FAGPLANER    

GRUNNUTDANNING  I  FOTOGRAFI  

CAMERA AND THE USE OF CAMERA Number of hours: 36 Teachers: LP Lorentzen / Calle Huth THE SUBJECTS AIM This course teaches the design and use of modern cameras. Students get to know the construction of a camera and its capabilities and limitations. The subject aims to give the students a fundamental understanding of how the camera works; its design and the functions given to photographer known as photography techniques. Students will learn about the different variables – how you control depth of field, motion, field of view, perspective and light – through the use of aperture level, shutter speed, focal length, light measuring modes, focus modes, native light sensitivity (ISO) etc. Instruction is not given on a specific type or brand of camera, rather, a universal technical approach mixed with theory with concrete practical tasks to fully comprehend the practice. EDUCATIONAL STRUCTURE Classes start at a basic theoretical and practical level. The goal is that, by the end of the training, students will be technically ripe for further courses such as lighting, composition, digital darkroom, and know the choices that one can use in the creative process. The course does not have any “creative” ambitions” itself, rather laying the technical foundations for later creative work through theoretical understanding and practical skills. The mantra throughout the course is that photographic technique is logical, and experimentation is creativity in practice once this basic foundation is mastered and understood. LITERATURE

- User manual to one´s own camera - Compendium “Camera and the use of Camera” - Basic Photography 01 Composition (ISBN 9782940411771) - Supplementary from the subject Bildekommunikasjon (Composition): Capturing Color

03 (ISBN 9782940373062) ASSIGNMENTS AND EXAMINATION Assignments are focused understanding, creating, seeing and practicing different camera effects. The course ends with a simple theoretical test in which the elementary parts of photographic techniques are reviewed. The test is then marked in the class so that it will have a ‘double

effect’, meaning that the students both answer and correct the tests. The students are expected to have a solid understanding of the functions and functionalities of the camera, and how they are used creatively photographing. This is tested in the end of the semester through a multiple subject theoretical and practical examination that lasts for one week. THE COURSE LESSON BY LESSON Lesson 1 - Introduction Give an introduction to the different types of cameras and their basic functions. Go through the terminology and specifications of a camera and get to know the camera manual. The students should get an overview of equipment that one needs and possible supplementary equipment. Emphasize that great photographs are not created by expensive equipment, and that it is fun to make your own stuff. Learning goals:

- How to use your camera manual - Get an understanding of basic digital terminology like Megapixels, Sensor formats

and File types. - Know the different program modes of the camera - Be aware of basic supplementary equipment: Monopod & Tripod, camera flash,

white-card etc. Readings:

- Your own camera manual - Chapter X from the Compendium

Lesson 2 - Camera Features 1 By turning the classroom into a Camera Obscura, we investigate the different elements of the camera and how a camera works: the relationship between aperture and shutter, between focal length and format and most importantly the creation of an image in the camera and how it’s attached to a film or image sensor. Learning goals:

- Understanding camera functions through the design of Camera Obscura - Understanding Focal Pane, Aperture & Shutter and Crop factor of the camera.

Readings: Lesson 3 - Camera Features 2 In this lesson we learn about the different types of cameras and realize that they are all

somehow “equal”. We study the lens and consider the refraction of light to understand how a lens functions physically. The camera functionalities are explained in relation to the image in front of the camera and how it goes through the lens and on falls on a capturing device. All themes are explained through practical experiments in order to demystify technology. Learning goals:

- Be familiar with the different cameras types (Camera Obscura, Pin-Hole, Compact Cameras, SLR, Viewfinder, Small-, Medium- and Large Format)

- Know how to calculate aperture values - Know the relationship between aperture, shutterspeed and ISO - Have an overview of the different classifications of optics - Know the basic construction of a lens - Beware of chromatic aberration, Barrel/Pillow distortion

Readings: Lesson 4 - Camera Features 3 This lesson starts by making a pinhole photograph with a digital camera and some aluminum foil and doing the math of aperture values. After this lesson the students will understand the following about of the camera´s features: digitalization of an image through bits, the tone level and the histogram. We also research the relationship between aperture and flash and the relationship between focal length, aperture and depth of field. Learning goals:

- Understand pinhole photography - Know how a sensor captures light and how a digital image is created. Understand

bits, tone range and histogram - Know the relationship of focal length, aperture and depth of field - Know about hyperfocal distance - Know the relationship between aperture and flash and what sync-speed is

Readings: Lesson 5 - Focus, white balance and Camera Programs This lecture will go in depth into the different camera modes. The use of automatic versus manual and aperture versus shutter priority in practical photography (TTL/E-TTL, AV/TV/P/M), The students learn about focus points and focus modus for different situations, and how to manually control focus when autofocus enabled.

The students will learn about camera White Balance and Kelvin/ Color temperature of different light sources. How photographers use gels and filters in practical application of color theory. Get and understanding of how a sensor captures color versus the eye’s perception of color and how this information is stored in raw and jpg files. The students also learn the use of Flash and TTL function, Flash terminology (Watt Seconds, Guide Number, Zoom) and how to combine flash and natural light – both when it comes to controlling exposure and color. Learning goals:

- Be able to elaborate when to use the different camera modes - Understand camera focus and use of different focus modes - Understand white balance and how the camera and files captures color - Understand basic flash terminology and how to balance exposure and color in

combination flash/natural light. Readings: Lesson 6 - Light and dynamics The goal for this lesson is to understand tonal range and dynamic range of a digital camera compared to available light, and how this information is stored in a digital file. Specifically know the importance of light in shadows and how ease shadows when needed. Students will also learn basic operations of external light meters and discuss the difference between direct and indirect light metering. Learning goals

- Understand tone range and dynamic range in digital photography - Know The Zone System/LAB colorpicker referanse in PS - Understand ISO and Noise - Know how to use flash and reflectors to ease shadow - Know basic functions of an external light meter.

