEEKEND WORKSHOPS:

Lecture demonstration at Markow Southwest, a commercial photography studio in

Phoenix (The tentative date is October 27).

There will be one, possibly two, off-campus field trips during class to nearby locations

for environmental portraiture.

CLASS EXHIBITIONS: There will be several opportunities to show work:

Display cases 4&5 in the Art Building hallway are ‘ours’ – for the entire semester...!

Final portfolios are viewed collectively the last day of class; typically we ‘show’ in a

meeting room on campus. Sometimes, we have an external reviewer participating;

CIVILITY STATEMENT: To establish a positive learning environment for this class,

As the instructor, I am expected to be professional, courteous, respectful, and empathetic to

students – and to:

Begin and end class on time,

Be prepared for each class session,

Provide academic feedback and grade assignments in a timely manner,

Be available for individual consultation, and

Clarify assignments and inform students of any adjustments to the class schedule.

As a class participant, you are expected to be reflective, courteous, respectful, and empathetic to

other participants, the instructor, models, and other College staff assisting you in your learning

– and to:

Attend the class sessions and be on time,

Be prepared for class sessions,

Interact with other participants, the instructors, and the models in a harmonious manner

that is conducive to creative work – disruptive, argumentative, or contentious behavior

will not be tolerated and will be the basis for being summarily dropped.

Participate in class activities,

TURN OFF CELL PHONES AND DO NOT TEXT MESSAGE DURING CLASS,

Follow instructions and complete assignments,

Keep up with and turn in assignments by the due dates,

Put forth your best effort,

Ask questions when you don’t understand,



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Maintain knowledge of your grade status,

Contact the instructor right away about concerns or situations that interfere with your

success in the class, and

Comply with policies found in the College catalog and Student Handbook.

Please refer to the Scottsdale Community College catalog and Student Handbook to address

these specific policies required of all students (and faculty):

Attendance (AR 2.3.2)

Sexual Harassment (AR 2.4.4 & 5.1.8 – 17)

Copyrights (AR 2.4.5 & 3.2)

OUTCOME AND NEEDS ASSESSMENT: Advancing the skill level of class participants

through effective teaching and successful learning is an over-arching goal. Student progress

can be assessed by comparing images produced at the start of the semester with those included

in the final portfolio. This comparison is useful through the satisfaction of seeing your work

improve; it is useful for the instructor as a means to refine the course syllabus – this win-win

system has proven its merits in the past. The results of this process are documented for use by

SCC.

OTHER COMMENTS:

1. The focus of the class is Portraiture as Fine Art. Fashion Photography, Human Form (i.e.

nude photography) and Photojournalism touch on portraiture but are more ‘focused’

and not part of this syllabus.

2. Class time will be divided between viewing/critiquing work, lecture, and ‘hands on’

studio/outdoor work. Within reason, the instructor often stays late to assist on-going

portrait sessions – 9:00 is pushing it…..

3. Digital vs. film media? Your choice – the class is all about the work produced, not the

image capture method. We may explore film scans and digital manipulation, although

this is not a part of the current syllabus.

4. We will use the studio facilities at SCC – lighting and backdrops; there will be field

sessions – field locations will be announced. Class sessions include presentation/critique

of student work, and presentation of other artists’ work. Bring your cameras to class.

5. The class will include lectures on technique, critiquing work on digital media (CDs or

flash drives) and/or ‘hard copy’ prints. We will use the Apple iMac computer and

projection equipment in the studio for presentations.

6. Critiques: Year after year, student feedback is very positive about our in-class critiques.

We will be having critiques as often as time allows – typically every week. In order to

get meaningful critiques, it is important to have meaningful participation – focusing on

style, substance, and the creative features of the work – more than ‘like it – don’t like it’



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responses. Don’t be afraid of doing self-critiques in these sessions, either. One-on-one

critiques can be done with advance scheduling.

7. There will be several attendance-optional weekend studio sessions periodically

throughout the semester – the tentative dates are: October 18, November 8, November

22, and December 6.

8. Portrait photographers we will be discussing include: Steichen, Strand, Weston, Irving

Penn, Judy Dater, Shelby Lee Adams, Albert Watson, Greg Gorman, Annie Leibovitz,

Timothy Greenfield Sanders, Avedon, and others. Look at their work on the web. There

will be a limited discussion on historical portraiture including daguerreotypes and

pictorialists.

