cs photography information guide

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PHOTOGRAPHY CERTIFICATE PROGRAM

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Continuing Studies photography program information guide

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PHOTOGRAPHYCertiFiCAte ProgrAm

Table of Contents

About the ProgrAm 1

Introduction 1

Scope 1

Unique Qualities 2

Where Creatives Unite 3

Lifetime Alumni Program 4

Career Options 5

getting StArted 7

Beginning The Program 7

Certification 7

Program Costs 9

Facilities 9

Scheduling 10

tAiloring the ProgrAm 12

CourSe liStingS 19

inStruCtor bioS 40

FAQ’S 47

Langara CoLLege | Continuing StudieS PhotograPhy CertifiCate Program

The Langara College Applied Arts division off ers a unique opportunity

for studying within the communications arts fi eld. Whether your

interests lie in hobby or career based photographic goals, the

Continuing Studies Photography Certifi cate Program will fi t your needs.

If you are studying photography as a hobbyist, then you will be

surrounded by students who are equally passionate about the craft of

photography, in an environment where creative exploration and

experimentation is celebrated. If you are studying to become a

commercial photographer, then there is a distinct advantage to the

structure of this division.

Langara CoLLege | Continuing StudieS PhotograPhy CertifiCate Program

Introduction

The Langara College Continuing Studies Photography Certifi cate Program is one of

the most respected photography programs in Canada. Taught by leading industry

professionals, this program off ers the best and largest facilities in Western Canada

and has trained many of country’s top photographers. The program is designed to

accommodate both amateur and hobbyist photographers, and those wishing to pursue

careers as professional photographers.

Scope

This program allows students to

take as many or as few courses as

they wish. If you are picking up

a camera for the fi rst time, and

want to understand how to use

it to its full capacity, then this is

the program for you. If you are a

keen amateur, you can take your

hobby as far as you would like,

up to and including taking every course in the program. If you are pursuing a career

in photography as a commercial photographer, wedding & portrait photographer or

photojournalist, then this program off ers you an exceptionally comprehensive and highly

adaptable program. depending on your goals and needs, this program is designed to

get you where you want to be. 1

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Langara CoLLege | Continuing StudieS PhotograPhy CertifiCate Program

Taught by some of the top commercial and portrait

photographers in Western Canada, this program

is well-known for having some of the most

comprehensive photography courses in Canada.

Courses in the program encompass three critical

areas of study for photographers: 1) production

issues; 2) stylistic issues; and 3) business issues. The

production aspects of the program are covered

in courses that range in universal content (such as

camera, digital workfl ow, or darkroom operations)

to more specialized areas (such as digital retouching,

compositing, lighting courses for studio and

location, advanced B&W, and view cameras). There

are many technical, industry specifi c courses (such

as Fashion Photography and Photojournalism)

that encourage the development of individuality

and personal photographic style. Business courses

include detailed training on pricing structures,

copyright law, contract law, estimating practices,

and photographic business practices. The important

issue of marketing for photographers is covered

through in-depth studies of direct mail marketing,

client research, portfolio development and

maintenance, networking & public relations, website

marketing, and photographic agents.

Unique Qualities

The Photography Certifi cate Program has a

unique program model, as it is not a regular

studies academic program. The Continuing

Studies curriculum is less academic and more

vocationally driven, this means a couple of

unique qualities in the curriculum structure and

delivery. First, it makes the program very easy

to tailor to your own professional and artistic

goals: where many full time academic programs

have few or no elective courses, this program

has around 30 elective courses (covering the

professional and artistic gamut of the industry).

This program also boasts around 20 instructors

who not only make their living as professional

photographers, but also represent some of

the top talent in the commercial, portraiture

and photojournalistic industries. Our program

philosophy has always revolved around veteran

professional photographers training new

professional photographers. The industry-

oriented nature of the program also engages

you with the industry when you are applying for

certifi cation. In order to be certifi ed through this

program, your portfolio will have to be judged by

top industry people (such as creative directors,

senior art directors, designers, and photo-editors).

These are the types of people who will make up

the majority of your clientele as a commercial

photographer, and it is these individuals who will

recommend your work for certifi cation based on

its commercial viability.

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Langara CoLLege | Continuing StudieS PhotograPhy CertifiCate Program

Where Creatives Unite

Students training to be commercial photographers will learn about

critical issues (such as stylistic relevancy) in their work at a very

early stage of their studies. The importance of this issue is that you

are not trying to develop your style in a bubble - instead you are

developing it with the input and collaboration of individuals who

will ultimately hire you as a photographer. You will get to know the

students studying design and art direction and they, in turn, will

enter the industry with you already in place as a source of freelance

talent they do not have to search for. This creates a strong sense of

community in the academic arena, the same as in the

commercial world.

When you enter the industry, associations such as CAPIC, PPABC,

and the gdC will play a major role in your professional life.

Collaborating with other creative individuals in the academic arena

will better prepare you on how to be a valuable member of the

communication arts industry. There are four programs under the

Applied Arts division that are closely related, where students may

work together and create strategic connections. These are the

Certifi cate Photography Program, the Communication & Ideation

design Program, the electronic media design Program, and the

electronic music Production Program. These four programs train

freelance commercial photographers, art directors for advertising

agencies, graphic designers for print communications, graphic

designers for interactive communications, and freelance music

producers (for fi lm, radio and TV).3

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Langara CoLLege | Continuing StudieS PhotograPhy CertifiCate Program

As part of the applied arts division, students studying to be commercial

photographers will also be studying in the same environment as

students studying to be art directors and graphic designers. Art directors

and graphic designers will, of course, make up the majority of your

clientele as a commercial photographer. Students studying to be art

directors and designers need to collaborate with photographers as

much in the academic world as they do in the real world. This offers the

photography students the opportunity to make connections and build

relationships with individuals who will also eventually leave for the

commercial world as prospective clients.

Lifetime Alumni Program

This unique feature truly sets the program apart from other schools! Once a student

completes the 16 required courses for certification in the Photography Certificate

Program, the entire program becomes free to them for the rest of their lives. This means

you can take all of those elective courses you did not take earlier, and when technology

upgrades come back and get the up-to-date information... for free! Becoming a

professional photographer is no small undertaking and we are the first to acknowledge

that breaking into this industry is very challenging. Students who enter the program

with previous experience or training are often ready to enter the commercial world on

completion. However, some students who join the program with little or no previous

experience may find that the program flies by a little too quickly. The Lifetime Alumni

Program is designed with such students in mind- if their creative and technical skills still

need to be developed, they can continue to work with us at no cost to hone their skills.

For a full list of terms and conditions for the Lifetime Alumni Program, please contact the

Program Coordinator Andrew Tripp at [email protected].

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Career Options

As mentioned earlier, you do not have to be pursuing photography as a career to access

this program. Beginner, amateur, and hobbyist photographers are very welcome in this

program; however, this program offers many options for those pursuing a career in the

photographic industry. There are three major directions for professional photographers:

photojournalism; retail (portraiture & wedding); and commercial. Photojournalism can

be looked at from several perspectives including reportage and editorial. reportage is

photographing newsworthy events for newspapers or news magazines such as TIme.

This type of work requires someone who can respond quickly to capture a fleeting

moment, emotion, and/or action. Often shooting for magazines, editorial photography

is commissioned work where lighting and production techniques are critical. editorial

work includes photographing people, fashion, still life, and events to illustrate an article.

Portraiture and wedding photography make up the bulk of the retail market of

photographers. most students pursuing this area plan to work as individual freelance

photographers rather than a franchised studio. Portraiture and wedding photography

have progressed beyond “traditional” styles of lighting and there are great

opportunities for photographers to exercise unique photographic styles.

Commercial photography includes (but not limited to): fashion photographers;

people photographers; architectural photographers; food photographers; movie stills

photographers; stock photographers; and product photographers. The vast majority

of commercial photographers are freelance professionals working on a contract

basis: their work may include advertising or commercial purposes such as brochures,

catalogues, or annual reports. Working as a photographic assistant is an excellent way

of entering the field.

In addition to the above categories of photography, many photographers are

expanding their skill set to become more valuable to the industry. It is not uncommon

to see photographers studying film or digital video to add to their services. Some

photographers are also studying to become graphic designers and art directors in order

to offer a greater range of services. This can significantly add to an income, be valuable

to clientele, and offer more creative freedom.

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Many photographers are looking at expanding their skill set to make

themselves even more valuable to the industry. It is not uncommon to

see photographers studying to become graphic designers and art

directors in order to offer a wider range of services.

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Beginning The Program

There is no interview requirement to enter

the program, as we encourage both hobbyist

and professional photographers to attend. For

courses that do not have a prerequisite (Basic

digital Photography, Basic digital Workfl ow, Basic

darkroom, Photoshop Level 1 or Photographic

Art History courses), students can register on a

fi rst come fi rst served basis. Individuals wishing

to enter a course with prerequisite requirements

must either take the qualifying course(s) or

challenge the prerequisite(s) based on previous

training or experience. This must be done through

the Program Coordinator, Andrew Tripp (604-644-7991). Basic level courses can be

discussed over the phone, and more advanced level courses will require a portfolio

showing. Students may enter the program in any of the three terms each year. do not

let the lack of a formal interview fool you: getting into the program is simple, getting

through to certifi cation is no simple undertaking. This is one of the largest programs

for commercial photographers in Canada and the certifi cation process, as you will

soon read, happens only when your work is at a level to make you commercially viable

– in other words, you must be able to compete against the top photographers in the

world to reach certifi cation.

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Certification

The graduation process is an individual process for each student; it is not a class situation.

When students have completed, and passed all of the required courses (16 courses), they

then qualify to apply for certification. The certification process does not cost anything

and there is no deadline as to how long you can take to pursue it.

The process begins with the student letting the

Program Coordinator (Andrew Tripp) know that they

are ready to apply for certification. A meeting will

be set up, with the student bringing as wide a range

of their work as possible, to discuss strategies and

professional or personal goals of the student. The

goal of this meeting is to identify the target market

that the student will aim their work at, such as the

advertising industry, editorial clients or portrait &

wedding clients for example. When the student

has determined the market he or she would like to

target, then they are advised to research a number

of prospective clients who they would like to be

working with to determine their photographic needs, what photographers they are

currently working with and as much about their communications philosophy as possible.

