81. Composition Course Guide • Ohio University English Department As in FirstYear composition, students work on honing their interpretive and writingskills through in-class discussion, peer critique, revision, and extensive http://english.ohiou.edu/undergrad/program/compguide.php

@import "/styles/all.css"; Skip navigation 360 Ellis Hall Athens, Ohio 45701 T. (740) 593-2838 F. (740) 593-2818 English.Department@ohio.edu Graduate Program Programs Ph.D. M.A. Visiting H.S. Teacher Areas Creative Writing Literature Further Information A.G.E.S. Admissions Assistantships Dissertation Titles ... Undergraduate Program Programs Major Requirements Graduating with Honors Honors Tutorial College Summer with Shakespeare Areas Literature Creative Writing Secondary Teaching Freshman Composition Composition Guide Composition Outcomes Further Information Writing Center Course Catalog Department Directory Policies and Procedures ... Home Composition Course Guide Undergraduate students at Ohio University are currently required to take one quarter of composition at the freshman level, and one quarter at the junior level. Any of the three freshman courses offered will fulfill the First-Year Composition requirement; each of the three courses fulfills the same purpose with a slightly different topic. Very much like First-Year Composition, any one of English 305J, 306J, or 308J will fulfill the Junior-level requirement for students not majoring in English. Students majoring in English must take English 307J. Some of the writing courses at Ohio University are regularly scheduled in Computer Classrooms . Those courses are listed in TRIPS as being taught in Ellis Hall rooms 19 and 20, and are flagged as requiring the use of a computer.

82. Against Participation: A Total Critique Of Culture this is not supposed to be a formal critique of supposed relative to several abstractedcategories of amusement, Entertaining, composition, Competition, and http://www.henryflynt.org/aesthetics/brend.html

Back to H.F. Philosophy contents AGAINST "PARTICIPATION": A Total Critique of Culture Henry Flynt (c) 1994 Henry A. Flynt, Jr. in lieu of Part IV , Chapter 11 "Brend," chapter from From "Culture" to Brend Consider the whole of your life, what you already do, all your doings. Now please exclude everything which is naturally physiologically necessary (or harmful), such as breathing and sleeping (or breaking an arm). For what remains, exclude everything which is for the satisfaction of a social demand, a very large area which includes foremost your job, but also care of children, being polite, voting, your haircut, and much else. From what remains, exclude everything which is an agency, a "means" another very large area which overlaps with others to be excluded. From what remains, exclude everything which involves competition. In what remains, concentrate on everything done entirely because you just like it as you do it. I have stipulatively formed a previously nonexistent category; you cannot dispute how `brend' should be defined. You have always done things just liked, an important point. I don't see how you could avoid you brend: things just liked are done precisely where you are not specially exerting yourself, where you are lax. You "do" your brend and "then" it turns out to be in the category of "brend"; the concept is applied retroactively. Your brend is something you already have, have always had, is absolutely yours. It's just that you haven't been "brend-conscious." I am "merely" concerned to make you conscious of your brend. Given your life, I have presented a determination (excluding certain areas and pointing to other things) selecting out things (which you have always had) from whenever, wherever they may be, in it; to be considered as one area, a unity, that of your brend. In fact, if I became convinced that my overt determining formulation

83. 7.2. Critique Of Findings 7.2. critique of findings. The mean feeding. However, many investigators(DHSS, 1977) have examined expressed breastmilk composition. A http://www.unu.edu/unupress/food2/UID09E/uid09e04.htm

