ART605 MFA Graduate Seminar in Photography: Studio Co-Requisite II, Romeo Di Loreto, Spring 2020 | SACI College of Art & Design Florence

ART605 MFA Graduate Seminar in Photography: Studio Co-Requisite II, Romeo Di Loreto, Spring 2020

Special emphasis will be placed upon aesthetic and visual concerns as well as strong craftsmanship, including the understanding of black and white photography at a graduate level, alternative printing techniques, and advanced digital editing and printing with highly advanced digital tools. All students must have a full understanding of the following course basics, which should have been taught during your undergraduate degree curriculum: advanced understanding and operation of the camera, the lens, film types, film exposure, black and white film development, the negative, black and white print making, toning, and the final re-touching.

This seminar will cover:

  • Advanced theories of sensitometry, and the practical onsite zone system.
  • Photographic chemistry in relationship to the photographic print! How the print can be altered and manipulated from the understanding of photographic print developers: Altering commonly bought photographic chemistry with additive chemicals.
  • Preparation for color and its theories, introduction to advanced color component.
  • Preparation for the Digital “Lightroom” and its theories.
  • Alternative printing theories and history.
  • Where one can find chemistry and materials for Alternative Processes in Europe and the US.
  • Alternative printing techniques and the non silver processes:
  • Non-silver processes 1: The inter-negative and the traditional large format negative and “How the negative must be (the sensitometry behind a good print).
  • The Digital inter-negative.
  • Non-silver processes 2: The Cyanotype Process, theories, formulas and printing toning techniques.
  • Non-silver processes 3: The Van Dyke Process, theories, formulas and printing techniques.
  • Non-silver processes 4: The Platinum /Palladium and Zia Type Process, theories, formulas and printing techniques.
  • Preparation of a photographic imagery for exhibitions and portfolio reviews.

This seminar will become like a Renaissance Bottega, with lectures, demonstrations and hands–on experience. Through my personal and teaching experience, I have come to the conclusion that certain things are taught much more efficiently by watching and doing, rather than by talking and doing.

You are required to keep two journals. One as a technical notebook, where you write class notes and keep all hand–outs. The second notebook is your creative journal. Be as creative as possible! Draw in it, paste and glue things in it, record data and feelings. I always make double contact sheets. One I put in my negative archive, the second I use to cut out the images that I feel are strong and glue them into my journal, where I write my ideas, quotes, re–write a poem or write a poem.

There may be a series of slide presentations or videos that may clarify some of difficult technical ideas taught.

Field Trips

The following field trips will take place during the term:

or

  • Torino, CAMERA – Centro Italiano per la Fotografia and Museo Nazionale del Cinema.
  • Stage 2 of the project “In the Folds of Italy” Abruzzo, Valle Peligna and its uncontaminated landscape. Base town location of Bed and Breakfast, town of Pacentro

“A Frozen Time Capsule Atmosphere In The Center Of Italy”

To please consider seriously!

  1. 1.The road trip is a minimum of 5 hours each way! 2. Also there is a lot of driving due to the regions geographical barriers (mountains, gorges, lakes and rivers) 3. This region is a Frozen Time Capsule Immersed in Nature. The difficulties of specific foods or eating choices must be seriously considered. It is highly suggested that bring specific items along, and never assume that it may be found. I will do all I can to speak at great length with the owners of the B&B and local restaurants to assist you. Nevertheless, we find ourselves at times out and cannot always find what one needs, nor can we travel there due to geographical distances due to mountain barriers.
  2. BAM (Bottega Antonio Manta), Arezzo (if possible)
  3. All other Field trips to museums will be part of the MFA History & Aesthetics Seminar (We have worked hard to connect the two seminars, which need to be taught hand in hand in order for you to benefit most from the program).

Attendance

This includes participation/full participation.
Attendance and promptness are mandatory. Two absences will result in one grade less. Two latenesses are equivalent to one absence. Eight minutes tardiness is equal to a lateness.

Critiques are like tests; therefore, they cannot be missed! Check the final exam date on your schedule. No final critique absences will be excused; therefore no flights can be scheduled before or on this date. Missing the final critique will greatly affect your grade, resulting in a high risk of failure. Only the co-directors and the Dean can make any exceptions to this rule. Please talk to us in advance if you anticipate anything in these regards.

Remember that the MFA Graduate Seminar in Photography: Studio Co-Requisite II is mandatory and must be successfully completed in order to proceed in the MFA curriculum.