This will help the student to develop their final portfolio with a greater sense of purpose

and strategy.

Their final portfolio will then be viewed by a panel of internal & external industry experts

who will look at your chosen target markets and why you feel your work is relevant to the

needs of that market. The members of the panel will then document the strengths they

feel your portfolio possesses, its weaknesses and will then cast a vote on whether they

feel the student’s work is commercially viable. If the student’s portfolio is not deemed

commercially viable, then not only will the student receive written comments why, but

they will be encouraged to correct their portfolio and then resubmit it to the panel for

review. This process costs nothing, and whether the student’s portfolio is approved by

the panel or not, they will still retain their Lifetime Alumni status.

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Program Costs

Individual courses typically range from $400 to $500 for the 12 weeklong courses (we

do offer some shorter 6 week courses that usually cost around $250). You do not pay

for the program up-front, instead you pay for each course as you take them. This means

that the average academic cost for a student pursuing certification will be around

$7,500 over the two years of the program (costs vary depending on the courses you

choose). If you are shooting film, it is a good idea to budget for around $150 per course

in materials. digital is less, however, there are printing costs to consider. In the end, it is

a good idea to budget for approximately $10,000 for all costs over a two-year period.

As the Certificate Photography

program is a part-time evening

program, it does not qualify for

student funding such as Canada

Student Loans – only full-time

study programs qualify for that

(even if you take a larger course

load, it does not qualify as full-

time). There are many funding

agencies, both government and

private, such as job retraining programs for injured workers, that will fund the program.

Scholarships also are applicable to this program.

Facilities

Langara College has the top facilities for photographic study in Western Canada. The

program offers three very large and fully equipped studios for students to work from.

We have numerous state-of-the-art power packs and strobe units for students to use:

enough to equip each studio many times over. There is a large collection of tungsten

spotlights for each studio and a sizeable collection of lighting equipment from scrims

and softboxes to umbrellas, cookies, grids, and snoots. The darkrooms are well

equipped for printing in black and white, and colour. The darkrooms offer a spacious

central sink area large enough for many students to wet process fiber-based prints

simultaneously. We also have two Kreonite dry-to-dry print processors for both black

and white, and colour.9

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Large state of the art mac computer labs with the most up-to-date versions of image

manipulation software, such as Adobe Photoshop and high-end print and fi lm scanners

for every format of fi lm from 35mm up to 8X10 large format, make these facilities the best

in town. We have a number of digital printers including a 44-inch large format epson

9600 printer. The program also has three Phase 1 digital backs for the medium format

Hassleblads. Students have access to a variety of camera systems including medium

format Hasselblads to 4X5 and 8X10 view cameras.

Part-time students are able to

use/book, at no extra cost, all of

the facilities and equipment every

Sunday afternoon and some

evenings. The only restrictions are

that you must be currently taking

a course and the facilities cannot

be used commercial purposes.

Scheduling

The Photography Program is designed in such a way that you may start the program at

the beginning of any term during the year. There are four terms that run through the

year: January, may, September and a condensed term that runs in August. The majority

of the courses in the program are 12 weeks long and run one evening or day per week.

For example, if you take a course that is scheduled on monday evenings from 6:30pm-

9:30pm, that course will run every monday evening for 12 weeks.

This program is designed for working adult students who cannot attend courses during

the day on monday to Friday. Course off ered on a weekday will run in the evening from

6:30pm to 9:30pm. We also regularly off er courses on Saturday mornings and afternoons

and occasionally on Sundays.

The January, may, and September terms are considered full terms that run for 12 weeks.

The August term is a condensed term where the courses run two evenings per week for

6 weeks (instead of 1 evening per week for 12 weeks). not all courses are off ered every

term and quite often a number of the elective courses are only off ered every other term.

A few select courses, such as Food Photography or The Photographic nude, are 10

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Langara CoLLege | Continuing StudieS PhotograPhy CertifiCate Program

off ered once per year due to the

amount of time spent in studio.

required and major prerequisite

courses are off ered every term.

Course schedules can be found

on our website at www.langara.

bc.ca/creative-arts/photography/

course.html. First time students

can register by calling our

registration line at 604-323-5322

and returning students have the

choice using online registration

(www.langara.bc.ca/cs).

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Tailoring The Program

As the part-time Photography Certifi cate Program has a large

number of elective courses, the program can be easily customized for

professional and/or artistic goals. This section off ers a breakdown of

photography courses relevant to diff erent photographic specialties

and explains why each course is relevant. The following photographic

specialties are explored:

Hobbyist | Fine Art | Scenic & Stock | People (Advertising &

Editorial) | Fashion & Beauty | Photojournalism &

Photo-Essay | Portraiture & Wedding | Product & Food |

Architectural | Illustrative Photography |

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Hobbyist PhotographyFor those of you interested in pursuing photography

as a hobby, this program offers a number of courses

ideally suited to making your hobby a spectacular

one. These courses focus primarily on camera,

darkroom, lighting, and compositional skills.

Because there is no obligation for students to follow

through to certification, many students take only the

courses designed to train in the fundamental skills

required of all photographers. This listing would not

qualify a student for certification; however, you are

free to pursue that goal any time, at your own pace.

You are free to move forward as far as you wish

within the program in order to take your craft far

beyond what most hobbyist photographers achieve.

The following courses are ideally suited for the

passionate amateur:

releVAnt CourSeS (in SuggeSted order)

Basic digital Photography (or Basic Film

Photography) | Basic digital Workflow (or Basic

darkroom) | Landscape Photography | digital

Intermediate Photography (or Film Intermediate

Photography) | Composition & design | Practical

Lighting | Advanced Studio Lighting | Advanced

Composition & design | Practical darkroom | View

Camera Techniques | Advanced Black & White

Photography | Creative darkroom | Alternative

Photographic Processes | Photographic Art History |

Street Photography | Photoshop Level 1, 2 or 3 |

Fine Art PhotographyThe most significant difference between commercial

and fine art photography is simply the purpose of

the work. Fine art photographers are free to pursue

their own artistic vision and the only artistic goals

that need to be met are those of the photographer’s,

whereas commercial photographers work must

achieve a specific communications goal. In both

cases the photographers must first have a strategy

or reason to take the shot, and they must exercise

artistic control over the visual execution of the

image. In that sense, there is not so clear a division

between the fine arts and the applied arts. Please

note this list shows more courses than needed to

achieve certification. It is designed to simply show

the courses that are relevant to this specialty (while

you are free to take all of these courses, students will

typically choose select courses from the list).

releVAnt CourSeS (in SuggeSted order)

Basic digital Photography (or Basic Film

Photography) | Basic digital Workflow (or Basic

darkroom) | digital Intermediate Photography (or

Film Intermediate Photography) | Practical Lighting

| Advanced Studio Lighting | Business Practices |

Business management | Practical darkroom | View

Camera Techniques | Advanced Black & White

Photography | Composition & design | Advanced

Composition & design | Personal Photographic Style

| Photographic Concept | Contemporary Image

| Creative darkroom | Landscape Photography |

Photoshop Level 1 | Photoshop Level 2 | Photoshop

Level 3 | The Photographic Portrait | Creative Light

Painting techniques | The Photographic nude |

Alternative Photographic Processes | Photographic

Art History | Architectural Photography |13

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Scenic & Stock PhotographyFor those students interested in pursuing scenic

photography, stock photography agencies will most

likely represent one of your key target markets.

Stock represents an enormous range of imagery

from scenic to people, environmental, illustrative

still life, digital photo-illustration, and much

more. Travel magazines, editorials, photo-essay,

advertising, and fine art books are also potential

markets to explore. Scenic photographers may not

work their trade in the studio, but they must have

an in-depth understanding of light quality. Timing

is the other key skill a scenic photographer must

have: understanding when to shoot and when to

wait. unfortunately, patience is not a topic we teach

within the program so you will have to settle for the

following courses.

releVAnt CourSeS (in SuggeSted order)

Basic digital Photography (or Basic Film

Photography) | Basic digital Workflow (or Basic

darkroom) | digital Intermediate Photography (or

Film Intermediate Photography) | Practical Lighting

| Business Practices | Business management |

Practical darkroom | View Camera Techniques |

Advanced Black & White Photography | Composition

& design | Advanced Composition & design | The

Contemporary Image | The Creative darkroom

| Landscape Photography | Photojournalism |

Photoshop Level 1 | Photoshop Level 2 | Photoshop

Level 3 | Street Photography | Alternative

Photographic Processes | Photographic Art History |

Stock Photography | Architectural Photography

People PhotographyOne thing we recommend to all students is

that no matter which photographic area you

decide to pursue, make yourself as versatile in

that field as possible. This opens up a far greater

pool of potential clients to you, and therefore

raises income expectations as well as giving you

more creative options: people photography is

no exception. People photography represents

a broad field of freelance possibilities, from

advertising to editorial, corporate, portraiture,

photo-essay, and stock. We deliver courses that

train students in the full spectrum of applied and

fine art people photography.

releVAnt CourSeS (in SuggeSted order)

Basic digital Photography (or Basic Film

Photography) | Basic digital Workflow (or Basic

darkroom) | digital Intermediate Photography

(or Film Intermediate Photography) | Practical

Lighting | Advanced Studio Lighting | Business

Practices | Business management | Practical

darkroom | Commercial Photography | View

Camera Techniques | Advanced Black & White

Photography | Composition & design | Advanced

Composition & design | Personal Photographic

Style | Photographic Concept | The Contemporary

Image | The Creative darkroom | Photojournalism

| Photoshop Level 1 | Photoshop Level 2 |

Photoshop Level 3 | The Photographic Portrait |

Creative Light Painting Techniques | Photographic

nude | Photographic Art History | Stock

Photography | editorial Photography

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Fashion PhotographyFashion photography definitely represents one

of the most exciting and challenging areas of

photography. Being a fashion photographer

represents some of the most demanding

expectations in the field. not only must you be

superb in your lighting abilities, you must have

very refined camera, darkroom, production, and

composition skills. This area is one of the few where

the photographer alone cannot complete an

assignment, they must have an in-depth knowledge

of, and excellent working relationship with, make-up

artists, hair stylists, fashion stylists, and assistants.

