In commercial photography – the retoucher often works behind the scenes with the photographer to assemble and “finish” the image. Likened to a book editor’s relationship to an author – the retoucher is less of a “star” and while often gets paid well, goes uncredited. In this case – when the concept asks for the retouching to almost dominate the original photograph – giving credit where credit is due is valid. San Francisco based Giovanna Giordano is one such artist that makes pixel magic happen.
I think the blur tools in Photoshop are some of the most used filters in professional post production processes. Here’s a new one as introduced by Julieanne Kost and AdobeTV.com. -Erika “In this video, Julieanne demonstrates how to use the new, nondestructive Spin Blur in Photoshop to create realistic motion effects including the ability to spin an object at variable angles, as well emulate traditional strobe effects with the ability to define the strength, number of flashes and duration.”:
Register until March 9th for this 1 unit late start class – or simply attend for free! Open to the Public
The Spring 2015 line up for “PH52: Photographers and Their Images” featuring professional photographers who come to lecture and show their work at City College of San Francisco (CCSF) Monday nights throughout the Spring 2015 semester has been announced. Be sure to register for this one unit course to secure your seat . This series of lectures is available to be taken for one college credit and there are no pre-requisites. Lectures this semester are free and open to the public as indicated as part of CCSF’s Concert and Lecture Series. Register online now or stop by the photography issue room (160) to pick up an add code. REGISTER HERE
PH52-501 “Photographers and Their Images”, (1) CRN 36304 (transfers to CSU)
Instructor: Erika Gentry
Location: CCSF, Ocean Campus, 50 Phelan Ave, San Francisco, CA Visual Arts Lecture Hall 115
Meeting times*: Six Mondays, 6:30 – 9:30 P.M: 3/9 3/16, 3/23, 4/6, 4/13, and 4/20
*You may make up a missed lecture or get extra credit by attending an offsite lecure as listed below.
SPEAKERS SPRING 2015
3/9/2015 MICHAEL JANG: Michael Jang’s is a unique story. For the last forty years, he has earned a living as a portrait photographer, capturing iconic figures such as Jimi Hendrix, Ronald Reagan, and Robin Williams, among others. However, this unassuming Asian-American photographer has also been simultaneously infiltrating and documenting a number of groups and subcultures from all strata of society: from celebrity parties in Beverly Hills to the youth of Castro’s Cuba, from South City gangs to Old West rodeos, and from the punk rock scene of the late 70s to the teenage garage bands of early 2000s San Francisco. His images are allegories of particular points in time, characterized by their candid honesty, decisiveness, and vivacity. SFMoMA has recently acquired a number of his early prints and has exhibited them alongside contemporaries such as Garry Winogrand, Diane Arbus, and Lee Friedlander.
3/16/2015 SAM WOLSON: Sam Wolson is a a freelance photographer and multimedia producer from Detroit, Michigan currently based out of Oakland, California. I have been published in Slate, USA Today, The San Francisco Chronicle, The Wall Street Journal, and am a contributing blogger for the Huffington Post. I love magic tricks, photographing animals, exploring new places, and grew up on a flower farm. I have won awards and scholarships from PND Photo Annual, AP Images, The Eddie Adams Workshop, the Look3 festival and recently attended the New York Times Portfolio review.
3/23/15 ERIC CHENG: Eric Cheng is an award-winning photographer and publisher, and is the Director of Aerial Imaging at DJI, the makers of the popular Phantom aerial-imaging quadcopter. Throughout his career, Cheng has straddled his passion for photography, entrepreneurship, technology and communication. He publishes Wetpixel.com, the leading underwater-photography community on the web, and writes about his aerial-imaging pursuits at skypixel.org His work as a photographer has been featured at the Smithsonian’s Natural History Museum and in many media outlets including Wired, Outdoor Photographer, Popular Photography, Washington Post, Wall Street Journal, Make, Photography Week, ABC, CBS, CNN and others. His video work has been shown on the Discovery Channel, National Geographic Channel, and on virtually every news network around the world.
4/6/2015 NIGEL POOR: For many years my work has explored the various ways people make a mark and leave behind evidence of their existence. I am interested in forms of portraiture and explore this vastly mined photographic area through unconventional means. I have used fingerprints and hands, objects people have thrown out, human hair, dirt, dryer lint and dead insects as indexical markers of human presence and experience. I am trying to explore the troubling question of how to document life and what is worthy of preservation. In 2011 my interest in investigating the marks people leave behind led me to San Quentin State Prison. My lecture will focus on several collaborative projects I am currently working on with a group of men at the prison.
