103 Schedule Fall 2023

— The class schedule from Sep. 20 has been changed. Please review the schedule below —

Summary (links jump to details further down this document)

Date Description Notes
Aug 23 Introductions, cameras, film, core skills.
Aug 30 Material disbursement; darkroom usage; film processing; contact printing. Photographic Vision. Due: First Roll
Sep 6 Contact and Enlargement printing. Due: Second Roll
Sep 13 Due: Emulated Image 1; After Taking the Photograph — see note below
Sep 20 Syllabus adjustment; Start 4 Connected Photograms, Contact Self Portrait. The Poetic in Photography
Sep 27 Due: 4 Connected Photograms; Beauty in Photography Pradip Away
Oct 4 Due: Emulated Photograph 1. Looking At vs. Looking From a Photograph – pop quiz —mid-semester assessments
Oct 11 Due:Ourt-of-focus, Blur, Tonal ; Signs and Symbols in Photography
Oct 15–18 Fall Break
Oct 25 Due: Contact Self-portrait; Minimal controls; The Arranged vs. the Snapshot I, Print development demonstration – fine tuning
Nov 1 Due: Emulated Photograph 2; Maximum controls; The Arranged vs. the Snapshot II
Nov 8 Due: Circular; Balance; Chaos; Bodies of Work; Begin 10 Connected Prints assignment
Nov 15 to 29 2 Disconnected pinrts; Tutorials
Nov 23–28 Thanksgiving
Dec 6 Final Discussions Begin  of Ten Connected Prints
Due: 10 Connected Prints; All previous assignments and re-submissions; (Book review); Final Discussion of Ten Connected Prints		 PLEASE GO TO THIS DATE FOR FINAL SUBMISSION INSTRUCTIONS
Dec 13, Wednesday, 2PM to 5PM Final Exam: Continue the  Final Discussion of Ten Connected Prints


Aug 23

BEFORE CLASS

  • Please install the Lumu Light Meter app (free) on your iPhone. If using Android or other smartphone platforms, please search online for a light meter app.

DURING CLASS

i. Introduction to the course

  • Class meetings will be in person.
  • Expectations: Course goals, objectives, attendance, grading, and the Honor Code; assigned/online material will be studied promptly after every class; office hours will be for questions and comments about work in progress and general conversation, not for recouping missed classes
  • Distribute equipment

ii. Demonstrate/Review core skills:

  • Camera usage
  • Exposure: shutter and aperture, film speed
  • Focus: aperture
  • Blur: shutter speed
  • Loading/unloading film

iii. What is Photographic Vision?

iv. Assignment: First Roll

Expose a roll of 35 mm black and white film, using the slides and displayed prints viewed during class as inspiration.

AFTER CLASS

Study the following online material and readings from the textbooks (NB: a username and password for access to all online material have been sent via email, subject: ART 103 WELCOME):

      • Course text: Henry Horenstein, Black & White Photography: a basic manual, 3rd ed., Little, Brown, and Company. Please purchase this from the Sewanee Bookstore.
      • Study 35mm camera: components; how to load and unload film; exposure and focus – also read Horenstein pp. 1–9
      • Reflect on: Photographic Vision – view
      • Begin assignment: First Roll. Due by the start of the next class.

Aug 30

BEFORE CLASS

DURING CLASS

i. Materials distributed; darkroom usage and safety

ii. Demonstration of:

  • Film processing
  • Negative organization, notebooks
  • Contact printing

iv. Due: First roll. Hands-on: film processing, working in pairs

v. Assignment: First and Second Roll / Process and Contact Print

Expose another roll of 35 mm black and white film, using the slides and displayed prints viewed during class as inspiration. Develop the exposed film. Repeat any of these steps until each is successfully completed.

AFTER CLASS

      • Begin assignment: First and Second Roll / Process. Due by the start of the next class.
      • Contact printing – handout and videos – read Hor. 161–175, 179–186, 203–205

  • Sep 6

    DURING CLASS 

  • i. Demonstration of:
      • Contact printing
      • Enlargement printing
      • Review camera controls; film development; contact printing.