Fashion photography requires some of the highest

capital outlays in terms of equipment and studio

facilities. Being able to shoot two or three models

full length with the proper lenses requires a sizeable

coved surface. It also represents some of the most

rewarding stylistic challenges for a photographer,

so if you love fast paced work, and controlled

serendipity, then this could be the field for you.

releVAnt CourSeS (inS SuggeSted order)

Basic digital Photography (or Basic Film

Photography) | Basic digital Workflow (or Basic

darkroom) | digital Intermediate Photography

(or Film Intermediate Photography) | Practical

Lighting | Advanced Studio Lighting | Business

practices | Business management | Practical

darkroom | Commercial Photography | View Camera

Techniques | Advanced Black & White Photography

| Composition & design | Advanced Composition

& design | Personal Photographic Style | digital

Imaging | Creative darkroom | Fashion Photography

| Photoshop Level 1 | Photoshop Level 2 | Photoshop

Level 3 | The Photographic Portrait | Creative Light

Painting Techniques | The Photographic nude |

Alternative Photographic Processes | Alternative

Colour Techniques | Photographic Art History | Stock

Photography | Commercial Production

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PhotojournalismStudents interested in pursuing photojournalism

will find that the Langara Photography Certificate

Program has much to offer. We prepare students for

news reportage with an emphasis on the photo-

essay. Less time is spent on the found image and

more time is dedicated to training photographers

to create an image or a series of images designed

to illustrate a news story (equinox or national

geographic are prime examples of photo-essay).

These courses ensure students gains a diverse

set of skills in both location, scenic, and people

photography backed up with a strong sense of

lighting. Quick and decisive thinking in technical

and visual terms is the key to success in this area.

A stylistic approach is just as important as it is for

commercial photography.

releVAnt CourSeS (in SuggeSted order)

Basic digital Photography (or Basic Film

Photography) | Basic digital Workflow (or Basic

darkroom) | digital Intermediate Photography

(or Film Intermediate Photography) | Practical

Lighting | Advanced Studio Lighting | Business

practices | Business management | Practical

darkroom | Advanced Black & White Photography

| Composition & design | Advanced Composition

& design | Personal Photographic Style | The

Photographic Concept | Contemporary Image |

The Creative darkroom | Landscape Photography |

Photojournalism | Photoshop Level 1 | Photoshop

Level 2 | Photoshop Level 3 | The Photographic

Portrait | Street Photography | Alternative

Photographic Processes | Photographic Art History

| Stock Photography | Architectural Photography |

editorial Photography

Portraiture & WeddingTraditional or nontraditional, that is always the

question. Originally, the photographic portrait

used lighting that mimicked the traditional

painted portrait (rembrandt lighting, etc). While

this is beautiful lighting, many people are looking

for portraits that are more illustrative in nature:

something that will convey a strong message about

the subject (via concept, mood, and/or technique).

The following courses cover both traditional and

unique ways of capturing those special moments.

releVAnt CourSeS (in SuggeSted order)

Basic digital Photography (or Basic Film

Photography) | Basic digital Workflow (or Basic

darkroom) | digital Intermediate Photography (or

Film Intermediate Photography) | Practical Lighting

| Advanced Studio Lighting | Business Practices |

Business management | Practical darkroom | View

Camera Techniques | Advanced Black & White

Photography | Composition & design | Advanced

Composition & design | Personal Photographic

Style | The Photographic Concept | Contemporary

Image | The Creative darkroom | Fashion

Photography | Photoshop Level 1 | Photoshop

Level 2 | Photoshop Level 3 | Photographic

Portrait | Creative Light Painting Techniques | The

Photographic nude | Alternative Photographic

Processes | Photographic Art History | Wedding

Photography | Stock Photography16

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Still Life & Food PhotographyStill Life photography represents one of the most

demanding aspects of commercial photography.

As this type of photography is “making” pictures

rather than “taking” them, a highly refined sense

of lighting coupled with superb compositional

skills is a must (knowing where to look for

propping and surfaces is also valuable). On top of

learning the fundamentals of photography, you

will need to become intimate with the tools of

this field: studio lighting and large format view

cameras. It is important that you have strong

darkroom skills as well as a solid foundation in

digital imaging. What clients will look for in a still

life shooter are tremendous lighting and camera

skills, a strong visual and technical problem solver,

and someone with a distinctive stylistic approach.

releVAnt CourSeS (in SuggeSted order)

Basic digital Photography (or Basic Film

Photography) | Basic digital Workflow (or Basic

darkroom) | digital Intermediate Photography

(or Film Intermediate Photography) | Practical

Lighting | Advanced Studio Lighting | Business

Practices | Business management | Practical

darkroom | Commercial Photography | View

Camera Techniques | Advanced Black & White

Photography | Composition & design | Advanced

Composition & design | Personal Photographic

Style | Creative darkroom | Food & Beverage

Photography | Photoshop Level 1 | Photoshop

Level 2 | Photoshop Level 3 | Creative Light

Painting Techniques | Alternative Photographic

Processes | Photographic Art History | Stock

Photography | Commercial Production

Architectural PhotographyFor those students who love commercial and

residential architectural design, this field offers a

number of photographic possibilities. Architectural

Photographers often are found working with

graphic design firms who specialize in brochures

and websites for developers. editorial photography

also represents a major market for photographers

through such magazines as Architectural digest

and Western Living magazine. Architectural

Photographers are also often sought out for large-

scale product photography such as furniture or

appliances when they are being shot in interior

environments. The key challenge for architectural

photographers is being able to mix (and balance)

a variety of light sources from interior and exterior,

and artificial lighting to outside natural light.

Being able to work with and interpret the work of

architectural and interior designers is critical for this

type of photographer.

releVAnt CourSeS (in SuggeSted order)

Basic digital Photography (or Basic Film

Photography) | Basic digital Workflow (or Basic

darkroom) | digital Intermediate Photography (or

Film Intermediate Photography) | Practical Lighting

| Advanced Studio Lighting | Business Practices |

Business management | Practical darkroom | View

Camera Techniques | Advanced Black & White

Photography | Composition & design | Advanced

Composition & design | The Creative darkroom

| Landscape Photography | Photoshop Level 1 |

Photoshop Level 2 | Photoshop Level 3 | Alternative

Photographic Processes | Photographic Art History |

Stock Photography | Architectural Photography

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Illustrative (Conceptual) PhotographyJerry uelsmann summed it up nicely by saying that

illustrative work is photographing objects for “what

else they are.” In this category, photographers use

whatever subjects necessary in ways that strongly

illustrate a concept. This is a type of photography

that is becoming immensely popular in almost

every aspect of applied art. Originally, editorial

work was the most common arena for illustrative

work, as the images had no other purpose than to

illustrate the written editorial. designers and art

directors find new ways of utilizing the power of the

illustrated photograph and it has become popular

in advertising, annual reports, and all forms of

non-media assignments (such as Cd covers). Superb

conceptualizing skills are one of the most important

strengths of an illustrative photographer. This area

is particularly demanding on almost every creative

and technical aspect of photography: strong

lighting skills and a host of production and printing

techniques are needed to ensure you have the

creative options necessary to conceptualize freely.

releVAnt CourSeS (in SuggeSted order)

Basic digital Photography (or Basic Film

Photography) | Basic digital Workflow (or Basic

darkroom) | digital Intermediate Photography (or

Film Intermediate Photography | Practical Lighting

| Advanced Studio Lighting | Business practices |

Business management | Practical darkroom | View

Camera Techniques | Advanced Black & White

Photography | Composition & design | Advanced

Composition & design | Personal Photographic

Style | The Photographic Concept | Contemporary

Image | The Creative darkroom | Photoshop Level

1 | Photoshop Level 2 |Photoshop Level 3 | The

Photographic Portrait | Creative Light Painting

Techniques | The Photographic nude | Alternative

Photographic Processes | Photographic Art History |

Stock Photography | Commercial Production

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Course Listings

The previous section described the various areas of photographic study available to

students through this program. This section takes a closer look at the individual courses,

describing their content, their prerequisites, and their costs. For students who are unsure

about the courses that are open to them, please contact the Program Coordinator

(Andrew Tripp) either by phone at 604-644-7991 or via e-mail at [email protected]

BASIC DIGITAL PHOTOGRAPHY lays the groundwork for a present upgrade or

future study in the field of photography. Control

of exposure and depth of field is the primary

focus of this course, along with: exploration of

composition; stylistic approaches; and metering for

daylight, studio light, and night scenes. This course

explores issues unique to digital shooting such as

white balance, dealing with image noise, and an

introduction to image file formats. The student

will learn through lectures, studio workshops, slide

shows, and field trips. Critiques of student work will stress positive achievements toward

instilling the confidence to tackle more challenging photographic work. Students are

encouraged to discuss ideas and concepts with the instructor and fellow students in an

environment that welcomes input and exploration.

PrereQuiSite: none

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BASIC DIGITAL WORKFLOWis the companion course to Basic digital Imaging and the co-prerequisite to digital

Intermediate Photography. Where the Basic digital Photography course deals primarily

with image capture, the Basic digital Workflow course deals with how to process you

digital image files. The course works predominantly with software programs like Adobe

Lightroom or Capture 1, but it does not matter if students are using Apple’s Aperture

or the proprietary software for processing their images. Other topics included in the

course cover optimizing dSLr camera set-ups, exposure controls (both on camera

and via computer). The course teaches reviewing, organizing and ranking files, image

adjustments, image and online publishing, file handling, storage, archiving, and printing.

PrereQuiSite: none

BASIC PHOTOGRAPHY (Film)lays the groundwork for a present upgrade or future study in the field of photography.

Control of exposure and depth of field is the primary focus of this course, along with:

exploration into composition; stylistic approach; and metering for daylight, studio light

and night scenes. This course offers a glimpse into basic black and white darkroom

techniques, and shooting a live model in a studio setting. The student will learn through

lectures, studio workshops, slide shows, and field trips. Critiques of student work will

stress positive achievements toward instilling the confidence to tackle more challenging

photographic work. Students are encouraged to discuss ideas and concepts with the

instructor and fellow students in an environment that welcomes input and exploration.

