EVIDENCE photography assignment Assignment Objectives Learn about the uniqueness of photography among art forms. What is best done with a photograph rather than a drawing or a sculpture? A photograph is evidence. We believe it represents something real. We see it as a true story. Other art forms are less reality based and more metaphorical. They make references to reality, but we know many art forms themselves are fabrications. While we know that a photo can be fabricated, we expect a photograph to be a record of reality.

Hand In One of the Following

1. One 11 x 14 mounted or matted silver print 
2. A series 4 or more 5 x 7 silver prints on one mount
3. The equivalent of either of the above printed with the 11 x 17 black and white printer set to 1200 resolution printed as large as possible.  If you have color information from digital or color film,  make a black and white as well as a color print as large as possible with the color laser.
4. If working digitally, you may create the final product as a montage of layers in Photoshop.

1. Basic assignment: Use photography to show evidence of people. Make images with meaning about the cause of the images. Work within a theme. Use any theme based on evidence. 

Examples: 
Evidence that people don't (or do) care.
Tracks.
Shadows without objects.
Make a list of ideas and themes for yourself and select the one you like.
2. Advanced assignment (optional substitute for basic assignment): Make images to show evidence of self. Work within a theme. 

1. Play around and experiment.
2. Create impact.
3. Isolate (with connections).
4. Use a point of view.  Have an attitude.
5. Contrast content and ideas within the composition for emphasis.
6. Hit the viewer in the gut. Produce emotion.
7. Elicit response. Be unpredictable.

1. Use the viewfinder to experiment with framing.  Move up, down, closer, and around.
2. Exploit or eliminate background.
3. Develop a theme with variation. Use repetition with change.
4. Study the action of the lines and edges.

a. diagonal vs rectilinear
b. curved vs straight
c. jagged vs smooth
5. Move camera to get tonal interchange. Important shapes have strong contrast with background tone.
6. Study the edges of the viewfinder. Consider the spacing created by lines as they exit the frame. 

• Play around. Experiment.
• Make it sharp. Think camera support, film speed, and lighting.
• Consider bracketing depth of field.
• Consider bracketing exposure.

1. Make contacts and discuss them with creative colleagues. Bounce around some ideas.
2. Print several test prints.
3. Make and mount one or more final prints any shape as large as possible on 11 x14 paper. If it is cropped square make it 10 x 10. If it is vertical or horizontal it can be anything from 11 x 10 to 13 x 4 or wider.
4. Optionally, you may print and present a series of images. In some cases a serial format makes a stronger statement.

1. Retouch the print.
2. Mount on neutral tone such as white, black or gray.
3. Calculate equal margins on sides and top with a larger margin at bottom. Be generous with margin size.
4. Leave no smudges or marks to distract.
5. Sign with pencil on mount or ink on print without distracting from the overall presentation.

Syllabus for Art 315: Photography
Assignments page for Art 315: Photography has list of other assignments
Other photo Assignments linked to Art 255
Other instruction helps linked to Art 255
Assignment list from John Blosser's Art 255 page

Lynchings in America  An exhibition of postcard photographs showing evidence of tragic truths in American history.  Part of the B. Davis Schwatz Memorial Library, C. W. Post Campus, Long Island University, N.Y.
The foundation remains photograph of Japanese internment facilities 
during WWII in America. The story.   A Santa Clara University site.
Gordon Parks photos of his experiences as an African American photographer.  A Library of Congress photo archive page, U.S. Government.
http://www.crimescene.com/