ART 103 Schedule Spring 2024

Week of
01-1601-2301-30
02-0602-1302-2002-27
03-1903-26
04-0204-0904-16 04-2304-30
05-07, Exam

Summary (links jump to details further down this document)

Week# — Date Description Notes
1 — Jan 16
Jan 18, 6-7 PM
Expose 3 rolls of film, photo literacy
Make up class
NOTE: Class will meet via Zoom. Please check your email.
2 — Jan 23 Due: 3 rolls. Develop all film, expose 3 rolls of film update: at least one roll exposed by the start of next class, not three
3 — Jan 30 Due: 6 processed rolls. Contact print all negatives, make and write about photograms and emulation, begin Emulatied 1 assignment
4 — Feb 6 Due: all negatives contact printed. Enlargement printing
5 — Feb 13 DUE Emulated 1, begin Isolation assignment
6 — Feb 20 Local field trip, dress for weather
7 — Feb 27 DUE Isolation, begin Magic assignment mid-semester assessments
Mar 7 — 17 Spring Break – expose 10 rolls of film, looking ahead to the next four assignments
8 — Mar 19 Process and contact print all film, make duplicate contact prints for final assignments
9 — Mar 26 Discuss Connecting the Disconnected,  begin Emulated 2, and 10 Connected. Complete Magic
10 — Apr 2 Due: Magic
11 — Apr 9 Due: Emulated Photograph 2, writing analytical statements
12 — Apr 16 10 Disconnected tutorials, writing about photography
13 — Apr 23 10 Disconnected tutorials, writing about photography
14 — Apr 30 & Exam Period — May 7, 9-11:30 AM  Due: Final Critiques and Discussions of Ten Connected Prints
Due: May 7, Class notebook


Course text: Henry Horenstein, Black & White Photography: a basic manual, 3rd ed., Little, Brown and Company.
Slides and related material in print form will be referenced throughout the semester. Links to these are placed in the weekly class plan below.

The weekly class plan is organized by 
the
semester
week number,
date
before class preparation (only for Week 1)
during class plans
after class work / preparing for the next week

Important dates
Tue, Jan 16, 1:30 to 4:30 PM: ART 103 first class meeting. Wiggins, room 122. The Wiggins Art Building is diagonally across from Stirlings, to the left, as you face the cemetery. Please locate the room ahead of time and arrive five minutes early.
Tue, Feb 27: Mid-semester
Tue, Mar 5: no class, calendar adjustment day
Mar 7–17: Spring Break
Tue, Apr 30: All assigned work and 10 Connected Prints Due
Tue, May 7, 9–11:30 AM: Final Exam Period

Week 1 Jan 16

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.

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

DURING CLASS

i. Introduction to the course

  • Please note that the nature of the course and its goals are such that all class meetings must be in-person
  • Expectations: Course goals, goals and 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; the use of notebooks as a tool to build photographic literacy skills
  • Distribute equipment and kits
  • Class Notebook: maintaining class notes, summaries of readings and referenced images, analytic writing and literacy exercises of other photographic works, reflections on assigned work, and evidence of engagement with the subject matter will all be considered in the final grade. Together, these approaches help establish a habit of analytical thinking, discourse, and experimentation with content and the creative process.

ii. Demonstrate/Review core skills:

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

iii. Discuss: What is Photographic Vision? View and discuss the slides. Select an image, sketch it out in your notebooks, and write a response to what makes this image of interest.

iv. Assign: Expose Rolls

Expose three rolls of 35 mm black & white film by the next class meeting. Use the handout reference cards, slides, and displayed prints (“Photographic Vision”) as inspiration. Think about the shutter (time), aperture (focus depth), point of focus, framing (composition), light/shade relationships, and event (subject). Complete this by the next class meeting.

AFTER CLASS

    • Study 35mm camera: components; how to load and unload film; exposure and focus– also read Horenstein pp. 1–9
    • Reflect on: Photographic Visionslides
    • Begin assignment: Expose three rolls of film. Due by the start of next class.
      • Weather-related update: you need to have at least one roll exposed by the start of next class, not three

Week 2 Jan 23

DURING CLASS: 

i. Demonstrate/Hands-on: Processing film

ii. Discuss: What happens before taking a photograph (Photographic Vision)? What happens After Taking a Photograph? How do we transform what is looked at? View and discuss the slides. Select an image, sketch it out in your notebooks, and write a response to what makes this image of interest. Why emulate and what does it mean photographically?

iii. Assign: Expose rolls and develop. Expose another three rolls of 35 mm black & white film. Develop all six rolls by the next class meeting.

AFTER CLASS


Week 3 Jan 30

DURING CLASS: 

i. Demonstrate/Hands-on: Contact printing, contrast filters, making photograms. Select one image from your reference cards (that you have not yet written about) and emulate its shape and tonal structure with a photogram. Sketch these out in your notebooks, and write a response to what makes the pair of images interesting.

ii. Assign: Contact print. Make contact prints of all negatives

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 were employed by the photographer to make that work. Make notebook entries of all, and paste in thumbnails as visual references. Present the reference image, printed on a Letter 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 will be displayed on the wallboard by the start of the next class.