PrereQuiSite: none

BASIC DARKROOM (Film)is a course designed to give the student a solid background in black and white printing

techniques. Students begin by learning the characteristics of different black and white

films and the quality of print they can expect from them. Adjusting film characteristics by

adjusting their processing time will also be explored with students developing their own

film. Tone and contrast are two of the most important considerations in making a print,

and considerable time will be devoted to these topics. Technical considerations such as

choice of paper, exposure, and filtration will be explored in-depth, but students will also

learn about tone and contrast from an artistic perspective. Tonal considerations are very

subjective, and it takes time and experience before a photographer can recognize and

produce the qualities of a superbly printed photograph. The class explores the various

methods of burning and dodging to fine tune a print, although emphasis will always 20

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be placed on creating as close to a perfect exposure in camera. The course fi nishes

with students learning dry mounting and display techniques. All assignments will be

thoroughly critiqued on both technical and aesthetic grounds: students are encouraged

to push their abilities to the limit.

PrereQuiSite: none

DIGITAL INTERMEDIATE PHOTOGRAPHYtakes most of the material covered in “Intermediate Photography” and applies it

to digital SLr picture taking. designed for students who are beyond the basics of

photography, it covers aspects such as shooting raw vs. j-peg, white-balance concerns,

and preparation for printing, in addition to lighting for still life and people. Students

require their own digital SLr. This course expands on the knowledge gained by the

students in Basic Photography and helps them to acquire new techniques for tackling

diff erent kinds of lighting situations. each lecture is followed by a shooting session or

demonstration in order to put the techniques discussed into practice: emphasis is placed

on exploring elements in a fun and creative environment. Students work both outdoors

and in the studio, and live models will be our subjects for the shooting sessions using

studio strobe equipment. Assignments are fl exible enough to allow the students to

pursue their particular areas of interest, such as portraiture, landscape, still life, fashion,

etc. Both the instructors and the fellow students provide feedback and ideas in relaxed

and casual critique sessions. eff ective composition is stressed throughout the course as

well as technical considerations, and the students are strongly encouraged to explore

creatively and technically with the full support and involvement of the instructor.

Students are encouraged to discuss their ideas for the class assignments amongst

themselves, in order to learn independent problem solving techniques.

PrereQuiSite: bASiC digitAl PhotogrAPhy & bASiC digitAl WorkFloW

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INTERMEDIATE PHOTOGRAPHY (Film)expands on the knowledge gained by the students in Basic Photography and helps

them acquire new techniques for tackling different kinds of lighting situations. each

lecture is followed by a shooting session or demonstration in order to put the techniques

discussed into practice (emphasis is placed on exploring elements in a fun and creative

environment). The students work both outdoors and in the studio, and live models will

be the subjects for the shooting sessions using studio strobe equipment. Assignments

are flexible enough to allow the students to pursue their particular areas of interest,

such as portraiture, landscape, still life, fashion, etc. Both the instructors and the fellow

students provide feedback and ideas in relaxed and casual critique sessions. effective

composition is stressed throughout the course as well as technical considerations, the

students are strongly encouraged to explore creatively and technically with the full

support and involvement of the instructor. Students are also encouraged to discuss

their ideas for the class assignments amongst themselves, in order to learn independent

problem solving techniques.

PrereQuiSite: bASiC PhotogrAPhy (or bASiC digitAl PhotogrAPhy)

BASIC PEOPLE PHOTOGRAPHYimmerses students in the world of people photography. The course looks at shooting

people for fashion, editorial and portraiture. Students will learn many new lighting

scenarios for people photography as well as how to pose and communicate with your

subject. Students will practice extensively with working models as well as become

accustomed to working with non-models who may not be as comfortable in front of a

camera. This course builds on many of the principles learned in Basic digital Photography

(or Basic Photography) and Basic digital Workflow).

PrereQuiSite: bASiC digitAl PhotogrAPhy & bASiC digitAl WorkFloW

PRACTICAL LIGHTINGexplores in detail, the fundamentals of lighting through several assignments involving

still life set-ups in the studio and people photography both in studio and on location.

The first five weeks of the course centre on lighting for still life photography. The lighting

concepts explored in this section are applicable to a wide variety of subjects, whether in

the studio or in ambient lighting conditions. Topics such as lighting for various surface

qualities, contrast control, and manipulation of light quality are learned through lecture,

illustrated slide shows, and lots of practical experience. Included is a comparison of 22

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lighting equipment and various accessories. Students will gain an appreciation for

the potential of lighting to create a more effective photograph (via control of mood

and style). The second five weeks concern lighting for people photography. natural,

artificial, and mixed source lighting is explored through an opening lecture and slide

show followed by subsequent shooting sessions with professional models. Students will

discover numerous methods of controlling the light necessary to produce an effective

portrait in a variety of circumstances. Stylistic approach and content are stressed

throughout the course, along with technical considerations.

PrereQuiSite: digitAl intermediAte PhotogrAPhy (or intermediAte

PhotogrAPhy)

ADVANCED STUDIO LIGHTINGis a course that tackles light for light’s sake. The purpose of this course is to give the

students a very comprehensive understanding of how light works on film. Predictability

and control are the ultimate goals of any commercial photographer. Surprises, even

pleasant ones, are completely unacceptable to the commercial shooter, s/he must be

able to envision the image and then achieve that vision exactly on film. The first part of

this course focuses on the physics of how light reacts on film, manipulation of lighting

quality, contrast control, critical metering techniques, ratios, and comparative ratios. The

course goes on to explore some contemporary lighting techniques and circumstances

such as projected light, motion (with combined light sources), painting with light, shutter

drag, and controlling natural sunlight through key shifting. Students learn through a

series of lectures, slide shows, discussions and demonstrations, and practical experience

shooting both stills and models in the studio and on location. Students are encouraged

to use both the studio and especially the home assignments to not only hone their

technical skills, but also their conceptual and stylistic approaches.

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BUSINESS PRACTICESis designed to help students explore all aspects and avenues for marketing their skills as

a photographer. The topics in this course are relevant to all specialties in photography

from commercial, to portraiture, wedding, editorial, and photojournalism. All of the

traditional methods of marketing are covered in-depth from advertising and direct mail

to public relations, networking, personal selling, photographic agents, and Internet

advertising. This course is about helping students to identify where they fit in and how

to research their potential markets. You must be able to articulate the stylistic approach

to your work, and ensure that it is clearly communicated in all of your marketing efforts.

The portfolio is also extensively covered, exploring issues such as content and message,

researching your clients’ needs, portfolio design and presentation, along with editing,

pacing, and sequencing your

images. Students will complete

two comprehensive assignments

in sequencing portfolios, and

creating a marketing and

objective driven business plan.

PrereQuiSite: none

BUSINESS MANAGEMENTis part of a three-course series specific to the commercial photographic industry that

includes Business Practices & Commercial Photography. The focus of this course is

primarily on the logistics of running a commercial photographic business. The first

part of the course explores the methods and considerations of producing estimates

and proposals. Topics such as the usage scale, copyright, pricing, material costs, billing,

and location/propping costs are covered in-depth. The fact that your estimate is the

last chance to promote yourself to a client is stressed throughout, thus presentation

skills are also looked at closely. The other major topic of this course is legal and ethical

business considerations, exploring: copyright law; what you legally can or cannot shoot;

standard photographic contracts; what a client can expect of you; and you of the client.

Also covered in detail are business finance issues such as HST, business licenses, taxes,

accounting, and financial planning. We also invite agents from CAPIC, PPABC, and CAPA

to discuss the purpose of each association.

PrereQuiSite: AdVAnCed Studio lighting

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PRACTICAL DARKROOM (Film)is an intermediate level course designed to allow students greater control over the black

and white medium. exposure and development of film, fine-tuning of printing skills,

recognition of tone and contrast, and a subsequent exploration of print enhancement

techniques form the basis of this intensive darkroom course. A modified zone system

approach to film treatment is followed by an introduction to fine art exhibition quality

print-making (including the use of fiber based paper and print toners such as selenium,

sepia and brilliant blue). Archival processing is discussed and offered for practice during

several darkroom sessions. Specialized techniques (such as paper flashing and print

diffusion) are demonstrated and explored to offer the student a dramatic expansion of

his/her darkroom repertoire. Finally, finishing and presentation of prints are considered.

Students are encouraged to experiment not only with their technique, but also with their

stylistic approach and conceptualizing skills.

PrereQuiSite: bASiC dArkroom

COMMERCIAL PHOTOGRAPHYis part of a three-course series including Business Practices and Business management.

In the majority of commercial shoots, the final image is a result of a close collaboration

between photographer and art director. most concepts start out in the form of a

composite rendering (which can be as little as a stick person pencil sketch), and it is

up to the photographer to translate this into a tangible image that captures the style

and essence wanted by the client. This course is designed to teach the students the

communication process necessary to achieve this. Students will spend most of this

course shooting various advertising layouts while consulting and negotiating stylistic

considerations with the art director. The objective is to become an active partner with

the art director for the purpose of achieving the perfect image for the assignment.

Students learn excellent lighting techniques and are encouraged to scan their images to

disc so the instructor can crop, retouch and place them into the ad: giving the student

a hi-res colour output of the job. In this course, students will learn how to operate and

work extensively on the Hasselblad medium format camera systems.

PrereQuiSite: AdVAnCed Studio lighting & PhotoShoP leVel 2

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VIEW CAMERA TECHNIQUES (Film)is a course that explores the world of the large format camera. Students will work

extensively on 4X5 cameras while learning the principles of large format techniques.

These cameras have capabilities beyond any rigid body SLr camera system, being able

to manipulate both perspective and greatly increase (or decrease) the depth of field or

sharpness of an image. These cameras are mostly for shooting still life and architectural

photography (and very effective with people photography), and if these are the areas

you wish to shoot in then view cameras will become an essential part of your career.

Topics explored include sharpness and perspective control through the Scheimpflug

effect, camera operations, multiple exposure mapping, and use of inter-camera masking.

Students will use the cameras for still life, location people shoots, and architectural

assignments. The College will supply students with cameras and Polaroid film.