Readings: Lesson 7 - Special equipment and techniques In this class we practice photography techniques using what we have learned so far, while adding supplementary equipment to further enhance the understanding of the creative options our camera gives us. We go through the pros and cons of analog and digital photography as well as the advantages and disadvantages of shooting tethered. Learning goals:

- Know how to shoot tethered

- Understand the different types of camera filters (ND, NL, PL) and be able to apply that knowledge in photography

- Understand the practical implications of Image Stabilization - Know how to use a light meter - How to shape on camera flash light using simple equipment or the surroundings

Readings: Lesson 8 - Summary and test First, there is a written quiz. The students then exchange papers to make corrections on their fellow students tests. Every answer is discussed in the class, followed by a summery of everything we have covered in the course. After the test the class continues outside and every student receives a different assignment to solve based on all the previous assignments. Keywords: Filtering/Color Balance, Multiple Flashes, Selective Exposure, Shooting night images during day time, Slow Sync, Zoom during exposure, freeze motion with flash etc. Learning goals:

- Test understanding of theory - Practice and more practice…

 

DIGITAL DARKROOM 1 Number of hours: 64 Teachers: Hans Otto Nesbø / Ashley Cameron / Even Knudsen THE SUBJECTS AIM The purpose of the subject Digital darkroom is to give students the fundamental knowledge and necessary skills to establish a professional from photographing to completing a final image in Photoshop. This includes the workstation setup, workflow for archiving, processing images in camera raw, reproduction and printing. Using Camera Raw, Bridge and Photoshop, students receive training in effective image processing techniques in a non-destructive workflow. The course focuses on producing quality exposures and retouch- and composite- techniques. First and foremost it is about communication through images, and how the use of image processing supports that. Photoshop’s various features and capabilities are put to use and repeated, covering all course subjects. LITERATURE Latest version of Adobe Photoshop for Photographers (Martin Evening), ISBN 978-0240522005 The school recommends Adobe Photoshop Book for Digital Photographers by Scott Kelby as a supplement for students who are “afraid” of digital tools and Photoshop as a self-study book. EDUCATIONAL STRUCTURE Teaching is done in a computer lab. The course focuses on practical training in the software’s features and functionality. The teacher typically covers necessary theory and then demonstrates a technique before the students practice the technique on multiple levels: 1. Using a “template” photograph, with precise instructions on what to do and example-

images that shows the desired results. 2. Working on the same photo but without a ‘template’ to figure out the right techniques

themselves to reach the goal. 3. Students work on their own images practicing the use of different techniques. A demonstration should not be longer than 30-45 minutes before it is repeated by doing the process on individual workstations. ASSIGNMENTS AND EXAMINATION Practical assignments are used throughout the course. After theory and demonstration the students solve problems related to the reviewed topics with guidance from the teacher. The assignments are mainly delivered as a .PSD document with a description. The teacher evaluates assignments in the end of the lesson (or in the beginning of next if it is a home

assignment). The subject is also part of the theoretical and practical exam in the end of the semester. Students prepare for the exam by a) understanding the theory according to “content in keywords” and b) are able to use the techniques in post-production with a professional level of quality. THE COURSE LESSON BY LESSON Lesson 1 - About the digital image and introduction to ‘workflow’ (Hans-Otto Nesbø ) What is a digital image? Students will learn about the digital image, how to import, use of metadata and establish an archival structure. A goal of the lesson is also to become familiar with the instruction book: Latest Version of Adobe Photoshop for Photographers by Martin Evening. Content in keywords:

- What is a digital image (p290-296) - Image size and canvas size (s298-301, 371) - Introduction to Bridge (p76-82, 567-630) - Making templates for Metadata and Keyword - Import of an image (s137-142) - Introduction to the DNG format (s248-250) - Introduction to Camera Raw

Learning goals:

- Be able to import images, change file names, add metadata and create a basic archival structure

- Understand the digital image is, image size.

Lesson 2 - Adobe Bridge and workflow continues (Hans-Otto Nesbø) This lesson focuses on going in depth into Adobe Bridge and to establish workflow logic for the digital darkroom. Content in keywords:

- Workflow in depth - Adobe bridge functions and functionalities

Learning goals:

- Be able to use Bridge to import, archive and tag a large number of photographs. - Be able to explain a basic logic for workflow

Lesson 3 - Raw image optimization and processing (Ashley Cameron) This lesson is about developing and processing RAW files in Camera Raw. Content in keywords:

- How to use the camera raw converter - How to save settings in camera raw and apply on multiple images - XMP files - Creating a colour accurate image in Camera Raw - Workflow options - Saving files in Camera Raw for web and for retouching - Snapshots

Learning goals:

- Be able to develop and process images in Camera Raw - To Understand how to use Camera raw to produce images for retouching or for final

output Lesson 4 - Layers and selective adjustments with masks. (Ashley Cameron) Students learn to apply different adjustment layers in Photoshop, and work with masks in combination with adjustment layers. They also learn how to use soft brushes to get the adjustment layer to seem natural in the image. School Portrait Head Swap / Lake Sky Replacement. Content in keywords:

- Masking Layers - Adjustment Layers - Selections

Learning goals:

- Be able to work with the layer options available in Photoshop - Be able to apply a layer effect to parts of an image using different layer mask

techniques Lesson 5 - Color theory, Color Management and Digital printing (Hans-Otto Nesbø) This lesson is about the principles of color management and why it is so important to control colors throughout the workflow from setting up the camera and workstation to working in Photoshop and printing. Calibration of the screen is also part of this lecture. Content in keywords:

