In late 2013 I discovered this herd of cattle in the hills above
Orinda. In spring 2014 while dreaming of grand photographic projects in
faraway places I decided to revisit the cattle while the hills were
green and was pleased with the results, leading to many hikes and a
project for Photo 81D. I learned a great deal by hiking into the hills
and watching and waiting for the cattle to be in the right place with
the clouds in the right place and the sun in the right place. More
importantly I learned that interesting and satisfying projects are where
you make them, even within walking distance from home.
Photography by Brian Churchwell
On display at Gallery Obscura
September 15th – October 8th
Artist Reception on September 18th, 6-8 PM
Alternate Realities is a student-run show featuring the work produced during Spring 2014 as part of the course PH86 Mixed Media and the Photographic Image in the Photography Department at the City College of San Francisco.
The artists transform self-made and appropriated images and objects to achieve new interpretations through a variety of alternative photographic processes and mediums. The images, which are one of a kind, explore creative expression through sometimes unexpected results. Through Gum printing, sun exposures, Cyanotypes, Van Dykes, paints, tints, glue transfers and unexpected subject matter, the work pushes us to look at these images and objects in different ways.
The students below participating in Alternate Realities seek to connect with the larger community, in order to showcase CCSFs diverse photography department. The show is particularly relevant at this time as the school itself reflects on itself as an educational institution.
Say the name of your first love and that one word is a whole story that opens up without any effort. Not every photograph needs to replace a thousand words. Sometimes just one will do.
Black and White Photography by Adrienne Johnson
On display at Gallery Obscura
Aug 25 – Sept 13
Artist Reception on Sept 3, 6-8pm
Lec-2, lab-1, field trips, P/NP Available
Late start Fall 2014 – first class meets 9/22/2014-11/19/2014
Mondays 12:40-4:40 HC213 and Wednesdays 12:40-2:40 V145
Instructor Nadereh Degani / REGISTER
Contact the Instructor or Come by the issue Room V160 for an add code
Catalog Description: The process of documenting buildings and other structures in their environments. Interiors and exteriors of domestic places are photographed for architectural applications. Topics specifically related to issues of architectural photography include: perspective control, use of different format cameras, filtration for incompatible light sources, attention to detail, and daylight effect on form.
“Architectural photography is specialized photography of structures. It involves special lenses and techniques to portray the subjects in proper perspective and without photographic distortion. It is primarily concerned with accurate portrayal of the structure. A tilt-shift lens can be used for 35mm photography… or a large format camera that has tilt, swing and shift, can be used.” – Gregg Anderton
“I loved Nad’s architectural photography class. She is very knowledgeable and shares that knowledge and her photographic vision passionately. I came away with a great portfolio from the various assignments. I really enjoyed the class/field trips and guest speakers. Thanks Nad for making the class so rewarding.” – Maxine Bauer
“Nad is a very good teacher. She is always giving you a clear feedback and always trying to find ways to expand her teaching. I really enjoyed her class. She creates a very nice atmosphere. A lovely person.” – Erika Castaneda Magana
“Photographing unique buildings has been my passion for many years. But it wasn’t until I took Nadereh Degani’s Architectural Photography course that I learned the best-practice techniques for capturing stunning images. This is the second course I have taken with Nadereh and both times her teaching skills made for a very rewarding experience.” – Gary Rocchio
“Nad taught the principals of good architectural photography in an interesting and very supportive fashion. Her strengths are her informative, constructive assessment of student work and her supportive, encouraging style. I have also taken advanced
darkroom techniques with Nad. I highly recommend Nad for that class as well.” – Bill Hickerson
CCSF is open and accredited Fall 2014- your units are good for life and will always transfer. Have you registered yet for a photography class? Registration is open! Save your seat now – classes start in mid-August.
1. Visit our website and look at our schedule of classes: http://www.ccsf.edu/Schedule/Fall/photography.shtml . Visit our website to see our degree and certificates of completion: www.ccsf.edu/photo
2. Follow the admissions process if you haven’t yet: http://www.ccsf.edu/en/educational-programs/class-schedule/enrollment_made_simple.html
3. Register for your classes.
Classes which don’t require pre-reqs are PH100 “Design Fundamentals”, PH51 “Beginning Photography”, PH50A or PH50B Photo History, PH52 “Photographers and Their Images”. After completing PH100 and PH51 you can move on toward more advanced applied classes in following semesters.