Contents Previous Next 7.2. Critique of findings The mean metabolisable energy values at 4-6 and 10-12 weeks of 87 and 89 kcal/kg are substantially lower than the FAO/WHO/UNU (1973 and 1985) recommended dietary allowance for energy of 120 kcal/kg per day in 1973, and 116 kcal/kg per day in 1985. If these new data are accepted, then current estimates of requirement for energy and the recommended dietary allowance would need to be reconsidered. The major reason for the low values of metabolisable energy reported is the low energy content of breast milk. That these values are so substantially different from those reported in numerous studies on expressed breast milk raises questions of major biological and clinical importance and at the same time invites critical appraisal of the new techniques employed. In this study, values for milk energy content have been obtained without recourse to the difficulties of breast-milk sampling, and without the need for special apparatus or observer interference which might affect the normal biology of breast-feeding. Two factors add confidence to the validity of these low values for breast-milk energy. Firstly, the value for the energy density of the formula using the same method at 3 months of age was close (within one standard error) to the manufacturers' quoted figure based on macronutrient composition. Secondly, it might be expected that the value for the energy content of breast milk, derived from isotope techniques, would be slightly higher than that for the formula, since mean reported energy values for breast milk are around 2 kcal/100 mL more than the formula used here; and fat absorption and hence energy absorption is likely to be greater from human milk in view of its pattern of fatty acids and the presence of milk lipases. Yet, in contrast, our data showed that the energy content of the formula was significantly higher than that in breast milk (66 versus 58 kcal/100 mL).

84. Enculturation: Editors for Parlor Press entitled New Media/New Methods The Turn from Literacy to Electracyas well as his book manuscript, a critique of composition s history titled http://enculturation.gmu.edu/enculted.html

Editors General Editor: Byron Hawk , George Mason University Technical Editor: Collin Gifford Brooke , Syracuse University Copy Editor: Thomas Rickert , Purdue University Editorial Board Sarah Arroyo , California State University at Long Beach Jennifer Bay , Purdue University Lisa Coleman , Southeastern Oklahoma State University Peter Goggin , Arizona State University Lorie Goodman , Pepperdine University Judy Isaksen , Eckerd College Jeffrey Karnicky , Millersville University Matthew Levy , University of Texas at Arlington Timothy Mayers , Millersville University Stacia Neeley , Texas Wesleyan University Jeff Rice , University of Detroit Mercy David Rieder , North Carolina State University James Roberts , Georgia State University Sarah Arroyo , California State University at Long Beach Sarah Arroyo is an Assistant Professor of English at California State University Long Beach. Her areas of interest include: digital studies, composition theories and pedagogies, rhetorical invention, theories of spatiality, multiple literacies, and post-secondary teacher education. Her research explores the relationships among cultural/critical theory, rhetoric, writing, and technology by examining how these intersections create conditions for new possibilities to emerge about thinking, writing, and teaching writing. She has published in Ploygraph: An International Journal of Culture and Politics and has forthcoming articles in JAC and PreText Electra(Lite) . She is currently working a book manuscript entitled W/hole Writing: Toward a Post-Critical Composition

85. Animeillusion.com - Critique CD - El-Hazard The Symphonic World composition monte en http://www.animeillusion.com/critiques/elhazard/symphonic.php

Il y a actuellement Critique CD - El-Hazard The Symphonic World ( par Jihon Titre : El-Hazard The Symphonic World PICA-1031 Durée : 48'06" Morceaux: 7 Origine: Japon Seiko NAGAOKA ! Nous allons voir si le cd tient ses promesses ! Première piste " Prologue - Opening Theme " autrement dit le thème récurrent d'El-Hazard revu et corrigé en symphonique avec de beaux instruments. L'on trouve tout d'abord une intro supplémentaire assez sombre. Mais oui le thème arrive avec puissance, pas de synthé, mais de vrais instruments ! Autant dire que le morceau est beaucoup plus classe et puissant ! Ce thème magique et arabisant qui nous a tous charmé prend vraiment en grandeur, surtout pour la fin rapide, très belle. Nous trouvons en piste 2, " Heiwa no oukoku - Haruka naru daichi ", le thème de la ville de "Rhostaria", l'on reconnaît bien le morceau original. Le morceau dure plus de 6mn et cela vaux le coût ! L'intro est assez lente mais surtout calme, il vous faut attendre un superbe passage à la flûte pour que la montée en puissance se fasse. Car c'est vers 5mn que le thème principal revient mais plutôt grandiloquent avec des tambours, et des trompettes, vous êtes réveillés si vous aviez somnolé sur l'intro ! Un morceau sublime sur la fin, terrible !

