Syllabus Art 250

Levon Parian
Art 250
Zoom virtual class
Office hours after class time or by appointment 
e-mail: levon.parian.384@csun.edu 

Course Objectives

To provide a basic understanding of the principles of photography from an artistic perspective. Initial emphasis will be on technical understanding of the functions of the camera with its relationship to exposing film. As the class progresses, the emphasis will shift to composition, design, intent, and subject matter.  In this class, you will process your own B&W film and make prints from the negatives. Unfortunately you will not be able to use the lab, so instead of processing and printing your own prints, you will need to take your film to a lab to have them processed and scanned for presentation.


Course Requirements

Text: Black & White Photography, A Basic Manual by Henry Horenstein

A 35 mm SLR film camera with manual controls is mandatory for the class.

A minimum of six assignments and one camera test.

A written mid-term exam on information from readings and lectures.

The final exam will be in the form of a series of prints about a single topic.

Attendance and participation are mandatory.  Three tardy days or two unexcused absences will drop your grade by 10 points.


Grade Breakdown

Following directions is an important part of your grade on each assignment.
In the first half of the semester, I ask for a specific technical objective(s) to be photographed.
After solving the assignment, use the technical idea and create interesting images.
You will be graded on the assignment, and the quality of your final prints.                  



Final Grade Breakdown

(100 points possible)                                 
Assignments              70                            
Written test               15                            
Final Presentation     15                            

A    93-100     A- 90-92
B+ 88-89        B  83-87     B-  80-82
C+  78-79       C  73-77     C-  70-72
D+  68-69       D  63-67     D-  60-62


Equipment and Supplies

SLR film camera with manual controls and light meter.
Gray card
35 mm B&W film (at least 8 rolls -36 exposures 100-200 ISO).





Optional Equipment


Tripod and cable release 

Lens cleaning tissue
Agfa 8x magnifying lupe



Photography Supply Stores

Dean’s Camera Repair / 1055 West Carson Street, Torrance, CA 90502 (310) 782-8619
  (Repairs and sells used film cameras)

Freestyle / 5124 West Sunset Blvd, Hollywood  323-660=3460

Mel Pierce Camera & Digital / 5645 Hollywood Blvd., LA, CA 90028
  (film sales, but no film cameras) (323) 465-2191

Samy’s Camera / 431 South Fairfax Ave, Los Angeles  323-938-2420
                             585 Venice Blvd., Venice  310-450-4551
                             41 East Walnut St, Pasadena  626-796-330

Steve's Camera Repair / 4355 Sepulveda Blvd., Culver City, CA 90230  (310) 397-0072

Assignments: 
             
Gray Card Test- making sure the camera is operational and accurate.

Looking at Light – shots from the same location at different times of day.

Depth of Field – photographing a single plain of focus by using aperture settings.            

Motion - capturing movement by adjusting shutter speed.

Portraiture- use of light and expression to bring out the unique qualities of a face.

Bulb – Creative use of long exposures.

Series (final) – A series of narrative or non-narrative prints.



Course Calendar

Because of Covid-19, schedule subject to change at Instructor’s Discretion

Week 1       Introduction to camera and class

Week 2       Grey card test. Processing film & proofing demo

Week 3        Review Grey Card test. Operation of camera and lighting demo

Week 4        "Looking at light" review

Week 5        "Looking at light" due

Week 6        "Depth of Field" review

Week 7        "Depth of Field" due

Week 8        "Motion" review/ Mid-term exam

Week 9         "Motion" due

Week 10       Final Project Proposal due

Week 11       "Portraiture" due

Week 12       “Multiple Image" review

Week 13       “Multiple Image" due

Week 14       Lab

Week 15       Lab

Week 16       Final Project presentations

http://art250news.blogspot.com/

Buying an SLR camera

Both digital and film cameras are similar in the mechanics of capturing light. The major difference that sets them apart is the storage of information. The back of a "film" camera opens to load and unload film. The back must be light tight for accurate exposures. The film is light sensitive and when exposed and processed, acts as the storage of information for the image photographed. This is the kind of camera you need to get for this class.

