Students analyze Dorothea Lange's photographs and identify key themes in her work. They then create a thematic exhibition pairing Lange's work with work by artists who explore the same themes in other media.
Students will learn the basic tools for analyzing images using description, reflection, and formal analysis.
Building on the strategies learned in the lesson 1, students will examine works of art in a museum setting.
Students will read an artist's statement by Dorothea Lange and write an artist's statement based on their own photographs.
Students will examine photographs from newspapers and write a headline and story to accompany one.
Students will create a timeline outlining various groups' struggles for equal opportunity and create a 30-second radio or video public service announcement (PSA).
Students will analyze shapes and patterns in a photograph, hear stories about people who were forced to move to internment camps because of their ethnicity, and create drawings that tell a story about a young girl's life in an internment camp.
Students will read primary source documents about the U.S. internment of Japanese Americans following the bombing of Pearl Harbor and will examine various versions of a photograph by Dorothea Lange and explore how cropping can evoke different effects.
This document aims to reduce the guesswork of in-camera focus bracketing with the OM SYSTEM OM-1 and 60mm F2.8 Macro. It includes hand-calculated data which identifies aperture (F-Stop) and focus differential (FD) to produce image series with appropriate focus overlap and no banding. Reference this sheet for educational purposes or print it for use in the field.
This course introduces students to the world of French photography from its invention in the 1820s to the present. It provides exposure to major photographers and images of the French tradition, and encourages students to explore the social and cultural roles and meanings of photographs. Designed to help students navigate their own photo-saturated worlds, it also provides opportunity to gain practical experience in photography. Taught in English.
This class covers the history of 20th century art and design from the perspective of the technologist. Methods for visual analysis, oral critique, and digital expression are introduced. Class projects this term use the OLPC XO (One Laptop Per Child) laptop, Csound and Python software.
The gelatin silver process was introduced at the end of the nineteenth century and dominated black-and-white photography in the twentieth century. The paper or film used to make gelatin silver prints and negatives is coated with an emulsion that contains gelatin and silver salts. Gelatin silver prints and negatives are developed out rather than printed out, which means that exposure to light registers a latent image that becomes visible only when developed in a chemical bath. This process requires shorter printing times than earlier printed-out processes such as salted paper prints and albumen prints. George Eastman’s introduction of flexible roll film and the Brownie camera revolutionized photographic practice and industry, putting photography into the hands of the masses for the first time. This process is responsible for all the black and white, color and motion pictures produced in the 20th century with analog materials. This project is made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-10-13-0194.
Students examine primary resources, photographs by Dorothea Lange, and a U.S. map to understand the migrant experience during the Great Depression.
History and Cultural Memory in Neo-Victorian Fiction combines innovative literary and historiographical analysis to investigate the way neo-Victorian novels conceptualise our relationship to the Victorian past, and to analyse their role in the production and communication of historical knowledge. Positioning neo-Victorian novels as dynamic participants in the contemporary historical imaginary, it explores their use of the Victorians' own vocabularies of history, memory and loss to re-member the nineteenth century today. While her focus is neo-Victorian fiction, Mitchell positions these novels in relation to debates about historical fiction's contribution to historical knowledge since the eighteenth century. Her use of memory discourse as a framework for understanding the ways in which they do lay claim to historical recollection, one which opens up a range of questions beyond historical fidelity on the one hand, and the problematics of representation on the other, suggests new ways of thinking about contemporary historical fiction and its prevalence, popular appeal, and nmnenonic function today.
This photography project prepares the photography student to understand their subjects and the position a portrait photographer has to take to connect with his subjects by becoming the subject themselves.
Image Manipulation for Graphic Artists is an open source textbook formatted using Google Slides so that it can be embedded into the Canvas (digital) version of our own courses. You may post the slideshows as is or edit them to your liking. A PDF version of each slideshow can be downloaded via the embedded examples below. If you would like to download the Google Slides version of each slideshow for editing purposes you can do so here. The current version of this text is version 1.0. We are working to remove typos and to have the text peer reviewed. If you find typos or would like to help peer review please email opengraphicarts@gmail.com.
This text was developed for ART 1280 Photoshop Software at Salt Lake Community College. It is offered as a foundational skills-based Photoshop class for all Visual Art & Design students. It covers hundreds of learning objectives relating to image editing and manipulation for graphic artists. The goal of this course is to expose students to Photoshop’s breadth of possibilities and to ensure students have the knowledge and skillset necessary to properly prepare images for various output methods. Our programs are designed with one common foundational Photoshop course. Once a student completes this course he or she continues on to a program specific advanced Photoshop course that takes a deeper dive into the topics relating to a specific program (ex- photography, graphic design, multimedia).
Students define metaphor and discuss its use in writing and visually. Students develop a personal metaphor and use it to write about their own experience.
Students study how Dorothea Lange tells stories related to children. They practice telling their own written and visual stories in response to Lange's images.
Students compare and contrast a photograph and a photo-collage depicting the same highway and write a descriptive composition of both images. They identify one-point perspective in works of art then draw a desert landscape using one-point perspective.
At age twenty-seven, physicist Philip Morrison joined the Manhattan Project, the code name given to the U.S. government's covert effort at Los Alamos to develop the first nuclear weapon. The Manhattan Project was also the most expensive single program ever financed by public funds. In this video segment, Morrison describes the charismatic leadership of his mentor, J. Robert Oppenheimer, and the urgency of their mission to manufacture a weapon 'which if we didn't make first would lead to the loss of the war." In the interview Morrison conducted for War and Peace in the Nuclear Age: 'Dawn,' he describes the remote, inaccessible setting of the laboratory that operated in extreme secrecy. It was this physical isolation, he maintains, that allowed scientists extraordinary freedom to exchange ideas with fellow physicists. Morrison also reflects on his wartime fears. Germany had many of the greatest minds in physics and engineering, which created tremendous anxiety among Allied scientists that it would win the atomic race and the war, and Morrison recalls the elaborate schemes he devised to determine that country's atomic progress. At the time that he was helping assemble the world's first atomic bomb, Morrison believed that nuclear weapons 'could be made part of the construction of the peace.' A month after the war, he toured Hiroshima, and for several years thereafter he testified, became a public spokesman, and lobbied for international nuclear cooperation. After leaving Los Alamos, Morrison returned to academia. For the rest of his life he was a forceful voice against nuclear weapons.