9. There are dozens, if not hundreds, of books on portraiture and lighting techniques – get

one if you feel you must – be sure to get one that has lighting diagrams. The class

textbook(s) will be “Vanity Fair” magazine and hand-outs from the instructor – we are

looking for fresh style, evolving work, and the best in the field….

10. It is not possible to make all of the portraits required for the final portfolio during class

studio sessions. Seek and use other, off-campus locations as you see fit.

11. This class is all about making portraits; expect to shoot and print – dozens (more like

hundreds) of digital images, or more than 20 rolls of film, or 50 (or more) large format

frames in order to meet the class objectives. The cost for these materials is in addition to

other class costs; these costs are the responsibility of class participants.

12. The class has access to the SCC darkrooms. The instructor will make time available on

weekends for additional assistance.

“Try creating alluring shadows in your work. They are just as important as highlighting your client’s

features. For me, sexy lies in the imagination – it is what you don’t see, or almost see, that is much sexier

than seeing it all.” Gabe McClintock, ‘Rangefinder, July/August 2015.’

FREQUENTLY ASKED QUESTIONS:

1. What if my model friend doesn’t want to be photographed by others except me? Models

coming into the class need to understand before coming that others in the class will want

to photograph them. This is part of the class experience and helps everyone become

better able to work with persons unfamiliar to them. Explain this to your model and if

this policy is unacceptable, do not bring them to class.

2. Do I have to share my model(s)? See the response given above.

3. Can I access the studio on other non-class days? The studio is available for certain time

blocks indicated on the sign-up sheet outside the door. Use the sign-up sheet. Be

advised that the course instructor is not on-campus any other time than Tuesday

afternoons. This means you will need to coordinate your studio time with another

instructor to gain access to the equipment locker for the lights, etc. Weekend open

studio times will be scheduled throughout the semester.



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4. What about wardrobe for the model(s)? There is a limited set of clothes for use by our

(female) models. Encourage your models to bring clothing they are comfortable

wearing – and bring a selection.

5. What about model releases? There is a ‘Talent Release Form’ that is the only release to

be used for models being photographed on campus. Copies are available through the

instructor. Children will need written permission from their parents evidenced by

signing the ‘Talent Release Form’..

6. How does my camera work with studio lighting? Read the camera manual and become

familiar with this functionality. Bring the manual with you to class. If you don’t have a

copy of the manual, do a Google search on the web and find a source to get a copy.

Practice…!

7. How late can I stay after class? Within reason, we often stay until 8:30 PM. Be sensitive

to the model, the college’s janitorial staff, and the instructor. It is very satisfying to see

work being done and the excitement associated with it making it hard to ‘shut down’.

Have your model(s) arrive at 5:00 PM to be ready to begin the session. Pre-plan the

session beforehand. Avoid overly complex sets, lighting, and wardrobe.

8. Is nudity allowed? Work in class is limited to photographing non-gender specific body

parts. If you and the model want to go further, do so off campus.

9. Can I sell my work? Do not bring models into class for commercial work. Do your

commercial work off-campus. The blanket model release contains the restriction on use

of images produced during class.

10. Are there commercial opportunities associated with this class? Often, there are requests

for quotation for commercial work. The instructor will notify class participants via e-

mail of these opportunities when they become available. The business of portrait

photography is a topic for discussion during the semester.

THERE IS A CONTINUAL NEED FOR PORTRAIT SUBJECTS. INVITE FRIENDS OR

ACQUAINTANCES TO CLASS FOR PORTRAIT SITTINGS – BUT PLEASE MAKE

PRIOR ARRANGEMENTS WITH THE INSTRUCTOR.



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NOTE:

PLEASE SIGN AND RETURN THE ‘ACKNOWLEDGEMENT OF RECEIPT OF

COURSE SYLLABUS’ FORM INCLUDED WITH THE COURSE HANDOUTS AT

THE START OF THE SEMESTER.



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COURSE SCHEDULE

WEEK 1: September 1

1. Introductions – instructor and students

2. Collect student names and addresses

3. Course syllabus and Notes are available electronically on the class computer – bring a

flash drive to download.

4. Complete and return acknowledgement of receipt of the course syllabus.

5. Discussion – House Rules…

6. Textbook discussion – subscriptions to Vanity Fair, other texts.

7. Discussion – camera format, processing, printing and other equipment needs. Digital

shooters – your camera must be able to work with external strobe lighting; all of us

should be proficient in Photoshop (or equal) and high quality printing. This class is not

about how to use your camera.