     

  • ii. Why emulate, and what does it mean photographically?iii. What happens After Taking the Photograph?
  • iii. Assignment: Emulate a photograph 1: Pick an image from works seen in class thus far, and emulate it. While doing the assignment, research the image, reflect on the work, and study the processes that the photographer employed to make that work. Make notebook entries of all, and paste in thumbnails as visual references. Present the reference image, printed on a Letter-size sheet (it does not need to be of high quality); an enlarged silver gelatin print of your emulation; photocopies of relevant pages from your notebooks; and a 200-word reflection of the reference image. All are to be displayed on the wallboard by the start of the next class.
  • iv. Discuss the First Roll / Contact Print assignment

    AFTER CLASS


    Sep 13

    DURING CLASS: UPDATE — please have at least three successfully produced negative sheets by the start of class today. Bring your cameras to class, plus a handful of semitransparent / translucent objects, such as:
    ribbon, feather, glass objects, small metal and reflective objects, cling film/plastic wrap, cotton wool, steel wool

    • i. Demonstration of Enlargement printing contrast controls, dodging and burning
    • ii. Reflect on what happens After Taking the Photograph? How do we transform the image?
    • iii. Assign Out-of-focus, Motion Blur, Tonal Opposites: expose one roll of film for each of these three topics. Process and contact print all rolls. Select a frame and make one enlarged print for each topic. While doing the assignment, reflect on the topics, maintain printing notes, and record all of these as notebook entries. Due Week 4
    • iv. Discuss the Emulated Photograph 1 Assignment

    AFTER CLASS

    • Study: Print Contrast Controls; Dodging; Burning – Hor. 189–200
    • Reflect on: The Poetic in Photography
    • Begin assignment: Out-of-focus; Motion Blur; Tonal Opposites


    Sep 20

    DURING CLASS:

    • i. Review: Camera, Film development, and Printing controls;
    • ii. What is The Poetic in Photography
    • iii. Assign: Four Connected Photograms: Connect four photographs (each as 8×10 inch prints) physically, visually, tonally, symbolically/metaphorically. Sep. 27.
    • iv. Assign: Contact Self-Portrait: make a self-portrait with a contact print from one entire roll of 135-36 black and white film. The contact print, with the negative strips arranged in sequence, from #1 to #35 on an 8×10 sheet of paper, will function as one overall image, as well as 35 individual frames. The self-portrait need not be a visual portrayal of your body. Consider using metaphor and symbol, allegory and narrative, rhythm and structure. Also, consider the use of sequential images. This project requires a fair bit of planning and pre-visualization. Be prepared to make several attempts! Due Oct. 25. — watch description
    • iv. Discuss: updated class schedule

    AFTER CLASS


    Sep 27

    DURING CLASS:

    • i. Review: photographic exposure, subject contrast, and film development
      Enlargement printing, print contrast controls, dodging and burning.
    • ii. What is: Beauty in Photography
    • iii. Assign: Emulate a photograph 1: Pick an image from works seen in class thus far and emulate it. While doing the assignment, research the image, reflect on the work, and study the processes that the photographer employed to make that work. Make notebook entries of all, and paste in thumbnails as visual references. Present the reference image, printed on a Letter-size sheet (it does not need to be of high quality); an enlarged silver gelatin print of your emulation; photocopies of relevant pages from your notebooks; and a 200-word reflection of the reference image (placed beside the final print). All are to be displayed on the wallboard by the start of the next class.  Due Oct. 4
    • iv. Discuss the Four Connected Photograms assignment.

    AFTER CLASS


    Oct 4

    DURING CLASS:

    • i. Review: camera exposure, film processing, and print development – there will be a pop quiz about this – not a gradable component
    • II. Reflect on: Looking At / Looking From a Photography
    • iii. Assign: Out-of-focus, Motion Blur, Tonal Opposites: expose one roll of film for each of these three topics. Process and contact print all rolls. Select a frame and make one enlarged print for each topic. While doing the assignment, reflect on the topics, maintain printing notes, and record all of these as notebook entries. Due: Oct. 11
    • iv. Discuss the Emulated Photograph 1 assignment

    AFTER CLASS:

    • Study: Controlling content in the frame with focus, distance, and juxtaposition
    • Reflect on: Signs and Symbols: Meaning in Photography – Joan Liftin — Sylvia Plachy
    • Begin assignment: Circular relationships; Balance; Chaos


    Oct 11

    DURING CLASS:

    • i. Review: Controlling content in the frame with focus, distance, and juxtaposition
    • ii. Reflect on: Signs and Symbols: Meaning in Photography
    • iii. Finalize: Contact Self-Portrait assignment (see Sep 20 for description)
    • iv. Discuss the Out-of-focus, Motion Blur, Tonal Opposites assignment

    AFTER CLASS: 

    • Study: Minimal control when taking a photograph
    • Reflect on: The Snapshot
    • Begin assignment: Two Disconnected Images


    Oct 25

    DURING CLASS:

    • i. Review: Minimal control when taking a photograph
    • ii. Reflect on: The Snapshot
    • iii. Assign: Emulate a photograph 2: Pick an image from works seen in “The Arranged Photograph” and emulate it. While doing the assignment, research the image, reflect on the work, and study the processes that the photographer employed to make that work. Make notebook entries of all, and paste in thumbnails as visual references. Present the reference image, printed on a Letter-size sheet (it does not need to be of high quality); an enlarged silver gelatin print of your emulation; photocopies of relevant pages from your notebooks; and a 200-word reflection of the reference image. All to be displayed on the wallboard by the start of the next class, due Week 9
    • iv. Print development demonstration – fine tuning — Further reference: Pre-exposure Flashing
    • v. Discuss Contact Self-Portrait assignment