PrereQuiSite: intermediAte PhotogrAPhy

ADVANCED B&W PHOTOGRAPHY (Film)How many times have you seen a black and white photograph that seems to have an

exceptional range of tone? Subtle highlight detail is held with ease and the shadows

appear luminous, the print seems to glow with a silvery range of distinct tones. Creating

a print that has these qualities requires an understanding of the capabilities and

nature of the materials used. The Zone System provides a method to predictably and

accurate test the results that are being obtained from a particular film and developer

combination. You will test your specific combination of equipment and determine

an exposure index (a “personal ISO”) for a chosen film. With this information in place,

printing in the darkroom becomes a rewarding experience rather than a series of test

strips created in an effort to find some combination that yields acceptable results. use

of a densitometer will be included as part of the film testing. effectively using a spot

meter and a viewing filter will be studied in context to creating an image. Testing on its

own would not be enough unless the information is incorporated into your shooting

technique. The latter half of Advanced B&W focuses on metering as well as the use of

filters. Precise tonal placement is possible with the use of a spot meter. Scene contrast

assessment and how it relates to your exposure and development will be studied in

detail. The final several weeks focus on one-on-one instruction while printing your own

negatives. Advanced B&W has many students commenting on the improvement they

witness in the quality of their images. You will also find that your results are

more consistent.

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COMPOSITION & DESIGNexplores the nature of perception and intentional image making: equipping the

student with the tools of recognized design and composition techniques, whilst also

encouraging innovative thinking. Classroom study of the fundamental elements

and principles of composition, and design are complimented by practical studio

assignments. Students learn how to intentionally incorporate the design elements of

line, color, texture, space, and shape into image designs. Further study of the principles

of rhythm, balance, and scale enhance their understanding and ability to manipulate

the viewer’s response to the image. Contemporary and historical styles of composition

and design are reviewed, and students become accustom to critiquing and reviewing

design principles in contemporary advertising and fine arts imagery. The mystique

of good versus bad composition and design will be thoroughly decoded, enabling

the student to approach assignments and expressive image-making with increased

confidence and the ability to communicate effectively and immediately with the viewer

on multiple levels of awareness.

PrereQuiSite: digitAl intermediAte PhotogrAPhy (or intermediAte

PhotogrAPhy)

ADVANCED COMPOSITION & DESIGNcontinues students’ studies in compositional

technique and the psychology of design for

photographers. Learn to add deeper thoughts and

ideas to your images while also extending your

compositional and presentation skills. Students

continue from earlier studies in Composition and

design to look at further into design theory. Topics

covered include the psychology of seeing (How does

my brain ‘see’?), unusual composition techniques

(fish eye and panoramic), image association (What

am I looking at?), image distortions, telling stories

with sequences of images and, creating a simple

multi-media presentation of their

final assignment.

PrereQuiSite: ComPoSition & deSign

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PHOTOGRAPHIC STYLEis designed to help the student identify and develop their own stylistic approach in

whatever genre of photography they enjoy. Having pushed forward with the technical

skills necessary to produce commercial quality images such as lighting, subjective

exposure, camera techniques, film development, printing and production, the

photographer is inevitably faced with the question “where do I go from here?” For

the casual type that question does not necessarily present itself; however, it proves

enormous, and must be answered honestly and thoroughly before a photographer

can join the ranks of serious image-makers. This is where the development, or

recognition of one’s own personal aesthetic, becomes extremely important (without

its presence in a photographer’s work, s/he could be viewed as a hit-and-miss shooter

rather than a creative photographer capable of producing powerful images stamped

with a unique and recognizable style). Through creative exercises and shooting

assignments, combined with an overview of photographic style from an historical

and contemporary perspective, the student will be guided into the area of aesthetics

which is truly their own.

PrereQuiSite: AdVAnCed Studio lighting

THE PHOTOGRAPHIC CONCEPTprovides techniques for acquiring the mental and emotional tools needed to

conceptualize an original, effective, communicative, and memorable image for any

commercial assignment or self-assigned project. Students explore practical, aesthetic,

and conceptual techniques and acquire in-depth understanding of the collaborative

role of the art director. Classroom hours cover the work of selected contemporary

and historical conceptual photographers, the use of metaphor and surrealism, ethics

and socio-cultural influence of advertising imagery, plagiarism, and copyright issues.

Learnings include creative sampling, research techniques, overcoming creative blocks,

appropriate choice of traditional and alternative creative processes, personal style,

visualization techniques, and effective and detailed image review techniques. Practical

studio hours require experimentation with classroom ideas. The student will complete

a series of portfolio presentation images showcasing their conceptual skills by the end

of the course.

PrereQuiSite: AdVAnCed Studio lighting

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THE CONTEMPORARY IMAGEIn this course’s creative

environment students develop a

cohesive body of photographic

art. Students participate in

slide-lectures and discussions

that examine contemporary

photographers, trends and

theories in photography, guiding

them through the production

of an independent personal

photographic project. emphasis is placed on a fine art approach to photography with

students creating image series that form a unifying concept. Students will be expected

to produce a creative rationale to accompany the work and be expected to defend the

visual execution of the concept. These projects will require all of the skills learned to date

in regards to camera technique, lighting, darkroom or digital processes.

PrereQuiSite: AdVAnCed Studio lighting

THE CREATIVE DARKROOM (Film)This course introduces students to a selection

of experimental techniques in fine-art black and

white photography and alternative image creation

centered on (though not limited to) the darkroom.

The course encourages individual tastes and styles,

and fosters innovation in the darkroom. Classroom

discussions, instructor demonstrations, student

darkroom experimentation, and a group field trip

are included in Creative darkroom. Students will

experiment with a number of different processes in

multiple-exposures as well as working with Kodalith

films. refraction printing, brushed developer, sandwiching negatives, multiple toning,

hand colouring, and bleaching techniques will be explored.

PrereQuiSite: bASiC dArkroom

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LANDSCAPE PHOTOGRAPHYis a basic level course designed for those that have experience with the camera and a

good knowledge of exposure and depth of field. Critical investigation of design and

composition, of filters and of metering techniques for various lighting circumstances, are

the prime focus for photographing the landscape. Students explore the techniques and

artistic considerations of full scenic, close up, and urban landscapes through a series of

home and in class assignments. Students gain technical knowledge through a series of

slide shows, Polaroid tests, studio workshops on quality and angle of lighting, and field

trips. The instructor works closely with each student to help them start to recognize

stylistic approaches and develop their own unique style and perspective to shooting

various landscapes. At the end of the course all assignments will be given a thorough

critique, including student participation. emphasis will be placed on building individual

student strengths, as well as identifying and offering solutions to areas that may require

further development.

PrereQuiSite: digitAl intermediAte PhotogrAPhy (or intermediAte

PhotogrAPhy)

BASIC COLOUR PRINTING (Film)introduces students, already capable in the black and white darkroom, to the nuances

of colour printing. This course is designed to give students a good understanding of the

fundamentals of colour theory, while being very practically oriented with ample time

spent doing hands on work in the colour darkrooms. The assignments are arranged so

students cover the technical aspects and artistic considerations of colour printing while

working on their own images. The course will explore various technical principles such as

the colour wheel, the structure of colour film and paper, colour temperature, filters used

for colour correction, and how subtractive colour printing works. After completing this

course, students have gained the ability to “see” the colour balance in their prints and

transparencies, and make educated decisions regarding colour balance while taking the

image and creating the final print.

PrereQuiSite: bASiC dArkroom

INTERMEDIATE COLOUR PRINTING (Film)expands on the knowledge of colour photography that is taught in Basic Colour

Printing. Students continue honing their colour printing skills, while learning new film

and processing techniques. This is a hands-on course, with the students spending the 30

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majority of their time learning while in the darkroom and processing lab. Colour theory

is expanded upon, as is learning about colour C41 and rA-4 processing in the College’s

minilab. Students experiment with cross processing e6 to C41 and the inherent qualities

of printing high contrast and colour shifted cross processed negatives. Printing skills

will be taken beyond the basics with students learning display quality colour printing

on 16X20 prints, colour correcting for various light sources, and Ilfochrome colour

printing from transparencies. Film techniques such as slide duping and transproofi ng

(transparencies from colour negatives) are covered in theory and assignments. This

course is designed for students who wish to experiment stylistically through various

processing techniques and those wishing to exercise complete control over the

reproduction of their portfolios.

PrereQuiSite: bASiC Colour Printing

PHOTOJOURNALISMexplores the world of reportage, editorial, and the photo-essay. Students will learn

through a series of lectures, slide presentations, home assignments, and practical

assignments what is involved in the process of creating images that are able to move,

inform, and evoke the viewer. This course will take an in-depth look at all aspects of

photojournalism from capturing the found moments and shooting on assignment for

the news, to illustrating features and stories in editorial, to creating image series that

are stories in themselves through photo-essay. emphasis throughout the course is

placed on content, mood, and stylistic approaches; however, technical considerations

like fi lm characteristics, incident and strobe

lighting, equipment choices, and printing

for reproduction are addressed. Students

produce assignments ranging from graphic

reportage to editorial portraiture and

serial images. Students can expect to be

challenged regularly to articulate their

intent and rational for choosing the manner

in which they portray their assigned topics.

Past and present trends are explored with

discussion on what the future holds for the

diff erent aspects of photojournalism.

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FOOD & BEVERAGE PHOTOGRAPHYis a course that introduces students to one of the most challenging aspects of still

life photography. The first objective of this course is to dispel some of the myths that

surround food photography, such as coating the food with a vile goop that gives it a

shelf life longer than that of the actual photographer. Students definitely learn the tricks

of the trade, but the primary emphasis of this course is on using a carefully planned

approach. This field is explored mainly from the perspective of editorial and advertising

work with emphasis on the stylistic, objective, and ethical differences between the two.

Students will learn to work with some of the more troublesome subjects such as ice

cream and beer. Both a professional food photographer and commercial food stylist

teach throughout the course, so students learn how these relationships are structured

and what each expects from the other. Topics are covered through a combination of

lectures, slide presentations, practical demonstrations, and students shooting their own

work with the aid of a professional food stylist. Assignments will be handed out at least

one week in advance so the students have ample time to conceptualize, plan, and gather

props. The instructors are available for consultation at all times.

