Revisiting Masterpiece with Photography
This project is to revisit and to recreate masterpieces in painting by reconstructing them with photography.  Goal of this project is to provide hands-on experience for the students, to study masterpieces in detail by making staged photographs mimicking the masters.  This study would include composition, lighting, and all of the visual literacy used in those paintings.  In the process, students merge their concepts and innovative idea to form a final product.  This collaborative student project engages students as they share their thoughts and strengths throughout the whole process of making the work, including a study of the painting, location planning, preparation for the shooting, etc.

As the first masterpiece for this project, we have decided to begin with the most identifiable and appreciated work of our times.  After several meetings and discussions, we came to an agreement that the ‘Last Supper’, a work by Leonardo da Vinci, would be the finest candidate for our project.

We plan to create one or two photographs per semester.  The next one to be made is in discussion.  If you have any suggestions, please feel free to comment.

What is this course?
Basic Photography assumes no prior knowledge of photography.  You will learn to see photographically, to develop black and white film and to make enlargements.  Through critical discussion of photographs, you will gain grater appreciation of your work and the work of other photographers, contemporaneous and historical.  The course is structured two to four-week photographic projects, bi-weekly writings, and two quizzes on basic chemical and optical aspects of photography.  Your final product will be a portfolio, which will be the largest component of your grade.  Note: the great majority of your work will be completed outside of class.  Since this is a three-credit studio course, expect to spend a lot of time in the darkroom and photographing on your own.  Your lab fee covers large part of the expense for the process. However, materials are still fairly costly.  You will probably spend about  $60-$100 dollars a month for film and printing paper.

What are we going to learn?
Photographs are recent examples of a concern that has occupied visual artists since the 15th century:  making convincing and strong in perspective rendition of the real world.  The challenge has also been to make photographs that communicate the artist’s goals, which may be informational, spiritual, social, and aesthetic.  The artist also hopes for an audience who will have the interest and insight to understand and empathize with what he or she offers.  In short, in this course, as much as it is challenging, we will learn to make and read photographs that we care about.

How are we going to learn?
Without craft, the best ideas or most intense feelings can’t find expression.  We will learn the workings of your camera, as well as optical and chemical processes.  Making a good negative is essential, so we will cover proper, consistent film exposure and development.  The evidence of your seeing and thinking and feeling is a black and white print, and in your work in the darkroom you will learn to produce ones of satisfyingly high quality.

Besides craft, expression requires form, meaning effective use of the many formal elements of your photographs, such as contrast, scale and balance.  You will be assigned a number of photographic projects designed to guide you through a range of technical, aesthetic and conceptual aspects of photography.  Virtually all projects allow complete freedom in choice of subject matter.  The more you can engage your creative intelligence to make photographs of subjects you truly care about, the more you will learn and the more satisfaction you will have.

What a photograph means is not as simple as it may seem.  Both the viewer and the photographer have a role to play in creating a photograph’s meaning.  You will be introduced to a general theory of photographic analysis that will help you to be articulate about any photograph (or any other visual work) that you encounter.  We will have a number of sessions in which we look closely at the work each of you creates, and it is important that you contribute to these discussions.  You will also be asked to write about photography.  These papers will consist of very brief biographies of photographers of your choice, and analyses of your own work.

Recommended texts

Photography (9th edition): Barbara London, Jim Stone, and John Upton.
Paperback: 432 pages
Publisher: Prentice hall: 9th edition (March, 2007)
Language: English
ISBN-10: 0131752014
ISBN-13: 978-013175016

http://www.amazon.com/Photography-9th-Barbara-London/dp/0131752014/ref=sr_1_1?ie=UTF8&s=books&qid=1196393009&sr=8-1

Barett, Terry, Criticizing photographs (2005)

http://www.amazon.com/Criticizing-Photographs-Terry-Barrett/dp/0072977434/ref=sr_1_2?ie=UTF8&s=books&qid=1196393071&sr=1-2

Horenstein, Henry, Basic Black and White Photography

http://www.amazon.com/Black-White-Photography-Basic-Manual/dp/0316373141/ref=sr_1_2?ie=UTF8&s=books&qid=1196393296&sr=1-2