- What is color management (s631-678) - Color space theory (s310-311) and ICC profiles (s636-639) - Screen calibration (p90-96) - Color management and printers (p680-694) - Image size and resolution for print (p290-291, p681)

- Printer settings (p687-694) Learning goals:

- Know the principles of color management throughout the workflow - Know what ICC profiles are and how they are created - Be able to calibrate a screen using external devices - Be able to print with correct settings

Lesson 6 – Assemble an image using composite techniques. (Ashley Cameron) The goal is to deepen the understanding of the uses of masks and the relevance it has on assembling images. Man in Lake

- Camera Raw optimization of raw image - How to optimize multiple images for composite work - Creative use of Camera Raw - Gradient tool - Adjustment Brush - Spot Removal - Crop and straighten tools and techniques - Principles of composite photography - Clipping Mask

Learning goals:

- To be able to optimize multiple images in camera raw for composite - To be able to create artistic creative images only using Camera Raw - To know the principles of composite work, and be able to create a composite images

using multiple exposures, layers and masks and cutouts using multiple tools to create good clipping paths.

Lesson 7 – Composite continues, adjustment filters and smart objects (Ashley Cameron) This lesson is an extension of lesson 6. We continue with use of filters in layers and the use of smart objects.

- Composite photography continues from lesson 6 - Use of filters in layers. Gaussian blur (p542), Unsharp mask and Noise (p542) - Auto masking techniques - Magic Wand - Magnetic Lasso - Quick selection tool - Refine Edge

Learning goals:

- To know the principles of composite work, and be able to create a composite images using multiple exposures, layers and masks and cutouts using multiple tools to create good clipping paths.

- To be able to use filters in layers.

Lesson 8 – Black & White photography. Sharpen and print techniques. (Hans-Otto Nesbø) This lesson continues with printing techniques. Students also learn how to sharpen an image and the criteria of a good black white photograph and how to technically produce it – from a RAW file to a printed image. Content in keywords:

- Color management continues - Black and white prints (p390) - Sharpening in camera raw and Photoshop - Sharpening for screen, print and offset (p252-271, 680-683)

Learning goals:

- Be able to print photographs with correct settings - Know the technique of creating and printing a digital black and white photograph - Be able to sharpen an image with multiple techniques for different uses

9 Retouch and retouching tools (Hans-Otto Nesbø) This class is about the tools photographers use in retouch, when to use the different tools and to establish a basic workflow. Content in keywords:

• Retouch (s 416-441) • The tools of retouch; Healing brush (s 50, 416-420), Clone stamp tool (s 50, 416-417,

420-422) , Patch tool (s50, 428-431) • Choosing the right tools for the job • Workflow for retouch assignments

Learning goals:

- Understand the basic principles of retouch - Be able to use retouch tools in Photoshop, understand the choices to be made and

apply basic retouch techniques to skin. - Be able to describe a basic retouch workflow

Lesson 10 – Working with paths (Ashley Cameron) This class is about Path tools to make an advanced selection. Content in keywords:

- Path tools (p49, 532-535) - Practicing paths - Saving paths and creating clipping paths - Converting a path to a selection and vice versa (p534) - Use of feather selection

- Copying a selection from a mask and selection of multiple path layers. Learning goals:

- Be able to use the different tools to create advanced selections, and be able to convert paths to selection and vice versa

Lesson 11 - Masking techniques and blending modes (Ashley Cameron) Practical use of masks and blending modes. Beer Glass Content in keywords:

- Repetition of working with paths - Masking techniques - Practical use of different blending options - The difference between blending mode layers and use of brush/pencil

Learning goals:

- Be able create selections using path tools - Understand the different blending options for layers, and know various situations for

use Lesson 12 - Automation (Hans-Otto Nesbø) This lesson is about making a set of Actions to simplify workflow. Use of Droplets. Content in keywords:

- Automation and Actions (p696, 716-723) - Image processor - Droplets (p696, 724) - Contact sheet (p123, 617)

Learning goals:

- be able to automate steps in workflow using actions - be able to create droplets for automatic image processing - be able to create contact sheets

Lesson 13 and 14 - Skin and retouch (Even Knudsen) Correcting flaws in skin and adjusting skin tone knowing which tools are most effective to achieve this. Learn about the use of color and be able to make conscious choices. Content in keyword:

- The tools for retouch (healing brush, “tucking”, composite, dodge/burn, colour adjustments)

- A philosophy of retouch. Ethical and esthetical considerations.

- Skin retouch - Colour, understand the use and be able to make conscious choices. - Work on example images to learn how to use the different techniques

Learning goals: - Understand the toolbox for retouch - Get an understanding of use of colour - Be able to make conscious choices regarding use of colour - Be able to describe a workflow (technical) and a philosophy (ethical, esthetically) for

working with retouch - Be able to correct flaws in skin while achieving a natural skin look

Lessons 15 – Other useful tools in Photoshop This lesson covers more useful Photoshop functions and tools. Content in keywords:

- Digital correction of lens characteristics (p558-561) - Working with shadow - Working with transformations (p510-525)

Lesson 16 - Advanced masking techniques (Ashley Cameron) The final lesson covers, custom brushes, dynamic brushes, colour range selections, shadows, and combines all learned techniques in China Man image. Content in keywords:

- Colour Range - Custom Brushes - Dynamic Brushes - Creating shadows - Unsharp mask - Noise

Learning goals:

- Be able to create custom and dynamic brushes - Be able to use colour range selection - Create believable photographic shadows - Combine all techniques to create believable creative imagery

 