PrereQuiSite: AdVAnCed Studio lighting

FASHION PHOTOGRAPHYis an introduction to the ever-exciting and constantly changing world of fashion; and the

capturing of beautiful imagery to showcase current fashion by designers, fashion stylists,

hair and make-up artists. Intentional or not, the photographic image throughout history

has documented the styles and trends of the world for well over a century. Through

demonstrations, presentations, and practical application this course will take a close

look at: the history of the fashion photograph; equipment considerations; location and

studio shooting techniques; lighting; and the world of models, agencies, and stylists.

Professional models, make-up artists, and stylists will compliment the shooting sessions

and work to bring forth today’s trends and styles in fashion imagery. Throughout the

ten weeks of this course you will be taught and shown in-depth lighting techniques,

stylistic approaches, and equipment considerations for compiling an editorial fashion

spread, model portfolio, and your own personal look and style for your portfolio. much

like the fashion world itself, photographing fashion is in a constant state of flux as we try

to present in new ways the ever-changing spectrum of stylized imagery: this course will

assist you in embarking on that path.

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PHOTOSHOP LEVEL 1is an introduction to the photographic tools, palettes, and applications of Adobe

Photoshop. This course is designed to provide photographers and designers the basic

knowledge and fundamentals of Photoshop and the key skills necessary to achieve

professional looking results for your images. You will learn to save pictures in different

formats, select and transform areas of an image, apply special effects, and work with

layers. A basic understanding of the macintosh operating system and familiarity with

the layout of a macintosh style keyboard, mouse and desktop is required to fully

benefit from the lessons within this course. Over the ten weeks you will be exposed to

a myriad of tools, techniques and examples of how to prepare images for print and/

or presentation. Through lecture, presentations, and on-screen tutorials, you will learn

how Photoshop can assist in your image making endeavors. The course is designed to

show the many ways of achieving colour correction, exposure adjustment, and other

techniques. There is ample time to practice and hone these new techniques and skills

on your images in the computer lab.

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PHOTOSHOP LEVEL 2is a continuation and enhancement of all of the skills learned and practiced in

Photoshop Level 1. This course will take your Photoshop skills to an exciting new

level involving advanced techniques such as portrait restoration, fashion retouching,

special effects, advanced layering techniques, and composite image techniques. File

preparation for print (rgB & CmYK), web display, and portfolio presentation will be

covered, as well as some of the output options available in today’s market. Ample time

is provided in the mac Lab to put these newfound skills to work on your own images. It

is extremely difficult these days to find images in print that have not received, in some

way; the touch of Photoshop within it’s content. Photoshop is to a photographer today,

an essential tool in the evolution of the photographic process. Whether your original

image capture is done on film or digitally, Photoshop provides an ever-increasing

amount of tools, skills and techniques to assist the photographer in realizing their (or

the art director’s) dreams. Previous restrictions on the imagination have been lifted

opening up a whole new world of photographic possibilities and this course will assist

you in finding your own path down a more creative road.

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PHOTOSHOP LEVEL 3continues to hone the student’s capabilities in critical selection and extraction process

such as channel masks. Projects are student driven – instead of being handed an

existing image to practice on, students are expected to discuss self-driven ideas with the

instructor. The preference is that students will work on large image fi les with signifi cant

image detail (these can be composite images). This course emphasizes a well-planned

approach to image making where lighting and image capture play as great a role is the

digital post-production work.

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THE PHOTOGRAPHIC PORTRAITexplores people photography as it relates to a number of genres, from traditional studio

and location portraiture to that of illustrative fi ne art. All aspects of portraiture are

embraced including lighting techniques, posing, design, ambience, rapport with your

subjects, aesthetics, choice of materials and presentation. Through lectures, illustrated

slide shows, studio and location shooting sessions and critiques, the student is provided

an environment in which to thoroughly explore his or her potential and specialty within

this very challenging and rewarding fi eld. Beginning with traditional studio portraiture,

the course then tackles the techniques and aesthetics of location portraiture as well as

editorial, advertising and fi ne art applications. Students are encouraged to raise their

creativity to new heights and ultimately compile a mini portfolio of portraits.

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STREET PHOTOGRAPHYis a course designed to teach students location photography from an editorial, urban

photo essay perspective. emphasis is on a very creative, edgy approach that captures

the essence of a city and it’s culture. From pictorial to fine art; graphic detail to street

portraiture, this course examines the “rules” of photography and when, where, why and

how to effectively break them. Students also look at the etiquette of shooting this type

of work along with legal and ethical considerations.

PrereQuiSite: digitAl intermediAte PhotogrAPhy (or intermediAte

PhotogrAPhy)

CREATIVE LIGHT PAINTING TECHNIQUESis a course designed to give you an edge in a very competitive market. Photographers

must push themselves to create identifiable imprinted styles to their work in order

to stand out amongst the crowd, and this course will provide significant additions to

the student’s artistic repertoire. Take the technique “painting with light”, explored

in Advanced Studio Lighting, to new levels using techniques such as painting with

flashguns, multi coloured gels, and painting black and white prints. This course will

allow the students to take even the most mundane or ordinary object and turn it into

an illustrated work of art. Alternative light painting techniques for people photography

are also covered including light painting on black and white portraiture, as well as light

painting with animals. Students will learn through a series of slide shows, illustrated

lectures, demonstrations and lots of practical assignments designed to give the students

experience with various subjects, surfaces, textures and locations. One of the main

purposes of this course is to illustrate just how versatile this technique can be, from

subtly sculpted light to an almost electric neon effect, students are encouraged to

experiment with unconventional approaches and techniques.

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THE PHOTOGRAPHIC NUDEis designed to introduce the students to all aspects of fine art figure studies. The

human figure has easily been the most studied subject in the history of creative visual

expression. no other subject offers as much fascination for the artist or the viewer alike.

The photographic nude allows the artist to use the human figure to portray people with

an intimacy that is hard to match with other photographic genres. The nude figure is

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left behind or the maturity that awaits us. every emotion, good or bad, can be captured

and frozen, the artist and the viewer afforded the time to study it, to gaze upon it and to

interpret it. The interpretation and communication

of their art is the challenge that awaits the student

of this course. Students will have the opportunity

to work in a professional well-equipped studio

with both male and female subjects. Format and

photographic medium will, for the most part,

be left up to the individual student. He or she

will be expected to use this unique opportunity

to experiment while using strong photographic

technique to push out the limits of their creative

vision. Professional ethics and concerns as well as

group critiques and debates will be encouraged.

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ALTERNATIVE PHOTOGRAPHIC PROCESSES (Film)focuses each class on the development of a given process, its historical genesis, and why

it was popular and revolutionary in its day. The students also learn the new methods

of practitioner’s today as well as each process’ relevancy to commercial markets

in the 1990s - what’s trendy, what’s not and what clients are looking for in original

photographic works. many current commercial photographers, striving to distinguish

their styles from the rest have looked back to past practices such as cliché verre, pinhole

photography and photograms, giving the techniques a fresh, modern and thoroughly

contemporary overhaul. This course continues on with this trend and gives the students

an environment in which to add a whole new dimension to their stylistic approach.

Through illustrated slide lectures, hands on workshops and discussions of historic and

contemporary practices, students will gain knowledge and try first hand fundamentals

of alternative photography and techniques that are the foundations of modern

photographic processes. This course is an excellent compliment to foundation darkroom

and photography courses.

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COMMERCIAL PRODUCTIONis a course that deals with everything big in commercial shots. It is co-taught by a top

industry producer and commercial photographer. Students will learn how to bring

together teams of experts to deliver very challenging photographic assignments. The

course includes many guest speakers representing specialties such as hair and make-up

artists, fashion stylists and fashion historians, propping stylists and digital composite

specialists. Students will work with one of Vancouver’s largest advertising agencies,

such as rethink or ddB on shooting and actual advertising campaign that will be used

just long enough to allow the agency to enter it into the awards shows – of course any

winning entry’s will have the student’s name attached to the photography credit.

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PHOTOGRAPHIC ART HISTORYis a course designed to show the students both

the technical and stylistic movements throughout

the history of photography in order to better

understand the foundation upon which current

trends are built. The photographic arts, although

relatively young in comparison to the other

arts, have evolved rapidly since their inception

nearly 160 years ago. The Photographic Art

History course will examine the beginnings of

photography and its initial ties to painting, as

well as follow its 20th century transformation

into an independent art form. Some of the most

enduring figures in photography and their philosophies will also be examined in relation

to economic and social developments of their day. each class is designed to address

a different timeframe in a chronological progression from past to present, allowing

the students the opportunity to familiarize themselves with each era and epoch of

renowned photographers.

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WEDDING PHOTOGRAPHYis a course that illustrates what today’s couples really wants from their wedding

photographer, namely one with a unIQue approach! They hire established

photographers for their ability to see and their ability to see differently! every wedding

is a unique experience and should be photographed accordingly. This course strives to

push the photographer to look past the traditional and tackle wedding photography

in a way that captures the emotions and personalities of the couple and the guests.

The course covers issues from communicating with your subjects, protocol, stylism

and technical issues for formal, ceremony and candid shots. From behind the camera

to business and marketing skills this course encourages students to go beyond the

conventional, offering their clients contemporary wedding photography with an

artistic sensibility.

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STOCK PHOTOGRAPHYis a course designed to open up the world of

stock as an alternative stream of income for

the professional photographer and has taken

advantage of the growth of the Internet over

the last ten years. Stock photography is now

a highly competitive market that has seen

massive mergers, unprecedented growth, and

the involvement of some of the world’s most

talented image-makers. Stock photography has

gone from being used in newsletters and travel

magazines, to being the lead images in some of

the largest marketing world-wide campaigns.

This course focuses on the different means of marketing images through stock houses,

negotiating contracts, increasing the percentage of “accepted” images, and look at

trends and styles. It explores the advantages and disadvantages of rights managed

versus royalty Free and gives students an insight into how to file, categorize, and

market images in their own archives.

