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UCLA Extension Class in Rangefinder Magazine

Jim Cornfield recently spent some time visiting Richard Langendorf’s Shooting Like the Masters: A History of Photography, then wrote about the class and its students for Rangefinder magazine. It’s a great article that showcases a lot of wonderful student work (from some very challenging projects).

Kudos to Richard and all of the students for their hard work and beautiful results! It’s a unique class offering, so we’re glad to see it get recognition in print.

Check out the article here: RF_Masters_Feb 2013 copy

Student Work: Pauline Batista

You may not know that in addition to our regular courses, we also offer a mentorship option, for students who have a specific project in mind and would like one-on-one time with an instructor to get individualized guidance and feedback. Students can pick an instructor they have studied with before, or whose work they admire. They spend six hours with their mentor over the course of the quarter.

Recently, photography student Pauline Batista completed a mentorship with instructor Roxann Arwen Mills. Pauline was kind enough to share some of her work and thoughts on the mentorship process.

Why did you decide to do this mentorship?

It was crucial to me to have someone’s input on my work that I could trust. The only way in my mind to do so was to find someone whose work I respected and who I thought would be able to understand where I was coming from.

I believe I was at a point in my work where I needed guidance that went beyond just another class.

The one-on-one time framework of a mentorship was exactly what I was looking for and needed. I have taken many UCLA Extension classes but each has their own assignments and parameters that weren’t always in tune with the kind of work I was looking to produce.  The great feature of the mentorship class is that it allows you to pick a mentor and work with him/her to develop your project and yourself as a photographer.

Can you describe your project and what your goals for the mentorship were?

 I began working on the series “Stumbling towards Oblivion” last year with a desire to leave the concrete jungle and explore our relationship to the natural environment.

I wanted to place my subjects as objects within a landscape but not to objectify them.

Personally the biggest challenges and rewards surrounding the project were the actual shoots. Although clearly staged scenarios, it was important to me to convey the excitements and fears surrounding such a explorations. Being out there for the shoots elicit many (opposing) feelings of uncertainty, anxiety, but also a strange feeling of peace and serenity.

I aimed to create a dream state removed from social expectations, and my goal with the mentorship was to translate that into photographs.

How did you and Roxann approach your work? What was she able to offer you in terms of guidance and critique?

As I mentioned I had already begun the work and therefore had my own ideas of what the project was and what I wanted it to convey to others.

In a way I was already determined to follow a certain path and aesthetics, which I believed, would communicate that.

Roxann being a well-rounded artist, who has also worked extensively with the human body was able to help me step back and analyze the work through a different lens. She questioned (and in turn made me question) the decisions I was making and the work I was choosing during the editing process. She offered me honest critique and was not hesitant to say when something did not work.

I think this is the best quality in a mentor.  After all you are not trying to get someone who simply agrees with everything you produce and say but rather can bring constructive criticism that may steer the work in an unexpected direction.

 How did your project change based on your work with Roxann?

It is very easy to get stuck within your own vision or ideas. Roxann enabled me to step back and be more critical of the work and from there evolve it. I began experimenting with different times of day and including dawn as opposed to just nighttime and also experimented more with lighting. The guidance with editing was tremendous.

The biggest contribution I would say came in terms of identifying where it was that the work could fit within the history of nude photography but also having something new to say about it. She encouraged me to study the history of it and what has been done in this field.

I can say with certainty that this mentorship has in more ways than one shaped the final body of work.

 

 

 

Rachel Langosch on the TedX Website!

Rachel Langosch’s TedXUCLA talk “Smiles Behind the Camera” is being featured on the main TedX site. She tells the story of teaching photography to kids, many of whom were picking up the camera for the first time, and the inspirational work they created in her class.

Congrats to Rachel on a great talk. We’ll look forward to hearing more like hers during the next TedXUCLA coming up in October.

Masood Kamandy’s Cronophotography

New instructor Masood Kamandy (he’s teaching Introduction to Digital Photography this summer) is working on a fascinating photography project. The images below are part of his Collapse series. They explore photography’s ability to collapse time and space. Utilizing software he designed himself to combine multiple images, he embraces chance and chaos, creating images which are unmanipulated composites, layered and mixed to arrive at a completed work.

You can see more of the project at antimemory.org. Of course, he also made the program open source, so others can play to! From the website collapsus.org:

“Collapsus is an open source program created for the exploration of chronophotography and image stacking in digital photography.

The program works by taking all photographs in a selected folder and using various algorithms of your choice to combine into a single image.

With this software you can compress time and reveal movement. You can average images. You can explore abstraction and chance operations. You can also export sequences to create animations.”

I asked Masood about his inspiration for this project, and he said:

“I’ve been interested in the web and open-source as a way of communicating with other artists and creatives for a long time, and teaching is also a big part of my practice as an artist. When I created the Collapsus computer program, I made it with the idea that it would be a teaching tool for digital photography. It is a really great way of understanding what exactly is happening when we modify an image in Photoshop, which essentially just executes mathematics on the pixels of an image to give a specific result.”

Good stuff.

