Reformatting an External Drive for Windows


As you may remember from our first couple of classes, Mac and Windows use different filesystems for storage. That means that external devices like the hard drive you purchased for class won’t work on both computers without 3rd party software (Paragon) or specialized formatting (exFAT).

If you primarily use Windows computers, you can reformat your external hard drive for use with that operating system, but…


Reformatting destroys any data currently stored on the drive, so back up your files prior to beginning this process.


Reformatting a Mac Drive on Windows

These instructions come directly from Microsoft. They are optimized for Windows 7, but should be generally applicable.

  1. Using a Mac, transfer any files or folders that you wish to keep from the external hard drive to another storage method.

  2. Connect the external hard drive to a Windows computer by plugging the USB cable into the appropriate interface.

  3. Open Computer Management by selecting the Start  button. The select Control Panel > System and Security > Administrative Tools, and then double-click Computer Management.

  4. In the left pane, under Storage, select Disk Management.

  5. Right-click the external hard drive/partition on that drive you want to format, and then select Format.

  6. To format with default settings, in the Format dialog box, select OK, and then select OK again.

Seagate, the manufacturer of the drive that was recommended on your supply list, also provides formatting instructions if you need additional help:

Reformatting for Both Mac and Windows

If you think you may want to use your drive on both Windows and Mac, you can try reformatting it using exFAT. ExFAT is a filesystem can be read by either computer type, though there is an increased chance of data corruption, especially if you move back and forth frequently.

Again, any type of reformatting will erase the data currently on your drive, so back it up first!

Instructions for formatting exFAT


Digital Photography Final Reminders

Happy last week of classes, Digital Photographers!

Below are some need-to-know reminders to finish out the semester successfully.

For next class, please bring:

  1. Your camera and accessories to check in. If you do not return all equipment, SCC may hold you financially responsible including putting a hold on your student account. Please make sure you have your:
    • camera body
    • lens
    • lens cap
    • battery
    • memory card
    • camera strap
    • battery charger
    • USB cable
    • camera case with strap
    • instruction manual
    • tripod

  2. Your hard drive with all your images for the semester. I will be selecting and copying about two dozen digital files for a Fall 2017 show in the library featuring our class!

  3. OPTIONAL: if you want to reformat your hard drive for use with a PC bring a secondary storage method such as a flash drive or an online storage account. You will need to copy your photographs onto this secondary storage before reformatting, which erases the drive.

  4. OPTIONAL: food for yourself or to share. I’ll be bringing a few brunchy-type items like cinnamon rolls and sausage muffins. Feel free to contribute something or just come hungry!

  5. Your finished final project of 5–7 narrative images printed and trimmed. Need more info? Details are linked below.

Tell Me a Story: Final Project Due May 5

“Lost” (from “Dwellings”) by Libby Rowe

Your final project is due AT THE BEGINNING OF CLASS on Friday, May 5. That means your images are shot, processed and printed. We will critique first thing, and any assignments not ready will receive a zero.  Many of you were not in class this past week, so you have your work cut out for you.

Of course, we have discussed what this project entails, but some of you requested a reminder. Therefore, I have therefore written out guidelines, which are attached here: ART 205 Final Project Specs.

Although much of the work for this project can be done at home, those of you who didn’t print last class will need to access the Mac classroom during open lab hours. Leave yourself ample time, since printing can be time consuming, especially if you have to wait your turn to access one of our two photo printers. Epson Ultra Premium Luster Paper for our class is on the corner of the instructor’s desk by the telephone. Please use only what you need so we don’t run out.

Can’t remember how to print? Guides are linked below and are also available as paper copies next to the relevant computer stations.

Printing Instructions

Epson P600
This printer is connected to the instructor station and works for color or black and white.

Epson P400
This printer is connected to the computer in the front left corner of the classroom and works for color or black and white, though the P600 does a bit better at black and white.

Open Lab Hours in Contini 213

Mondays from 4:30–7:00 pm
Tuesdays from 2:30–5:15 pm
Thursdays from 2:30–5:15 pm

It may be possible for you to access the lab at other times, but it is at the discretion of the instructors who are holding class at any given time. If you want work, please ask politely before a particular class begins. Do not interrupt someone’s instruction to inquire.

Additional Help

For those who need additional help, I will come in during open lab time on Tuesday, May 2 from 2:30–4:30 p.m. You are also welcome to e-mail questions or progress shots.