The back of a digital camera does not open like a film camera. The image is captured electronically via sensors and viewed via a screen on the back of the camera. This camera will not work for this class because it does not store information on film, but rather on a digital flash card.
__________________________________________________________________________________


Some students have been asking me about purchasing cameras, what to look for etc. You will be processing B&W film in this class, so you need a camera that can shoot film not a digital camera. It needs to be an SLR or "single lens reflex" camera. This camera has a mirror system behind the lens that pulls up and out of the way when you open the shutter to expose the film to light. This mechanism allows the photographer to see through the lens for composing and focusing. Usually the lenses are removable and usually the camera has manual features for total exposure control. The four manual controls that are important to look for are the f-stops or aperture (opening in the lens), the shutter (in the camera body), focus ring (on the lens), and ISO adjustment (on the body).

 Camera drawing from Art With Ms. Gomez' -Photography I

From my experience, Canon and Nikon have been the preferred cameras because of their optics and professional orientation, but Olympus, Pentax and Minolta, are also recognized quality cameras (usually better priced). With most new cameras you will have LED readouts. Get an SLR with at least a 50mm (normal) manual focusing lens (zooms in the 35-80 range are good). Also make sure that the camera allows both “shutter” and “aperture” manual control (f-stops at ½ stop increments, shutter speeds from 1/500 to Bulb). If you don’t know what this means, ask your sales person.

There are a lot of good deals on used film cameras because so many photographers have switching to digital. Shop around and ask a lot of questions, ask about used cameras as well as new ones. Next pick up each of your possible camera candidates and adjust the f-stops and the shutter speeds. Keep in mind that as you shoot in the manual mode, you want these actions to be fluid and easy. Take a shot; adjust the f-stop 1/2 stop up and then 1/2 stop down. Change your shutter speed and make sure there is a “B” (bulb) setting. For a used camera, open the back of the camera and look for wear and tear (if the back doesn't open and close easily be concerned for light leaks). If there is a big dent anywhere be hesitant, that camera has been dropped! Make sure the meter is working and is reacting to changes in light. Fire the shutter and advance it making sure that it advances smoothly. Do this while the back of the camera is open and look through the place the film would be, do you see a round dot of light coming through the lens opening (with lens cap off)? This will let you know if the lens aperture is synchronized with the shutter. Compare the ease of use for each camera especially the metering system, does the camera tell you what f-stop and shutter speed you are set at in the viewfinder? Then try the focus in the manual mode, see if the camera can focus "macro" and try it out. See how close you can get to something in focus. Then if it has a zoom lens extend it to the most telephoto mode and focus in and out with the manual focus (Can you easily tell when you are in focus?) When comparing the lenses of the different cameras check what the smallest f-stop number and the largest f-stop numbers are (An f-4 lens should cost less than an f-2.8 lens from the same manufacturer, but the f-2.8 would be more desirable if you are shooting in low light conditions). The smaller the f-number, the more light allowed through the lens, which means there is more glass which means more money. Next, how does it fit in your hands, is the viewer bright and easy to look through, and does the camera fit comfortably to your face. Also check to see if the camera has a “hot shoe” or cord attachment for an external flash (not mandatory, but a nice option to have).

If you are still not sure look the camera model up on line and see what consumer groups say about that particular model. Have in mind what you plan to do with your camera after this class, is it just a hobby or are you planning to make it an element of your career? That will help you decide how much money to spend.

Also, get a written guarantee that if the camera cannot be used in a fully manual mode for this class, that the store will refund your money if you return it within one week or so after classes start. That way I can look it over in class. With used cameras make sure that you get a 90-day warranty that the store or seller will refund or replace the camera. A used camera will do you no good if it’s in the repair department for 6 or 8 weeks!

I hope that helps you choose. Don’t worry if you are still confused, we will go over all this information. But you must have a camera to use by the first week of class.

