Items that you will need to purchase, that are not covered by the lab fee:

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1 Georgia Regents University Augusta Instructor: Randy Pace ART 3231B Photography I for ART Majors - Class Meets: Mon. & Wed. 11:20am-1:50pm Location: WWH 158/159 - Term: Fall 2014 Office: Washington Hall, 231C Office Hours: Monday and Wednesday 9:00am-11:00am Thursday: 9:00am-11:00am & By Appointment jpace1@gru.edu Student Assistant: Justin Edwards - Mac Lab Hours: Friday 2pm-4pm Course Description This class is an introduction to both traditional film and digital photography. In the beginning of this class we will focus on the basic such as creating a well exposed photographic image using manual settings, film development, darkroom printing and image presentation. Once we have covered the basic skills required to make a properly exposed photograph, we will begin to concentrate on how to create a photographic image that goes beyond just good exposure into how to create a fine art photograph. Class time will include lectures, demonstrations, class discussions, critiques, and lab time Prerequisite(s): ART 1520, ART 1530, and ART 1211; or permission of the instructor. Learning Outcomes * Students will learn a working knowledge of 35mm SLR as well as a 35mm digital SLR * Students will develop a working knowledge of black and white processing * Students will develop a working knowledge of darkroom and digital printing * Students will learn to experiment with a variety of approaches to black and white photography * Students will learn to develop one s visual awareness, critical, and artistic skills in the area of photography. Film Materials: You must have a 35mm SLR camera with manual operation. The lab fee will cover a fair portion of the photographic materials that you will need. However, photography is an expensive medium and you will need to purchase additional materials throughout the term. If the class exhausts the materials (which often happens) you will be responsible for replenishing them. Items that you will need to purchase, that are not covered by the lab fee: 10 rolls of 35mm Film (start with T-Max 400 or Tri-X 400) Film can be found in different sizes, be sure to order: 135mm with 36 exposures Archival negative sleeves A three ring binder that zips shut A small notebook to keep a log of exposure readings A flash drive or other storage device.

2 Digital Materials: For the second part of the class a Digital SLR is recommended. Digital SLR s with memory cards are available to check out through the Art Department, but the camera supply is limited. Students should complete projects with plenty of time, as a camera may not be available for last minute completion. If a student should decide to purchase a digital SLR, one with manual capabilities is required. The Wet Lab: Because this is a community lab, you must abide by the lab rules to make this a safe and comfortable working environment. * Wear gloves or use tongs at all times when handling chemistry. * Clean all equipment, counters, floors, and sinks when you re done working. Your grade, and lab access, is directly affected by your adherence to this rule. * Keep an eye on the amount of chemistry available. Make certain that you leave enough chemistry for the next student that uses the lab. * You are required to sign in and out of the lab whenever you are using the facility outside of class. * Refer to and follow the things to check before leaving the lab sheet. * Only students currently enrolled in photography classes are allowed to work in this lab. * No food or drinks are allowed in the labs. The Digital Lab: This lab is for use by only Art majors/minors and students currently enrolled in a Photo class. Because there is no budget for ink and paper replenishment, it is essential that you are conservative with your resources. Do not use equipment that you do not know how to use. Only students currently enrolled in Art courses are allowed to work in this lab. No food or drinks are allowed in the lab. Notebook: Students will be required to keep a notebook of their progress of learning in this class. Notebooks will be reviewed with both mid term and final portfolios. Students should keep track of things that relate to their work, such as F-stops, Shutter Speeds, Developing times, Printing Times, Digital Techniques, Problems during the class, etc. You can also include any ideas of what images you want to create, sketches, notes, etc.

3 Grading is based on the following: Midterm and final portfolios: A. Was the photography completed on time? B. Print quality, (images should be pristine, without smudges, finger prints, spots, chemical stains, etc.) C. How does the work represent your dedication to the craft of photography. D. How creative is the photography, does it show thought behind the process? E. Quizzes F. Notebooks G. Attendance: You will be dropped after missing THREE classes. * Attendance: You will be dropped from the class after missing three classes. GRU policy on absences states that a student may be dropped from a course after missing the equivalent of 10 percent of scheduled classes (For our course that is three classes.). I reserve the right to use this when appropriate or to drop the students overall class grade for absences. All due dates for assignments (group critique days) are equivalent to test days and should never be missed. Your overall grade will be lowered by a letter grade for every three times you are late to class and/or leave early. Attendance is required at all critiques and portfolio reviews. A great deal of information is covered during the first four weeks of class. Missing class during this time will affect your ability to successfully complete course work. H. Participation during critiques and darkroom/lab responsibilities. Remember that like every other class that you take, people enter the class with varying abilities. Some will find that they can make strong images with relative ease while others may work with great difficulty, perhaps even putting in more time, only to arrive at mediocre results. This class is no exception. Regardless, everyone is graded on the same scale. Access to the Photo Lab Outside of Class Time: Campus Security will receive a list of students that are currently enrolled in the photography classes. With a valid student I.D, they will grant you 24-hour access to the Labs as long as you are with a partner. You are not allowed to let a non-photo student use the equipment or enter the lab (doing so could negate your lab access outside of class). You must sign in and out of the Lab every time that you use the Lab. Photo Portfolio: Students must store and present their prints and negatives in a 3 ring binder. In addition to submitting your prints, your portfolio must include a CD of the prints in jpeg form. *If any student needs special accommodations because of a disability, please make an appointment to see the Director of Disability Services. Testing and Disability Services phone number is (706) *

