Student Work
How, exactly, does a photograph become famous? It's not because it was promoted right, or because the person that took it had a famous name. It's because images have the power to really hit home. To entertain. Enrage. Soothe. Persuade. Click. You just documented history. There's the world as you see it.
At Kendall, you'll be challenged to think conceptually, balance ideas and technique. Unlike most photography programs, we don't put students into separate fine arts and commercial tracks. Instead, we opt for them to merge and inspire one another. You'll learn both traditional and digital processes and explore traditional and non-traditional methods of lighting, photographing, and producing prints. Get your hands on professional equipment in the lighting studio, get them dirty in the black and white and color processing darkrooms. Then, produce images on high-end digital printers and scanners.
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Supportive Studio
Printmaking I (3) OR Digital Printmaking (3)-
2-D Design (3)
A problem-solving course covering the principles of composition and modular design systems. Uses predominately abstract shapes and black, white, and achromatic gray ranges.(Students who have earned credit for VISC 110, Design I, may not use credit earned in KCPA 110 to meet graduation requirements.)
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Color (3)
A problem-solving course which studies the properties and interactions of color and its resulting perceptual effects in pictorial space.
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Kendall Experience
The Kendall Experience is designed to help a student make a smooth transition to the academic and co-curricular aspects of college. The student’s experiences in college will be enhanced through an integrated approach to the resources necessary for success.
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3-D Design (3)
To explore the elements, principles and aesthetic concepts integral to three-dimensional design and to consider relationships between concept, process, materials, tools and technical skills. (Students who have earned credit for ARTS 120, 3-D Design, may not use credit earned in KCSF 11 to meet graduation requirements.)
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Figure Drawing I (3)
Emphasizes gesture drawing, sighting the figure, basic compositional concerns, precise linear construction, and structural aspects of the figure. Anatomical focus is on the skeletal structure and its effect on surface form. Tonal construction introduced late in the semester.
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Drawing I (3)
The process of drawing as observation and conceptualization through eye-hand coordination. Emphasizes linear construction with concern for accurate proportion and simple positive-negative/figure-ground relationships. Includes an in-depth study of linear perspective.
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Drawing II (3)
Emphasis on development of convincing illusion of three-dimensional objects, through the combined use of line, value, proportion, and composition. This course focuses on the further refinement of the concepts, processes, and techniques introduced in Drawing I. Expanded exploration of perspective, composition, color investigation, media exploration, and idea development within traditional subject matter will be emphasized.
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Introduction to Printmaking (3)
An introductory course which explores some of the following media: monotype, relief, intaglio, lithography. Students gain proficiency in printing, proofing, and editioning.
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Video (3)
Students will focus on the design and technical process to shooting digital video and computer-based editing. Students will be able to apply these techniques to their major area of study.
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Digital Printmaking (3)
Integrates computer output with traditional printmaking techniques.
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Major Studio
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Introduction to Photography (3)
An introduction to the fundamentals of photography and 35mm adjustable camera operation. This course includes beginning black and white film development and darkroom printing, as well as an introduction to digital capture and basic image manipulation controls the aesthetics of photography will be discussed in terms of its history, and artistic and technical advancements. (Students whohave earned credit for VISC 212, Photography, may ot use credit earned in KCPH 120 to meet graduation requirements.)
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Intermediate Photography (3)
The refinement of black and white film exposure and darkroom techniques using the zone system. An introduction to studio and artificial lighting techniques as well as extensive work with manipulation of the photographic image. Subject matter and imagery will be emphasized, along with a continuation of the study of photographic history and aesthetics.
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Digital Photography I (3)
An introduction to photography’s digital tools: digital cameras, manipulation, and output. Exploration of consumer and pro-sumer level digital cameras and digital lighting considerations. Introduction to PhotoShop, especially image compositing and manipulation. An introduction to film and flatbed scanning, resolution, color correction and digital output. The aesthetics unique to the digital environment, as well as its history will be examined.
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Color Photography (3)
An extensive exploration of color photography with an emphasis placed on color negative printing. A study of color theory as it applies to light and film and the contemporary use of color by photographers. Content issues, as well as history, theory, and aesthetic approaches will be emphasized.
