ART 262 SYLLABUS
Introduction to Photography
Jerry Nevins
www.jnevins.com
Office at Albertus Magnus,
203 Aquinas Hall, 773 - 8546
Spring Semester, 2012
________________________________________________________________________
(Art) is both the taking and giving of beauty; the turning out to the light
the inner folds of the awareness of the spirit. It is the recreation on
another plane of the realities of the world; the tragic and wonderful realities
of earth and men, and of all the inter-relations of these.
--Ansel Adams in a letter to Cedric Wright
Inspiration is highly overrated. If you sit around and wait for the clouds to part, it's not liable to ever happen. More often than not work is salvation.
::: Chuck Close :::
Introduction
ART 262 will introduce you to the art of black and white photographic image
making and printing. You will learn to see and appreciate light in a new
way, learn to see and design shapes in the frame, and you will learn how
to make fine black and white prints and finish them to the matted presentation.
In this course, you will learn how to properly expose film, how to develop
that film, and to make beautiful exhibition quality black and white prints.
This is not merely a technical course however. The most important thing
you can bring away from this course is a new sense of seeing. To be able
to have a finer appreciation of light in its myriad manifestations, to discover
meaning in images rather than words, or most importantly, how to make images,
important and powerful in their own right, rather than merely "take pictures"
is the main goal of this course.
Topics to be covered include: ¨
The Camera, Rangefinder. Single
lens reflex, twin lens reflex, the view camera. ¨ . .
Camera controls: shutter, aperture, light meter, depth of field control,
how shutter and aperture work together. ¨
Lenses
Filters
for black and white film. ¨
Film: ISO and grain size,
developing the film properly, reciprocity failure. ¨
Massive List of Developing Times/Termperatures
How to make a print video
Printing ¨ The enlarger, set up, timer use, the safelight, condenser vs. diffusion
enlargers, enlarging lenses, the test strip, developing procedures, dodging
and burning, contrast control with variable contrast filters, spotting and
matting, archival processing. Instructables.com
Learning Outcomes For This Class
Technical:
-To learn to properly expose and develop B and W film to high craftsmanlike levels.
-To learn how to craft a fine print using traditional b and w paper in the darkroom. This will include extensive practice in dodging and burning, contrast control, archival processing methods and final print finishing including spotting and matting your final exhibition quality prints.
-To fully understand the workings of your camera in particular and broad concepts in general such as reciprocity in aperture and shutter.
Aesthetic:
-To learn how to "see photographically" That includes developing a fine appreciation for seeing light and the way light works on photo sensitive materials to produce expressive, elegant prints.
-To learn how space works in the frame to create intentional, elegant design.
-To come to understand the metaphoric possibilities in the images we create
that transcend the literalness of the object(s) photographed.
The Classic Approach
This approach to photography was
first championed in America by Edward
Weston and Ansel Adams in the
1930's. This approach affirms the legitimacy of "straight" photographic
seeing and shooting. This method encourages us to discover the most important
things about a subject, to then visualize them as simply and directly as
possible, then to present them in a photograph as forcefully as possible.
Rather than mimic other arts such as drawing and painting, the classic approach
emphasizes unmanipulated printing, clear shooting using maximum sharpness,
the use of available light, whose images are rich in continuous tone and
have great detail.
1) Selection
Our world is fairly chaotic and
the light isn't always right, so the first job is to carefully look at the
environment you are photographing. Where is the light? Is the contrast too
low or too high? Or does the light transform the ordinary into something
beautiful and expressive?
2) Framing the Subject
Learn to be aware of the
edge of the frame, visible in the viewfinder. Think of it as a picture frame
that you hang in the world. Is it filled with a coherent, expressive design?
Does the essential subject fill the frame? Don't rely on the enlarger to
crop the image for you. Robert
Capa stated, "If your photographs aren't good enough, its because you
are not close enough."
3) Light and Form
The shape of the
object(s) in the frame usually is the photograph's major organizing element.
We isolate the form from its surroundings by closing in and by seeing the
light. Light shapes the appearance of objects. Light and its absence (shadow)
can separate those objects from its surroundings. Light can be a magnet,
drawing the viewer into the picture. Usually we make the area of light the
focal point of the picture, leaving the edge of the frame a bit darker.
Week by week expectations....
Week 1. Introduction to the course. 2nd class, bring in your camera for a discussion of lenses, aperture, shutter, depth of field, loading film, etc. Shoot your first roll of film. Good places to shoot... Lighthouse Park, East Haven, Edgerton Park, near campus, West Haven Beach, Sleeping Giant Park, Hamden.
