Assignment #1 – Due Jan 27th

Photogram – 1 print 8x10

1 roll – film , contact sheet

Handouts First two weeks

Every aspect of photography has similar processes from exposing film to printing negatives.

The Darkroom –

    Things you will need –

                Enlarger, negative carrier, contrast filters, proofer (glass), Easel and lens. (These should be at each station)

These are the same as in the camera –

Comparison from Darkroom to Enlargers – The similarities.
Darkroom	Photographing
Enlarger	Camera
Light sensitive Paper	Film
Negative	The world to photograph
Light source	Same
Lens – adjustable or not	Same – f-stop exposure
Time to monitor light exposure	Same – Shutter speeds
Processing Chemicals	Same

 

Photography is a time based medium. It takes time to create all processes. No short cuts.

Printing

    Enlargers will have timers on each of them and will be explained during lab how to use.

We will be exposing everything in increments of 5 seconds. All processes will be demonstrated in class and you can refer back to the text for any information need or just ask.

Processing exposed paper –

    After paper is exposed, these are the times each must be processed at unless the paper manufacture recommends another time. Remember this do not let tongs cross trays. They must remain in each tray. If you forget a step do not , I repeat do not go back. This will contaminate the chemistry.

    Developer - 2 to 2.5 minutes – use tongs let all chemicals trip in developer tray and place in next step.

    Stop Bath – 30 seconds to 1 min – use stop bath tongs to be sure paper is covered. Take stop bath tongs and lift paper out drip over stop bath tray till last drop. Then go to Fixer.

Fix 1 – 5 -10 min depending if there are two trays of fixer. Let sit in tray for this amount of time before taking into light to view.

Fix 2 – 5 – 10 min. After 5 min if there is a second fixer move to second fixer and let sit for at least 5 min.

Water – Holding bath – this is not the rinse. We will move the prints to the rinse machine in the processing room as a group. Do not move until rinse machine has been cleared.

 

Rinse – 20 min in rinse machine.

Dry – Use the rc drier in the processing room. Be sure you have been shown how to use. If not ask. Or you can use a blotter book to dry your prints if you do not want to put it through the machine.

 

DO NOT OPEN YOUR PAPER OUT IN THE LIGHT, DARKROOM ORANGE-SAFELIGHTS ONLY, ASK BEFORE DOING ANYTHING IF YOU ARE NOT SURE, IT WILL SAVE SOME CASH AND TIME!

PHOTO = LIGHT

GRAPH = WRITE OR MARK

YOUR PAPER IS SENSITIVE TO LIGHT AND HEAT!

 

 

Photograms                            Assignment #1 – Due

    Find an enlarger station. You can work in groups or pairs.

Place the negative carrier in the holder as shown.

Use the easel or glass proofer and put on enlarger table.

Turn timer on focus so light comes on.

Move enlarger as shown in class up or down so that light fills the paper.

Close the aperture as shown in class to f-8 or smaller.

Flip timer set to time or off and set the time number to 5 seconds. Some may come up as milliseconds, ask for assistance.

Take out paper, place objects on top of paper.

Hit the exposure button and expose for 5 seconds

Follow developing instructions and see what comes out.

If paper turns out to be black then close the aperture on the lens to f-11 or smaller.

Repeat put objects on paper and try taking objects off during the exposure and see what happens.

If the paper turns out white then it needs more light so add time by hitting the exposure button again – try not moving seconds' button from 5 seconds unless instructed to do so.

Assignment Objective –

Get familiar with the darkroom and create a creative photographic image.

You will need to find objects that are translucent, cut-outs are ok, try magazines, cotton, whatever you can think of to create an image. Make something that is meaningful to you.

On due date – (1 )8x10 photogram is due.

Extra work = extra credit

******************Friendly Reminder******************************

DO NOT OPEN YOUR PAPER OUT IN THE LIGHT, DARKROOM ORANGE-SAFELIGHTS ONLY, ASK BEFORE DOING ANYTHING IF YOU ARE NOT SURE, IT WILL SAVE SOME CASH AND TIME!

 

PINHOLE CAMERAS – Optional assignment.

    Making a pinhole –

            Easiest most effective is the empty paint can (new) from any local home improvement store.

        Tape , some foil and a way to make a hole in the can. Painting the can is optional.

Once you have a pinhole to work with do the following:

    Take the pinhole can into the darkroom – load one piece of 8x10 paper you may have to trim it to fit. Be sure the lid is closed tightly and that the flap is covering your hole with no light leak.