Schedule/Semester at a glance

Week 1:                    Introduction
Week 2:                    Photograms/Camera Obscura/Pinhole
Week 3:                    Film Exposure and Processing
Week 4:                    Contact Sheets/ Print/Domestic Blindness
Week 5:                     Contrast and Density/ Collapsing Moments
Week 6:                    Burning and Dodging/ local exposure control/Showing by Seeing
Week 7:                    Bleaching and Toning/Introduce you to yourself
Week 8:                     Spot toning and Matting/Make what you Seek
Week 9:                     Open Lab
Week 10:                     Introduction of Final Project/Open Lab
Week 11:                     Open Lab for Final Project
Week 12:                    Work in progress Review
Week 13:                    Open Lab for Final Project
Week 14:                    Final Review

Requirements
•    This class will challenge you!  However, if you take this challenge seriously from the beginning, I assure you will find your time spent here rewarding, engaging, and fun.
•    Attendance is imperative.  What we discuss and see are not things you can catch up on from reading or others’ notes.  Try not to miss any classes.  If you miss more than four classes you will be expected to withdraw from the course.  We start on time.  Twenty minutes late will count as an absence.
•    You will be expected to shot a minimum of twenty rolls of 36 exposures, 35mm black and white film during the semester.  Two rolls a week will easily meet this requirement.
•    I will use your Providence College email addresses (@providence.edu) to communicate with you about all course related matters.  Please do the same if you need to communicate with me.
•    This course will include a minimum of five house of unmonitored appropriate experience outside the classroom.
•    One page paper will accompany all of the assignments.  It will be a brief statement of your photographic work submitted.
•    Students are expected to read and fully understand Providence College’s Student Code of Conduct.  Members of the PC community are expected to be honest and forthright in their academic endeavors.  Students who are suspected of violating this policy will be referred to the Office of the Dean.

Grading

A’s are reserved for truly exceptional work that not only exceeds the expectations of the assignment but is also unique, ambitious, and inventive.
B’s are for work that is above average and demonstrates a special effort.
C’s are for work that fulfills that basic objective of the assignment.
D’s indicate below average work, either in terms of effort or in demonstrating the assigned objectives of an assignment.
Incomplete/ Late work=Unacceptable.

Assignments                                                              40%
Final Review/Portfolio                                            60%

Materials and Facilities
By the third week of class at the latest, each of you are expected to have the following materials:

1)    Fully operational 35mm Single Lens Reflex Camera capable of fully manual operation.  Brand and age of your camera is not important as long as the camera itself is fully functional and capable of full manual operation (ability to set focus, shutter speed, aperture, EI/ISO (film speed), and exposure compensation
2)    Fully functional 50mm lens for your camera (and/or equivalent).
3)    Fully operation and accurate exposure meter: most cameras have a meter built-in, but if yours does not you are responsible for having a meter that works correctly.  This is essential to accurate exposure of your film.
4)    At least 20 rolls of Kodak Tri-x Black and White film (ISO 400)-36 exposures each.
5)    100 sheet box of Resin Coated Black and White Enlarger paper. Manufactures, paper quality and surfaces vary considerably but be sure to purchase either neutral or warm-toned paper in either glossy or pearl finish.  As the name implies, warm-toned paper exhibits ‘warmer’ looking black tones that range in color from brown to green.  It is potentially more useful than neutral toned paper in that its color is easily changeable through the use of toners.  Some photographers, however, prefer the look and feel of a neutral toned (gray-black tones) paper surface exclusively.  My suggestion is to purchase a box of your fist choice paper, knowing that during the semester you are likely to need an additional box of paper and will have the opportunity to try another surface/color combination.  Some of the most manufacturers are: Ilford and Forte.
6)    Apron or a photo shirt: if you like your clothes, invest in something to cover them while in the darkroom.  Fixer and developer stains can be permanent.
7)    Plastic negative sleeves for 35mm film.  These are essential for storage and protecting your film from damage.