AFTER CLASS

  • Study: Contact printing – handout and videos – read Hor. 161–175, 179–186, 203–205; Cleaning up – video
  • Begin assignments: Contact print all negatives, photographing for Emulateed 1

Week 4 Feb 06

DURING CLASS:

i. Demonstrate/Hands-on: Enlargement printing, dodging and burning

AFTER CLASS


Week 5 Feb 13

DURING CLASS:

i. Due: Emulated Photograph 1 assignment

ii. Discuss: How are states of consciousness photographed and evoked by looking at a photograph. What do we mean by Beauty and Poetry in Photography? Select an image, sketch it out in your notebooks, and write a response to what makes this image of interest.

iii. Assign: Isolation. Expose a roll of film while thinking about “isolation.” Select three frames and make 6×9 inch enlarged prints of each. While doing the assignment, reflect on the relationship between what is felt and the signals of a photograph, maintain printing notes, and record all of these as notebook entries.

AFTER CLASS


Week 6 Feb 20

DURING CLASS:

i. Demonstration/Field trip: Lighting, brightness subject/ground relationship. Select a scene you have just photographed during class, sketch it out in your notebooks, and write a response to what makes this image of interest.

ii. Discuss: Signs, Symbols, and Sequences – part I. How is meaning generated and shaped by photographs? Is a frame defined as a rectangle, a contact sheet, or a book? Begin to make a list of photographic monographs (e.g. from the Dupont Library collection) that interest you.

AFTER CLASS:

  • Study: Controlling meaning in the frame with sequences of photographs
  • Reflect on: Signs and Symbols: Meaning in Photography – Sylvia Plachy

Week 7 Feb 27 – Mid-semester

DURING CLASS:

i. Due: Isolation assignment, introduce and discuss the critique process

iii. Discuss: Signs, Symbols, and Sequences – part II. How is meaning generated and shaped by photographs? Is a frame defined as a rectangle, a contact sheet, or a book? Continue to make a list of photographic monographs (e.g. from the Dupont Library collection) that interest you.

ii. Assign: Magic: Make three prints that are of/about “Magic.” While doing the assignment, reflect on the matter of making the impossible seem possible, freezing life and time, and defying the assumptions we make about phenomena. Throughout, maintain notes and keep a printing record in your notebooks. The prints should be presented on the wall boards, with titles, by the start of class on Week 9.

AFTER CLASS:

  • Study: Controlling content in the frame with focus, distance, and juxtaposition
  • Reflect on: Magic and Vision in Photography – Joan Liftin

SPRING BREAK


Week 8 Mar 19

DURING CLASS:

i. Demonstration: Printing retouching, finishing, and presentation

ii. Discuss: What is a “Body of Work?” 

iii. Assign: Begin processing and contact printing all film shot over Spring Break.

AFTER CLASS:

  • Reflect on: Bodies of Work, review your list of photographic monographs
  • Complete processing and contact printing all film, print and complete “Magic”
  • Study: Print finishing and presentation

Week 9  Mar 26

DURING CLASS:

i. Discuss: Connecting the Disconnected: Working in groups, select two images (as contact prints)  from the ten rolls of negatives photographed over the Spring Break. The connection between the prints should be apparent only through their pairing and presentation on the wall.Reflect on the matter of connectivity. Summarize each discussion in your notebooks, along with quick sketches and, with your own images, contact print duplicates.

ii. 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 were employed by the photographer to make that work. Make notebook entries of all, and paste in thumbnails as visual references. Present the reference image, printed on Letter 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. Due Week 11

iii. Assign: Ten Connected Prints: Select ten image from negatives produced since the beginning of this semester. Begin the selection process by making duplicate contact sheets of all negatives that you may be considering. The final prints will be enlarged, largely un-cropped from the original negative, intentionally sequenced, matted, and exhibited on walls. 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 as clearly with the single images, or any other sequence?
    • Describe some aspect of the work that you had not been aware of until after having completed the project.
    • Refer to other photographer(s) whose work may have an impact on this project.
    • Due before the start of class, noon,  Week 14. The complete project is to be submitted, sequenced in a stack from #1 at the top, in the portfolio boxes handed out as a part of the course kit. The project statement will be printed and placed on top of the entire stack of photographs in the box.

AFTER CLASS:

  • Begin all remaining assignments: Connected the Disconnected, Emulated 2, and Ten Connected Prints

Week 10 Apr 02

i. Due: Critique and discuss “Magic”

AFTER CLASS:

  • Begin printing for Emulated 2
  • Begin printing for assignment: Ten Connected Prints
  • [see this handout to broaden you’re understanding of writing “statements”]

Week 11 Apr 9

DURING CLASS:

i. Review 10 Connected Prints: Consider the assignment as a body of work. 

ii. Demonstrate and discuss: What is an analytical statement?

iii. Due: Emulated 2 Write an analytical statement of an Emulated 2 photograph. Discuss the writing in small groups.

AFTER CLASS:

  • Continue assignment: Ten Connected Prints

Weeks 12 and 13, Apr 16, Apr 23

DURING CLASS:

  • i. Tutorials on Ten Connected Prints assignment in groups of three
  • ii. Writing about photography and a project statement.

AFTER CLASS:

  • Continue assignment: Ten Connected Prints


Weeks 14 Apr 30 and the EXAM period <TBA>

The completed 10 Connected Prints project will be placed outside Wiggins 101 (Malde’s office) by noon on April 30. All other assignments, graded (accompanied by resubmits if applicable), are to be stacked underneath the