LIGHTING 1 Number of hours: 44 Teachers: Kjell Brustad / Erik Fuglseth THE SUBJECT AIM Lighting 1 is about understanding, controlling and creating light. Lighting adds more than light to a photograph. It is the photographer’s main instrument for creative control which influences how shape, color, texture, and the relationship between subject and background are seen in the picture. We begin with general theory, grasping the doctrine of wavelength, refraction and color spectrum. Students will learn which tools the photographer has available in the studio, with natural light or in a combination of the two, as well as their uses and behaviors. In the practical part we start with the lighting set-ups with one to four lights in the studio, as well as the functioning of different attachments. Students will illuminate objects to emphasize form and structure. They will further develop the methodology by taking portraits with full control over the lighting of the model, background and foreground. In addition the students will get an understanding of the properties of light and how photographers can use this to restore proper lighting that support the messages behind images. Student also learn how to deduct lighting knowledge from existing photographs – how to read light. EDUCATIONAL STRUCTURE Current theory is reviewed first, followed by a demonstration of the setup. Teacher shoots tethered to show onscreen the structure of the lighting. Students will take an active part in all lighting and not be passive spectators. The students work in groups recreating setups as demonstrated under supervision by teacher. Students do assignments between lessons to practice technique, following the principle of learning by repetition. Lighting is a field that requires a lot of individual practice! LITERATURE Compendium of lighting prepared by the school and Light Science & Magic Third Edition Fil Hunter, Steven Biver, Paul Fuqua. The book and the compendium is vital to your learning. The compendium should be brought to every class. Websites of interest: http://www.strobist.blogspot.com/ http://diyphotography.net/ http://www.lightingdiagrams.com/Creator http://www.professionalphotography101.com/portrait_photography/Portrait-photography.html ASSIGNMENTS AND EXAMINATION The school compendium includes simple illustrations with basic light set-ups to increase understanding of lighting. The compendium also contains an extensive collection of photos with accompanying sketches of how light scenes are built up. Students are given assignments for each lecture .The results are evaluated by the teacher in next class . In order for your teacher to make qualified feedback on your assignments all hand-ins

should be delivered no later then 9 pm the day before class. In the end of the semester, the subject is evaluated in a multiple subject weeklong examination that includes theory and practice. Students should know the theory from the reading list and be able to create lighting setups according to the learning goals of the lessons. THE COURSE LESSON BY LESSON Lesson 1 – Getting acquainted with lighting This first lesson is an introduction to lighting and to get to know the studio and equipment. Content in keywords:

- If weather permits, a walk outdoor to get to know natural light and how our surroundings shape light. Look for light that is shaped or transformed by the surroundings. This will also be demonstrated on screen in class.

- Get to know the studio. - The studio-rules, the equipment lists & the student’s duty to check before/after shoot. Safety and how to

treat the equipment. - How to set up a lamp - The terminology for different attachment, how they shape light and their practical use in lighting setups.

Learning goals:

- Be able to reference typical outdoor places and how light is being influenced or shaped by the surroundings

- Be able to mount a studio lamp - Know the terminology of attachments, how they affect the light and when to put to practical use.

Readings before class:

- Chapter 1 in book and Chapter 1 from the compendium. Lesson 2 – Light´s nature and working with Kelvin This lesson is about working with light and its characteristics, with a focus on handling color temperatures and the factors that defines a light source. Content in keywords:

- The nature and characteristics of light - Wavelength, The visible spectrum of light and Kelvin scale - Color temperature. A walk through with focus on studio photography - Factors that define a light source.

Learning goals:

- Understand how the characteristics of light (theory) influences photography (practice) - Know what color temperature is (theory) and be able to apply that understanding to practical studio

photography (practice)

Readings before class:

- Chapter 8 and 3 in Compendium, pages 181- 203 in textbook

Lesson 3 – Theory of light and controlling shadows This lesson is about creating an understanding of light, how it is created and captured. Content in keywords:

- What is light? How to measure light? - Capturing light with a camera. Sync time and exposure. - Characteristics of a light source (shape and shadows) - The relationship of size between the subject and light source - Light falloff as a function of distance - Diffusion of light - Naming the lamps according to function. The terminology in building setups. - Contrast in light versus contrast in photographs - Control light in shadows with one lamp

Readings before class:

- Page13-22 in the textbook. Chapter 2 in the compendium Lesson 4 – How to build studio setups This lesson is about the structured logic to build a lighting setup lamp by lamp, variations using three strobes. Content in keywords:

- Light terminology repeated. The naming of individual lamps according to purpose/function - How to build up of lighting in a structured logic manner - How to measure light. How to handle light fall off. - Practicing building lighting setups up to three lamps

Learning goals:

- Be able to light a subject with up to three lamps - Understand the naming/terminology of the different strobes according to function - Understand the three dimensional lighting effect of using multiple strobes, and be able apply the

knowledge in practical photography Readings before class:

- Chapter 4, 5 and 8 i compendium, pages 79–99 and 203-224 in textbook.

Lesson 5 – Management of family of angles and reflections on surfaces Content in keywords:

- Reflection; diffusion and glare. Practical examples on glossy/matte and dark/light surfaces - The polarization filter theory and use - The family of angles

- How to avoid or control reflections - How to use reflection as a sculpting tool - The window as a light source

Learning goals:

- Be able to work with reflections and understand the origin/source of them - Understand the lighting problems photographing different materials in one frame - Understand the theory of shadows; transmission and absorption.