Photography at UCLA Extension

UCLA Extension photography courses provide an opportunity for adults of all backgrounds and experience levels to study photography in a structured classroom setting, producing weekly creative assignments which are critiqued by the instructor and fellow students.  Most of our classes meet during the evening or on weekends. While we offer intermediate and advanced level courses, many students come to us because they own a DSLR and want to learn to use it more confidently and effectively.

For a list of fall quarter course offerings (beginning Sept. 21), click here.

Most students start out with Photography I (we offer several sections each quarter). The class is appropriate for people who have never picked up a camera before, but also for those who may have been shooting on their own for a while but want to have a better understanding of how to achieve successful images. Class cover aperture, shutter speed, depth of field, focus, ISO, file management (including coverting files, tagging, file batching and archiving), basic lighting skills (including contrast, direction, color, white balance, histogram) and composition (including framing and perspective).

There are twelve meetings in total. The goal is for students to get comfortable shooting totally on manual, and manipulating various elements in their photography.

Students can take classes individually, but we also offer a Certificate in Photography. It’s a ten course program that includes work in portraiture, lighting, history, and concept development, and concludes with a final portfolio-building workshop and review. The schedule is flexible – students have two years to complete the program, and can take courses in any order and at the pace that suits them. The certificate, like our courses, is open enrollment, so there is no official application process; anyone who is interested in completing it can enroll.

For questions about our program, e-mail photography@uclaextension.edu, or call (310) 206-1422.

Images by instructor Craig Havens.

HavensSamples4

 

Course Spotlight: Documentary and Landscape Photography

For students interested in an elective this quarter, Documentary and Landscape Photography is beginning this Saturday. The class covers camera skills like flash and film balance, color theory, and white balance, in the context of the history of documentary and landscape images. Students will be completing creative photography assignments incorporating their individual locations and environments. A number of location shoots are scheduled, to give hands-on experience with the subject matter.

The class is led by Clover Leary. The image included in this post is from a series she is completing about military simulation environments. Her teaching philosophy is particularly appropriate for this class: she says “I approach teaching in much the same way that I approach my art practice. My work is often the end result of an investigation of a particular location and it’s history, and also a real collaboration with the subjects who inhabit that space. Collaboration is rewarding for me because it generates mutual learning resulting from productive dialogue between individuals with varied skills and interests. For me teaching requires a similar intellectual exchange. I always wish to learn something from the teaching experience and from working with students. By remaining actively engaged and passionate about the subject I am teaching, I can let students draw from my enthusiasm for the medium.”

Announcement: Changes to Photography Certificate Program

Dear Photography Students,

We thought you might want to know of some changes being made to our existing Photography Certificate programs.

Currently, we offer two programs; a 28-unit Certificate in Fundamentals of Photography (CF561) and a 20-unit Certificate in Advanced Topics in Photography (CF562).

Based on observation and several quarters of student and instructor feedback, we have decided to combine these certificates into one inclusive program, simply titled Certificate in Photography (CF598). This new 40-unit program will include beginning, intermediate and advanced level courses, to give all students a thorough technical and creative experience, and prepare them for a variety of professional situations.

To see the full curriculum and details for the new Certificate in Photography, click here.

We are excited to be debuting this updated program, and feel that it will offer a complete, inclusive experience. However, you may be in the process of taking courses with the expectation of joining one of the older programs. If, after reviewing the details of the new program, you prefer to enroll in either CF561 or CF562, you may do so through January 31st. After that date, those programs will be retired, and only the new Certificate in Photography (CF598) will be available.

Students who are already enrolled in either CF561 or CF562 are free to complete the curriculum that existed at the time of their candidacy declaration.

To enroll in Fundamentals of Photography, please call our registration office at (310) 825-9971 (online enrollment is not available), and reference “CF561.”
To enroll in Advanced Topics in Photography please call (310) 206-1422 to speak with an advisor. This certificate is restricted to those who have the appropriate experience and have completed a portfolio review.

Of course, students are always welcomed to take individual courses, and need not join a certificate program to study with us. This information is for those who are interested or have been considering pursuing a certificate, to keep you abreast of these changes.

Please don’t hesitate to contact us with any questions.

Sincerely,

UCLA Extension Visual Arts

Camera Can See Quantum Mechanics Happening

From the annals of “seems too amazing to be real but actually it’s just science” comes this camera that captures images at one trillion frames per second. That’s slow enough to SEE PHOTONS MOVING THROUGH SPACE.

The explanation is interesting, but skip to 1:49 to see the really mind-blowing stuff.

Interview with Photographer Craig Havens

Craig Havens teaches Introduction to Digital Photography, which is often the course students start out with in our program. He’s a successful and productive photographer in both the commercial and fine art field, so I thought it would be interesting to hear a little bit about his process and experience. In the below interview, he talks about his latest project, Soundings, which you can view on his website, craighavens.com. His commercial work can be found on studio642.com.

Can you talk a little bit about your Soundings project? What’s your vision, how do you set up the shots, etc?