Here are some websites that can help give more info:

http://www.wikihow.com/Use-Almost-Any-35mm-Film-Camera
http://blog.epicedits.com/2008/06/20/your-guide-to-buying-old-film-cameras/

Gray Card Test

This test will check to make sure your camera is in working order and give you something to process and print for your introduction to B&W printing.

Shoot your first gray card exposure at "rule of thumb" which is f16 at 1/ISO (shutter speed) in bright sunlight. All these shots will have someone holding a gray card, photograph them at least from waist up and include a full range of tones, highlights to shadows behind them. Make sure the sun is somewhere behind you, preferably slightly to one side. Also make sure the gray card does not reflect the sun into your lens (remember angle of incidence = angle of reflection). Your second shot should be what your meter reads off the gray card, this will be your "normal." (See how close your normal comes to the rule of thumb to check your meter and write it down). From your normal, bracket in each direction adding and subtracting 1 stop, and/ or 2 stop increments. This should take up your first 8 exposures. After that, shoot 12 exposures arranging interesting compositions with shape, form and texture; light being your subject. Then assuming you have 36 exposures, shoot the next 12 shots without looking through the view finder. Don't shoot the same shots again, shoot new images for the second 12.

We are combining the "Looking At Light" assignment with this test, so look over that assignment (available in the "Art 151 News" blog) and photograph a scene with a foreground, middle ground, and background. Facing North, choose non-moving objects at three times of the day; in the morning, noon and late afternoon -use only one frame for each time. Look for interesting shadows and the way hue, texture and form change as the sun moves across the sky. You may need to adjust your exposure accordingly, indicate your images on the proof sheet so I know where they are.

Process this roll, after you get back your scanned images, look them over and send me your favorite 3 from the 12 through the viewfinder, 3 with out the viewfinder and your 3 images of the same location at different times of the day (looking at light). Be ready to discuss in class and show the Grey card test. Send a typed paragraph about your results with the images when you hand them in. Keep it short and to the point of your observations about the assignment.





Videos to watch:

http://www.youtube.com/watch?v=DBshTYrFbKI

http://www.youtube.com/watch?v=xg7_meg77Qw&feature=player_embedded

http://www.youtube.com/watch?v=jxJSpxh_r90 
 ____________

Value:
https://www.youtube.com/watch?v=AAwYHNo31ZQ

Lines:

https://www.youtube.com/watch?v=BDePyEFT1gQ&list=PLiOil1qP-cMURN_8baOr3QWfySmIjqKIj

Shape:

https://www.youtube.com/watch?v=bJzGkZwkHt4&list=PLiOil1qP-cMURN_8baOr3QWfySmIjqKIj&index=2 

Form:

https://www.youtube.com/watch?v=9DIPs3T2dQk&list=PLiOil1qP-cMURN_8baOr3QWfySmIjqKIj&index=3 

Texture:

https://www.youtube.com/watch?v=YoOb3JSDAUo&list=PLiOil1qP-cMURN_8baOr3QWfySmIjqKIj&index=4 

Space:

https://www.youtube.com/watch?v=U11B_0FCn6o&list=PLiOil1qP-cMURN_8baOr3QWfySmIjqKIj&index=7 

Color:

https://www.youtube.com/watch?v=wWW_UbrkBEw&list=PLiOil1qP-cMURN_8baOr3QWfySmIjqKIj&index=6
__________________________

Perspective:

https://www.artistsnetwork.com/art-mediums/drawing/learn-to-draw-perspective/  http://whsdesignandphoto.weebly.com/formspace--perspective.html

Your Classmates Images

Every Semester I pick some images to display or go into my file for reference. This semester (Spring 2010) I will post them here to represent the learning experience of this semester. Good job to those who got in and for those who didn't: "shoot more!"


I looked these up to give you some ideas for multiple exposure...