8. Discuss SCC Studio Notes: ‘Image Record’ and ‘Deconstruct’ sheets. These forms are

available on the class computer- download via a flash drive.

9. Discussion and demonstration of studio equipment, studio use, darkroom availability

and use including rules, safety, etc.

10. Discussion – Portrait versus Snapshot (Handout – Editorial from Lenswork).

11. Discussion - A look at classical portraiture using web sources – projection

12. Question and answer session.

13. Assignments:

A. Assignment 1: Bring one finished portrait, any subject and one Vanity Fair

deconstruct. Due: September 8 – can be electronic or hard copy.

B. Get a single copy of “Vanity Fair”, select and ‘deconstruct’ one portrait from it

(old copies are readily available for a nominal cost). We will review these – and

perform a sample deconstruct.

C. Search the web for portrait photography and studio lighting. Take a look at how

different folks present the material we will be looking at this semester.

WEEK 2: September 8

1. Take attendance,

2. Add/drop, finalize class roster.

3. E-mail list – complete and check



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4. Review policy on after hour use of studio facilities at SCC. There will be access to

students wanting to use the facilities by prior arrangement and use of a sign-in

roster. After hours use must be done via sign-up list. The instructor will stay late to

keep the studio open and available as long as there is interest in doing so. Weekend

work can also be scheduled.

5. Assignment 1 is due. Viewing of student work, discussion, critique.

6. Discussion of selected images from ‘Vanity Fair' and image deconstruction.

7. Discussion:

a. Use of model releases. Model releases are a must – from a liability point of view

- and as a means to ‘keep in touch’ with your subjects. Use the MCCCD Talent

Release form – already provided to you.

b. Use of the Power Packs and Safety Considerations (see class notes):

8. Introduction to basic lighting for portraits.

a. Studio – strobe versus ‘hot light’

b. Natural – and with artificial light assistance – mixed lighting

c. Corrective Lighting Techniques

d. Balancing Lights

i. Mood, tone, and drama

ii. Strobe – monolight, power pack, small (i.e. Sunpack 383)

iii. Tungsten (less important for B&W than color)

9. Assignment 2: Produce two portraits – any subject, any format – for group viewing

and critique. Portraits are to be complete with Image Record. Due September 22.

WEEK 3: September 15

1. Add/drop, attendance, check e-mail roster

2. V-F image deconstruct demonstration.

3. Discussion of use of the studio lighting equipment and using it for ‘Basic Lighting’.

4. Studio sessions in groups or individually to review the studio lighting concepts

previously discussed.

5. Assignment: Assignment 2 – the two-portrait assignment is due next week; ‘Vanity Fair’

image deconstruct (Optional).


1. Add/drop and attendance, update e-mail list

2. Handouts: revised syllabus, portrait subject features….

3. Assignment 2 is due: Presentation of portraits, group critique and discussion.

4. Featured artist review: Irving Penn/Albert Watson

5. Composition and Posing for Portraiture (see handout):



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a. Basic Principles

b. Corrective Techniques

c. Natural and Creative Posing

i. Groups

ii. Individuals

iii. Children

iv. Couples

6. High and Low Key sets – discussion and demonstration, introduce the Penn Wall

7. Studio/Outdoor portrait sessions.

8. Assignment 3 is due October 6 – self-portrait – of yourself by yourself, including

shutter release (see comment below), and continue production of random subject

portraits.


1. Attendance

2. Presentation and group critique of earlier work.

3. Discussion – continuation of high/low key lighting

4. Discussion – muslin backdrops, diffuser panels, simple lighting

5. Time Permitting - Introduction to Composition: Leave ‘space’ around subject for

cropping and composition in printing. Full length, ¾, headshots, etc. ‘The eyes have it”.

6. Studio portrait sessions, demonstrations of studio lighting.

7. Assignment: Assignment 3 – Self-Portrait is due next week – October 6. ‘Vanity Fair’

image deconstruct (not for submittal); random subjects demonstrating concepts already

discussed.

WEEK 6: October 6

1. Attendance roster,

2. Assignment 3 Due: Self-Portrait – with critique this evening.

3. Discussion: “The Photographer’s Right”

4. Random presentation and critique of student work.

5. Composition

a. Motif

b. Creating a Setting

c. Leading Lines

d. Shape

e. Direction

6. Studio portrait sessions

7. Assignment 4: Composition exercise – see handout – This is a two-week assignment

due October 20.