Readings before class:

- Page 22-28 and 99-109 in textbook, Chapter 3, 4 and 5 in compendium Lesson 6-7 Working in natural light This lesson is about using natural light in outdoor and indoor settings, alone or in combination with strobe light. Content in keywords:

- An outdoor walk in search for various locations with beautiful lighting - Working with a model in natural light - Working with natural light in combination with strobes - Working with light reflectors, diffusors and blockers

Learning goals:

- Be able to describe how you can maximize the use of natural light outdoor by choosing the right locations and angles of photographing

- Understand where to place your model to maximize the feeling of light - Be able to use reflectors, diffusers and blocker to influence how the light falls on the model

Readings before class:

- Chapter 6 in Compendium

Lesson 8-9 Lighting advanced setups with people and objects This lesson is about setups combining people and objects. We also cover the process from understanding an idea from an art director to planning the light, bringing the right equipment and building up light settings from sketches. This class is organized as a challenge in a workshop like setting. Content in keywords:

- Example photographs with people and objects/products - The process from idea to final result - Photographing objects/products in different environments, with different setups in studio and outdoor

Learning goals:

- Be able to plan and sketch a light setup from and idea - Be able to set up complex lighting in studio and location - Be able to combine people/object and indoor/outdoor settings in setups

Lesson 10 – How to understand the lighting setups in photographs This lesson is all about reading light from constructed photographs. Content in keywords:

- Repetition of the structured method of building light setups - Repetition in studio by perfecting a light setup from lesson 8-9. - How light is understood and how to analyze a setup in a photograph - Recreate one lighting setup in studio as example

Learning goals:

- Understand how you use lighting knowledge and terminology to deduct and communicate how light has been created in a photograph.

- Be able to apply the understanding in practical photography Readings before class:

- Chapter 7 in compendium Lesson 11 – Creative play and evaluation of the course In this final lesson we look at camera flashes, working with flashlight painting light etc. Content in keywords:

- On camera flash - To paint with light - Creative assignments - Evaluation of assignments

PORTFOLIO WORK Number of hours: 60 Teachers: Hans-Olav Forsang / Damian Heinisch THE SUBJECTS AIM The Portfolio Work course is about the formats of a portfolio, the function it serves in representation and the process of producing quality portfolio work. The course will run from begin to end of the semester. We discuss the portfolio in the formats of the classical book, small and smart giveaways, on mobile devices, on blogs and as webpages. We also discuss the need for targeted portfolios for a specific customer, industry or employer with the same logic as people target their CV employing for work. The aim of the coarse is to develop a portfolio that shows the individual photographer´s focus, creativity and technical skills in a book. It also aims at creating a life-long perspective on the process of actively working on your own representation and using all available channels. For students studying Introduction to photography this is a start-and-end class. For the two year photographer students it is a first draft and a continuing process that moves into The Creative Process, Project Work, Exhibition Work and Main Paper in the second year of school. EDUCATIONAL STRUCTURE AND ASSIGNMENTS It is a workshop class where assignments produce work in between classes. The work is then discussed and reviewed in a classroom setting so the students learn to talk about and critique photography. In discussions we focus on functionality, layout, transitional flow, dramaturgy, as well as customized and balanced proportions in a portfolio. Students are encouraged to bring relevant material from in- and out- of school settings for discussion and review. EXAMINATION In the end of the semester students will meet their mentor for a final individual review of their portfolio. The aim is to give the students a feedback on the quality of the work in the end of the course/semester, and advices for continuing working on the portfolio. The students are obliged to hand in the print files in chronological order before the examination. It is a pass/not pass class where no grades are given.

THE COURSE LESSON BY LESSON Remember: the nature of the subject implies that topics described in the different lessons may come up in a different order than planned due to the need to exemplify. The different assignments may vary from the written description. Portfolio Development is a flexible subject because of its need to adapt to a variety of individuals each year. LESSON 1 - Introduction (HOF) This lesson is an introduction to the course objective, method of teaching, the criteria for a successful experience and work structure for assignments. Content in keywords:

- About the course and the objectives. About the individual and the collective experience and the importance of helping each other.

- Present various types of printed portfolios: vertical/horizontal formats in books and other creative solutions to present your work

- How assignments will be given, reviewed and discussed. About the need for a focused dialogue critiquing work. The importance of production, participation, attendance and being on time.

- In-depth review of the first assignment: SPRING/FALL. Clarify the methodology, structure and goals. LESSON 2 (HOF) In this lesson we will review the first assignment. Focus will be on learning how to give and receive feedback, and work actively to set the level of participation in feedback.

- An initial round of sharing experiences and problems solving home assignments - Brief ‘criteria for feedback’ with emphasis on the need to actively participate in the feedback - Review of material from first assignment; critique and discussions focusing on a mix of content, form,

approach, technique, composition, details etc., and examples of material that can be put into a portfolio context.

- Present assignment number two: SILHOUETTE and SEQUENCE LESSON 3 (HOF) In this lesson we will review the second assignment. We will continue the focus on actively participating reviewing assignments, but also discuss the methodology related to workflow and structure solving assignments.

- An initial round of sharing experiences and problems solving home assignments - Questions and answers - Review of material from assignment; critique and discussions focusing on a mix of content, form,

approach, technique, composition, details etc., and examples of material that can be put into a portfolio context.

- Commenting with emphasis on methodology related to workflow and structure related to the different phases: from idea to finished series.

- Present assignment number three: DREAM THEME

LESSON 4 (HOF) In this lesson we will review the third assignment. We will continue the focus on how to talk about and critique images, with a focus on how images interact in portfolios. - An initial round of sharing experiences and problems solving home assignments - Questions and answers - Review of all the images, active feedback / discussion focusing on a mix of content, form, approach,

technique, composition and details as well as examples of materials that can be utilized in a portfolio context and possible uses.

- Discuss and comment on the relation between the images - how images interact. Show examples of different layouts and form solutions that help to develop a grid for the portfolio.