Photography Supply Vendors
Purchasing equipment and supplies is relatively easy through the internet.  Perhaps the cheapest of all available photographic supply houses is B&H Photo Video (www.bhphotovideo.com) and Adorama (www.adorama.com).  They both are located in NYC, so it would take about 5 day from them to ship.  Electronic bargains are everywhere, however the best strategy may be to look at equipment in local electronic stores and then order from an internet supply house.

Photographic books and Artist’s Monographs
Books by or about photographer are often wonderful ways to experience work.  They are, difficult to locate in general libraries or conventional bookstores.  Museums and galleries are often a better source for hard to reach titles.  Even thought amazon.com will often have most titles at great discounts, it is worth it to call Photo-eye-in New Mexico, (www.photoeye.com) and request a free monthly photo specific book catalog.  At the very least, it will keep you up to date on monograph publication.  Another great place to look is International Center for Photography Bookstore-in NYC, (www.icp.org)

Periodicals and Journals
The following fine art photography periodicals should be available in bookstores in the area.  Search for subscription information on their web pages if you can’t locate the actual magazine.  Digital artists may not be as well represented in print as they are on the web.

Aperture
Portfolio
Blind Spot
Big
Contact Sheet
See
After Image
Lightwork
ArtForum
Art in America
Creative Camera

For the best deals on technical materials cameras, darkroom equipment, and other want ad listings for just about every variation of photographic equipment, consult:

Shutterbug

Looking at Images
Books and periodicals are terrific ways to encounter work.  There is no substitute, however for experiencing original works and actual installations by artists.  Over the course of the semester, I hope to make at least one trip (perhaps with students and faculty from other courses) to an art museum.  If you are interested, please don’t wait for me to tell you where and when to go!  In many local galleries and museums, you will have opportunities to view world-class works.

This course will include a 5 hours of unmonitored appropriate experience outside the classroom

You will be responsible for spending at least 5 hours visiting a local museum.  You must turn in an original, cancelled ticket stub and receipt from your museum visit.  In addition, you will turn in a one-paragraph paper describing your visit.

Your student identification card will gain you discounts, if not completely free admission.  Take a full advantage of this. Often, you also will find photographic work and lecture by a photographer in local gallery or museum.

A word about the Safety
ACCESS
1.  Lab use is restricted to students currently enrolled in a photography class.  Darkroom monitors will have a list of students currently enrolled in photography classes.

2.NEVER LEAVE EQUIPMENT UNATTENDED. You are responsible for the damage, loss, or theft of PC equipment while it is checked out to you. If you are returning equipment and the monitor is away you should wait for them to return.

3.  Please immediately report damage to any facilities or equipment to the darkroom monitor.

PHOTOGRAPHY AND THE ENVIRONMENT
The photographic process is not environmentally friendly. There are ways, however, that we can minimize our environmental impact in the darkroom.

1.  NEVER POUR FIX DOWN THE DRAIN.  Dead fix is loaded with silver and it is environmentally destructive and illegal to pour down any drain. Place exhausted fix in the bucket labeled “EXHAUSTED FIXER” under the darkroom sink.  Only developers, stop bath, hypo-clear, and photo flow can go down the drain.

2.   DO NOT WASTE WATER. In photography we use a lot of water, but that doesn’t mean we have to waste it. Use only recommended wash times.  Don’t allow water to constantly run in holding baths: turn off the water as soon as you are finished.

GENERAL DARKROOM POLICIES
1.  READ AND OBEY ALL SIGNS POSTED IN THE PHOTO LABS. All the signs address issues that have come up many times in the past.
2.  NO EATING OR DRINKING IN THE DARKROOM OR WASH LABS.   This is strictly enforced because:
(1.)  Food and drink can damage expensive darkroom equipment.
(2.)  Food and drink will absorb chemical vapors in the air and  you will then ingest them:  a serious health hazard.
3. CLEAN UP.  Many people use the darkroom every week and it is important that students are aware of how their use of the space affects others. When you are finished working in a darkroom or space, it should be clean and ready for the next person to use.