86. Kandinsky: Compositions same emotional power as a musical composition. The exhibition "Kandinsky enhances the impact of composition IV, a maelstrom of to a reading of composition IV as expressing the http://glyphs.com/art/kandinsky

Kandinsky: Compositions A Review by Mark Harden Kandinsky: Compositions by Magdalena Dabrowski Published by the Museum of Modern Art 11 West 53 Street New York, NY 10019. $45.00 Wassily Kandinsky was one of the most original and influential artists of the twentieth-century. His "inner necessity" to express his emotional perceptions led to the development of an abstract style of painting that was based on the non-representational properties of color and form. Kandinsky's compositions were the culmination of his efforts to create a "pure painting" that would provide the same emotional power as a musical composition. The exhibition "Kandinsky: Compositions", organized by Magdalena Dabrowski and on display at the Los Angeles County Art Museum until September 3, 1995, presents these monumental works together for the first and possibly last time and provides an opportunity to witness the creative process of Kandinsky. (Black) is like the silence of the body after death, the close of life. - Wassily Kandinsky, 1911 Kandinsky viewed the compositions as major statements of his artistic ideas. They share several characteristics that express this monumentality: the impressively large format, the conscious, deliberate planning of the composition, and the transcendence of representation by increasingly abstract imagery. Just as symphonies define milestones in the career of a composer, Kandinsky's compositions represented the culmination of his artistic vision at a given moment in his career.

87. Vermont MIDI Project An online music mentoring project, networking over sixty schools where students in grades K12 submit their music compositions for sharing and critique by professional composers, teachers and other students. http://www.vtmidi.org/

Spring Professional Development Workshops and Demonstrations Monday, June 21, 2004 Hear the Compositions View the Scores Selected for Opus 9 Summer Institute 2004 Tuesday, August 3 - Friday, August 6 Time Schedule For All Participants: Tuesday 9-5 AND 6:30-9:00 PM Wed. and Thursday 8:30-5 and 7-9 PM Friday 8:30-4:00 PM Opus 8 Compositions from November 2003 available for listening VTMIDI Project information and participation agreements are now located on the Resources Page The purpose of the Vermont MIDI Project is to encourage and support students in composing and arranging music. Students in grades 2 through 12 share their work in a password protected website for critique by professional composers, teachers, and other students. Teachers are supported with professional development opportunities in music and technology. Contact Vermont MIDI/ARTT Project, Inc. Vermont ARTT Project Board of Directors Funding for the VT MIDI/ARTT Project, Inc., is provided in part by participation fees from schools, donations from members and grants from the Argosy Foundation, the Vermont Arts Council , the National Endowment for the Arts , and a Vermont Department of Education title IID Competitive Local Grant, Enhancing Education Through Technology. A password protected website for the sharing of student work in progress is sponsored by the

