ARTS444 Advanced Black & White Photography, Romeo Di Loreto, Summer I 2019

PHOTOGRAPH > noun a permanent record of an image that has been produced on photosensitive film or paper by the process of photography.
> Verb (photographed, Photographing) tra & intr to take a photograph of (a person, thing, etc).

PHOTOGRAPHY > noun the process of making a permanent record of an image on light-sensitive film or some other sensitized material using visible light, X-ray or some other form of radiant energy.

PHOTOGRAPHIC > adj (1) relating to or similar to photographs or photography. (2) Said of memory: retaining images in exact detail. Photographically adverb.

Photography is one of the most exciting forms of image making. Invented in the 1820’s to 1840’s, it still remains a mystery for whomever uses it. For me it is still magic. Mistakes can easily become tools for beautiful image making. Photography’s weakness can even be its greatest strength; one can discover this very early or it can take years and years. Making photographs means making thousands of decisions almost instantly. To bring all the technical limitations and the artistic possibilities together into a single, well-seen and rendered photograph. A picture which conveys information and emotion is a juggling act that requires years of training to master.

What do I mean “to master”?

Simply not to think about what you are doing, but to respond instantly. It means to work intuitively, with feeling rather than with intellect. (I did not say intelligence.) Thinking about your photography is important, especially during the learning stages, but as you progress you will find you are doing less and less “thinking” and more and more responding.

A guitarist does not think of the individual notes, but is feeling the music. The hands and fingers are responding to the music. It is a physical, emotional and feeling activity. Should the artist “think” about what he or she is doing, mistakes flood in, the musician stumbles, misses notes and music fails. The same thing happens when we make photographs. We are musicians. Our instruments are the cameras and shutters, lenses and apertures, the film we select, the chemistry we use to bring out the nuances of light and shadow in our negatives and prints. Eventually you will be able to work without thinking, you will work intuitively.

Learning to work intuitively will take time. Within the first year, you will have found you have mastered many of the technical elements of photography and no longer have to think about them. This class is meant to help you along that path of mastery. However, the path is a long one, and in that there is joy. Learning is more important than arriving, the voyage more wonderful than the destination. Most successful artists and photographers will tell you it will take ten years for you to master all the elements and to begin to make your own statement. This may be frustrating news for the novice, but take heart. Photography is fun almost every step of the way. There will be periods of pain, disappointment, frustration, depression and even anger as you struggle to learn all the elements. Do not be discouraged, be overjoyed that you have ten great years to look forward to, to grow in, to experiment, to learn and to develop. It is a magical time, so use it wisely. Learn each of the steps well, and then proceed to the next. Do not rush. There are no short cuts, no quick solutions, no secrets, other than to work very hard.

PLEASE CHASE THE WIND… MOREOVER, I HOPE YOU NEVER CATCH IT!
BE A CHILD, ENJOY, INVESTIGATE, BE CURIOUS, QUESTION NOT ONLY WHAT YOU HEAR BUT ALSO WHAT YOU SEE ……… JUST DO NOT QUESTION WHAT YOU FEEL.

Course Content & Objectives

This course is designed for the advanced level and for advanced students.

Necessary, prerequisites: Introductory Photography and Intermediate Photography in black and white at college or university levels. If one of the prerequisites has NOT BEEN FILLED, the student must present a coherent, recent portfolio and must have an interview (in person, through telephone or via e–mail) with the professor teaching the course. (An entry test may be given prior to acceptance to evaluate the student's level.)

Special emphasis will be placed upon aesthetic and visual concerns as well as craftsmanship and the understanding of black and white photography at the advanced level. The students enrolled in this class must have a full understanding of the following course basics: 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 (all course material covered in Photography II).

This course and term is divided in two sections:

1. The first half of the term will consist of a review of materials covered in at intermediate level - proper processing techniques, developers and papers and how they affect the image syntax; pushing and pulling and the zone system (altering the film's characteristic curve); advanced printing controls, like farmers reducer and flashing; working with continuous tone lith film and inter negatives for alternative printing.

If a student is already above this level, the professor will assign the portfolio preparation project immediately. In addition to the visual work, the professor will assign reading and articles discussing aesthetics and contemporary photographic issues.

2. The second half of the term will be a study of your personal vision and portfolio preparation. You will dedicate the rest of the term on a personal project that you will propose and conclude. You may choose to work with any technique, with the traditional black and white silver gelatin print, mixed medium, assemblage boxes, books, boxes, projections, light boxes, collages or any of the techniques you saw in class.
Requirements: a 15 to 20 image portfolio with a coherent theme in a professional presentation for a gallery or graduate school portfolio. During this period you will also be writing an artist statement that you can include in this portfolio.