Grading

Students can achieve a passing grade by completing all of the requirements, having optimum attendance, participating in class, during critiques, and during outside projects, and behaving professionally with guest visitors.

Standards
A = Work that far exceeds the minimum requirements in craftsmanship, presentation, and visual/intellectual order. Your concepts, ideas, and insightful participation in class and in critiques have to be of high level to obtain this grade.
B = above average work that far exceeds the minimum requirements. Skillful handling of the materials with good concepts, showing initiative in critiques and in class.
C = Average work completion with only adequate control of the materials. Minimum class and critique participation.
D = Failure to complete assignments resulting from a minimum amount of effort, poor execution, and sloppy craftsmanship in the handling of the materials with little or no class participation.
F = Little or no effort with consideration to the assignments. No participation in class or critiques.

Grading System

Midterm Review - A review will be conducted with the Co-Directors acting also as also Major Professor’s, invited faculty or SACI collaborator that have collaborated with your work progress (generally DIS Professors), and external guest that is not directly connected to the candidates work.(Completion of assignments, projects, portfolio’s, punctuality/attendance, and your journals will be discussed.)

Final Review - A review will be conducted with the Co-Directors acting also as also Major Professor’s, invited faculty or SACI collaborator that have collaborated with your work progress (generally DIS Professors), and external guest that is not directly connected to the candidates work. Also the President and Dean of SACI generally attend these final reviews. (Completion of assignments, projects, portfolio’s, final presentation and project, and punctuality/attendance and the viewing of the work produced during this term will be discussed)

The names of SACI faculty or collaborators that have collaborated with the progress of your work must be communicated to the Co-Directors two weeks prior to the review, and officially invited via e-mail attaching the two co-directors on the invitation.

Please remember that you are MFA candidates. Your personal drive is fundamental in acquiring the skills needed to be in full control of your chosen media. We will dedicate all the time necessary and provide you with as much knowledge as possible; nevertheless, this needs to be a reciprocal collaboration. Make your reviews as professional and distinct as you possible can. Organized with an agenda and direction. All candidates have one full hour to be reviewed and the skills in verbally describing your concepts need to be acquired for the outside professional world.

Required Materials

  • 35 mm or medium format or large format camera (must be manual)
  • 50 mm or equivalent lens - 35mm, 120mm and 4x5 B&W film
  • Black and white photographic paper variable contrast / resin-coated and fiber based photographic paper
  • 35mm, 120mm and 4x5 clear plastic negative sleeves
  • Storage binder or box to keep all negatives and contact sheets and print
  • Ilford anti-static cloth
  • Professional or semi-professional digital Camera (Full Frame is not 100% necessary). RAW format is necessity.
  • External hard drive or flash/pen drives
  • Hake Brushes and/or Glass Coating Rod
  • Kits for: Cyanotype, Van Dyke Platinum/Palladium and Zia Process (we will buy together or make together)
  • Liquid Light Emulsion (VC)
  • Pictoricto OHP Transparency Film or Ferrania OHP Transparency Film
  • Towel
  • Apron
  • Scissors
  • Rubber gloves (optional)

The materials you use will depend on your thesis, and the type of images you produce. Since you will be learning all of the above-mentioned techniques, you will want to consider purchasing some of these materials for future technical knowledge. Due to the growth of new digital mediums, these processes are of great interest and have gained importance in the world of photography. Acquire the greatest knowledge you possibly can!

Where To Purchase Photo Materials

1. Bongi Ottica (they give a student discount)
Via Por Santa Maria, 82/r Firenze
Tel: 055-2398811

2. Ottica Fontani
Viale F. Strozzi, 18-20a
Tel: 055-470981

3. Toscana Foto Service / SACI Internet Mail Order Service. www.toscanafotoservice.it

4. Internet Ordering: These websites are excellent for finding photo materials.
ww.fotomatica.it
www.ilfotoamatore.it
ww.tuttofoto.com

5. For all Alternative Printing Techniques:
www.ilfotoamatore.it
www.labotech2000.it
PEC: info@pec.labotech2000.it

For Camera Repairs

  1. Private Repair Service (give to Romeo)
  2. Bongi Ottica
    Via Por Santa Maria, 82/r Firenze
    Tel: 055 2398811
  3. TECIAS (for digital equipment and some Analog)
    Viale Corsica, 39AB
    Tel. 055 359968 – Fax: 055 355776
    E-mail: info@tecias.it It is very easy to get here by using the Tramvia (Street Train /Car)