88. Henrik_Lindberg: Giving Critique - A Check List For Critiquers (1 Of 2) http://www.wetcanvas.com/Articles2/509/168/

Home Member Services vbmenu_register("member"); Content Areas vbmenu_register("content"); Tools vbmenu_register("tools"); Info Center Help Member Services New member? Create new account (free!) Become a paying member (NYOS) Content Areas Art Project System Article Index Critique Center Discussion Forums ... Reference Image Library Tools Article Publisher Chat Live Gallery Manager Virtual Palette ... Web Hosting Channels: Choose ... Abstract/Contemporary Art Acrylics Airbrush Art Art Business Art History Art Schools/Students Cafe Guerbois Classical Art Colored Pencil Computers/Technology Creativity Corner Critique Center Digital Art Fantasy/Sci-Fi Art Figure, The Glass Art Illustration Inspirational Art Landscapes Marine Art Mixed Media/Alt. Materials/Other New User Channel Oil Painting Pastels Photography Plein Air Portraiture Printmaking Sculpture Still Life, The Studio Tips Teacher's Toolbox Tole/Decorative/Porcelain/China Watercolors WC! Events WC! Site Discussions Wearable Art Search for: in: Choose ... Forums Articles/Site Reviews Images Home Critique Center : Giving Critique - a Check List for Critiquers "Giving Critique - a Check List for Critiquers"

89. WetCanvas: Art Critique Center: The Learning Gallery: 1999 Index http://www.wetcanvas.com/Critiques/LearningGallery/index99.html

Home Member Services vbmenu_register("member"); Content Areas vbmenu_register("content"); Tools vbmenu_register("tools"); Info Center Help Member Services New member? Create new account (free!) Become a paying member (NYOS) Content Areas Art Project System Article Index Critique Center Discussion Forums ... Reference Image Library Tools Article Publisher Chat Live Gallery Manager Virtual Palette ... Web Hosting Channels: Choose ... Abstract/Contemporary Art Acrylics Airbrush Art Art Business Art History Art Schools/Students Cafe Guerbois Classical Art Colored Pencil Computers/Technology Creativity Corner Critique Center Digital Art Fantasy/Sci-Fi Art Figure, The Glass Art Illustration Inspirational Art Landscapes Marine Art Mixed Media/Alt. Materials/Other New User Channel Oil Painting Pastels Photography Plein Air Portraiture Printmaking Sculpture Still Life, The Studio Tips Teacher's Toolbox Tole/Decorative/Porcelain/China Watercolors WC! Events WC! Site Discussions Wearable Art Search for: in: Choose ... Forums Articles/Site Reviews Images Home Art Critique Center Learning Gallery : 1999 Archives The Learning Gallery: 1999 Index The following critiques were published on this site throughout 1999, and have been archived here for your enjoyment.

90. Condenser Critique Specific uses of Condenser critique 2.0 The worksheets as listed above can be used Whencomposition of the noncondensables or the vapour needs to be changed http://www.inventech.co.uk/CondenserCritique.htm

Condenser Critique 2.0 Software for sizing and testing the performance of shell and tube cooler condensers Save money by operating your condensers efficiently Calculate condenser operating costs Optimise use of cooling water Calculate saturation in vapour/gas mixtures Calculate condenser pressure losses Test effect of any process change on condensers Free Condenser Critique Example Click here to download a full read only example of Condenser Critique. (Excel 97, 2000 or 2002 required) Condenser Critique Shell and tube condensers come in different sizes, are used in various applications and all require large amounts of cooling water. Their use in the vacuum field where very low pressure losses are required imposes special requirements. Detailed insight into the performance of these condensers can lead to reduction in operating costs if cooling water can be more effectively utilised. It will also assist in predicting the behaviour of such condensers where fouling/ scale and variation in operating conditions need to be considered. At the design stage, it provides a useful aid when establishing the relationship between performance, capital costs and operating costs. Software Specification The software comprises a series of dedicated multi-page spreadsheets which are run under Microsoft Excel 97, 2000 or 2002 for Windows 95/98/NT4/2000/XP based IBM compatible PC’s.