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WEEK 7: October 13

1. Attendance, turn in, return assignments

2. Student Presentation and critique of earlier work.

3. Albert Watson, Richard Avedon, Yousef Karsch – brief discussion of their work

4. Review earlier topics – composition, basic lighting.


6. Assignment: Assignment 4 (see handout) is due next week (October 20).

7. Continue production of portrait portfolio.

WEEK 8: October 20

1. Attendance

2. Discuss Markow studio visit – next week - on October 27

3. Assignment 4 is due today – critique.

4. Web-based Discussion – Avedon and Yousef Karsch;

5. Demonstration – ‘Ring Lighting’ (see SCC Studio Notes No. 17)


7. Assignment: Random portraits of interesting subjects.

WEEK 9: October 27 - Markow Studio Visit (tentative) – meet at 4:00 PM

The studio is located at 2222 East McDowell Road in Phoenix; phone 602-273-7986

WEEK 10: November 3

1. Attendance,

2. Discuss and Critique of Assignment 4 – Composition Exercise;

3. Discuss Markow studio visit;

4. Assignment: Assignment 5 – Formal Portrait – due November 17 – see handout,

continue production of random portraits of interesting subjects.

WEEK 11: November 10

1. Take attendance;

2. Presentation and critique of student work-in-progress – two images max;

3. Richard Avedon – discussion of his work…

4. Time-permitting, Outdoor Shooting demonstration (see SCC Studio Notes No. 6);

5. Presentation of student work-in-progress. Bring in portfolios for individual review

and critique of progress. Assignment 6 is due (the Formal Portrait)



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6. Vanity Fair – class exercise to deconstruct a selected image.

7. Introduction to “The Business of Portrait Photography”


9. Individual discussions with instructor – ‘catch-as-catch can’.

10. Assignment: Assignment 5 – Formal Portrait – is due November 17. Continue

production of portfolios.

WEEK 12: November 17

1. Attendance

2. Group critique of Assignment 5 - Formal Portrait Assignment;

3. Review SCC Studio Notes No. 14 ‘Outdoor Lighting’, No. 15 ‘Mixed Lighting –

Outdoors’;

4. Tonight: Introduction to the Business of Portrait Photography – SCC No. 18

5. Operating a Portrait Photography Business

a. Considerations

i. Personal

ii. Financial

b. Small Business Practices

c. Promotional Techniques


7. Assignment: Vanity Fair deconstruct; continue production of portfolios.

WEEK 13: November 24 – Field Trip – Location TBD - (Thanksgiving is Thursday

November 26)

WEEK 14: December 1

1. Attendance;

2. George Hurrell – Hollywood Lighting;

3. True Ring Light demo – Bill;

4. Critique of work;

5. The Business of Portrait Photography, cont. (SCC Studio Notes No. 18)

6. Hand out class critique – turn them in next week (May be done earlier in the

semester).

7. Discuss presentation locations and select student presentation sequence for

individual portfolios.

8. Discussion of final submittal – 10 finished prints, image record, contact sheets, prior

print with critique if the final one is a re-print of an earlier version.

9. Group portrait (see SCC Studio Notes No. 16)



17

10. Assignment: Continue production of portfolios. It is permissible, in fact

encouraged, to re-print individual portraits as techniques improve.

WEEK 15: December 8

1. Attendance,

2. Presentations/critique of work;

3. Discussion of final submittal;

4. Create CDs for models, sponsors to distribute them;

5. Open discussion of topics discussed during the semester.

6. Assignment: Continue production of portfolios. It is permissible, in fact

encouraged, to re-print individual portraits as techniques improve.

WEEK 16: December 15 - Last day of class

1. Presentation and critique of student portrait portfolios.

2. Class critique

ACKNOWLEDGEMENT OF RECEIPT OF THE

COURSE SYLLABUS

I, _________________________________________, hereby acknowledge that

I have received a copy of the course syllabus for ART 140 – Portrait

Photography for the fall semester, 2015 taught at Scottsdale Community

College (Main Campus). The course instructor was Roger E. Palmenberg.

_______________________________________ _______________

(Signature) (Date)

______________________________________

(Print Name)

______________________________________

(Preferred e-mail – please print legibly)

PORTRAIT PHOTOGRAPHY SYLLABUS - Scottsdale...

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