    Find something to expose – if you are going to expose in doors your time will be longer.

    Remember – more light = less exposure time

less light = more exposure time

 

Set the can down facing toward what you would like to take an image of, if doing portraits be sure the subject holds really still. Your initial exposure should be around 1 to 2 minutes depending where you are photographing.

 

After the exposure time close flap without knocking the pinhole camera. Take the pinhole back into the darkroom and follow paper processing procedure and determine if you should make another.

Creating a positive.

1. In the Darkroom
   
   1. Set the lens to a setting of f-8 and place a contrast filter of 2.5 in holder
      
   2. Place a new piece of photo paper a strip will do in the glass face or shiny side up.
      
   3. Take a completed pinhole negative, processed and dried place image side to emulsion (shiny side) of new photo paper. So it will be emulsion to emulsion.
      
   4. Make a 5 second exposure of entire print.
      
   5. Cover all but a small section of paper with a large enough paper. And expose for another 5 seconds.
      
   6. Repeat (e) above until you go across entire paper.
      
   7. Take the exposed bottom and follow paper developing procedure.
      
2. Scan the final negative and do a negative reversal in Photoshop.
   

 

The Camera –

    The lens -

f-stops

1, 1.2, 2, 2.8, 4, 5.6, 8, 11, 16, 22, 32, 64

The light doubles or cuts in half with ever other stop.

An f-stop is a unit of volume for measurement of light. F-stops are found on your lens. The lens is like a hose; the bigger the hose opening more light goes through, the smaller the hose opening the less goes through.

    The body –

The body of the camera holds the light sensitive material and deals with time.

    Shutter speeds –

1, 2, 4, 8, 15, 30, 60, 125, 250, 500, 1000 +

Shutter speeds control how long the light is being exposed on the film, hence Shutter speed controls anything dealing with time.

Time is in fractions of a second, example 125 is 1/125^th of a second and 1 is 1/10^th of a second. And so on. B stands for Bulb or flash and T stands for Time, these features allow the shutter to remain open.

 

The key is to find the right balance between the volume of light and the time of light.

 

Bracket Exposure –                     Assignment #2 Due ______

    This assignment deals with the volume of light.

To bracket an exposure you will have a camera loaded with 100 or 125 film.

Pick your subject. Preferably something that isn't going to move on you.

1. Look through the eyepiece, using your light meter (every meter is different) find the perfect exposure. What the camera says the film should be exposed for that scene.
   
2. Take the exposure, do not move. Change the f-stop so that it is one below (bigger number) than the current exposure.
   
3. Expose at the one below. Staying there, move the f-stop so its above one (smaller number) than the correct exposure. And expose image.
   
4. In your notebook this exposure should have something that may look like this:
   

Exposure #	Shutterspeed	Correct f-stop	One down	One up
1	125	11	8	16
2	500	8	5.6	11
3	60	16	11	22

These are samples, do not set camera at these, your meter will show you what is correct.

After roll has been exposed - you will process film and make a contact sheet, individually or in pairs as shown in class

What is due:

        1 8x10 contact sheet showing a bracketed exposed roll of film.

1 roll is the minimum, extra rolls = extra credit.

 

 

Processing Film –

    Film is light sensitive so do not load any film tanks or open doors or use phones while film is out of its canister.

1. Load film on reel as shown in class. If only one roll of film be sure the reel is on the bottom. And lids are securely in place.
   

Chemicals –

    Temperature is key – our optimal temp for developer is going to be 68 degrees. There will be cold water in the clear fridge in the lab. With development we have a balance of temp and time. "The cooler the chemistry the longer the time and warmer the temp the shorter the time." The reason we want cooler temps is the film has the best grain structure for a crisper image at its' optimal temperature which is set at 68 degrees. The grain wants to stick together closer when cooler. When its warmer it separates out more and becomes visible in printing.

There are chemicals available for you – this will be covered in lab as a class. Mixtures will vary.    

Developer – Time will vary see charts or in film box there will be time settings. – agitate canister in a half moon motion every 30 seconds for 30 seconds and when time is up pour chemicals in sink unless otherwise directed to do other.

    Stopbath – Stops development. You will pour chemicals in container to the top, a two reel tank is 20 oz and a one reel tank is 10 oz. Agitate for 30 second every 30 seconds for 2 to 2.5 minutes. Pour out stop bath in sink or place in appropriate location.