By the end of the 2nd week, you should demonstrate to me that you camera is fully functional, you know how to load it, make proper exposures that are perfect, you know how to load and develop film, and we have started our first contact sheet and print. If you are still having trouble with your camera, your success in this class will be compromised.
Weeks 3-4... You have settled into a comfortable shooting routine. You are going out once or twice a week to shoot one or two rolls of film. You are seeing the role natural light plays in creating an expressive print. Your skills in printing independently are growing. You begin to take a personal interest in developing a coherent portfolio centered on the strengths of strong seeing and sensitive appreciation of light.
Weeks 5 - 7... You are preparing for the mid-term critique. You are able to articulate your appreciation for the role depth of field, lens choice, focal point and strong design plays in your work.
Week 8 Mid term. Present your best 4 prints for a group discussion. Discuss your successes as well as difficulties.
Weeks 9 - 10 Urban shooting. Look for angles, reflections, corners, street life, etc. Emphasis here on design and abstraction. How does the frame pull together shapes to create new visual relationships?
Weeks 11-12 The Portrait. Use natural window light, tight framing, and a longer lens to photograph a freind or loved one in a quiet, truthful session.
Weeks 13-14 Revisit your favorite place to shoot. Bring home the rest of your portfolio for the end of the semester.
Weeks 15-16. Finish up your printing for the final critique. Matt
all yor best 12 prints edited down from approximately 20 of your best prints
from the semester's work.
Academic Expectations: The grade for this course is based upon the
care and attention you bring to your work in this class. The portfolio is
the most tangible evidence of your progress and attention. Care about what
you are doing, help others in the class to succeed, consult frequently with
me about your inspirations and problems and most of all, work hard. Attendance
is crucial. A maximum of 3 absences is allowed, with or without a valid
excuse. After that your grade will drop. I am asking for your prints to
be beautiful, exhibition quality and nuanced works... I need to help you
with the subtleties of contrast, burning and dodging, editing and final
presentation. Your portfolio needs to be matted with bevel cut mats... there
should be close attention paid to perceiving light and finding elegant design.
The final portfolio should be edited down to the very best 12 pieces from
a pool of 20 excellent prints. Only those who are able to pull off the above
criteria will be able to earn an A or a B.
Class Supplies: Students are responsible for purchasing their own film, paper, negative files and mat board. The best film for the intro course is Kodak Tri-X in either 24 or 36 exp and the best paper is Ilford Multigrade IV RC, glossy or Luster, 8"X10". Printfile brand negative holders are the preferred brand in 7 strips of 5 frames size. B and H photo is the best place to buy the supplies you'll need at a discount.
Suggested Text: Black
and White Photography, Third Revised Edition by Henry Horenstein (Paperback
- Mar 2004)
Suggested Reading:
Schaefer, John P., Basic
Techniques of Photography, An Ansel Adams Guide: Little Brown and
Company, Boston, 1992
Horenstein, Henry, Beyond
Basic Photography, A Technical Manual: Little Brown and Company,
Boston, 1977
Craven, George M., Object
and Image, An Introduction to Photography. Prentice Hall, Englewood
Cliffs, New Jersey, 1990
Special Needs and Accommodations: I believe in providing reasonable accommodations for students with documented disabilities on an individualized and flexible basis. If you are a student with a disability, the university’s Disability Resource Center (DRC) determines appropriate accommodations through consultation with the student. Before you may receive accommodations in this class, you will need to make an appointment with the Disability Resource Center, located in EN C-105A. To speak with me about other concerns, such as medical emergencies or arrangements in case the building must be evacuated, please make an appointment as soon as possible. .. My phone # is 773-8546.
Photography Magazines
Afterimage
Aperture
American
Photo
B&W
Magazine
British
Journal of Photography
Blind
Spot
View Camera
Camera
Austria
Camerawork
Colors
European
Photography
LensWork
Nature
Photographer
Outdoor
Photography
PDN
Photo District News
Photograph
Guide.com
Photo
Insider
Photo
(French)
Photo
Life
Photographie
Magazine
Petersen's
PHOTOgraphic
PhotoMedia
PHOTO
Techniques
Picture
Magazine
Popular
Photography
Portfolio
Practical
Photography
Professional
Photographer
Shots
Magazine
Shutterbug
Magazine
The
Photo Review
Zoom
Magazine
Digital Photography Magazines
PC
Photo Photography
Digital
Photographer
Digital
Camera
Introduction to Photography
Southern Connecticut State University