For Computer Repairs (MAC)

  1. Juice Apple Premium
    Via Fra Giovanni Angelico, n.6/R
    Tel. 055 660337 – Fax. 055 667415
    www.juice.it/firenze
  2. Apple Firenze
    Piazza della Repubblica, 50123 Firenze
  3. Apple I Gigli
    Via San Quirico, 164, 50013 Campi Bisenzio (FI)

Recommended Reading

In compliance with the Higher Education Opportunity Act Textbook Provision, SACI provides, when possible, the International Standard Book Number (ISBN) and retail price of required and recommended reading. Note: Many required and recommended texts are available for loan or can be consulted in the SACI Worthington Library.

John Berger, About Looking, Vintage International, 1991.
ISBN: 9780679736554 (Retail price: $15.95)

Roland Barthes, Camera Lucida, Hill & Wang, 1981.
ISBN: 9780374521349 (Retail price: To Be Determined)

Robert Adams, Beauty in Photography, Aperture, 1996.
ISBN: 9780893813680 (Retail price: $16.95)

John Berger, Ways of Seeing, Penguin Books, 1997.
ISBN: 9780140135152 (Retail price: $16)

Susan Sontag, On Photography, Penguin, 1979.
ISBN: 9780140053975 (Retail price: To Be Determined)

Ian Jeffrey, Photography: A Concise History, Thames and Hudson, 1996
ISBN: 9780500201879 (Retail price: To Be Determined)

Henry Horenstein, Beyond Basic Photography, Little, Brown & Company, 1977.
ISBN: 9780316373128 (Retail price: To Be Determined)

Jain Kelly, Darkroom 2, Lustrum Press, 1979
ISBN: 9780912810225 (Retail price: To Be Determined)

Oscar F. Ghedina, Foto Ricettario – Formule Procedimenti Tecniche, Hoepli, 2010.
ISBN: 9788820344788 (Retail price: To Be Determined)

Ansel Adams, The Camera, Little, Brown, 1995.
ISBN: 9780821221846 (Retail price: To Be Determined)

Ansel Adams, The Negative, Ansel Adams, 1995.
ISBN: 978-0821221860 (Retail price: To Be Determined)

Ansel Adams, The Print, Little, Brown, 1995.
ISBN: 9780821221877 (Retail price: To Be Determined)

White, Zakia, Lorenz, The New Zone System Manual, Morgan & Morgan, 1990.
ISBN: 9780871001009 (Retail price: To Be Determined)

Stephen G. Anchell, The Darkroom Cookbook, Focal Press, 2008.
ISBN: 9780240810553 (Retail price: $43.95)

Stephen G. Anchell and Bill Troop, The Film Developing Cookbook, Focal Press, 1998.
ISBN: 9780240802770 (Retail price: $46.95)

Black and White Photography, Rand, Litschel, Delmar Cengage Learning, 2001.
ISBN: 9780766818170 (Retail price: To Be Determined)

Leslie Stroebel, John Compton, Ira Current and Richard Zakia, Photographic Materials and Processes, Focal Press,1986.
ISBN: 978-0240517520 (Retail price: To Be Determined)

Kodak Black & White Darkroom Dataguide, Eastman Kodak Company, 1996.
ISBN: 9780879856021 (Retail price: To Be Determined)

David Vestal, The Art of Black-and-White Enlarging, Harpercollins, 1984.
ISBN: 9780061818967 (Retail price: To Be Determined)

Sensitometry for Photographers, Jack Eggleston, Focal Press, 1984.
ISBN: 9780240511443 (Retail price: To Be Determined)

Quality Enlarging , Eastman Kodak Company, 1982.
​ISBN: 9780879852795​ (Retail price: To Be Determined)

Black-and-White Processing Using Kodak Chemicals, Eastman Kodak Company, 1985.
ISBN: To Be Determined (Retail price: To Be Determined)

Gordon Hutchings, Pyrogallol: The PMK Formula, G. Hutchings, 1991.
ISBN: To Be Determined (Retail price: To Be Determined)

Romeo Di Loreto, Photography Workbook, Guide to Mastering Black & White Photography
ISBN: To Be Determined (Retail price: To Be Determined)