Jay Work of Art

20170422_001609_rmeditedNadav Kander

    My research is about Nadav Kander. I pick him because of his great work in photography. He use his artistic skill to create his versions of photography. He is a London based photographer, artist and director. He is known for his portraiture and landscapes. He produced a number of books. His work exhibited widely. He had received an Honorary Fellowship from the Royal Photographic Society in 2015, won the Prix Pictet and a World Press Photo award and his work work is included in the collections of the National Portrait Gallery.

   On January 18 2009 Kander had 52 full colour portraits published in one issue of The New York Time Magazine. These portraits were of the people surrounding US President Barack Obama, from Joe Biden (Vice President) to Eugene Kang (Special Assistant to The President). This is the largest portfolio of work by the same photographer The New York Times Magazine has showcased in one single issue.

     Now why do I like his work? I like his work because he can make a an ordinary photo from the chest up into something beautiful. I love to death and Dark Shadows that he had to his photos. I also love the plain background it make the person in the photo pop out more. It show that it mostly about that person. The photo that produce it shows that some of the photos is serious and some of the photos are more creative. Tell that some up most of the photos have its own meaning to it this is what I love about his photography have meaning they have a purpose and not know playing photo it’s just a creative and work of art. This is why I chose to research about him and he also inspire me to do more photos like this. Is a talented artist, photographer. And I hope one day I can do photography like.


Jeff Wall

Out of all modern-day photographers Jeff Wall must be the most unique out of them all. Jeff Wall was born in Vancouver, Canada where he currently resides and where all his work is based out of. His style isn’t only revolutionary, it’s caused many to see him as less of the photographer that he is. His techniques typically include things such as setting up shots as opposed to going out into the world and finding things to take pictures of and taking them in such a unique way that many see him as a false artist in many regards. His most famous work was The Destroyed Room shot in 1978, this work depicted a room in complete disarray and chaos with women’s clothes strewn about the floor while the mattress was slashed, wallpaper was coming off and the only window had tape over it forming an “X”. The photo invokes a sense of worry and mystery to the viewer, not only because of what happened to the room or the girl who may have lived there, this photo sets itself apart by being self-aware. To the right are the ballasts that were utilized to hold the room’s walls in place, this makes one wonder not only what happened in the room but what is happening outside of it. Another famous work that Mr. Wall took was A Sudden Gust of Wind (after Hokusai). This photo depicts a leaning tree seemingly from a storm with four people places beneath the tree in the middle of a rural field. All the people are dressed rather nicely and one of them has lost all the papers that he was trying to hold onto to the wind. The emotions that this photo conveys is a feeling of fleeting hope as nature itself is bending to the destructive forces of the wind as well as the businessmen who are losing their hard-earned works to the wind. This photo wasn’t only staged but also altered, he put the people that are scattered around into the photo in an after effect.  The main thing that Jeff Wall is trying to say through his work is that he is not like the other photographers out there, that he as opposed to falling in line and making art from things he’s found outside like regular photographers he leans more towards a painter in this regard. A photographer takes images from the world around them but Jeff uses the world as a canvas like a painter, he’s directly influencing what he wants to be conveyed like a painter as opposed to a typical photographer who chances across their art or waits until just the right time. Therefore, the art world considers him so valuable, because he strays away from what almost all photographers consider the main way of art form and breaks the mold to use the picture as a canvas and paint what he wants to convey.

Works Cited:

Lipsky-Karasz, Elisa. “Jeff Wall’s Unique Photographic Vision.” The Wall Street Journal. Dow Jones & Company, 04 Sept. 2015. Web. 20 Apr. 2017.

Tate. “A Sudden Gust of Wind (after Hokusai), Jeff Wall 1993.” Tate. N.p., n.d. Web. 20 Apr. 2017.

a0195342_1122547untitled (8 of 9)

The Work of Edward Steichen

Edward Steichen was a photographer who was born in March 27th 1879 and died in 1973. Edward was an American artist known for his photography, paintings, and for being a museum curator that helped turning photography into a recognized art form. Edwards family lived in Michigan, he went to Pio Nono College near his home town in 1888. Edward showed so much talent with drawing that when he graduated he became an apprentice at the lithographing company. Eventually in 1895 he bought a camera and within three years he came out with the work that we can see today.

During his career, Edward organized a Milwaukee Art Students League and became its first president. Steichen did beautiful work that was unique in it’s own way and that captured a lot of people’s eyes. In World War One Edward was in command of aerial photography of the American Expeditionary Force. After his retirement, Steichen settled in Voulangis, France in 1919. He gave up painting and abandoned his style that had won him his fame as an artist.