Students in this course are expected to do personal testing and push their aesthetic ideologies. Please remember that the program you set out to complete in your college or university degree truly depends on the work you set out to complete.

I try to structure my classes so that it becomes a sort of studio, with 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 a journal. I suggest you keep two! One as a technical notebook where you write class notes and keep all hand–outs, assignments, contact sheets and darkroom data (this notebook can be a binder). 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 will be a series of slide presentations to give you an idea of the history of photography and a sense of visual aesthetics.

Field trips: Giardino di Bobli, Museo Alinari and to as many contemporary photography and art related exhibitions as possible.

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. Any exceptions to this rule will be made by the instructor and the dean, so please talk to us in advance.

Grading

This class is designed to teach the fundamental skills in photography. Each assignment requires a certain skill level, presentation and thought. This is university level.

Students can achieve a passing grade by completing the assignments, having good attendance, and participating in class and during critiques.

Standards: Depending on your school, + or - grades can or cannot be given.

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 - (completion of assignments, punctuality/attendance, quiz grades, journals): 40% of the grade.
Final - (final presentation and project, and punctuality/attendance): 60% of the grade.

Graduate Students
Students in MFA, MA, and Post-Bac programs are expected to complete additional assignments and to produce work at a level appropriate for students in a graduate program. They are graded accordingly and, if they successfully complete all course requirements for graduate students, receive graduate-level credit for the course.

Required Materials

- 35 mm camera (must be manual) - macchina fotografica
- 50 mm or equivalent lens - obiettivo
- 20 + rolls of 35mm B/W film (Suggested film Kodak Tri-X 400 A.S.A) - Pellicola
- 18x24 variable contrast / resin – coated photographic paper pearl finish
(carta politenata / pearla 18x24)
- 24x30 variable contrast / resin – coated photographic paper pearl finish
(carta politenata / pearla 24x30)
- 35mm clear plastic negative sleeves - porta negativi
- Binder to keep all negatives and contact sheets - quaderno per porta negativi
- Ilford anti–static cloth - panno anti–statico
- Towel - asciugamano
- Apron - grembiule
- Scissors - forbici
- Rubber gloves (optional) - guanti di gomma

Where to Purchase Photo Materials

Bongi Ottica (they give a student discount)
Via Por Santa Maria, 82/r Firenze
Tel: 055-2398811
Ottica Fontani
Viale F. Strozzi, 18-20a
Tel: 055–470981
Toscana Foto Service / SACI Internet Mail Order Service. www.toscanafotoservice.it
Internet Ordering: These websites are excellent for finding photo materials required by MFA students. You can also find good pre-cut or custom cut archival matt board (with sufficient notice) at fotomatica at very good prices!
www.fotomatica.it
www.ilfotoamatore.it
www.tuttofoto.com

For Camera Repairs

Punto Reflex
Private Repair Service (take to Romeo)
Bongi Ottica
Via Por Santa Maria, 82/r Firenze
Tel: 055 2398811
TECIAS (for digital equipment and some Analog)
Viale Corsica, 39AB
Tel. 055 359968 – Fax: 055 355776
Web site: www.tecias.it - E-mail: info@tecias.it

For Computer Repairs (MAC)

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

Course Goals

1. To strengthen B&W photographic skills
2. To develop individual artistic expression
3. To develop skills in discussion of photographic work
4. To have fun

Assignments are designed to help explore options for 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.

Course grades will be based on class participation/discussion, assignments, critiques, quantity/quality of energy and imagination invested in each assignment, oral presentations and final critique. Attendance and promptness are mandatory. Two absences will result in one grade less. Chronic lateness will result in same (2 late classes = 1 absence). Assignments must be turned in the week requested. No exceptions, unless one has a note from the dean.

General Safety & Emergency Instructions

Click here for a pdf of SACI's General Safety and Emergency instructions.

Additional Safety Information

First-Aid Kit in the Photography Darkroom
In the darkroom upstairs, next to the entrance, is a green first-aid kit for eye injuries. It contains a solution for application to the eyes, eye patches, a plastic container, and scissors.

Schedule

Depending on class dynamics, I may give more readings not listed on this syllabus!