Fil Hunter & Paul Fuqua, Light Science & Magic - An Introduction to Photographic Lighting , Focal Press, 1997.
ISBN: 9780240802756 (Retail price: To Be Determined)

Martin Reed & Sarah Jones, Silver Gelatin (A User's Guide to Liquid Photography Emulsions), Amphoto, 1996
ISBN: 9780817458850 (Retail price: To Be Determined)

Christopher James, The Book of Alternative Photographic Processes, Delmar Thomson Learning, 2002.
ISBN: 9780766820777 (Retail price: To Be Determined)

William Crawford, The Keepers of Light, Morgan & Morgan, 1979
ISBN: 9780871001580 (Retail price: To Be Determined)

Ben Nettles, Breaking the Rules - A Photo Media Cookbook, Inky Press Productions (Praie), 1992.
ISBN: 9780930810085 (Retail price: To Be Determined)

Pinhole Journal - Instructions for Making and Using Pinhole Cameras and Zone Plates , Vol. 8 #1 20th issue

Dan Burkholder , Making Digital Negatives for Contact Printing, Bladed Iris Press, 1999.
ISBN: 9780964963863 (Retail price: To Be Determined)

Romeo Di Loreto, Making Spectral Density Inkjet Negatives for Contact Printing
ISBN: To Be Determined (Retail price: To Be Determined)

David Fokos, How to Make Digital Negatives for Black & White Fine-Art Photographs.
ISBN: To Be Determined (Retail price: To Be Determined)

Luis Nadeau, History and Practice of Platinum Printing , L. Nadeau, 1994.
ISBN: 9780969084129 (Retail price: To Be Determined)

Richard Sullivan & Carl Weese, The New Platinum Print, Workingn Pictures Press Book, 1998.
ISBN: 9780966609905 (Retail price: To Be Determined)

Romeo Di Loreto, Instruction Manual for the Platinum Printing Process: notes for Royal Photographic Society of England.
ISBN: To Be Determined (Retail price: To Be Determined)

Dick Arentz, An Outline for Platinum Palladium Printing, 1990.
ISBN: To Be Determined (Retail price: To Be Determined)

Romeo Di Loreto, Platinotype (Its preparation and Manipulation): Test Notes for Royal Photographic Society of England.
ISBN: To Be Determined (Retail price: To Be Determined)

Chemistry of the Iron-Based Processes (An outline for the Non-Scientist)
ISBN: To Be Determined (Retail price: To Be Determined)

The Art of Photogenic Drawing, The National Trust Fox Talbot Museum data Sheet #
ISBN: To Be Determined (Retail price: To Be Determined)

WHT Talbot’s Calotype Process, Michael Gray: The National Trust Fox Talbot Museum data Sheet #2
ISBN: To Be Determined (Retail price: To Be Determined)

Leslie W. Coffin, William Henry Fox Talbot: The Dorset-Born Photographic Genius , Miss SEM Coffin, 1996.
ISBN: To Be Determined (Retail price: To Be Determined)

Carlo Bertelli, The Pioneers of Photography 1840-1900, Idea Books, 1998.
ISBN: 9788870170375 (Retail price: To Be Determined)

James M. Reilly, Care and identification of 19th-Century Photographic Prints, Eastman Kodak Company, 1986
ISBN: 9780879853655 (Retail price: To Be Determined)

Museo Nazionale Alinari Della Fotografia, Alinari
ISBN: To Be Determined (Retail price: To Be Determined)

Susan D. Shaw & Monona Rossol, Overexposure - Health and Hazards in Photography, Allworth Press, 1991
ISBN: 9780960711864 (Retail price: $40)

WRITING ABOUT ART

Sylvan Barnet , Writing about Art - A Short Guide to Writing about Art, Pearson, 2014.
ISBN: 9780205886999 (Retail price: To Be Determined)

Joseph Gibaldi & Walter S. Achtert, MLA Handbook for Writers of Research Papers, Modern Language Association; Fifth edition, 1999.
ISBN: 9780641628832 (Retail price: To Be Determined)

Joseph Gibaldi, MLA Handbook for Writers of Research Papers, Modern Language Association, 2003.
ISBN: 9780873529860 (Retail price: To Be Determined)

Additional articles will be supplied in connection to the lesson and the personal interest of students.

​Your Internet research.

The Italian Language

I highly suggest you learn the Italian language for simple communications as you are here for two years. When we go to areas out of the bigger city, you will feel more at home, hence you can be much more expressive. Take a class or ask the SACI Italian instructors for suggestions.