Nigel Poor’s work has been shown at: San Jose Museum of Art, Institute of Contemporary Art, San Jose, Friends of Photography, SF Camerawork, San Francisco Museum of Modern Art, the San Diego Museum of Contemporary Art, Museum of Photographic Arts, San Diego, Corcoran Gallery of Art, Washington, D.C. and the Haines Gallery in San Francisco. Her work is in the collections of the SFMOMA, the M.H. deYoung Museum, San Diego Museum of Contemporary Art and Corcoran Gallery of Art. She received her BA from Bennington College and her MFA from Massachusetts College of Art and is a Professor at CSU Sacramento.
4/13/2015 LISA WISEMAN: Lisa Wiseman’s photography focuses on intimate authentic portraiture. It explores transitions, in-between spaces, and liminal moments with the image as the crux between the before and after. The intersections and deconstructions of collective memories and identity development informs and shapes her work. Her images are both quiet and confrontational, often honing in on subtle details which, as pieces of the whole, become their own portraits. She explores how a subject’s posture, gaze and surrounding visual details engage the viewer to construct and impose their imagined reality upon the image.
Lisa is a commercial advertising and fine art photographer. She received her BA in sociology from the University of California Berkeley and her BFA in photography from The Academy of Art University. She lives in San Francisco and travels regularly for assignments. Some of her clients include AAA, AIGA, Polk Audio, The Chicago Tribune, Eleven Inc., GMMB, Ladies’ Home Journal, NYLONGuys, UCB Biopharma, Underground Advertising, Wired and Yoga Journal. http://www.lisawiseman.com
4/20/2015 JESSICA INGRAM: Jessica Ingram (b. 1977 Nashville, TN) is based in Oakland, CA. She received degrees in photography and Political Science from NYU and her MFA from California College of Arts and Crafts. She is Assistant Professor in Graduate Fine Arts and Undergraduate Photography at California College of the Arts, Jessica Ingram’s photography and video practice is motivated by her desire to understand how people relate, what they long for, and what motivates the choices they make. Her recent bodies of work include A Civil Rights Memorial, about histories from the Civil Rights era in the American South. Working with photography, audio, and text, the work explores little known histories, and interweaves quiet landscape photographs of largely un-memorialized sites of atrocities and written accounts of the historic events and related court cases, with audio recollections of loss, trauma, and transformation. Hilltop High, a multi-year project about young mothers attending an alternative high school for pregnant teenagers in San Francisco. Using photography and video, this work explores a dramatic moment of transformation in the lives of the young women at the school. She is currently working on Love Rich Land, revealing rich yet marginal areas in the American South. Within photographic works of portraits in golden light and landscapes of dripping moss and abandoned sites of industry, Ingram examines ideas of power, disappearance, and continuous reconstruction in the American South.
Jessica’s work has been published and exhibited internationally. Jessica was awarded the 2012 Santa Fe Prize. Her work has been published in the New York Times, GUP, OjodePez, and Etiqueta Negra. Jessica is a contributing editor to What We Want Is Free: Generosity and Exchange in Recent Art (SUNY Press 2004). Jessica is a principal member of Cause Collective, along with artists Hank Willis Thomas and Ryan Alexiev. Cause Collective has received multiple large scale public art commissions, most recently at the Birmingham International Airport in Alabama, and multiple commissions in the San Francisco Bay Area, including the Oakland International Airport, Oakland Museum of California, and SF Camerawork. Along the Way, a video she completed with the Cause Collective was an Official Selection at the Sundance Film Festival.
I first saw Cartagena’s work in 2013 at the Kopeikin Gallery booth at a San Francisco art fair. They are particularly powerful when arranged in a grid form. – Erika
ALEJANDRO CARTAGENA’S “CAR POOLERS”
To start, I am a big fan of Alejandro Cartagena’s photographs. In his recent series Car Poolers, he documents and captures construction workers carpooling to and from work. Compositionally, they are compelling and even painterly. Often displayed in a grid at the Kopeikin Gallery, each photograph feels just as powerful when together as when they are apart.
Cartagena takes photographs in Monterrey, Mexico, documenting parts of everyday life there that he sees as depicting “a global issue from a local perspective.” In a town that has a relatively new, booming construction market, Cartagena decided to document a side of the day laborers’ lives that might not often be seen: the commute to and from work at various construction sites.
With a bird’s eye view over the trucks commuting to and from work, Cartagena captures images of laborers carpooling in the back of pickup trucks – in a variety of different forms and positions: hidden and outright, sleeping and awake, looking directly at the camera and looking away, and so forth.
The view from above offers Cartagena’s photographs something unique – partially we as viewers are posed and posited as voyeurs. When Cartagena captures images of people who are trying to hide from being seen, we are then in a strange position – one that is both intriguing and embarrassing. It also serves almost as an x-ray might in a medical office, opening up our eyes to a world of possibilities as one thinks of all of the trucks and vehicles that pass by us everyday, with unknown precious cargo hidden within the walls and confines of the truck bed.