If you have previous experience please contact our department secretary to take a challenge test to waive pre-requisites or make an appointment with the department chair so you that can register for advanced classes. Dept Secretary: Joanne Bilodeau, (415) 452-5173, email@example.com.
For other questions feel free to give us a call or visit our website: www.ccsf.edu/photo or (415) 239-3422.
PHOT 83. View Camera Techinques (2)
Lec-2, lab-1, field trips P/NP Available
PREREQ.: PHOT 51 ADVISE: DSGN 101
An exploration of the 4 x 5 view camera through hands-on experience. Investigation of exposure, perspective control, and camera movements, as applied to studio, architectural and fine art photography. Cameras and accessories are available to students.
“The view camera offers special advantages to the creative photographer, namely: excellent detail and resolution in the image; very narrow or very expansive depths of field; perspective corrections; and moving the orientation of the plane of focus.
In this course, students will engage with technical and creative uses of the view camera for photographic expression, exploring features that are unique to this format of photography while developing their personal and creative vision. Sample creative projects will include: creative uses of depth-of-field effects; photographing buildings with corrected perspective; still lifes with control of lighting; basic Zone System calibration, pre-visualization, and metering. The course will culminate in a body of work exploring some visual interest or idea”. – Moshe Quinn, Instructor
View Camera Techniques “should be a required class for all photography students. Being able to understand and make use of the perspective control and depth of field afforded by view cameras, the slowing of the process of making a photograph, and the extraordinary detail available from large format film, have informed all my photography, regardless of format. Moshe is an excellent instructor, taking time to ensure that everyone is both keeping up with the pace, and providing engaging exercises to clearly illustrate the principles and skills at hand.”
- Peter Molettiere, Student
The Fall 2014 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) Friday nights throughout the Fall 2014 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. One lecture per semester is free and open to the public as indicated as part of CCSF’s Concert and Lecture Series, otherwise all others require registration. Register online now or stop by the photography issue room (160) to pick up an add code week. Unregistered students may not attend – if you would like to repeat the course, you can do so as a continuing education student, show up to the first class. The fee is $105. REGISTER HERE
PH52-501 “Photographers and Their Images”, (1) CRN 71101 (transfers CSU)
Instructor: Erika Gentry
Location: CCSF, Ocean Campus, 50 Phelan Ave, San Francisco, CA (room tba)
Meeting times*: Five Fridays, 6:00 – 9: 30 P.M: 10/3, 10/10, 10/24, 11/14 and 11/21
*You may make up a missed lecture or get extra credit by attending an offsite lecure as listed below.
You may also see a list of past lecturers here. For more information and to get an add code for the course contact Erika Gentry or stop by the Photography Lab Issue Room V160. Again – you MUST be registered to attend the lectures. If you’d like to REPEAT the course it is possible for $105 as a continuing ed student. Just ask Erika how.
October 3rd, FIRST MEETING and Program 1
Important orientation, course expectations and opportunity to “add the class” and “head count” needed.
Program #1. October 3 SUE TALLON
Sue Tallon likes to make things which opens her up to a myriad of subjects. Early influences in art and her own drawing, painting and love of composition eventually led to formal training in photography, a few years of assisting, and work as a photographer in L.A.’s art scene for the cities top museums and galleries. Relocating to San Francisco in the mid 90’s, Sue began her commercial career and now shoots product, food and still-life advertising nationally for agencies such as TBWA Chiat Day, Goodby Silverstein & Partners, BBDO, and JWT amongst others.
“The first time you see Sue Tallon’s food shots, you wonder if they’re real. They look like photos, yet their hyper color and their shine and shadows are so graphic, they pop. In a genre that traditionally favors natural beauty, the intense hues and high contrast of Tallon’s still lifes blur the line between photography and illustration and present a fresh approach to the look of food photography. “ I want objects and foods to have personalities,” Tallon said, describing how she pushes color, deepens darks and brightens brights to bring out her subject’s dimensional qualities. The style has a strong commercial appeal and has attracted high-profile clients, including bbdo, Goodby Silverstein & Partners, Kraft Foods, Sonic Corp and tbwa\Chiat\Day.
Photography was an enduring part of Tallon’s childhood during the 1960s and 1970s. Her father was a hobbyist who often annexed the family bathroom for his darkroom. He traveled internationally selling shortwave radios and moved the family from Argentina, where Tallon was born, to Colombia, Montréal and finally Southern California in 1971 for her last few years of elementary school. As she grew, her childhood interest in drawing and painting transferred to the camera, because she liked its “combination of chemistry and light.”