Course Goals

  1. To strengthen your technical skills at a Masters level.
  2. To develop and fully understand your individual artistic expression.
  3. To develop skill in discussing photographic imagery in order to comfortably express yourself in situations of a classroom, lectures, gallery openings of your personal work and to begin to have a mastery of verbal and written dialogue for applications of grant proposals.
  4. To have fun, explore and research new techniques and visual languages.

Assignments are designed to help explore the options of technical control as well as visual experimentation. Keeping in mind the inseparability of photographic technique and expression, students will be expected to articulate their particular choices in relation to the overall conceptual approach of the projects.

At the end of this seminar you are required to have a portfolio of a minimum 20-finished images. This does not mean you only make 20 finished prints, but 20 re-thought and worked images. Also required is a well-researched artist statement, which you will work on the entire term. I also ask that each student make good digital reproductions in JPEG format and hands them in to me at the end of the term on a DVD, including identification of the artist, title, photographic process, date, size and a Word DOC and PDF file of your artist statement and self evaluation of your progress. You are required to leave a copy of this documentation with me; a copy will be placed in the SACI library for future student research and use.

General Safety & Emergency Instructions

Click here for a pdf of SACI's General Safety & Emergency Instructions.

Schedule

Week 1

Monday, January 13
Both faculty co-directors will be present: Di Loreto Romeo and Santini Jacopo.

Introduction to the MFA program and the term work.

The MFA candidates will be asked to adopt an object for one week. (Anything!)

I would like 5 images of this object, five truly different images made or manipulated with five different devices or techniques. The device you wish to use and the technique you wish to use manipulate must contain reason. The choices are not arbitrary but thought out.

Due date to be established together.

You need to start observing not only looking, you need to use all your senses: scent, touch, hearing and inner sensations. Italy/Firenze needs to be understood. You need to understand that history granted us a lot, and this a lot can be used in a wonderfully modern/contemporary manner.

 

Friday, January 17
Meet in palazzo dei Cartelloni

Introduction to the “Magical World” of Non-silver processes: Cyanotype, Van Dyke, Platinum/Palladium and the Zia Process, its history and its fundamentals and bases and Liquid Light Emulsion Printing.

Photographic Syntax and the choices history left us .

How can Modern/Contemporary vision use these techniques?

https://www.inkaid1.com/ and its great advantages on coating of non-traditional materials.

After lunch two short trips to Secret Florentine Places, Bizzari and La Farmacia di Santa Maria Novella.

Week 2

Monday, January 20
Non-silver processes 1: Inter-negatives and the materials used. The inter-negative and the traditional large format negative.

"The aspects of non silver process negatives, how they look and the sensitometry behind a good non silver process negative?"

The myths and rules that are not rules, but rather opinions of personal habits! Work Flow and setting up for Liquid Light Emulsion Printing for Friday.

Reminder of materials to bring for Friday’s Liquid Light Emulsion Printing: Paper, brushes and liquid light emulsion.

 

Friday January 24
Printing with Liquid Light Emulsion – The Contact Print, the beauty of the photogram or black and white enlarging.

Learning how to coat, and the tricks of consistency.

The proper tools: The Hake Brush and the Glass Coating Rod.

Liquid Light Emulsion and the effects of different materials.

https://www.inkaid1.com/ and its advantages!

Sizing and the correct formula, materials and papers.

We will try liquid light emulsion to practice our coating skills.

Afternoon: IF POSSIBLE, A FIELD TRIP TO THE SECRETS OF THE ALINARI ARCHIVES: Inside the Hidden Alinari Archives / Firenze

1st Major Professor review, individual meeting if needed (written self evaluation) held by both faculty co-directors. Or printing with Liquid Light Emulsion.

Week 3

Monday, January 27
DEMO by Second Year MFA Candidate on Making Proper Digital Negatives!

Make Digital Negatives and description of how to make inter-negatives using continuous tone lithographic film and paper. Preparation of Alternative Printing segment of this class.

 

Friday, January 31
2nd Major Professor review. Printing with Liquid Light Emulsion – The Contact Print, the beauty of the photogram or black and white enlarging.

Week 4

Monday, February 03
Lorenzo Colloreta: Advanced Digital Workshop (lesson 1)

Profiles description of theory and its nature and importance.