91. Critique Institutional critique A Rhetorical Methodology for Change. CollegeComposition and Communication 51.4 (June 2000) 610642. http://wrt-howard.syr.edu/Bibs/Critique.htm

Sources on Critique Rebecca Moore Howard Syracuse University Bevir, Mark. "Foucault and Critique: Deploying Agency Against Autonomy." Political Theory 27.1 (February 1999): [file Plagiarism:Autonomy] Bunker, Matthew D. Critiquing Free Speech: First Amendment Theory and the Challenge of Interdisciplinarity Mahwah, NJ: Lawrence Erlbaum, 2001. Carino, Peter. "Reading Our Own Words: Rhetorical Analysis and the Institutional Discourse of Writing Centers." Writing Center Research: Extending the Conversation. Ed. Paula Gillespie, Alice Gillam, Lady Falls Brown, and Byron Stay. Mahwah, NJ: Lawrence Erlbaum, 2002. Dewey, John. Construction and Criticism New York: Columbia UP, 1930. Downing, David B., Claude Mark Hurlbert, and Paula Mathieu, eds. Beyond English Inc.: Curricular Reform in a Global Economy. Portsmouth, NH: Boynton/Cook, 2002. Farber, Jerry. Student as Nigger: Essays and Other Stories New York: Pocket Books, 1970. Gee, James Paul. "Progressivism, Critique, and Socially Situated Minds." The Fate of Progressive Language Policies and Practices Ed. Curt Dudley-Marling and Carole Edelsky.

92. THE TENDENCY OF THE RATE  OF PROFIT TO FALL AND POST particular cases (associated with different movements in the organic compositionin different best available, must be based on a scientific critique of their http://www.marxist.com/Theory/rate_profit_glyn.html

The tendency of the rate of profit to fall and post-war capitalism A critique by AG This article explains why I disagree with one important element of our analysis of the economic crisis in Britain, and in the advanced capitalist countries as a whole. To clarify what is at issue it is worth emphasising the following points where I believe there to be basic agreement 1. There has been a systematic and pronounced fall in the rate of profit in the UK, and to a varying extent in the other advanced countries, since the early 1960s. 2. This fall in the rate of profit flows from the accumulation of capital. 3. The fall in the rate of profit has been a fundamental contributory factor to the extreme economic difficulties of recent years (the world economic crisis) and to the specific crisis of UK capital. 4. The course taken by the economic crisis cannot be deduced simply from the fall in the rate of profit. The uneven development between the different capitalist countries, breakdown of the international monetary system, class struggle over wages and state spending, the colonial revolution, etc., all profoundly contribute to the generation of, and affect the form of, the crisis. More- over, the economic crisis itself worsens the fall in profitability through the stagnation which results. 5. In the economic crisis a prime objective of the capitalists is to restore the rate of profit by holding down real wages and by forcing up productivity through rationalisations, that is, by improving the conditions for producing surplus value. But this is only a situation for a particular (national) capital to the extent that it succeeds more than its rivals and can therefore solve the problems of realising surplus value (selling the extra surplus produced by the working class) at their expense.

93. James Bond Film Soundtracks Comments Opening to the tune of Norman s James Bond Theme, From Russia with Loveisthe first Bond film to credit from John Barry s energetic composition skills http://www.klast.net/bond/soundtr.html

James Bond Movie Music By Erik Aadahl edited by Kimberly Last Order soundtrack CDs from Amazon or half.com With an estimated half of the world population having seen James Bond films, the James Bond theme (written by Monty Norman ) is perhaps the best known tune in film history, ranked with "Star Wars" and "Gone with the Wind." In its 37-year history, the James Bond series has been nominated for the Academy Awards' Oscar 8 times. Of these 8 nominations, 4 were for film scoring or the title songs ("Live and Let Die" best original song; "The Spy who Loved Me" best musical scoring, best original song; and "For Your Eyes Only" best original song). The Composers There have been 8 composers throughout the series. Most of them Monty Norman , George Martin, Marvin Hamlisch, Bill Conti, Michael Kamen and Eric Serra wrote 1 score each. David Arnold has penned 3. But the most prolific and acclaimed of the series' composers, however, is undoubtedly John Barry , with 11 Bond scores under his belt. Barry was born in York, England, in 1933 with the unique pleasure of having Bond's initials, J.B. He has composed over 80 scores for a huge range of films, such as Dances with Wolves and Out of Africa . Seven of his films have been nominated for Oscars; 5 have won. John Barry is currently ranked as one of the most talented and sought-after (and thus expensive) film composers in the world.