Tara Prades -Multiple Exposure

Farshad Soheili -portrait


Shirley Perez -self-portrait



Crystina Cho -multiple exposure



Nicki Katz -motion (camera still)



Crystina Cho -grey card test



Sami Rodriguez -environmental portrait



Lisa Lautman -Multiple exposure



Eunice Orantes -pan


Jacob Cohen -self portrait


Eunice Orantes -Great Depth of field f22


Erik Engle -pan


Shelley Hayashi -environmental portrait

Assignment #1 Depth of Field

Your first assignment is “Depth of Field”.
Depth of field is regulated by the aperture of the lens, distance from the subject, and the focal length of your lens.
Read the information in your book about the lens and depth of field.
f-4, shallow depth of field, (3:00 PM)
f-22, great depth of field

Photograph the same ("non-moving") subject in three set-ups without moving the camera position. Thinking in terms of distances from the camera, try sensing a foreground, middle ground and background in your shot. Look at the lighting and make sure shapes are being distinguished. Focus on the foreground or near middle ground. Do not change your focus once you begin shooting. Before you shoot make sure your exposure range will work for the light you choose. You may want to start wide open (f2.8 or 4) and check with your meter to make sure that your shutter speed will match the scene on both ends of the scale for your ISO. Bright sunlight may not be the best choice for this assignment.

First use a wide f–stop (2.8 or 4 ). Adjust the shutter speed to get a normal exposure. Manually focus and do not change your focus for the rest of this set of shots. Then take a shot at f-8 and finally at f-16 or 22 or whatever the smallest aperture your lens has. Changing your shutter speed to create an equivalence throughout (example: add three stops with aperture, take away three stops with shutter to keep equal amount of light). Take all the pictures of the same scene.

After shooting your initial set, create a variation. If you have a zoom lens set your lens at 50 mm for first set of shots and for a variation zoom in at least to 80mm and repeat the first part of the assignment. If you don’t have a zoom, but a fixed lens, then move into the foreground object as close as it will focus and repeat the first part of the assignment. Try macro if you have it.

After shooting your 6 technical images, divide the rest of the roll into two parts  (say 15 and 15) and shoot half as great depth of field and half as shallow depth.

Process your film, scan an send me the 6 images as well as 4 great depth and 4 shallow depth images.


Shot count:
1) Great depth of field (f16- 32)
2) Medium depth of field (f8)
3) Shallow depth of field (f1.8- 4)
4-6) Closer Distance or Zooming in to subject. (3 images at varying f stops same as above.)

7-21) Great depth of field of anything that interests you- look for interesting light, and subject matter

22-36) Shallow depth of field- use a large f-stop opening like 1.8-4 to give you a soft focused background.

  

Include a paragraph describing what you learned with your scans.


Here is a set of images showing what the Depth of field part of the assignment (with variation) should look like:

f22 at 1/50 (great depth)

f9 1/320 (medium depth)

f5.6 1/800 (least depth for the lens I was using)

Moving in as close as this lens could focus...for a slight variation:

f5.6 at 1/50

f9 at 1/250

f22 at 1/640



For a more technical interpretation of Depth of Field visit:

Depth of Field digital but good
https://www.youtube.com/watch?v=RDXLGOo-fyc

https://www.youtube.com/watch?v=34jkJoN8qOI

or:

http://www.cambridgeincolour.com/tutorials/depth-of-field.htm

Lenses and Perspective:

https://www.youtube.com/watch?v=QsrNjycYUdQ 

Split Grade Printing:

https://www.youtube.com/watch?v=KlVSdiEhafA

https://www.youtube.com/watch?v=TPznFhy-CIc

Second Assignment-Motion

"Panning the camera"        Levon Parian

Your second assignment is “Motion” and I would like you to think about capturing movement on film by experimenting with your camera’s shutter speeds.

Remember a longer shutter speed refers to the shutter remaining open to light for a longer time. To compensate for longer exposure time, use a higher f-stop number (smaller aperture) or change the time of day you are shooting.