Week 1	Tuesday, May 21 Course introduction and overview of syllabus and class schedule. What is expected of you in this class? Test light meters, apertures and shutter speeds. (Reminder: bring cameras and manuals if you have them.) Visit Bongi Photo store, buy all material for class. (COST OF ALL MATERIALS IS APPROXIMATELY €150.00.) We all need a 35mm, manual SLR camera! Break for lunch. Assign Project #1 (A DOCUMENT vs. DOCUMENTARY) Photograph – What realistically makes a photograph “Art” or is it a mere rendering of reality? The camera as a reproducing tool? Is a photograph a window or a mirror? For this assignment, I would like a (minimum) of two rolls of film and contact sheets. The two films must be of different sensitivities, ASA’s (film speeds). Due May 23. ** Read chapter #1 of Susan Sontag’s On Photography chapter title, "In Plato’s Cave."** Please write a short paragraph on your thoughts. It must be anonymous. Due May 28. The camera and the lens: how they function. For students that need some refreshing.
	Thursday, May 23 Film development (reminder: bring exposed film and negative sleeves). Lecture and demo on film development (break any bad habits). It is important and required that all levels of students be present. Break for lunch. Contact Sheets (reminder: bring developed film, 24x30 paper). Assign Reading, “On Reading Contact Sheets.” Slide show of various photographic artists. If we have time we will have a quick overview of aperture and shutter speed for creative use, for those students who need it. Importance of selective focus. The camera as a television screen. Bring your cameras.
Week 2	Tuesday, May 28 Printing: demo and explanation on use of contrast filters as a tool; print; check any bad printing habits. Demo on burning and dodging. (Reminder: bring developed negatives and 18 x 24 paper.) THE MORE PROCESSED NEGATIVES YOU HAVE THE BETTER IT IS Printing demo in trays and in the processing machine. Perhaps a demo on tray processing of paper. Slide show (The Landscape and Natural Form). Break for lunch. Assign project #2 “The Natural or Urban Landscape” or “ Natural Form and Still Life” Due June 4, a minimum of four images. Class Critique requirement for all. HAND IN WRITTEN ASSIGNMENT on Susan Sontag. Assign readings. Roland Barthes and Barbara Bullock/Wayne Bullock. Negative evaluation, what a negative should look like, how they should be interpreted. Printing time. Reminder: hand in first assignment; contact sheets plus a minimum of two work prints. Place in envelope, labelled with your name, in Romeo Di Loreto's box in the faculty lounge by SACI closing time. (Best if you give them to me in person during class.)
	Thursday, May 30 Light and how it can fool the camera…white subjects, dark subjects, skin tones and back lighting. A short description of the zone system and a characteristic curve. Sensitometry. Show examples of film and its responses on light due to film speed, push/pull and formats. Break for lunch. Demo: Contrast control. Flashing of the photographic paper and Farmers Reducer. Printing for Assignment #2 (Reminder: critique next class).
Week 3	Tuesday, June 4 Printing for critique this afternoon. Break for lunch. Critique of assignment #2 (4 images or more). Assign project #3 “The Portrait or the Human Form.” Contact or non-contact, the psychological impact to the viewer. August Saunders, Weston, Francesca Woodman, Ralph Gibson, Karsh, W. Eugene Smith, Joe’s photo studio, your ID’s, Harry Callahan, Jock Sturges, Tina Modotti. Due June 11, minimum of four images. Assign project #4 “A Personal Investigation.” Start thinking about it! Requirement: A written project proposal, and individual meetings with Romeo. If possible, written proposals should be ready for June 11 at the latest. *A minimum of 10 to 12 images presented: not as loose prints… think of a presentation.*
	Thursday, June 6 MIDTERM TEST. Slide show (people, portraiture, self-portrait and the human form). Lecture on how image syntax can change with papers, developers and different photographic techniques, and even size. Lecture will include demonstrations. Printing (Suggestion, try different papers: Warm Tone or Cold Tone paper and fiber based. Characteristics of emulsion: film and paper. Break for lunch. Printing for Assignment #4 (Reminder critique next class). Assign reading.
Week 4	Tuesday, June 11 DEMO AND LECTURE ON FIBER BASED PAPER, CONTINUOUS TONED LITH FILM (Macro film) FOR INTER NEGATIVES OR FOR LIGHT BOXES. *Written project proposals should be complete.* Break for lunch. Critique of assignment #3 (4 images or more)
	Thursday, June 13 I will show my work and discuss my philosophy as a photographer. Individual meetings with Romeo for your final project, if you have not met with him. Break for lunch. Printing for project #4. We will make reproductions of your work during class.
Week 5	Tuesday, June 18 Presentation and demo on mounting and matting. Where to buy boards? Demo on Spot Toning. Individual meetings with Romeo, if you have not done met with him. (Reminder: critique next class.) Printing for project #4. Break for lunch. Printing for project #4.
	Thursday, June 20 FINAL CRITIQUE (10 to 12 images and an artist statement)

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