    Fixer – Fixes the image to the film. Fill container. Agitate for 30 seconds every 30 seconds for Development time Plus half. Example if your development time was 9 minutes then you will fix for 9min plus 4.5 min giving you a time of 13.5 minutes of fixing. Pour finished fixer in appropriate location as instructed in lab.

Development time + Half = fixing time.

    Rinse – Take film to rinsing location. And film will rinse for approximately 20 min or until a deep purple is gone in film.

    Photoflow – This will keep the film from spotting, dip in photoflow for approx 1min. Finger squeegee excess photoflow in sink and hang in drier.

 

    Drying – be sure you turn off drier and that it has stopped before opening. Hang and turn on drier until film is completely dry.

    Cut to appropriate size for your negative sleeves.

DAY 1 – Handouts - Syllabus

INTRODUCTION TO PHOTOGRAPHY

Photo-50 , T,TH 12:30 to 3:20pm

Instructor: Randall Chambers

Office: TBD

Email: rchambers@ivc.edu or fotoone1@yahoo.com

Office Hours: TBD

 

Catalog Description

This course presents the basic techniques of producing black and white still photographs with artistic and technical value. Emphasis is placed on developing aesthetic sensibility and on mastering the mechanical principles of the camera, elementary lighting and basic darkroom technique. In-class discussions and critiques of creative projects are designed to foster the student's visual awareness. The course explores the role of the photographic image in the visual arts and in our perception of events and culture.

Learning Objectives

1. Produce black and white photographic prints that apply intermediate principles of composition.
2. Evaluate the creative photographic works of others.*
3. Identify camera types and uses.
4. Use various lenses to produce desired effect.
5. Prepare photographs for final presentation.
6. Properly expose photographic materials, film and paper.
7. Process for special effect.
8. Alter an image to create further interest.*
9. Study, create, evaluate, and analyze trends, theories and
concepts in the field of Photography.*

STUDENT RESPONSIBILITIES AND REQUIREMENTS

1) Attendance. Students are required to attend all classes and be on time. You are

allowed three unexcused absences for the course without penalty to your final grade.

They cannot be on a critique days, unless one has an emergency. Be advised that after

the third unexcused absence, a full a letter grade will be subtracted from your final

course grade. For each subsequent unexcused absence, a half letter grade will be

subtracted until you will automatically receive a failing grade.

2) Completion of all weekly assignments and projects. Weekly, you will receive

class assignments, projects and schedule updates. There will be a handout for each

assignment and project that will detail the ideas and techniques, involved in each

project/assignment. There will be time for class discussion after each

project/assignment is given. If you miss a class, lecture, or demo, you are still

responsible for the material you missed. All work must be adequately completed and

turned in on time to receive a passing grade. If projects/assignments are turned in late

a half letter grade will be subtracted from the project/assignment for each missing class

period up to two weeks. After two weeks you will receive an "F" on the Project but the

work must still be turned in to have a chance to pass the course. If any work is missing,

regardless of the quality of the other work completed in the course, a failing grade for

the course will be given.

3) Average of at least one roll of film per week.

4) Contact sheets for each project.

5) Critique Notes – Total of 4 critiques

6) Contribution to class discussions, critiques, and lab sessions. The success of your

learning (as well as your grade) depends on your class involvement! That means that I

expect a high level of class participation, dedication, and, above all, you must talk and

discuss in class. There is no way to avoid this and a great deal of your grade depends

upon this specific requirement. I am very passionate about photography and have high

standards and expect a full effort from all of you.

7) Final project (6-10 prints that will form part of your final portfolio).

8) Exam and quizzes - Each Quiz is at the end of each Open Lab Day

9) Notebook - Consists of all notes from assignments; technical and creative idea

notes

 

It is always the student's responsibility to withdraw officially from classes. In no case should

Students presume they have been dropped by the instructor.

 

TEXT

London, Upton, Stone, Photography, ANY EDITION

(Prentice Hall/Pearson Education)

 

Additional References:

London, Barbara & Jim Stone, A Short Course in Photography, sixth edition (New York:

HarperCollins College Publishers, 2001)

 

Mora, Giles, Photo Speak (Abbeville Press; 1st ed edition (March 1998)

 

Johnson, Chris, The Practical Zone System (Focal Press, 1999)

 

Stone, Jim , A User's Guide to the View Camera (Harper Collins, 1987)

 

Grading

Final grades will be based on the sum of a student's technical and aesthetic performance/progress throughout the semester along with 2 written examinations.

For every assignment, you will be graded on these three criteria: the first will be based

on how developed your concepts and ideas are, second is for technical merit, and

third is for aesthetic merit.