The imagery of Soundings depicts phenomenological occurrences set mostly within the nocturne landscape. The work is created by handholding a camera for as long as twenty minutes. During this time the camera settles into a state of stillness, allowing the phenomenon to unfold while releasing attachment to the outcome of the exposure.

This state correlates to many pan-religious descriptions of epiphanies of the sublime. The final creation and display of large-scale silver prints of these images mimic the intricate rituals and resonant metals of religious iconography. In essence, I am engaged in constructing a meaningful mythology around these moments.

How is the creative process different on commercial shoots than when you’re doing your own work? Is working for clients “paying the bills”, or does it just feel like another creative enterprise?

I have always felt that the artist’s intent is the determining factor between personal artwork and professional work. My art-making fuels everything else as far as inspiration and personal fulfillment is concerned.

With regard to commercial work as a creative enterprise, it varies greatly depending on the project. For example, I just completed shooting an editorial piece on San Onofre State Beach for Huck Magazine – a beautiful surf and skate magazine out of London. It was a completely solo shoot because my client was in England and had asked me to interpret the subject matter independently. I was able to spend 3 days just walking the beach alone and meeting surfers young and old while documenting the atmosphere of this unique Southern California beach.

On the other hand, I recently shot a national print campaign for Comcast Communications that involved a crew of almost 30 people on set. While producing and delivering a shoot like that can be nerve-wracking, I am fortunate enough to be working with a lot of professional creative people who are great at what they do. In the end we had a wonderful shoot and delivered above and beyond what the client was expecting.

You just sold a piece – congratulations! What were the circumstances, and what does it mean for the project?

Yes, I was recently honored to be asked by the curator of the Armory Center for the Arts, Jay Belloli, to participate in the Pasadena Armory Biennial Art Auction. This is a great event held every two years to support the arts in LA. The event was a great success and a wonderful collector and patron of the arts who is very active in collecting photography acquired my piece. Any time a collector is willing to add an artist to their collection by acquiring a work, it affirms the convictions of the artist that there is an audience for their work. So I was very pleased to be a part of the event and am looking forward to completing the series and showing it in full over the course of the next year.

What’s something you’ve learned by experience that you wish you could go back and tell your just-getting-started photographer self?

I’ve definitely learned that making art takes patience and perseverance. I always had deeply personal reasons for creating and that has sustained me through the hard times. I’ve learned that no matter what may come, the work always continues. Over time the process becomes less and less about defining your success against exterior measures. Eventually an artist’s measure of success becomes very personal and the greatest challenge becomes the act of creation itself.

Photography FAQs

Here at the UCLA Extension Photography program, we offer a variety of courses to improve your technical skills and your creative eye. Courses range from Introduction to Digital Photography to our Master Photographer Series, and can be taken individually or as part of a Certificate Program.

Below are some of the questions I often hear from students.

Q: Where can I see a list of the photography classes you will be offering?
A: You can download a PDF of the current catalog here.

Q: I’ve had my DSLR camera for a few years, and have done some independent shooting, but have never taken a class. How do I know what level I’m at?

A: Introduction to Digital Photography covers the following topics:

  • Aperture
  • Shutter Speed
  • Depth of Field
  • Focus
  • ISO
  • File management (including coverting files, tagging, file batching and archiving)
  • Basic Lighting Skills (including contrast, direction, color, white balance, histogram)
  • Composition (including framing and perspective)
  • Digital imaging (including an introduction to Adobe Lightroom)

If you feel confident in your knowledge of the topics listed, you are ready to move on to an intermediate-level course. If your understanding is hazy or you struggle with some of them, the introductory course would be the best place for you to refine your skills and get a solid foundation of technical understanding. Many students who are not technically “beginners” take an introductory class as a way to test their current abilities and for the challenge of assignments and instructor critique.

Q: What is the application process to take courses with UCLA Extension?

A: There is no formal application process. As the continuing education arm of UCLA, Extension courses are open enrollment. Students may enroll online, or by phone at (310) 825-9971.

Q: Who are your teachers?

A: Our instructors are professionals currently working in various fields of photography. They have valuable real-world experience that they are eager to share in the classroom. Most have online portfolios that can be found by searching their names.

Q: Can I transfer Extension class units to UCLA, or the grad program of my choice?

A: Maybe! That is entirely up to the admissions office of the school to which you are applying. They may ask you to e-mail course descriptions or class syllabi to an admissions counselor, which we would be happy to help you obtain. If you think you might want to try to transfer course units at some point, be sure to take your courses for a Letter Grade (as opposed to “Not for Credit”).

Q: Can I visit a class on the first meeting to see if I like it, even if I’m not enrolled?

A: Students may visit the first meeting of courses that are 10 weeks in duration or longer. However, many courses fill up quickly, so if you are interested in a course, it’s advisable to enroll early to ensure you get a space. All students must be enrolled by the second class meeting.

Q: How many students are there in each class?

A: An average class will probably have 15-18 students – the limit for most courses is 20.

Q: Who should I contact if I have more questions?

A: You can reach our office at (310) 206-1422, or send an e-mail to photography@uclaextension.edu.

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