- Present assignment number four: DREAM THEME and SIGNS OF LIFE Lesson 5 (DHE) This is the first of a total of six lessons with photographer Damian Heinisch. The first lesson is an introduction to “working with personal projects” which will go over three lessons. In advance, the students receive a short intro to the lesson, and is required to think through a theme they’d like to explore within a two week long project. - Discuss the nature and values of personal projects and the importance of a solid portfolio to get

clients and job offers. - The importance of series and the aspects you need to be aware of when working with series. - An inspirational boost through a presentation of other photo projects. - Discuss the terms authenticity and genuine through interviews with photographers like

Tim Walker and Sølve Sundsbø. - Students present their idea and get feedback and help to shape their ideas into manageable projects. Lesson 6 (DHE) This lessons main priority is feedback and discussion around the process of the projects so far. Heinisch especially focuses on technical skills and the ability to communicate with the viewer. - Review on the individual students work so far. Feedback on the work presented and how the series builds

up. - Guiding on the process towards a final product. Feedback on what needs to be done in the next week to

complete the project. Lesson 7 (DHE) In the last lesson Heinisch gives his final evaluation on each students project. He encourages the class to participate in the feedback and create a discussion around the photography and images to strengthen the student’s ability to talk about these subjects. - Discuss the process the students have been through - Review of each student’s final project. The class is encouraged to participate in the feedback and give their

opinions in order to strengthen their ability to discuss images in a professional way. - Feedback on what could have been done better, or how to develop the project even further.

LESSON 8 (HOF) This is the first lesson in the second round with Hans-Olav Forsang, and the focus will be on reviewing the two rather extensive assignments – DREAM THEME and SIGNS OF LIFE.

- An initial round of sharing experiences and problems solving home assignments - Questions and answers - Review the assignments. Students are increasingly made responsible for providing feedback to each

other´s work. They are also reminded about the value of cooperating and helping each other in terms of different skills related to various parts of the work: talking about your ideas and getting feedback during the process in preproduction (discussing ideas and solutions), production (the value of assisting each-other, feedback) and post production (processing images, selecting images, sequencing the story)

- Present assignment number eight: NUDE PHOTOGRAPHY LESSON 9 (HOF) In this lesson we change the setting in the classroom to round-table discussions and our focus turns from reviewing assignments to reviewing portfolios.

- A general presentation of the book as an arena: The front and back cover, the first and last page, the spreads, dramaturgy throughout a portfolio, the need for flow, how to use grids, different lay-out solutions, a holistic approach, the importance of white pages, importance of detail, the use of formats (landscape vs. portrait) etc.

- Specific feedback on the individual student´s portfolio. Discussions intended to raise awareness of process of developing your own portfolio.

- Present assignment number nine: THE PORTFOLIO LESSON 10 (HOF) In this lesson we will continue the work in progress, and the shaping of the students portfolio. We also turn our eyes to the end of the semester, what is expected of work in the final portfolio.

- Continuing the review of each portfolio with feedback and suggestions for changes / corrections and conditions relating to what has been discussed in previous lessons and implementations of agreed corrections and priorities.

- Repeat the need of producing material for your own portfolio and repetition of the objective of this class: To develop a portfolio that shows the individual photographer´s focus, creativity and technical skills in a book.

- Finish this session with a talk about the requirements to pass this course, and the final individual examination/review.

LESSON 11(HOF) In this lesson we will continue the work in progress, and the shaping of the students portfolio. We also look at digital representation of portfolios through the web page.

- Web page portfolios; solutions, functionality, possibilities in this arena and how a traditional portfolio can best be displayed online.

- Focus is placed on development and correction of each individual portfolio.

Lesson 12 (DHE) Towards the end of the semester Damian Heinisch reviews the student´s portfolios over a three-lesson period. With a different background than Hans-Olav Forsang, he reviews the portfolios with a stronger focus on technical aspects and the requirements from the industry. He also gives his input on the flow in the portfolio, how you can use association to strengthen the order of images, and encourages the students to go through their work again to see if there are any missing pieces in their portfolios. In the first lesson the students are asked to print all images from their portfolios as small thumbnails, and bring extra images that are not included in the portfolio (from other subjects, such as Visual Communication, Lighting and Workshops).

- Review of each student’s portfolio. Students are encouraged to participate in the discussion. - Going through the student’s portfolios in thumbnail form one by one to help understand the importance

of choice of order. - Discuss the value of thinking associative when putting together a portfolio. - Go through extra images from other subjects to implement more work/get a broader variety of work in

the portfolio. Lesson 13 (DHE) Heinisch shows examples of strong portfolios from professionals, and shows that there are several ways to make a portfolio. Both classic printed portfolios and creative online solutions should be covered. By showing portfolios from different kinds of photographers from different genres, the students are made aware of the different requirements to technique, creativity and communication. With this new knowledge, the portfolios are reviewed again, looking at what needs to be done to lift their portfolios to a professional level.

- Inspiration through examples of professional portfolios - Discuss the different ways of presenting a portfolio – pros and cons. - Discussing the different requirements to a portfolio depending on which genre of

photography you’re working in. - Review of the student’s portfolios in light of the new knowledge obtained.

Lesson 14 (DHE) In the final lesson, Heinisch and the students continue to go through each portfolio, giving constructive criticism to lift the portfolios to a professional level. At the same time, the students strengthen their abilities to talk about images. This lesson focuses on giving final feedback before the students go back to meet Hans-Olav Forsang in the next lesson and prepare for their portfolio exams.

- Review of each student’s portfolio. Students are encouraged to participate in the discussion to strengthen their ability to talk about images.