94. Discussions @ Nikonians composition and Safari articles Hi I m starting to write short http://www.nikonians.org/cgi-bin/dcforum/dcboard.cgi?az=list&forum=DCForumID34&c

95. Self-Critique Tips On The Process Of Fine Art Painting From Arts And Crafts At B Selfcritique Tips on the Process of Fine Art Painting Drawing 1. Keep a compositionfrom looking boring by emphasizing diagonals and swooping curves. http://www.byroads.com/magazine/arts/critique.shtml

This site links through images Home Page E-mail Editor Shop ByRoads Talaxian Kitchen ... Hosting Services Help support great gifts for you and your loved ones at the same time! Gifts for everyone even you! Go to ShopByRoads.com for Hasstle Free E-Shopping. Self-Critique Tips on the Process of Fine Art Painting Drawing: 1. Keep a composition from looking boring by emphasizing diagonals and swooping curves. A non-diagonal or curved subject can still be interesting by adding these elements to the background. It's your art. You don't always have to do exactly what you see! 2. Drawing accurately sometimes requires measuring your subject matter. Mark the height and width of your focal subject of the composition first. Then compare the height to the width. Judge the scale of all other objects in your drawing by the measurement you made of the focal point. Use vertical and horizontal plumb lines to make sure other objects are not only the right size, but in the right position compared to the focal subject. 3. Keep measuring simple by dividing your measurements in halves (and sometimes thirds.)

96. Nat'l Academies Press, Body Composition And Physical Performance: (1990), 11 Cri Because of the large numbers of military personnel that require body composition assessment http://books.nap.edu/books/030904586X/html/185.html

Read more than 3,000 books online FREE! More than 900 PDFs now available for sale HOME ABOUT NAP CONTACT NAP HELP ... ORDERING INFO Items in cart [0] TRY OUR SPECIAL DISCOVERY ENGINE Questions? Call 800-624-6242 Body Composition and Physical Performance: Applications for the Military Services Institute of Medicine ( IOM CHAPTER SELECTOR: Openbook Linked Table of Contents FRONT MATTER, pp. i-xii Contents, pp. xiii-xiv I Overview, pp. 1-2 1 Introduction and Background, pp. 3-24 2 Conclusions and Recommendations, pp. 25-28 II Invited Papers, pp. 29-30 3 Body Composition and Military Performance: Origins of t..., pp. 31-56 4 Body Composition in the Military Services: Standards an..., pp. 57-70 5 Effects of Experimental Alterations in Excess Weight on ..., pp. 71-88 6 Army Data: Body Composition and Physical Capacity, pp. 89-104 7 The Relationship of Body Size and Composition to the Per..., pp. 105-118 8 New Approaches to Body Composition Evaluation and Some R..., pp. 119-140 9 Associations Among Body Composition, Physical Fitness, a..., pp. 141-174

97. Natalia - GFXartist.com - Over 36,000 Pages Of Digital Expression that s just breathtaking Re natalia. alparky 05/12@395, edit critique. Nicecomposition and cool colours. This is something I can aspire to. Re natalia. http://www.gfxartist.com/community/member_galleries/artworks/50575