Working Title/Artist: Edward Steichen: The FlatironDepartment: PhotographsCulture/Period/Location: HB/TOA Date Code: Working Date:
photography by mma, Digital File DP232891.tif
retouched by film and media (jnc) 11_18_10


My references :

Rinko Kawauchi emulation

I decided to do this project based on the Japanese photographer Rinko Kawauchi. Rinko takes pictures of everyday life but is not the average picture. “They are generally light in tone, yet somehow dark in mood. They are almost hallucinatory, yet seem to capture something fundamental about the psychological mood of modern life.” (Garry Badger). Her pictures have a lot of bright relaxing colors such as bright blues, pinks, and yellows. There is some what of a dark feeling hidden in the undertone of the picture but the bright relaxing colors mask this dark feeling. You have to give her pictures a good look to notice the deeper meaning in it. For her style of photography she uses a lot of natural light. In the pictures the natural light is very subtle but other times it’s like piercing through and catches the eye right away. Her work is mostly classified as serene poetic style. “Rinko Kawauchi works in series, which, in the form of open narratives, combine poetry and emotion with representations of mortality and occasional melancholy.” . “Her photographs attain their specific quality through her use of cropping and choice of perspective” ( Rink shoots her pictures in a 6×6 format. She likes to explore photography in the mundane of every day things but adds life to them. Because she thinks life is to full of mundane things to be boring. She puts a somewhat of a redemption on the mundane. The “fundamental cycles of life” Rinko calls it. Doing this type of photography is how she became a known photographer especially in the Japanese community since her work is usually everyday things a Japanese person see. Such as the flowers, the buildings, and the people. Rinko wants the viewer to personally respond with their own views and emotions of the piece and also see the photograph through the eyes of the photographer. larger.jpg



Website title:



2. Garry Badger on Rinko Kawauchi’s book “Utatane” (Siesta), in: Martin Parr, Gerry

Badger: The Photobook: A History, volume II, 2006, p. 316.

3. Illuminance_eg

Website title:


Delshawn Wright – Emulation

23. GP04281

Gordon Parks

Parks overcame racial obstacles in Hollywood to become the first prominent black director. His work depicts his own struggle to conquer extreme poverty and prejudice rather than become embittered by them.

In 1937, in the midst of the Depression, Parks saw a portfolio of photographs taken for the Farm Security Administration, which inspired him to buy an inexpensive camera. He became a fashion photographer, but devoted his spare time to photographing the ghettos of Chicago. The resulting collection of photographs won him a Julius Rosenwald fellowship established for struggling artists. An apprenticeship with Roy Stryker in the Farm Security Administration led to a job as a photographer for Life magazine.

In 1963 Parks published his autobiographical novel, The Learning Tree. An extremely popular work, it was translated into nine languages and provided the vehicle for Parks’s directing talents. Although critics find the story touching, they are most impressed by the visual beauty of the film version. Here Parks’s talent as a photographer is in full flower. In 1963 Parks published his autobiographical novel, The Learning Tree. An extremely popular work, it was translated into nine languages and provided the vehicle for Parks’s directing talents. Although critics find the story touching, they are most impressed by the visual beauty of the film version. Here Parks’s talent as a photographer is in full flower.

This film was followed by Shaft and Shaft’s Big Score, stories of a black private eye working in the ghetto. Despite the flash and slickness of these films, critics praised Parks for portraying blacks as unique individuals in contrast to common cinematic stereotypes.