Try two different types of shots to create motion: First move the camera at the same speed as a moving object and take its picture. This is called “panning” the camera. When panning, make sure that you pre-focus and pre-judge your exposure and mark a spot where the moving object is going to pass near you. Follow the moving object and take the picture on your mark continuing to follow the object after the shot to keep your action smooth. Try panning at 1/500, 1/125. 1/60, 1/15 and 1/4 of a second.

Make sure you write down all the information on each shot so that you can go back and see the affect each shutter speed has on the film. Also don’t forget that if your subject is close to you and moving quickly you will have a different affect than if it is further away and moving slowly. Stick to the same subject for a set of exposures so that you can compare the effect of the different shutter speeds. Always safety first, remember having a camera in your hands does not shield you from an on coming vehicle!


Subject moves          Levon Parian


Next photograph motion with your camera in a stationary position and allow objects to move in front of your frame. Place the camera on a tripod or some stationary object and if you have a shutter release cable use that to reduce the chance of camera shake. Once again bracket the same shutter speeds and f-stops as the pan. 1/500, 1/125, 1/60. 1/15, 1/4.

For the next 8 shots of your roll try the Bulb ("B") feature. Here the shutter will remain open as long as your finger is on the shutter. Try some shots moving the camera and also try some with the camera on a tripod or stationary position. Finish the roll with anything related to the shutter and movement.

Darya Jitmetta -Bulb (camera stationary)

Look for interesting solutions and ideas; I want your pictures to start reflecting an inquisitive train of thought and exploring visual concepts. Think about how the world around us is constantly moving. Use depth of field to isolate your subject and create a poetic interpretation. Do not use flash on camera. Hand in all the 5 pans and the 5 camera stills, and 2 Bulb shots one with camera moving and one with camera still. Add any 3 shots that you like after that.

Information on long exposures:
https://www.picturecorrect.com/tips/how-to-expose-film-correctly-at-night/

assignment #3 is Portraiture.

environmantal portrait of - Matisse by Henri Cartier-Bresson


I would like to see some creativity here...
Shoot all three and make a print of the following categories:

1) Environmental - Have your subject in their own environment
or place them somewhere that adds harmony or even conflict to
the subject. Questions to ask yourself- what are they
wearing? Who are they? What special ideas do I want to
present to the viewer about this person?
Try different shutter speeds and f- stops for affect.



Picasso by Newman

2) Close-up - Usually this means a shot where the head fills
the frame and it may or may not include the shoulders. Be
careful with this one. Longer lenses 80 mm+ usually work
best, but I know some of you only have 50mm (normal) lenses.
Also be aware of harsh shadows on the face. Try to find a
place where the light bounces off a white wall so the the
light has a nice even glow but not direct sunlight. (This
will keep the squinting down too). Bracket!

Carolyn Smith (portrait assignment Spring 2007)




Self portrait Graham Nash

3) Self Portrait- this may be the hardest one for most of
you. First think about an interesting way to present
yourself. Then find interesting lighting. A tripod will help
and most of you have a timer on the camera so that you can
trip the shutter and run to the other side of the camera.
Mirrors are OK and so are images that imply your presence.
Plan this out so you don't get a bunch of backs and “oops” shots.

Bracket and use different shutter speeds to enhance the idea
of your picture. We now are getting to the point where I need
to start seeing some creative solutions to these assignments. Composition, lighting, subject, and tonal quality will be important in my grading. Hand in 3 images of each part of the assignment: Environmental, Close up and Self.  The first two should be of 3 different people and the self portraits should be of 3 different set ups.