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ARCHITECTURAL PHOTOGRAPHYThe first evening consists of a presentation and discussion on what architectural

photography is all about, including the type of equipment used and why it may be used

in different situations. discussions include portfolio composition, the type of clients

who commission architectural photography, and why they assign this work and what

they would expect of the photographer. Classes concentrate on the practical aspect

of photographing the exteriors and interiors of buildings. Lighting and the use of light

are very important as well as an ability to pick out the important design elements of a

structure. A successful shoot tells a story that a viewer can read. Students will be directed

towards achieving strong composition in their photos and how to shoot certain details or

experiment with viewpoints and focus. There will be two sessions on weekends in order

to photograph the exteriors of buildings during daylight. There will be ongoing critiques

and discussion; the final session will consist of a student slide show and discussion.

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Instructor Bios

Jim bAlderSton (intermediAte PhotogrAPhy

/ bASiC Colour Printing / intermediAte

Colour Printing / Street PhotogrAPhy)

Jim has been involved in the Canadian photographic

industry for over 25 years. He has worked as a

commercial and fine art photographer, and for many

years ran one of Vancouver’s top darkroom and studio rental facilities. Jim is a veteran

instructor having taught at a number of schools in Vancouver and conducts travel

photo seminars. Jim is the Program Coordinator for Langara’s masters Series where he

coordinates some of the world’s top artistic talent (including photographers) to come to

Vancouver to lecture and run seminars.

greg blue (AdVAnCed Studio lighting / CommerCiAl PhotogrAPhy /

buSineSS PrACtiCeS / buSineSS mAnAgement / VieW CAmerA teChniQueS /

CommerCiAl ProduCtion)

greg has worked in Vancouver as a commercial photographer and art director for over 25

years. On top of coordinating the program, greg stays very active in the commercial field.

His commercial work is divided primarily between large-scale advertising assignments

for clients, such as Telus & BmW, and illustrative still life photography. His illustrative work

consists of using primarily still life images to illustrate concepts for stock photography,

editorial, and book covers. greg has taught photography since the mid 1980s and has

been the Program Coordinator of the Langara CS Photography Program since 1997.

He has sat as the President of the Vancouver chapter of CAPIC and is the only Western

Canadian photographer to have ever sat as the national President of CAPIC (Canadian

Association of Photographers and Illustrators in Communications). Awards for his work 40

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include the Lotus Awards, The marketing magazine Awards, Applied Arts magazine

Awards, The One Show Awards, and Cannes.

roSS durAnt (Food & beVerAge PhotogrAPhy)

ross is one of Vancouver’s most recognized food photographers. He received his

diploma in photography from Langara College over 20 years ago and has owned and

operated a successful commercial photography business since the early 1980s. He works

with graphic designers, advertising agencies, and has established clientele both local

and international. “Still-life and food photography are genres I enjoy immensely. The

studio allows me the freedom to concentrate on lighting and composition to create an

environment for each photograph. Lighting evokes an emotional response and enhances

the appeal of the image created. It is the essential element of image making and it never

loses its attraction for me. each assignment brings interesting and unique challenges

that are always rewarding and stimulating”.

lurendA gilder (bASiC PeoPle PhotogrAPhy)

Lurenda is a veteran commercial photographer who has

extensive experience shooting for model testing, editorial,

advertising and in the music industry. She has studied under

some of the top commercial photographers in Canada and has

helped many models enter successfully into the fashion world.

Lurenda brings a passion for people photography and a quirky

sense of humour to her classes!

JAmie griFFithS (bASiC dArkroom / ComPoSition & deSign / the

PhotogrAPhiC ConCePt / the CreAtiVe dArkroom)

Jamie has been creating innovative photographic content for commercial clients,

including record labels, international artist management, fashion designers, magazines,

film production companies, theater companies, dance companies, and corporate clients.

For Jamie the photograph doesn’t stop with the shoot, it continues into the darkroom.

using photographic chemicals and multiple manipulation techniques, she stretches

the materials to their limits, working with brushes, toners and refracted light to create

an evocative, painterly interpretation of the original studio image. Personal art projects

have exhibited in galleries in Toronto, Vancouver, Seattle, San Francisco, new York,

and Paris. SoHo galleries in San Francisco has published and distributed her images

worldwide as posters and postcards. Jamie’s work has been profiled on much music and 41

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City TV’s Fashion TV in Toronto. Bringing a classic lighting style to a raw, edgy sensuality

and sometimes disturbing sense of the erotic, has led her work to be compared to both

robert mapplethorpe and Joel Peter-Witkin.

mAriA hArPer (PhotogrAPhiC Art hiStory / the ContemPorAry imAge /

AlternAtiVe PhotogrAPhiC ProCeSSeS)

maria Harper earned her mFA in photography in 2000 from the university of Arizona

in Tucson, Arizona. She was awarded the medici Scholar Award, the george grant

Award, and the mistro-ertz Award. Her BA in studio arts was received from georgia

State university in Atlanta, georgia. In addition to her applied arts training, she has

studied art history extensively with an emphasis on contemporary art theory and

criticism. As a photo-based artist, maria works with traditional and alternative processes

in photography as well as digital imaging, video, and book art. She currently creates

installations with large-scale color images and explores the intimate relationships

between surroundings and self. Situated between cultural constructs that inform

identity and formal issues of aesthetics, maria’s art retells her experiences and records

her presence in the world. Her work has been exhibited throughout the u.S, including

the museum of Contemporary Art, Tucson, Arizona.

SteVe JACkSon (bASiC digitAl PhotogrAPhy)

Steve studied and graduated from the Langara

Photography Certificate Program 10 years ago. He has

since worked as one of Vancouver’s top first assistants,

as well as shooting commercially in the product and

food photography fields. Steve brings an easygoing

outlook and passion for photography to his classes,

while enjoying a great rapport with his students.

Previous to pursuing photography, Steve worked in

both the journalism industry and culinary arts.

liSA kAulbACk (CommerCiAl ProduCtion)

Lisa is one of Vancouver’s top commercial photographic producers (this role that is

common in most cities where commercial photographers use their services on high-

end and large production photo assignments). Lisa plays a key role in bringing together

the talent and expert stylists to build a top of the line photoshoot: need a bizarre prop

or location? Lisa will pull it off. She helps photographers quote and price a production 42

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and will typically be on set to ensure that the photographer and client have everything

they need and makes sure that the shoot proceeds according to schedule. Lisa studied

photography at Langara College’s Professional Photo-Imaging Program and worked

as a producer for robert Kent Photography before offering her services as a freelance

producer. She has worked on numerous award winning projects.

PAtriCk koSlo (CreAtiVe light PAinting teChniQueS)

Patrick’s style of photography uses gels, flashlights, and other light sources to illuminate

objects found in a darkened room or the darkened backstreets and docks of Vancouver.

His favourite subjects are those with “lots of character, like an antique chair or a funky

old stove.” using no light meter, Patrick’s experimentation with lengthy photographic

exposures range from a few minutes up to three-hour exposures. Patrick took up

photography in 1985, when he was working as a graphic designer. Awed by the industrial

docks of Vancouver at sunset, he began doing industrial photography work. Patrick now

works predominantly in editorial and advertising photography, and shoots stills for the

movie industry.

SAndrA leung (Wedding

PhotogrAPhy)

Sandra is one of Vancouver top wedding

photographers. She has worked as a

professional photographer for over nine

years and specializes in lifestyle portraiture

and wedding photography. Sandra loves

capturing the true essence of people in every

image she creates and brings a unique fashion-photojournalistic style to her work. Her

studio, Yaletown Photography is located in the heart of Yaletown (Vancouver’s trendy

warehouse district).

PAtriCk mCkAy (AdVAnCed blACk & White PhotogrAPhy)

Patrick has been a photography addict for as long as his memory allows: “my educational

background is in the visual arts, with studies in drawing, painting, electronic art,

photography and film. Photography though, was always my first love, and its something

I’ve been hooked on since childhood. For someone like myself who is naturally

introspective, it’s always been intriguing that making images is as much about looking

out (at external reality) as it is about inner-revelation and looking within. my personal 43

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work has mostly followed two main streams, and in either case I take a more general

approach to content, allowing the concept or situation to dictate the final image. The

first is traditional black & white wet darkroom based photography, using anything from

a pinhole camera, through to a Holga or view camera. At the other end of the spectrum

are my colour Polaroid images, especially the SX-70 manipulations, which embody a

quality reminiscent of impressionistic paintings. I enjoy the challenge of placing myself

into new situations, where I have to learn new ways of understanding and doing things.

For photography as a science, I’m committed to inspiring excellence in the craft of image

making. As an artist I bring passion, enthusiasm, and humour to the education process.”

ChriStoPher morriS (intermediAte

PhotogrAPhy / digitAl intermediAte

PhotogrAPhy / PhotoJournAliSm /

PrACtiCAl lighting)

Christopher was born in Ottawa, grew up

in montreal, and now lives in Vancouver. He

got his start in photography seventeen years

ago shooting news and sports events in montreal for Canadian Press and reuters. He

works for editorial clients such as macLean’s, der Spiegel, newsweek, Stern, L’express,

and Time magazine doing documentary photojournalism and portraits. His corporate

and commercial work includes annual reports and advertising. Christopher’s ability

to connect with people and put them at ease can be seen in all his work: authors,

politicians, the homeless, CeOs, Olympic athletes, divas, and assorted celebrities are all

regular subjects of his work. On location, in studio, or on the fly, it’s all about creating

great photographs that tell the story.

JoAQuin Pedrero (the PhotogrAPhiC nude)

Originally from mexico City, Joaquin Pedrero brings a reverence for tradition, a keen

eye for detail, and an appreciation for beauty to his photography. Originally involved in

study of medicine, his life and career aspirations changed with a ‘click’ from a camera

he purchased for his mother. Joaquin began an apprenticeship period, working with

commercial photographers in mexico City and new York City, and went on to establish

a successful photographic studio primarily creating images for advertising agencies

in mexico and the uS. Along the way, he developed his unique, hand-built fine art

compositions that have been widely exhibited and critically acclaimed. For the past 20

years he has managed Fotografica Studios, based in north Vancouver, British Columbia

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AndreA SiroiS (botAniCAl PhotogrAPhy / mACro PhotogrAPhy)

Andrea is a commercial & fine art photographer who studied photography in the

mid 1980s at Algonquin College. Her specialty is nature, scenic, botanical, and macro

photography. On a commercial basis, she shoots editorial photography for a number of

publications and has had numerous gallery showings of her personal work. Andrea is

an experienced teacher who has worked with a number of schools for photography in

Vancouver and abroad.