 

 

All work must be submitted for critique and grading on the date due. Late assignments

will be graded down one letter grade for each class period missed. A rough breakdown

of the final grade is as follows:

25% - Text examinations, reading and assignments, quizzes, and participation

in class discussions, critiques and Attendance

40% - Studio projects: overall quality of your work, with regards to idea, execution,

effort, and improvement. (all work completed prior to final project)

35% - Final project (assignment of student's own design)

 

All work can be resubmitted for an increase of maximum of one letter grade only if it was submitted on due date. All late work does not qualify for re-do unless previously discussed.

Instructor reserves the right to change syllabus and projects as needed.

 

Please Note:

Students are expected to attend lab at the assigned time even if it is an open lab day. It is to your advantage to plan work for the class period so that you can get personal attention. Each student is expected to meet with me individually at midterm and review your performance and progress in the course. Attendances at critiques are mandatory. If you miss a critique, your grade will be dropped a full letter grade. Even if your assignment is not finished, it is important to the group that you attend. If you know that you must miss a critique, please discuss it with me in advance so we can make other arrangements.

 

HAZARDOUS MATERIALS WARNING!

Students should be aware that prolonged exposure to various photographic chemicals

may be harmful, especially during pregnancy. If you become pregnant please notify the

instructor of the course and safety procedures specific to pregnancy will be discussed

and must be observed. Always use tongs and rubber gloves when processing or toning

prints. Avoid skin contact with photographic chemistry. Wash your hands thoroughly

with soap and water whenever they become contaminated. Follow all health and safety

procedures guidelines posted in the darkroom and on each piece of equipment in the

photography area. Spray adhesives are not recommended for securing or mounting

photographic materials and they may not be used within the art center facilities'

interior or exterior spaces.

 

PROJECTS

15 total weekly assignments

Project #1 – Due Feb 5 2009

Project #2 – Due March 5 2009

Project #3 – Due April 16 2009

Project #4 Final Project– Due May – finals day.

Material List

Camera

Any 35 mm with 50mm or 55mm lens camera with an ability to set it on manual – no auto anything in this

class.

Shutter release cable (optional)

Tri-pod for the camera or a way to keep it steady for long exposures.

Light meter, in camera or hand-held.

 

Acceptable Film types for class

125 or 100 asa Black and white film Plus X, Illford or Arista professional films

100 – Fuji

No other films should be used in this class. You can experiment with them but please talk to me first.

 

Photographic Paper

Black and White Multi-contrast RC paper

Ilford and AGFa are the most common

Suggestions on Ilford are Pearl or a Semi-Gloss. Glossy is acceptable too.

Do not get any cool or Warm Tone papers.

 

Paper comes in a variety of amounts and end up being less in bulk

 

Other Required Supplies

1. Negative Cleaner (optional)

2. Marker, such as Sharpie or Marks-a-lot.

3. Negative Sleeves (five negatives across)

4. 3 ring binder for negatives

5. 1 notebook of any kind for photographic notes

6. Matt Board – White only

7. Tissue Mount

8. Spotting brushes and ink (optional)

9. Negative Cleaner and cotton tips (optional)

10. Blotter book (optional) –

11. Q-tips.

12. Some type of portfolio case to store finished work.

13. Darkroom apron/old long-sleeved shirt (also for health and safety).

14. Canned Air with nozzle or straw. (optional)

 

Photographic Suppliers

 

FreeStyle

 

http://www.freestylephoto.biz/

Orders & General inquiries 1-800-292-6137 (within North America)

1-323-660-3460 (international)

Toll Free Fax 1-800-616-3686.

Freestyle Photographic Supplies

5124 Sunset Blvd.

Hollywood, CA 90027

United States

 

Fotohall

http://www.foto-hall.com/Home_Header.htm

North Orange County's Photographic Solution

601 North Placentia Ave., Fullerton CA 92631 (MAP)

Phone: 714-996-1330 | Fax: 714-996-3140

Store Email: lab@foto-hall.com

 

Calumet Santa Ana

Manager: Mikel van den Haak

Address: 1430 S. Village Way, Suite A

Santa Ana, CA 92705

Phone: 714-285-0143

Fax: 714-285-1650

Hours: Monday-Friday 9 a.m.-5:30 p.m. Saturdays from 9 a.m. to 5:30 p.m

http://www.calumetphoto.com/

Welcome

All class presentations will be posted here as well as all assignments and projects. This blogg will also contain any suggested material from class and anything interesting in photography that comes up. Feel free to leave comments.