    AFTER CLASS:

    • Study: minimal and maximum control in photography
    • Reflect on: The Arranged vs. the Snapshot in Photograph
    • Begin assignment: Emulated Photograph


    Nov 1

    DURING CLASS:

    • i. Review Maximum control when making a photograph
    • ii. Reflect on: The Arranged vs. the Snapshot in Photograph
    • iii. Assign: Circular relationships; Balance; Chaos: expose one roll of film for each of these three topics. Process and contact print all rolls. Select a frame and make one enlarged print for each topic. While doing the assignment, reflect on the topics, maintain printing notes, and record all of these as notebook entries. Due Week 7
    • iv. Discuss Emulated Photograph 2

    AFTER CLASS:

    • Study: Print finishing and presentation
    • Reflect on: Bodies of Work
    • Begin assignment: Circular relationships; Balance; Chaos.


    Nov 8

    DURING CLASS:

    • i. Review Printing finishing and presentation
    • ii. Reflect on: Bodies of Work
    • iii. Assign: Two Disconnected Images: Establish how you will express the disconnections, then expose one roll of film for each image. Process and contact print all rolls. Select and make one enlarged print for each facet. While doing the assignment, reflect on disconnection, maintain printing notes, and record all of these as notebook entries. Due Nov. 15
    • iv. Assign: Ten Connected Prints: Select ten images from negatives produced since the beginning of this semester. The final prints will be enlarged, largely un-cropped from the original negative, intentionally sequenced, matted, and presented in a clamshell folio box. A 200 to 300-word written statement analyzes the project by addressing all of the following issues:
      • What are the fundamental and most general concerns expressed in the work?
      • What does this particular sequence express that is otherwise not done so clearly by the single images or any other sequence?
      • Describe some aspects of the work you were unaware of until after completing the project.
      • Refer to other photographer(s) whose work may impact this project.
      • Due at the start of class, noon,  Dec. 6.
    • iv. Discuss Circular relationships; Balance; Chaos assignment
    • v. Demonstration: Print mounting (for 10 Connected Prints)
    • vi. Recap of enlargement printing fundamentals

    AFTER CLASS:

    • Begin assignment: Ten Connected Prints
    • Begin preparing Presentations on Photographers – details forthcoming


    Nov 15 to  29

    DURING CLASS: Please use this class session to work on the 10 Connected Prints project

    • i. Tutorials on Ten Connected Prints assignment in groups of three
    • ii. Discuss: Two Disconnected Images

    AFTER CLASS:

    • Continue assignment: Ten Connected Prints.


    Dec 6

    PLEASE NOTE that all students must attend this class session and the Final Exam Period in person.

    1. Please remove all your work from the walls by Sunday prior to the class meeting. Any remaining work will be cleared away on Tuesday, Dec.6, at 9 AM by the instructor.

    2. Submit the following at the start of class. PLEASE make sure that the folio and negative binder are labeled with your name. ALSO make sure that every print is marked on the back of the mount or the print (if unmounted) with your name, the assignment, and has the grade sticker if graded :
    A. The portfolio box (25 prints):

    It’s contents arranged thus:
    The Ten Connected Prints Statement, then the prints, in sequence from 1 (top) to 10 (bottom).

    A blank sheet of paper.

    Then all prints for all other projects should be at the the bottom of the stack,
    arranged chronologically with the most recent assignment (Rounds; Stasis; Contrast), on top,
    each print with the assignment and my letter grade attached.
    The stack of assignments should have prints from top to bottom:

    Two Disconnected Images
    Circular Relationships
    Balance
    Chaos
    Emulated Photograph 2
    Tonal Opposites
    Motion Blur
    Out of Focus
    Contact Self-portrait
    Emulated Photograph 1
    Four Connected Photograms

    Only the Ten Connected Prints have to be mounted.

    B. Your 3-ring binder of negatives and contact sheets.

    C. All loaned equipment. Your grade may be affected if the equipment is not returned at this time. A fee of $600 will be applied to your student account for any equipment not returned by the last day of exams.

    All assignments are due by the start of this class. Attendance is required. If you cannot attend, please have the work submitted outside the instructor’s office by 1:30 PM and let them know by email. An absence may affect the grade for 10 Connected Prints.

  • Final Discussion of Ten Connected Prints


    December 13, Wednesday, 2–5 PM

        • FINAL EXAM: Obligatory attendance for all students: Final Discussions of 10 Connected Prints continue.