JohnAthon Strebly (PhotoShoP leVel 1 / PhotoShoP leVel 2 / AlternAtiVe

Colour teChniQueS / FAShion PhotogrAPhy)

John Strebly draws upon the grittiness of urban textures and attitudes to help convey

a sense of difference. An image can affect more than just the sense of sight, it can make

you look or think deeper into the emergent meaning of its origin. By staying true to

the ideal of creating new meaning, John searches to create a rupture in the discourse,

challenging the authority of traditional ways of making photographic meaning. By

incorporating pensive moods of mystery, John brings to life the characters we only

see in our imaginations. no stranger to the discipline of visual arts, John has actively

experimented with drawing and painting before turning his focus to photography more

than a decade ago. during that time his portfolio has grown to include commercial

advertising for a number of local fashion and retail clients. Internationally, his work has

appeared in Smoke and Impact magazines, for which he has shot such notable bands as

moist and The Tragically Hip. John has also participated in group and solo exhibitions at

local galleries.

AndreW triPP (ASSiStAnt ProgrAm

CoordinAtor / bASiC PhotogrAPhy /

bASiC dArkroom / PrACtiCAl dArkroom /

PhotogrAPhiC Style / the PhotogrAPhiC

PortrAit)

Andrew has been enjoying photography since his

mid-teens, and continues to use the medium to explore

the world within and around him. “Photography, for

me, has always been a means of self-discovery and self-expression, as well as a basic

appreciation of the visual world and the quality of light. As a commercial photographer,

I favour editorial-style portraiture and illustrative photography, which allow me a degree

of personal interpretation within an otherwise sales-driven field. In my personal work, I 45

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strive for much the same qualities, leaving as much open to the viewer’s interpretation as

possible, while still communicating a strong message. I am drawn, often, to life’s darker

side, to those aspects of our existence which both alarm and fascinate me; alienation,

addiction, persecution, destruction, and all those other marvelous human conditions and

which make it so wonderful to be alive!”

JeFF Weddell (intermediAte PhotogrAPhy /

PrACtiCAl lighting)

“Photography, for me, is freezing a moment in time.

That moment is recorded in a way that represents the

emotions of the photographer and the scene for a

viewer to interpret. It is a technical exercise that must

be combined with artistic integrity. my photographic

journey began on a field trip in grade 6, at which time I assumed I had captured an eagle

landing in a tree. I remember the physical feeling of releasing the shutter, on a now

antiquated Kodak Brownie camera. The results, needless to say, did not carry the same

emotions. Although photography was not a constant companion until a few years later,

it was the beginning of interpreting 3 dimensional scenes in a 2 dimensional medium.

The struggle for a photographer is how the scientific properties are used in an artistic

way. How the light responds to the glass of the lens and then to the emulsions of the

film and paper, which can make or break the final results. Learning how these principles

affect your image is vital to the end result. Be it for a class assignment or the cover of a

magazine, you must understand the basics before you can begin to manipulate them”.

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FAQ’s

CAn i ChooSe betWeen digitAl And/or Film CAmerAS For the ProgrAm?

Yes, the only courses where digital cameras do not work are the darkroom courses and

the Alternative Photographic Processes course. While digital photography is really the

norm both in this program and the outside world, we still recommend that students also

consider film photography. One major advantage of film is that each brand has a distinct

personality, where image quality is quite standardized and grainless with digital. The

commercial world still uses film for very high-end assignments. Top of the line digital

backs for medium and large format cameras cost around $30,000 and dSLr cameras are

not appropriate for all shooting circumstances.

hoW CAn i ChAllenge CourSeS iF i hAVe PreViouS exPerienCe?

How you challenge a course depends on which course you want to challenge. many

students come to us with some level of training already. If you want to challenge a

beginning level course such as Basic digital Photography or Basic digital Workflow, then

this can quite often be done over the phone by calling the Program Coordinator (Andrew

Tripp) at 604-644-7991. If a student wants to challenge a more advanced level course,

then that will mean the student must show their work to the Program Coordinator.

This can be done through a portfolio, but can also be done via e-mail or a website.

Only required level courses can be challenged, a student cannot challenge an elective

course (although they can challenge a course’s prerequisite). If a student successfully

challenges a course, they must replace that course with an extra elective if they plan on

pursuing certification. In order to qualify to apply for certification, the student must have

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WhAt iF i only WAnt to tAke one or A FeW CourSeS?

Students are welcome to take as many or as few courses in the

program as they wish. There is no obligation to fi nish through to

certifi cation. Students do not have to state whether or not they

want to pursue certifi cation when they start taking courses in

the program. If a student wants to apply for certifi cation, that is

something they do closer towards the end of the program. A student

has the full length of the program to decide whether or not they

would like to pursue certifi cation.

iS thiS ProgrAm oPen to AmAteur PhotogrAPherS?

Absolutely! Amateur and hobbyist photographers are welcomed

with open arms in this program. Students will typically fi nd that the

basic level courses are made up largely of amateur and hobbyist

photographer. As the courses progress to the advanced level,

the balance changes to mostly students pursuing photography

as a profession, but even at this stage it is not uncommon to fi nd

passionate and highly devoted amateur and hobbyist photographers

who wish to take their craft to a level far beyond the typical amateur.

iS thiS ProgrAm APPliCAble to Wedding & PortrAiture

PhotogrAPherS?

Yes! The program was originally designed with a strong emphasis on

commercial photography; however, the stylistic diff erences between

commercial, fi ne art, and consumer photography are becoming

much less defi ned. As such, the curriculum of the program was

adopted a few years ago to accommodate portraiture, wedding, and

fi ne art photography as much as commercial photography and we

have not looked back since.

iS thiS ProgrAm APPliCAble to Fine Art PhotogrAPherS?

Yes, the program is highly applicable to fi ne art photographers. As

the commercial photographic industry became a more and more

popular career choice, it also became far more competitive for

photographers. A stylistically formulaic approach to photography

was no longer sustainable. This was the best thing that has ever 48

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Langara CoLLege | Continuing StudieS PhotograPhy CertifiCate Program

happened to this industry as photographic styles exploded into a variety of new

techniques. Advertising itself became an integral part of pop culture, blurring the lines

between commercial and fine art photography. Some schools have a reputation for

being wholly fine art oriented, while others have a reputation of being overly technical

– the Photography Certificate Program sits unashamedly in the middle. We firmly

believe that concept, style, visual execution, and technical problem solving are equally

important in the make-up of a photographer.

hoW Would you deSCribe your tyPiCAl Student?

Passionate: there are not many students who would choose to study to this degree

unless they were pretty committed to the craft. The program tends to attract a more

mature student with our average age range being from mid 20s to mid 30s (you must

be 19 years of age before you can take our courses). We regularly work with students

anywhere from 19 to 90 and, as far as we’re concerned, this just makes the program

stronger. There are a variety of goals and stylistic inclinations amongst our students,

and that is an undeniable strength of the program. Students feed off of each other’s

enthusiasm, they have a major influence on each others style and philosophy, they open

each others eyes to new ways of seeing things. This is something the instructors benefit

from as much as the students.

WhAt kind oF PhotogrAPhiC geAr Am i exPeCted to hAVe?

You do not need a huge amount of equipment to start this program. As a matter of fact,

we often recommend that students hold off from purchasing a lot of equipment until

they have spent more time in the program, and have a better idea of the direction they

are heading in and the type of equipment they’ll need to get there. Students must have

either a dSLr camera or a 35mm film camera (fully automated “point & shoot” cameras

will not work for this program). It is a good idea to have a good zoom lens in the range

of 18mm to 100mm. A small dedicated flash unit is also a good idea and you must

have a sturdy tripod and a cable release. As beautiful as the new dSLr systems are, be

forewarned that you will be turning off all of the automated features on the camera while

in class.

As for larger format camera systems, metering systems, lighting set-ups, high-end

digital systems and such, Langara College is well equipped, and as a student you have

full access to that equipment. Please do not spend a lot of money until you have had a

chance to work with our equipment and have a better feel for what will work best for

you. many commercial shooters rent expensive equipment as needed.49

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do i need to interVieW For ACCePtAnCe?

no, there is no application or interview process to access this program. entry is on a

fi rst come fi rst served basis. If that leaves anyone wondering if this is some elementary,

shallow program that will accept anyone, you could not be farther from reality: this

one of the most comprehensive and recognized programs for training commercial

photographers in Canada.

iS there A PrACtiCum?

There is no practicum in this program; however,

considering the program is taught by many of the

top commercial photographers in Vancouver you

will gain many valuable contacts that could lead to

assisting work. many instructors who teach in the

program will also keep an eye open for promising

students who will make capable assistants. I can

tell you that in the last 15 years, every single fi rst

assistant I have worked with has come from this

program: the program is also well-known amongst

commercial photographers in Western Canada,

considering most of them came from Langara. Better to be assisting and paid rather than

a non-paying practicum.

CAn i do thiS ProgrAm Full-time?

no, but Langara College has an excellent full-time 2-year photography program called

the Professional Photo-Imaging Program: www.langara.bc.ca/creative-arts/photo-

imaging/index.html

Who do i ContACt iF i hAVe Further QueStionS?

You can contact the Program Coordinator, Andrew Tripp, either by phone at 604-644-

7991 or via e-mail at [email protected] and he will be happy to discuss the program

with you.

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Image Credits

1. Allen Ko

2. Ana Matovinovic

3. Dean Brown

4. Deb Reny

5. Dexter Quinto

6. Erich Saide

7. Gino Pezani

8. Group

9. Jeny Chen

10. Jesse Winter

11. Kent Wingerak

12. Kristy Ryan

13. Luc Ubaghs

14. Nicole Gurney

15. Rafal Gerszak

16. Ray Gonzals

17. Trevor Jansen

18. Winnie Lam

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