- Final feedback preparing for exams. LESSON 15 (HOF) This is the final lesson where we look at each other´s portfolios and review the final book.

- The focus will be on giving a total feedback to the individuals work and portfolio, with last advices on what need to be done before the final examination / individual review.

- A talk about the presentation meeting with a customer/client or potential employer. What the book is supposed to do for you, the pitfalls and the challenges in these types of situations.

VISUAL COMMUNICATION 1 Number of hours: 32 Teachers: Bård Ek THE SUBJECTS AIM Visual Communication 1 will give students a better understanding of the creation of images, as well as how to interpret the photograph both from their own perspective, the viewer’s perspective and the client’s intentions. The first semester of Visual Communication 1 will focus on providing students with an introduction to photographic imagery and rhetoric in a current and historical context. The aim of the subject is to teach the photographer´s tools (cut, composition and content) and how perception shapes an understanding a photograph. Students will also learn how to interpret and understand images published in newspapers, advertisements, magazines and web, forming a well-rounded perspective on the visual language. EDUCATIONAL STRUCTURE We start with an overview looking back on history and contemporary ways of how we create photographic images (photographer’s perspective) and how perception shapes our understanding. Finally, we look at the customer´s perspective, where examples are discussed and how they serve their customer´s need. Lectures and discussions include lots of samples, so students get an introduction to the history of photography and photography today. The students work on solving assignments related to different topics discussed from one class to the next. Students are encouraged to remain active in both the academic dialogue and through dialogues related to image reviews. LITERATURE Visual Communication as a subject uses Bo Bergstrøms ”Bild og Budskap” as primary book. In addition we use David Prakel ”Composition” and ”Capturing colour” by Phil Malpas. ASSIGNMENTS AND EXAMINATION Home assignments are given after each lecture to test theory in practice. The assignments are reviewed in class, where students are encouraged to actively participate with constructive expression of what they see, interpret and experience. Examination happens as part of a cross-subject one weeklong test with half a day of theory and a week of practical assignment. The grade will be a combination of the theory and practice (25/75).

THE COURSE LESSON BY LESSON Lesson 1 & 2 - About photography and visual communication through images Students will gain a basic understanding of how photography is used and what visual communication through images is about. Content in keywords:

- What is photography? - Introduction to the language of photography - How images communicate - The diversity of photography (historical and contemporary use of images) - Photography; form and expression - The genre of photography - Important historical photographers and the technical evolution

Learning goals:

- Understand what visual communication through images is - Be able to explain how photography is used today as a tool of communication and the

general historical evolution through important photographers and technological innovations.

Lesson 3 – Introduction to creativity and working for customers Students will get an understanding of how to work up ideas using textbooks, inspiration and mood boards. To create images based on what you know of the customer and the customer’s perspective. Content in keyword:

- From an idea to a photograph. The creative process. - Sketches and mood-board - To create and work with a draft-book. The value of collecting inspiration. - Who are our customers? - Messages in information, news and advertisement

Learning goals:

- Be able to explain how ideas come to life through sketches, mood-board and things that inspire your (draft-book).

Lesson 4 - Composition Introduction to composition and how our native understanding of elements shape our perception of photography. This lesson will focus on black and white photography to isolate shapes.

Content in keyword: - Composition, the basic - Shapes and Lines - The placement of elements in a photograph

Learning goals:

- Understand the basics of composition - Understand how perception is influenced by our native understanding of shapes and

lines

Lesson 5 - Color in images Students learn about several compositional means. The goal is to understand how color and shape affects the image and message. Students will get an understanding of basic color theory and color psychology. Content in keywords:

- Understanding colors - Practical assignments interpreting color - Color psychology - Color theory - The color circle - Analogous, Monochromatic, Triad, Complementary, Compound and Shade colors

(how to use kuler.adobe.com) Learning goals:

- Understand the basics of composition - Understand basics of color psychology and color theory - Know how to use the color circle and understand complementary colors - Be familiar with Adobe Kuler

Lesson 6 – Shape and color About the use shape and color in composition and communication. Content in keywords:

- Theory of Shape and color - Practical exercises - How elements come together as a whole - Planned use of color and shape in photography. Considerations to be made.

Learning goals:

- Be able to work with shape and color as tools of communication

Lesson 7&8 - The photographer´s perspectives and how to analyze and understand photographs Students will about the rhetorical form an image can take in communication. Awareness of codes and cultural elements in image communication is another topic of this lesson. We also spend time analyzing images to strengthen a way of talking about, understanding and creating meaningful photographs. Content in keyword:

- How to analyze and talk about a photograph - How to measure the effect of a photograph in communication (attract/orientate) - About Semiotics; the meaning of signs and symbols. - The cultural context of a photograph. What does it mean? - Rhetoric in photography (present, metonym, synecdoche, metaphor and simile) - How advertisement works (instrumental, relational) and the selling propositions - The photographer´s perspective in communication (objective, subjective)

Learning goals:

- Understand the rhetorical nature a photograph can take in communication - Be able to utilize rhetoric in practical photography - Understand how advertisement tries to influence us and the selling propositions they

use - Be able to analyze the content of an image and talk about the effect of photography.