Lighting the face info:
http://digital-photography-school.com/6-portrait-lighting-patterns-every-photographer-should-know
http://www.hongkiat.com/blog/beautiful-black-and-white-portraits-photography/

this video is about a photographer named Richard Avedon and he used large format B&W film for his portraits.
https://urldefense.proofpoint.com/v2/url?u=https-3A__www.youtube.com_watch-3Fv-3DLeWSbdBqxzs&d=DwICaQ&c=Oo8bPJf7k7r_cPTz1JF7vEiFxvFRfQtp-j14fFwh71U&r=EeIhOQAf8fatzNlXf5qLhfl0-yWODZrj4yU6WB6btH8&m=H087tGZZ_23s-fz6whduY5tj9wX8xhwVJfktZ4rLTZY&s=UwqcCIXXkEpD00bDxpkyKj7jw1I6yj8kZH-0a1Ieg9U&e=



Look up "Sally Mann Immediate Family" for portraits of her family. 


How Portraits can Lie:
https://www.youtube.com/watch?v=xNKJOPx-ATI 



Nadine Linares (Self Portrait Spring 2006)

Assignment #4 is Multiple Exposure.

Duane Michals -Magritte with Hat

For this assignment, I want you to experiment with long shutter speeds, blurs, and double exposures. Hand in 6 images of your choosing, concentrating on interesting accidents, compositions and juxtapositions of subject matter. You will be graded on the print quality as well as the creativity you present.

Remember the grey card test and how you were asked to shoot without looking through the viewfinder? Think along those lines, when you are shooting, but always looking for interesting and unusual subject mater to layer on top of one another. Look for contradictions in texture, light and subject.

Here are some ideas on how you can create these affects:

BULB

When you press down on the bulb feature, your camera’s shutter remains open until you release it. Some cameras have a lock you can use to keep the bulb open while you run around and paint with light…

There are many ways to utilize the painting with light idea. You should make these pictures either at night outside, or in a darkened room inside. Take some images with the camera stationary and some with the camera moving.

For the stationary version, set up the camera on a tripod or solid object, if your camera does not lock in the bulb position, get a friend to help or go with a very long exposure (5 seconds or whatever your meter might say the ambient light is). Walk into the scene and flash (with a small hand strobe or a flashlight) objects or people in that scene. If the scene is dark enough, you can leave the shutter open long enough to light much of the scene. Be careful of exposure- overexposing could ruin the affect.

Another way to use bulb involves moving the camera. Hold the camera shutter open on bulb and walk around in a dark room or outside and flash in something. In other words, you could open the shutter on a city or street scene outside keeping your finger on bulb, cover the lens move the camera and either shoot some other scene (on top of the old one) or flash in something into the scene.

Experiment with these ideas and see what you can come up with. I would like to see your subject matter transcend daily existence and become fantasy, poetry and down right strange! Three prints to hand in with any technique that excites you.




Joseph Galli (Bulb assignment -camera stands still- Spring 2007)



Nightmare (bulb-camera moves) Levon Parian

RE-SHOOT A ROLL

After shooting a roll of film, re-shoot it by pulling out the leader, and loading it again. If you want the frames to match up, mark your camera and roll of film where the teeth of the take-up roller and your sprocket holes meet. Do this the first time you load it, so the second time you shoot the roll you have a guide to match up all the frames.

Mind Ray (film marked and re-shot to keep frames consistent) -Levon Parian

Swedlund's Barn, 1979 (Re-shot with unmatched frames) -Levon Parian

DOUBLE PRINTING YOUR PAPER

For added interest, you can double expose your paper under the enlarger. Find two images that work together and print them on the same piece of paper making them into a single image. The way I would want you to work this technique is to sandwich two negatives on top of each other in your negative holder. Do this on the light box so you can see what might happen... remember to place highlights over shadows to get interesting combinations and be careful not to pick up every piece of dust on the light table, also be careful of fingerprints.

Hope (sandwiched negatives) -Levon Parian

Hand In The Sand (Double exposure in camera and sandwiched negative) -Levon Parian


Let's see what kind of great stuff you can come up with! This should lead you into your final series project. Hand in 6 images of your choosing in one folder.