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Lighting for Photography (3)
An introduction to the fundamentals of using and modifying both ambient and studio lighting. This course includes the use of both hot and cold studio lighting for digital and analog photography, including color balancing the light source to specific films. Lighting theory and the history of studio photography will also be discussed.
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Special Topics in Photography (3)
Rotating topics in photography utilizing the specific skills and interests of the faculty, community professionals, and visiting artists. Topics may be subject oriented (such as landscape, portrait, documentary, or photojournalism), technique oriented (manipulated image, directorial mode, or alternative process), or issue oriented (visual semiotics, new topographics, etc.)
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Photography Seminar (3)
Reading, lecture, and discussion of classic and contemporary essays that outline the important areas of critical discourse in photography including philosophical and psychological theory.
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Digital Photography II (3)
Advanced digital capture, manipulation, and output with emphasis on digital workflow and color space management. Focus on the use of high-end digital cameras, scanning backs, drum scanners and film recorders for the production of giclee-type prints for exhibition. Discussion of archival issues as related to digital output.
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Studio Photography (3)
Using medium and large format cameras in the photo studio, especially for perspective control. Exposure control using the zone system. Lighting, posing and staging techniques that are used in classic studio photography including still life, models, food, and fashion. An examination of these classic techniques as applied to fine art photography.
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Professional Photo Practices (3)
A range of practical, legal and ethical issues for the professional photographer including writing an artist’s statement, resumes, business promotional materials, marketing, small business practices, financial practices, and portfolio presentation. Emphasis will be placed on applying to juried shows and the production of a gallery exhibition.
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Photography Thesis I (3)
Emphasizes the production of a unified body of work emphasizing conceptual development and creative decision making. Includes individual and group critiques.
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Photography Thesis II (3)
Emphasizes responsibility for the creation of a cohesive body of work that displays conceptual continuity and technical integrity. Includes individual and group critiques. The student is required to install a thesis exhibition to complete the BFA in Photography.
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Art History
Art History Elective (6)-
Western Art I-Prehist-Renais (3)
An overview of the Western Art tradition from prehistory through the Renaissance using a socio-cultural methodology in a chronological framework. (Students who have earned credit for ARTH 110, Prehistoric through Middle Ages, may not use credit earned in KCAH 111 to meet graduation requirements.)
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Western Art II-Baroque-Present (3)
A survey of Western art from the Baroque to the present, this course will continue building upon the foundation of Western Art I; Prehistoric through the Renaissance, using a socio-cultural methodology in a chronological framework. (Students who have earned credit for ARTH 111, Renaissance through 20th Century, may not use credit earned in KCAH 112 to meet graduation requirements.)
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History of Photography (3)
A study of photography as both a fine art and as documentary; at issue will be photography’s relationship to other arts, its impact on modern culture, and the impact of modern culture upon it.
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General Education
Science Elective (3)
Math Elective (3)
Humanities Elective (6)
Social Science Elective (3)
300/400 Social Science Elective (3)-
Written Rhetoric (3)
Focuses on using writing both to develop critical thinking skills and to express ideas clearly and appropriately according to audience and purpose. Students will engage in a variety of writing modes and will spend a portion of the semester engaging in scholarly research and the documentation of source-based materials. (Students who have earned credit for ENG 150, English I, may not use credit earned in KCHU 120 to meet graduation requirements.)
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Oral Rhetoric (3)
Presents concepts and develops oral and rhetorical skills appropriate for formal presentations, with emphasis on prepared, extemporaneous, and impromptu speaking. (Students who have earned credit for COMM 121. Fundamentals of Public Speaking, may not use credit earned in KCHU 121 to meet graduation requirements.)
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Visual Rhetoric (3)
Focuses on the analysis of numerous forms of visual discourse, including their rhetorical effectiveness, impact on audiences, and social/cultural influences.
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Aesthetics (3)
An exploration of the philosophical nature of beauty, art, and taste.
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Studio Electives
Studio Electives (15)
Download the catalog for the most recent course listings and prerequisites.
Adam DeKraker M.F.A.
Darlene Kaczmarczyk M.A.
Fashion photographer, photojournalist, food photographer, photo restorer, advertising photographer
Our state-of-the-art setup allows students to learn and practice both digital and traditional photography and reproduction processes in, and out, of our black and white and color darkrooms.
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