Keep me logged in Not registered yet? Why should I register? Sign up now! Members: 23241 Elite members: 70 general news saywhat!? pic of the day forum ... my artworks natalia natalia Painting Uncategorized thoomas critiques views (7358) Description corel photo-paint 9 + photoshop 6 + mouse girl based on tarya-stock http://www.deviantart.com/view/6762104 Vote statistics Score: 856 (15) Amount: 130 (3) Cast your vote You have to be logged in to vote Downloads and full versions Full version Member critiques Re: natalia arbaon edit critique Fantastic, love it Re: natalia Aragos edit critique The mood in this pic is great, I like it a lot. Excellent. Re: natalia ei-en edit critique amazing work man!+8 Re: natalia Kael edit critique only one word, WOW!!!! Re: natalia GoTo edit critique worth a +8 Re: natalia ananda edit critique very expressive work! Re: natalia Brasileiro edit critique nice work! good lights! Re: natalia CalinnVojnngat edit critique Wonderful mood and beautyful girl !! Re: natalia Nyhtmare edit critique This is really nice. I love the little detail like the spiderweb in the grass. I highly recommend everyone check out the full version. Excellent. Re: natalia edit critique very nice, love the sky, grass also, figure is excellent. the tree on the right i could do without, i think the piece would focus more on the figure without it and convey more emotion.

98. From Poetics To Ideology Critique 3 From Poetics to Ideology critique 3. In his wellknown article, Contemporary CompositionThe Major Pedagogical Theories, Berlin defines three rhetorics that http://www.uta.edu/HyperNews/get/berlin/33/3.html

HTTP/1.1 200 OK Date: Tue, 08 Jun 2004 09:28:49 GMT Server: Apache/2.0.46 (Red Hat) Last-Modified: Tue, 27 Nov 2001 02:44:17 GMT ETag: "3a8116-8d5-a84ac240" Accept-Ranges: bytes Content-Length: 2261 Connection: close Content-Type: text/html; charset=ISO-8859-1 E5336, Special Topics in Rhetoric/Composition: Seminar Facilitator: Victor J. Vitanza , Fall, 1998 The James A. Berlin Project/s, Concerning Social Epistemic Rhetorics: "...in teaching writing we are tacitly teaching a version of reality and the student's place and mode of operation in it. Yet many teachers (and I suspect most) look upon their vocations as the imparting of a largely mechanical skill, important only because it serves students in getting them through school and in advancing them in their professions." JB, "Contemporary Composition" CE 44.8 (December 1982): 765. This is the place for students in the seminar "James A. Berlin and Social-Epistemic Rhetoric" and othersif they so wish to contributeto toss out ideas and work through problems with the primary purpose of contributing to the conversation on JB's work. If you wish to introduce a topic or keyterm or explore one, select the ADD button below, or read through the conversations already posted to this list by selecting the title of the note. (Please be sure to read the syllabus before posting, and report any problems or questions that you might have to Victor J. Vitanza

99. Photo 110 Schedule colors of light, color temperature, and abstract images. CritiqueComposition assignment. Color assignment given, due 4/6/04 3/9 http://www.sdco-op.com/palomar/110-schedule.html

@import "newphoto.css"; home photo 100 photo 110 schedule ... contact Photo 110 Schedule Handouts, plans, times, etc. Extra Handouts and Links Class Introduction PDF Suggested Supply List Complete List of Handouts Exposure Data Sheet PDF ... California Center for the Arts 1/20/04 Introduction Introduction to course, student information, materials required, procedures and goals. Slide show. Discussion of camera functions, film loading/unloading, operations of specific types of cameras, cleaning and handling. Bring Cameras to class for the next three weeks. 1/27/04 The Exposure System BRING CAMERAS TO CLASS. Discussion of aperture, shutter speeds, metering, ISO, films, and exposure. Assignment #1 (Bracketing) and #2 (Depth of Field) given, both are due 2/3/04. Before next class read pages 4-39 (Seeing and Composition) 2/3/04 Exposure Evaluations BRING CAMERAS TO CLASS Critique Bracketing and Depth of Field assignments 2/10/04 Composition Discussion of composition and creative seeing. Slide show of compositional elements in art history. Composition assignment given, due 3/3/04.

A  B  C  D  E  F  G  H  I  J  K  L  M  N  O  P  Q  R  S  T  U  V  W  X  Y  Z

Page 5     81-99 of 99    Back | 1  | 2  | 3  | 4  | 5