Set-up of Photoshop, why is it necessary to calibrate a workflow and a strategy of software and hardware?

 

Friday, February 7
3rd Major Professor review.
Catch up from Fall 2019 term.

Advanced Black and White Printing techniques, water bath method with and without sodium carbonate. Liquid Light Emulsion Printing if you wish (optional)

Week 5

Monday, February 10​
Lorenzo Colloreta: Advanced Digital Workshop (lesson 2)

The fundamentals of post-production to optimize your files for digital print. Remember files are numeric and our hardware is not intelligent.

Explanation of the tools and work flow, without going too far.

A file is negative, digital stations began in the darkroom.

 

Friday, February 14
(ALL DAY)
4th Major Professor review.
Non-silver processes 2: The Cyanotype Process, theories, formulas and printing toning techniques. The Kallitype or Van Dyke Process may be replaced with more Platinum/Palladium due to technical issues from the past years. If so we will continue with the cyanotype print on cloth.

Non-silver processes 3: The Kallitype or Van Dyke Process, theories, formulas and printing techniques.

Bring negatives and paper.

Important: While testing papers please write on the back of the paper with pencil the make of paper, the surface, the ply, if it is a hot or cold presses paper, and the type so you can return to buy more if it works better than others.

Week 6

Monday, February 17
Lorenzo Colloreta: Advanced Digital Workshop (lesson 3).

Deepen and master the understanding of digital post-production

 

Friday, February 21
5th Major Professor review.

Non-silver processes 2: The Cyanotype Process, theories, formulas and printing toning techniques, continuation. If so, we will continue with the cyanotype print on cloth.

Week 7

Monday, February 24
Lorenzo Colloreta: Advanced Digital Workshop (lesson 4).

Conversion of Color RAW Files into black & white.

Its implications and the complete work flow.

The Digital Inter-negative.

How do you work and manipulate the file?

How and on what do you print the negative?

These negatives are used for non-silver processes in contact printing form.

Maximum control of the characteristic curve for the process you are using.

 

Friday, February 28
Midterm reviews

A review will be conducted with the Co-Directors acting also as also Major Professor’s, invited faculty or SACI collaborator that have collaborated with your work progress (generally DIS Professors), and external guest that is not directly connected to the candidates work.

(Completion of assignments, projects, portfolio’s, punctuality/attendance, and your journals, and final exhibition will be discussed.)

SACI faculty or individuals who have collaborated with the progress of your work must be officially invited and communicated to the co-directors of the program two weeks prior to the review.

   

Week 8

MIDTERM BREAK for undergraduates (February 29 - March 8)

PLEASE MAKE IMAGES / WRITE AND REFLECT ON YOUR WORK AND THE FINAL EXHIBITION.

   

Week 9

Monday, March 9
Lorenzo Colloreta: Advanced Digital Workshop (lesson 5).

Conversion of Color RAW Files into black & white.

Its implications and the complete work flow.

Introduction and explanation of RIP A (raster image processor)

RIP is a component used in a printing system, which produces a raster image also known as a bitmap. The bitmap is then sent to a printing device for output. The input may be a page description in a high-level page description language such as PostScript , Portable Document Format , XPS or another bitmap of higher or lower resolution than the output device. In the latter case, the RIP applies either smoothing or interpolation algorithms to the input bitmap to generate the output bitmap.

Raster image processing is the process and the means of turning vector digital information such as a PostScript file into a high-resolution raster image .

Originally RIPs were a rack of electronic hardware, which received the page description via some interface (e.g. RS232) and generated a "hardware bitmap output" which was used to enable or disable each pixel on a real-time output device such as an optical film recorder. A RIP can be implemented either as a software component of an operating system or as a firmware program executed on a microprocessor inside a printer, though for high-end typesetting, standalone hardware RIPs are sometimes used. Ghostscript and GhostPCL are examples of software RIPs. Every PostScript printer contains a RIP in its firmware.

 

Friday, March 13
Field Trip to Rome to visit the exhibitions of:
Ara Güler at Museo di Roma in Trastevere: http://www.museodiromaintrastevere.it/en/node/1006717
Gabriele Basilico at Palazzo delle Esposizioni: https://www.palazzoesposizioni.it/mostra/gabriele-basilico-metropoli-eng

Week 10

Monday, March 16
Lorenzo Colloreta: Advanced Digital Workshop (lesson 6).
Driver’s, RIP and Profiles.
​Explanation and theory. Printing and guidance.