Historic - Oscar Gustave Rejlander:  https://www.youtube.com/watch?time_continue=15&v=gPGLTtINJBU
For reference check out Jerry Uelsmann's multiple printing technique and work:
https://www.youtube.com/watch?v=TCQQlFYbH4w&feature=fvwp&NR=1
His short explaination:
https://www.youtube.com/watch?v=MsVDXjthsaU

This is a good video on Uelsman's history:
https://www.youtube.com/watch?v=iyR65PeAEEg

Maggie Taylor:  https://vimeo.com/72831294
https://www.youtube.com/watch?time_continue=15&v=NNBnvVfMBIY

Here is some information on technique (not sure if I like the image made, but it's a rare example of how to:)  https://www.youtube.com/watch?v=-LPEqTVeg-Y&list=RDMsVDXjthsaU

Also look at these and even add some of your own:
https://www.google.com/search?biw=1390&bih=1091&tbm=isch&sa=1&ei=JmULWrjxE9GojwPzsZfIBw&q=B%26W+double+exposures&oq=B%26W+double+exposures&gs_l=psy-ab.3...24085.28514.0.28851.16.16.0.0.0.0.75.1028.16.16.0....0...1.1.64.psy-ab..0.2.143...0j0i67k1j0i8i30k1j0i24k1.0.MAWEStWEyuc#imgrc=4jYUotcHGXA54M:

Assignment #5 Narrative or Non-Narrative Series

Vlad Artazov-Nail Photography Series (non-narrative)

Victor Perez- Coffee (narrative)

Jordon Ross-Favorite Desert (non-narrative)

Create a series of 6-12 photos that are related in a narrative or non-narrative way. This assignment is about coming up with an idea and following through with final prints. "Making" pictures rather than just "taking" them. Keep your idea simple and "do-able". Look around you for interesting objects and people. Make stories revolving around them. Think out and draw your idea to see how you can represent it visually. Look for interesting angles that will enhance your story and still make each image interesting in itself. Use what you learned about depth of field to isolate your subject and use the rule of thirds to make your viewer's eye search through your image for more clues to the story... Create ghosts and mysteries with long exposures... The more layers of information you create, the more impactful the images.

A narrative story has a beginning, middle, and end. So if you were to take 5 shots of some kind of event that the sequence needed to be in a specific order; 1-5 to get the story across, that would be a narrative series. One example would be if you photographed someone who went to the market to get groceries and then came home, put some of the groceries away and then cooked dinner for a friend who came and ate the meal-- that would be a narrative series.  Also think about Duane Michael's photo fictions like, "Death comes to the lady" or his miniature bathroom series.

A non-narrative series would be independent images that do not exist on a time line but have something in common binding them together. Usually you could rearrange the order of these images and the meaning would not be affected. For example: 6 photographs of surfers on the beach each with a different type of surfboard. The order of these images could be rearranged and still have the same meaning. So the topic or subject of the non-narrative series is important. It could be the lighting of the subject, or the way the photo is taken, but there must be some consistency to the images for the viewer to realize that they are a series. Distance from subject or size of the subject in the frame is also a factor in consistency. Overall the story takes place in each individual image and when combined they convey a consistent idea. Unlike the linear progression of images of the narrative.

Come up with something that interests you and also is easy to accomplish. I am more interested in seeing expressive camera angles, and the use of depth of field and shutter blurs to make simple ideas come to life! You will present your series in class December 7 or 8 depending on if you have class on Monday or Tuesday. 

Ryan Alberts- soldier boy (narrative)

István Halas: The answer, 1987 (non-narrative)

How to Make a Storyboard

1. Step 1: Create a Template. Draw a series of rectangles on a piece of paper, as if you were creating a comic strip. ...
2. Step 2: Give the shot description under each rectangle that corresponds to that scene.
3. Step 3: Sketch Out the Story. ...
4. Step 4: Add Notes.
   

The top row that I drew on the board is a narrative  with a linear time line. (can't rearrange these in order)

The bottom row is a non- narrative series. These can be rearranged without ruining the story because each image represents the idea internally.

Remember you are "making" images, not "taking" them.

Storyboard from class