VISUAL COMMUNICATION 1 Number of hours: 28 Teacher: Robert Sannes THE SUBJECTS AIM The purpose of the subject is to provide students with the knowledge and motivation to become better communicators using images, and to develop this language with an emphasis on the fields of perception, creativity, composition and color theory. The aim is also to increase the understanding of images as communication in an interdisciplinary manner, so that students are well prepared to pursue their passion whatever it is. The emphasis is on strengthening the students’ knowledge, enthusiasm, creativity and spirit. Through home assignments between every session, the students bring theory into practical use. The discussion and constructive image critique of their work will provide the basis for increasing visual awareness, creativity and the ability to clarify and verbalize the processes, results and challenges. The immediate dynamics in the classes are important (not unlike in the processes of photography), so the descriptions of the course lessons are therefore meant as guidelines only. We will be open to spontaneous changes and leave space for creative evolvement as it might emerge. EDUCATIONAL STRUCTURE The course is two-fold: 1. Theory 2. Reviewing tasks (given between each day of instruction) It is important that students are active in both a professional and personal dialogue about their images. Assignments and lectures invite the students to dare to stretch their form of expression further. The educational structure is therefore just as orientated toward the process of creation, as it is result oriented. LITERATURE This subject uses Bo Bergstrøms ”Bild og Budskap” as primary book of importance. In addition we use David Prakel ”Composition” and ”Capturing color” by Phil Malpas. ASSIGNMENTS AND EXAMINATION Appropriate tasks are given to challenge students on many levels by stimulating aspects of themselves that they have rarely been challenged to express before. Essays are reviewed in plenary, where students are encouraged to participate actively with their constructive expressions of what they see, feel and experience. Composition, initiatives, creativity, light, dark, colors and perception are central to all these reviews, and image analysis for comprehensive understanding. Examination happens as part of a cross-subject one weeklong test with half a day of theory and a week of practical assignment. The grade will be a combination of the theory and practice (25/75).

THE COURSE LESSON BY LESSON Lesson 8 - Introduction to the second part of the subject This lesson introduces the second part of the subject, where the potentials of the student will be in focus with emphasis on creative and transformational abilities and processes. Content in keywords:

- What is visual communication through images? - Photography as a language - Our inner tools (perception and neurology) - Seeing and selection - Ethics - Image critique and analysis

Learning goals:

- Students should be able to express what image communication and perception is about. - Understanding of the factors that influences our ability to see, perceive and create. - Know how images and composition functions like a language with respect to information,

symbolism, metaphoric, emotion, ethics, aesthetics and experience. Lesson 9 – Analyzing a photograph This lesson is about understanding photographs and how they affect us. Content in keywords:

- Self development - Semiology - Symbolic/diabolic - Composition - Context

Learning goals:

- Strengthen the ability to understand your own and others’ reactions to an image - Develop the ability to personally compose images that evokes feelings - Increase understanding of how to verbalize and describe visual experiences and to see how the

form and context are in harmony or disharmony with each other. Lesson 10 - Perception This lesson is about how we perceive through our senses and how it leads to interpretations and creativity. Content in keywords:

- What does it mean to sense? - How do the brain, eye and body work together - a look to neurology - Cognitive selection. What is it and what does it mean? - What is the interaction between interpretation, transformation and creativity

Learning goals:

- Know what perception is, seen from interdisciplinary perspectives (neurology, biology, religion…) - Know some of the mechanisms that limits or opens your creative potential - Have a deeper understanding of your own ability to expand within the language of photography

Lesson 11 and 12 – Creativity This lesson is about creativity and how ideas emerge. The aim is also to provide students with inspiration and confidence, and to increase critical and creative abilities in a constructive way. Content in keywords:

- Idea - Innovation - Intuition - Incubation and affirmation - Understanding consciousness - Comfort zones and self-limitations - Self-confidence and self-knowledge - Exercises in groups

Learning goals:

- Understand what creativity is and can be - See the importance of conscious inspiration, enthusiasm and intuition in the photographic process. - Understand what might restrict these properties and how to move beyond self-imposed limitations. - Understand what ideas and innovation is and how they can be opened for and developed. - Be able to enhance all abilities in the whole process from problem solving to final product.

Lesson 13 - Composition Content in keywords:

- What is composition - Interdisciplinary and historical perspectives on composition - The esthetical and artistic perspective - The scientific perspective - Psychology of archetypes in form / images. - The tools of composition, examples: The golden section. Fibonacci’s logarithm. Rhythm, harmony

and balance. Line, shape and color. Placement and proportions. The strength of simplicity. Order and lack of order. Positive and negative space. High and low key. Methods of exaggerations.

Learning goals:

- Deeper understanding of how the body and mind processes composition - Know how composition has been understood and applied historically. - Have an understanding of how the compositional application can both be inhibitory and stimulating

for the result and the individual´s personal development as a photographer – as well as destructive. - Be able to identify at least 20 compositional means.

Lesson 14 – Color, light and dark This lesson goes into theories of color, light and dark - and how we are co-creators of our own response to these experiences. Content in keywords:

- What is light, dark and colors? - Color theory (Goethe, Newton and Kandinski) - Harmonic colors and complementary colors - The characteristics, energy and feeling of colors

- Color perception (sociological, mental and physical)

Learning goals: - Know different approaches to color theory (Goethe, Newton, Kandinski) - Understand theoretically what is dark, light and space - Be able to utilize the understanding of color and dark – light - space in practical photography - Be inspired to go deeper into color theory as a self study (this class is a brief introduction)

LAWS AND RULES Number of hours: 3 Teacher: Trude Mohn King THE SUBJECTS AIM The course consists of an introduction to the Copyright Act, and the photographer’s rights in relation to this. Students will become familiar with the difference between photographic images and photographic works, what rights they have in relation to their own work and what they need to consider when publishing photos of models. They should also be made aware of the claims that are applicable if the rights are abused and the importance of entering into written agreements. The course is an introduction and specified in the fourth semester of the subject business. EDUCATIONAL STRUCTURE The subject is conveyed through a lecture with PowerPoint presentations. LITERATURE Intellectual property law and copyright law. Printed material handed out in class. ASSIGNMENTS AND EXAMINATION No assignments or exams.