 

Friday, March 20
Non-silver processes 4: Platinum/Palladium and discuss the (Zia Type process).
Process, theories, formulas and printing techniques.

Afternoon: 6th Major Professor review.

Non-silver processes 4: The Platinum/Palladium.
Process, theories, formulas and printing techniques.

Week 11

Monday, March 23
Non-silver processes 4: The Platinum/Palladium. Process, theories, formulas and printing technique.

Non-silver processes 2: The Cyanotype Process, theories, formulas and printing toning techniques.

Non-silver processes 3: The Kallitype or Van Dyke Process, theories, formulas and printing techniques.

 

Friday, March 27
Non-silver processes 4: The Platinum/Palladium. Process, theories, formulas and printing technique.
Non-silver processes 2: The Cyanotype Process, theories, formulas and printing toning techniques.
Non-silver processes 3: The Kallitype or Van Dyke Process, theories, formulas and printing techniques.

8th Major Professor review.

Week 12

Monday, March 30
Exhibition preparation.

Non-silver processes 4: The Platinum/Palladium. Process, theories, formulas and printing technique.
Non-silver processes 2: The Cyanotype Process, theories, formulas and printing toning techniques.
Non-silver processes 3: The Kallitype or Van Dyke Process, theories, formulas and printing techniques.

Friday, April 03
Saturday, April 04
Sunday April 05 return by 20:00 (8:00pm)

Field Trip to Abruzzo for MFA in photography Year I. Stage 2 of the project “In the Folds of Italy.”

 

To please consider seriously!

  1. The road trip is a minimum of 5 hours each way!
  2. Also there is a lot of driving due to the regions geographical barriers (mountains, gorges, lakes and rivers)
  3. This region is a Frozen Time Capsule Immersed in Nature. The difficulties of specific foods or eating choices must be seriously considered. It is highly suggested that bring specific items along, and never assume that it maybe found. I will do all I can to speak at great length with the owners of the B&B and local restaurants to assist you. Nevertheless, we find ourselves at time out and cannot always find what one needs nor cannot travel there due to geographical distances due to mountain barriers.

Abruzzo and the Valle Peligna. Its uncontaminated landscape rivers and nature. Base town location of Bed and Breakfast: The town of Pacentro.

“A Frozen Time Capsule Atmosphere In The Center Of Italy.” Make some personal research on the region, its difficulties and the hardships. A great majority of the Italian immigrants in North America came from this region. The question is why did all these individuals leave their motherland that they were so attached to?

Understand its people and its traditions closely connected to the land.

9th Major Professor review – Exhibition discussion

Week 13

Monday, April 6
MFA Final Term Review Preparation and Work Time.

Exhibition preparation.

Friday, April 10
MFA Final Term Review preparation and work time.

Exhibition preparation.

Non-silver processes 4: The Platinum/Palladium. Process, theories, formulas and printing technique.
Non-silver processes 2: The Cyanotype Process, theories, formulas and printing toning techniques.
Non-silver processes 3: The Kallitype or Van Dyke Process, theories, formulas and printing techniques.

   

Week 14

Monday, April 13 EASTER MONDAY SCHOOL CLOSED!

Exhibition preparation.

 

Friday, April 17
MFA Final Term Review preparation and work time.

Exhibition preparation.

10th Major Professor review – Exhibition discussion.

Week 15

Monday, April 20
MFA Final Term Review Preparation and Work Time.

Exhibition preparation.

 

Friday, April 24
MFA Final Term Reviews.

IMPORTANT! NOTIFY OFFICALLY AND FORMALLY THE INDIVIDUALS IN YOUR REVIEW AT LEAST TWO WEEKS PRIOR TO THE REVIEW DATE.

A review will be conducted by the Co-Directors acting also as also Major Professors, invited faculty or SACI collaborators that have collaborated with your work progress (generally DIS Professors), and external guest that is not directly connected to the candidates work, President, Dean and Visual Media department Head.

(Completion of assignments, projects, portfolio’s, punctuality/attendance, and your journals will be discussed.)

A short meeting without the candidates maybe conducted immediately after. With a maximum of three professors, they will discuss your progress and work and decide if they should grant passage to the second year of the MFA in Photography Program.

The Co- Directors will notify the candidates soon after the meeting in person and the meeting should not take more, then 15 minutes.

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