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 by “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

Necessary prerequisites: Introductory Photography and Intermediate Photography in black and white at college or university levels. If one of the prerequisites has NOT BEEN MET, the student must present a coherent, recent portfolio and must have an interview (in person, through telephone or via e–mail) with the instructor 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 craftmanship 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 an 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: 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, and well made high quality digital files of your work or instillations.

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.

We will go on as many field trips as possible to contemporary photography and art related exhibitions. Where we go depends on which travelling exhibits are in Florence during the term.

We may go on field trips to some of these locations: Giardino di Boboli, Museo Zoologico (La Specola), Le Cascine Park, Scandicci urban areas, and if, possible, the Alinari Archive.

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 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 or Medium or Large Format 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 (I suggest all students to purchase film here, due to risk of airport x-ray fogging and suggestions of diverse film choices from professor. This will be taught during the term.)
- 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) (More advanced students may use Fiber based paper or other materials)
- 35mm or other format clear plastic negative sleeves - porta negativi
- Binder to keep all negatives and contact sheets - quaderno per porta negative (It is a good suggestion to buy the last two items in North America or country of origin, this will allow for a consistent system of archiving of your negatives.)
- Ilford anti–static cloth - panno anti–statico
- Towel - asciugamano
- Apron - grembiule
- Scissors - forbici
- Rubber gloves (optional) - guanti di gomma

Where to Purchase Photographic 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.
www.fotomatica.it
www.ilfotoamatore.it
www.tuttofoto.com

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.

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

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

John Berger, About Looking, Pantheon Books, 1980.
ISBN: 9780394739076 (Retail price: To Be Determined)

Roland Barthes, Camera Lucida, Vintage Books, 1993.
ISBN: 9780099225416 (Retail price: $14)

Robert Adams, Beauty in Photography. Essays in Defense of Traditional Values, Aperture, 1996.
ISBN: 9780893813680 (Retail price: $16.95)

John Berger, Ways of Seeing, Penguin Books, 1977.
ISBN: 9780140135152 (Retail price: $16)

Lewis Hyde, The Gift: Creativity and the Artist in the Modern World, Vintage, 2007.
ISBN: 9780307279507 (Retail price: $16.95)

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

Michael Rush, New Media in Late 20th-Century Art, Thames & Hudson, 1999.
ISBN: 9780500203293 (To Be Determined)

Andy Grundberg, Crisis of the Real: Writings on Photography since 1974, Aperture, 1999.
ISBN: 9780893818555 (Retail price: To Be Determined)

Wassily Kandinsky, Concerning the Spiritual In Art, Dover Publications, Inc., 1977.
ISBN: 9780486234113 (Retail price: $6.95)

Herbert Read, The Meaning of Art, Faber & Faber, 1960.
ISBN: 978-0571096589 (Retail price: To Be Determined)

Hal Foster, The Anti-Aesthetic. Essays on Postmodern Culture, The New Press, 1998.
ISBN: 9781565844629 (Retail price: $21.95)

Peter Galassi, Before Photography: Painting and the Invention of Photography, The Museum of Modern Art, New York, 1981.
ISBN: 9780870702549 (Retail price: To Be Determined)

Trewin Copplestone, Art in Society, Prentice-Hall, Inc., 1983.
ISBN: 9780130477125 (Retail price: To Be Determined)

Additional articles depending on the class's interest and your internet research.

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.

Remember you are in Europe! Use this experience in your vision and ideas.

The portfolio must be of approximately 15 to 20 finished images or, depending on the project, an amount agreed upon with the instructor. Also required is a well-researched artist statement, which you will work on the entire term in place of the written assignments normally, assigned in this course. I also ask that good high quality digital files or scans of your work or instillations are submitted. Including identification of the artist, title, photographic process, date, and size. You are required to leave a copy of this documentation with me and the TA.

General Safety & Emergency Instructions

Click here for a pdf of SACI's General Safety & 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 (Please note: The following schedule is subject to change.)