Cartagena looks to these carpoolers as a testament to the workers, who in his own words, “are staying honest and legit.” Regardless, I find Cartagena’s photographs to be compositionally beautiful and conceptually relevant.
He has another ongoing photography series and project called “Landscape as Bureaucracy” wherein he examines the dream of owning a house and its perils in contemporary Mexico. These series speak to one another in many ways, as Monterrey is said to have seen 360,000 plus new homes arise in and around the city in just the six years he has been documenting the phenomenon. And there is something deeply personal and profound in Cartagena’s photographs, whether they are landscapes or portraits. – Ellen C. Caldwell is an LA-based art historian, editor, and writer.
It’s week three at CCSF but with the MLK holiday many are just joining in this week. The Photography department has some amazing classes at 50 Phelan Ave, SF, CA right near the Balboa BART station – and we’d love to have you join us! Enjoy some work from my former students in the below slideshow!
ENROLLMENT IS AS EASY AS 1-2-3 – only $46 a unit!
1. Visit the the Spring 2015 schedule to choose your classes
2. Follow the admissions process
3. Register for the class (registration is required to attend). Only $46 per unit for CA residents!
4. Don’t have the pre-requisite but feel you have adequate experience? You may challenge into any class. Contact Joanne Bilodeau, Department Secretary to schedule a challenge test. Note that if you challenge any class – you waive your right to take it in the future. Joanne Bilodeau: (415) 452-5173 firstname.lastname@example.org
See the schedule for meeting location at the Ocean campus AND be sure to attend the next class meeting to get your ad code! You can also email the Instructor or call the issue room 415-452-3422 for an add code for some classes. Do this asap to secure your seat and in some cases – save a section!PHOT 50A. History and Aesthetics of Photography (4)
Mondays 12:10-3:00PM – GENTRY
PHOT 51. Beginning Photography (3) Multiple Sections including am, pm and weekends!
PHOT60B Intermediate Photoshop (3) Mondays 3-6pm / Wednesdays 4:10-6:00pm – GENTRY
PHOT 52. Photographers and Their Images LATE START CLASS (1) Starts Monday 3/9 6:30pm – GENTRY
PHOT 57. Photography for the Web ONLINE CLASS (3)
PHOT 80. Outdoor and Ambient Light Photography (3) Wednesdays 12:10-4:00pm
PHOT 81A. Intermediate Photo: B & W Film/Darkroom (3) T/TH 12:10-3:000pm
PHOT 81B. Advanced Photo: B & W Film/Darkroom (3) T/TH 9:10am-12:00pm
PHOT 81D. Intermediate Photo Digital Intermediate Photo: Digital (3) T/TH 6:10pm-9:00pm
PHOT 86 Mixed Media and the Photographic Image (3) Wednesdays 12:00-5:00pm
PHOT 85A. Beginning Lighting Techniques (4) Two sections M/W 9am-12 or 6:10-9pm
PHOT 90 Portraiture (4) T/TH 6:10pm-9:00pm
PHOT 102B Documentary/News Photography (2) Wednesdays 6:10pm-9:00pm
PHOT 100 Design Fundamentals (3) Multiple sections!
DSGN 150 Survey of Collaborative Design (3) Fridays 10:10-1:00pm
THE PHOTOGRAPHY PROGRAM OFFERS
Applications for degrees and certificates due 2/27/15
Has it been awhile since you’ve been at CCSF? You can still apply for a degree or certificate! If classes have changed you might even be able to substitute out classes – take a look and make an appointment to come see us to find out!
Associate in Science Degree with Major in Photography
The Program is designed so that students may satisfy the requirements of graduation from the College. Students who satisfy these requirements receive the major in Photography if they complete the program of study with a B minus (2.75 grade-point average) or higher. The program adviser of the Photography Department will help students who desire to plan special programs of study.
Approved Certificates of Accomplishments:
- Architectural Photography
- Alternative Photography Processes
- B&W Photography: The Print
- B&W Photography: The Zone System
- Digital Photography
- Photography Studio Practice
- Portrait Lighting
- Reportage Photography
Simply stated, articulation deals with how courses transfer from one college to another. Specifically, articulation is the process of establishing which courses offered at City College of San Francisco (CCSF) are comparable to, or acceptable in lieu of, courses offered at four year colleges and universities. Many of our students transfer successfully to both public and private colleges from our program, most entering in as Juniors.
I feel a kinship with this fellow of “The Rescue Film Project” – I too rescue old film, negatives and images and enjoy scanning them. Using digital imaging to improve the density and detail not only allows others to experience the images but allows us to examine history in great magnification. Cool project! -Erika