The Brooks Institute of Photography in Santa Barbara, California, offered a three-year program in the ’80s and Tallon enrolled after high school. She studied tabletop technique, photo illustration and especially how to use light. “I remember seeing my first print come up from a 4 × 5 negative,” she said. “Up until then, I had only shot 35mm. The leap in quality was a thrill.”- Ruth Hagopian
Program #2. October 10 ROCKY MCCORKLE with special guest star Gilda Todor
Rocky McCorkle is an internationally exhibited photographer who lives in San Francisco. McCorkle received his BFA in Photography from The Ohio State University and his MFA in Photography from the San Francisco Art Institute.
He has shown extensively throughout the United States and abroad including Boston, New York, San Francisco, Washington D.C., Toronto, and Busan, Korea. In 2012, McCorkle’s You & Me On A Sunny Day was selected as the Analog Winner for EXPOSURE 2011 International Photography Award. McCorkle’s work from this series is in the permanent collection at the Berkeley Art Museum (BAM/PFA) and the Tweed Museum of Art.
A five-year project started in 2007, McCorkle’s sequential photographic series follows widow Millie (Gilda Todar) as her morning routine gets run off-course when her favorite film Sunset Boulevard comes on TV. The movie is especially sentimental because it came out in 1950, the year her late husband, Jack (William Barclift IV), won the Auckland Marathon. In this psychological thriller, Millie is forced by daydreams and nightmares to confront her past. As faint television sounds influence, dictate, and distort her recollections, Millie reminisces about her beloved Jack as a champion long distance runner. Their life replaying in reverse, we see glimpses of Jack before his death in 2004 and back to his moment in the sun in Auckland in 1950.
Program #3. October 24 JANET DELANEY
Delaney’s projects have received numerous awards, most notably three National Endowment for the Arts Grants. Her work is in the collections of the San Francisco Museum of Modern Art, Pilara Foundation, the Harry Ransom Humanities Research Center at the University of Texas, the Musée de la Charleroi in Charleroi, Belgium, Museum of Modern Art, Rio de Janeiro, and the Bancroft Library at the University of California, Berkeley. Delaney has shown her photographs nationally in solo and group exhibitions. In 2011 she was invited to curate an exhibition of contemporary American photography in New Delhi, India. She recently published a book of her 1980’s San Francisco images titled South of Market with Mack Books of London and is now revisiting this district, camera in hand. From January to June of 2015 her early work from South of Market will be exhibited in full at the de Young Museum in San Francisco. She received her MFA from the San Francisco Art Institute. She has taught photography throughout the Bay Area, and for the past 14 years she has been an adjunct lecturer in Visual Studies at the University of California, Berkeley.
Program #4. November 14 ALEX FARNUM (OPEN TO THE PUBLIC as part of the Concert and Lecture Series)
Alex Farnum was born in Los Angeles, California in 1979. From that moment in time he has not stopped seeking out all the curiousities that life has to offer. His work is a reflection of just that mantra. He is a lover of stories, places, food and friend and the dramatic nature of his work is a reflection of Alex’s huge love for the present day and the importance of capturing it. His sharp-edged charm and unique style has helped him land on-going projects for national publications, international agencies, multigenerational brands and award winning book projects. His core goal in life is not to live forever, but to create photography that will.
Program #5. November 21 SARAH CHRISTIANSON grew up on a four-generation family farm near Cummings, North Dakota. Immersed in that vast expanse of the Great Plains, she developed a strong affinity for its landscape and stories. This connection to place has had a profound effect on her work. Despite moving to San Francisco in 2009, she continues to document the subtleties and nuances of the Midwestern landscape and experience. She’ll share her work including from her most recent project “When the Landscape Is Quiet Again”.
Christianson holds an MFA in photography from the University of Minnesota. Her work has been exhibited internationally and can be found in the collections of several institutions in the Midwest and the National Museum of Photography in Copenhagen, Denmark. She has also received grants from the San Francisco Arts Commission and the Center for Cultural Innovation. Christianson’s first book, Homeplace (Daylight Books, October 2013), documents the history and uncertain future of her family’s farm by interweaving her images with old snapshots and historical documents culled from her personal archive. Her current project, When the Landscape is Quiet Again, examines the oil boom currently underway in western North Dakota.
**Due to a change in course dates, Jessica Ingram has been asked to join us Spring semester 2015.