ZStremmel Emulation


Edward Weston is known as one of the most famous photographers of the twentieth century. Out of his amazing forty years of photography he has been called “ one of the most innovative and influential photographers of the twentieth century”. His work consist of portraits, landscapes, nudes, still lifes, and many other different types of photographs but all in black and white. Weston was born in chicago then he later moved to California at the tender age twenty one. He would then pursue his career in photography but soon realize that he needed more professional training.
For the picture I chose to use was his famous pepper no. 33. Just like all of westons photo graphs this is in black and white. My personal description of this piece is deformed pepper in black and white setting. I thought this picture was really interesting due to the fact that I originally thought he was taking a picture of a glass piece but when I found out that it was an pepper I was weirded out at first but then thought damn how cool. I still have questions of like how could a pepper be that deformed in the way it looks like a deformed hand.
The way I interpret all of Weston’s pieces mainly his still life’s are abstract it probably doesn’t make sense in any way at all but it makes sense to me and I have no clue but I’m going to try and explain how and why my brain thinks about his photography that way. If I had to take a guess im pretty sure I would say the main reason why I think his photographs are abstract is mainly in the composition and the objects or items he uses. You might hate me but I am gonna keep on going back to the deformed pepper I don’t know how on earth a pepper looks that way but it does and there’s probably a million ways he could have gone about shooting that one single deformed pepper. I try to challenge myself in my photography and see how I can take that one subject and make it as if it is a completely different picture. By technicality it really is but When you look at two different pictures it should fee and look completely different and that is why I am shocked at how many different ways he could have taken that picture but of all angles he chose the one he did. In his forty years of his career in the world of photography ths deformed pepper is honest to god my favorite photograph of his and my favorite photograph period. He is truly the best photographer of the twentieth century. You can not compare him to any other photographer because he has his own style and no one could possibly replicate his style to make it look like his own work. Sorry if I went into it too deformed pepper

Brionna Lewis – Emulation

Edward Steichen


Edward Steichen also known as Eduard Jean Steichen was born March 27, 1879 in Luxembourg a country in northwestern Europe. His parents had immigrated to the United States when he was two years old. There they settled in a small city of Hancock in the Upper Peninsula in Michigan in 1881. Edward’s father worked in the copper mines, when his father health became poor they have moved to Milwaukee Wisconsin. There his mother had supported the family by working as a milliner. At the age of 15, Edward served a four-year apprenticeship in a lithographic firm. Around the 1890s he independently studied both painting and photography. He started to apply himself he saw his potential in his art possibilities as he started to understand them more and more. Edward persuaded his strategy pictorialism. Pictorialism is when photographs emulated the mood, manner, or attitude of the paintings and prints that the public confidently held to be works of art. In his early work of photographs, he frequently used the gum-bichromate process in conjunction with platinum or iron-based emulsions, which allowed him a very high degree of control over the image and tended to produce pictures with a superficial resemblance to mezzotints, and wash drawings. Edward’s photographs were first exhibited in the Second Philadelphia Photographic Salon in 1899, and from that point he became a regular exhibitor, and soon a star, in the shows of photography’s fine arts movement. During world war 1 Edward was in command of all aerial photography of the American Expeditionary Force: He retired as lieutenant colonel in 1919 Voulangis France. Edward gave up on painting and stopped the soft-focus and heavily retouched style that had won him fame as a photographer. He used the camera directly, emphasizing sharpness and texture. In 1922 he returned to America and a year later opened a commercial studio in New York, specializing in advertising photography. For Vanity Fair and Vogue magazines he produced fashion illustrations and portraits of outstanding personalities. He closed his studio in 1938 to devote his time to plant breeding. When America entered World War II, he was commissioned lieutenant commander and put in command of all Navy combat photography. he ages of 68 Steichen was named director of photography at the Museum of Modern Art in New York. Of the many exhibitions, he created, the largest and most famous was “The Family of Man.” This exhibition of 503 photographs toured throughout America and overseas. The book of the same title became a bestseller. His involvement as a curator helped promote photography to the status of an acknowledged art form. In 1961 Steichen held an exhibition of his own photography at the Museum of Modern Art; a year later he retired to Connecticut. His autobiography, A Life in Photography, appeared in 1963, the same year he was awarded the Medal of Freedom by President John F. Kennedy. In later life Steichen continued to experiment with new photographic techniques. On March 25 1973 in West Redding Connecticut he died. To me Edward is important because he is an artist with different work and much more expanded and creative mindsets. It seems like he was way ahead of his time and he wasn’t afraid to be different. He also do landscape something I am very passionate about when it comes to photography. I like landscape because I love nature, especially sunsets. “Every other artist begins with a blank canvas, a piece of paper the photographer begins with the finished product” – Edward Steichen

Works Cited

Szarkowski, John. “Edward Steichen AMERICAN PHOTOGRAPHER.” Encyclopedia Britannica. N.p., 25 Mar. 2005. Web. 21 Apr. 2017. Daniel, Malcolm. “Edward J. Steichen

(1879–1973): The Photo-Secession Years.” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. (November 2010) Professional Photographers of America. “Edward J. Steichen (1879–1973): The Photo-Secession Years.” International Photography Hall Of Fame And Museum. N.p., n.d. Web. 21 Apr. 2017.