PRINT WASH AREA DO’S AND DON’TS:
1.  Do not put prints into the communal wash and then leave the area. Use the wash timers and remove your prints promptly when the time is up to conserve water.

2.  Never put your prints in the washer if other prints are already there. Once a wash has begun it must be completed and prints removed before more prints can go in. This makes it important that everyone remove prints promptly when the wash time is up.

3. Only thoroughly washed prints may go through the dryer.  Prints not properly washed can contaminate the screens and rollers inside of the dryer and thus destroy every print placed there afterward!

4.  Prints should not be left in the darkroom.

5. When you are done washing put your trays away! Do not leave your trays in the sink or by the dryer for someone else to deal with.

CHEMISTRY
1.  PC provides all normal photographic chemistry.
2.  The darkroom and film developing room have bottles of hypo-check and instructions for using it so you can test your fix for exhaustion.  Getting fresh fix every time you print is PROHIBITED. Only get fresh fix after the old fix has been exhausted.
3. When you do need fresh chemistry and the regular containers are empty, tell the darkroom monitors and they will mix new chemicals. Students may not mix dry chemistry.
4. If you bring your own chemicals (i.e. film developer) it must be in its original container or properly labeled brown photo jug. All chemical containers should be labeled with your name, the date, and the containers exact contents. Abandoned, unlabeled chemical containers present a costly waste management dilemma for the University. Do not leave chemical containers anywhere in the photo labs or studios: they will be discarded.

HEALTH AND SAFETY
1. Know where the Material Safety Data Sheets (MSDS) are located (in the classroom by the main whiteboard). We must have an MSDS for every chemical on the premises.  Familiarize yourself with the MSDS for each chemical you will be using.  Other MSDSs can be found.
If you have to go to the hospital because of chemical exposure you  must take the MSDS for that chemical with you. This will let doctors know exactly what they are dealing with.

2.  In an emergency, call the PC Police first:  x 2222.  Be brief and specific:  Give your name, your location, and tell them you are calling POISON CONTROL.  Have the MSDS in hand when you call.

3.  There is a list of emergency phone numbers and procedures in the MSDS notebook.

4.  There is one eyewash station in the lab. It is in front of the film loading rooms.

5.  Wearing gloves and aprons is MANDATORY when you are processing film and working in the darkroom. Good, reusable Nitrile rubber gloves are available cheaply in local hardware stores: be sure to get thick gloves.  Gloves made of rubbers other than Nitrile rubber may be permeable.
6.  NEVER PUT YOUR HANDS IN ANY CHEMISTRY. Dry chemistry is to be mixed only by darkroom monitors.
7.  Report any chemical accidents or questions immediately to the darkroom monitor.
8.  Fire extinguishers are located on wall mounts near the doorway. In case of a fire alarm exit the building immediately: There are chemicals on the premises that emit toxic gasses when heated.

PENALTIES FOR INFRACTIONS
The following may result in loss of lab privileges or other penalties:
1.  Leaving darkroom equipment unattended in one of the common areas.
2.  Eating, drinking, smoking or doing drugs in a darkroom.
3.  Leaving a darkroom a mess. Chemicals shall be put away.
4.  Habitually getting fresh fix each time you print instead of testing the fix in your darkroom.
5.  Failure to report equipment damage. .
6.  Practicing unsafe behavior in the darkroom.
7.  Displaying a habitual pattern of wasting water and/or chemistry.
8.  Using PC equipment that you have not been trained to use.
9. Putting prints in one of the communal washers and then “disappearing,” or putting your prints in on top of someone else’s prints that are already being washed.
10.  Putting a print that has not been thoroughly washed through our dryer.
11.  Moving tongs from one chemical bath to another in the darkroom.

A final word
You know by now that some aspects of photography can be very technical.  If you have difficulty with a particular skill or operation, please don’t be discouraged.  Please don’t wait either.  Ask for help!  Some things take a very long time to master.  For the meanwhile, I will try my best to make things as simple as possible.  Your time in the course should be in the sprits of fun and self-discovery.  Try to help each other.

“As I practice more, I get luckier” – Ben Hogan/golfer

Student Work

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