4 Calendar: The portfolio due dates, critique dates, and portfolio review dates are not subject to change. Any other changes made in the syllabus, there will be plenty of notice. August 18 th, 2014: Class begins. Introductions and Syllabus handout. Explanation of syllabus and class requirements. Slide show of photography by Randy Pace. Overview of the history of photography. Tour of facilities. Pass out composition guidelines. Plan to order film and negative sleeves before the end of the week. Drop/Add Period Assignment: Bring in a favorite photograph that you have taken by August 20. Bring camera for an introduction to manual camera operations, the exposure triangle, Aperture, Shutter Speed, and ISO/ASA. August 20 th, 2014: Developing negatives, processing steps, learning to load reels in the dark, shoot second roll by, then two rolls per week or equivalent for the remainder of the term. Drop/Add Period ends August 20th! August 25, 2014: Developing a roll of film, processing steps, continuing to learn how to load reels.(assignment of lockers and paper) Quiz about darkroom safety. August 27, 2014: Introduction to darkroom printing using enlargers. Introduction to mixing and storing darkroom chemistry. Continuing to learn about the darkroom and using an enlarger to print negatives. Work out any issues with negative development. Work on the mixing and storing of chemicals. September 1, 2014: Holiday Labor Day! No Class. September 3, 2014: Develop first roll! Discuss how to move from creating well exposed prints into making fine art photography. We will talk about concept and using narrative to create photographs. Talk about the midterm requirements. Darkroom time/lab. September 8, 2014: Printing contact sheets! Talk about the critiquing process and how to give constructive critiques. Learning to separate yourself from your images during critiques. Darkroom time/lab. September 10, 2014: Assessing prints and print contrast, using contrast filters. Talk about aperture and shutter speeds. (Bring two prints in for the next class) Darkroom time/lab. September 15, 2014: In class critiques, We will talk about two prints from each student. September 17, 2014: Spot toning and matting prints. Talk about mid term requirements, which is a printed portfolio of your ten best images taken and printed in the darkroom this semester. September 22, 2014: Go over any concerns about how to use chemistry, spot toning, or anything else in the darkroom. September 24, 2014: Look at various images, talk about negative density, contact sheet settings, discussion of film types, lens types and matting. September 29, 2014: Discuss fine art photography issues, such as concept and narrative.

5 Techniques in creating a cohesive body of photographs. October 1, 2014: Exhibiting workshop alongside editing and sequencing exercises. Talk about any issues with printing midterm portfolios. Bring in midterm portfolios in print and on CD as JPEGS for next class. October 6, Talk about film versus digital photography and the benefits of both. Try out negative scanner. Bring in a old worn/damaged photograph for October 30. October 8, 2014: Midterm Portfolios Due by the end of the class period, and only last minute editing and sequencing, not printing. Don t forget that both prints and a CD of JPEGS are due. Notebooks are also due for review. Sign up for a time for individual critique for next class period. Individual portfolio review (sign up for a time to meet individually during this class.) Midterm contents: Camera notes Google docs Negatives and Contact Sheets 10 final images due for Non art majors 15 final images due for Art Majors CLEAN UP DAY! Midterm critique (look for our classes day and time) Individual portfolio review + Grades given (sign up for a time to meet individually during this class.) LAST DAY TO DROP with W October 20, 2014: Introduction to the second half of the class DIGITAL PHOTOGRAPHY! October 22, 2014: The second half of the class will be devoted to talking about our transition into the world of digital photography. Introduction to Photo Shop and digital printing. Handout of digital photography terms including Photo Shop tools and tips. A look at digital photo artist Jerry Uelsmann. October 27, 2014: The best of both worlds, scanning prints and negatives to produce digital files. Each student will bring in an old worn/ripped photograph and we will attempt to fix it using Photo Shop. A look at digital photo artist Maggie Taylor. Discussion of final project requirements and choose a theme for your project. 15 new images will be due for the final(midterm images are to be excluded) October 29, 2014: Workshop on digital photography. November 3, 2014: Outputting digital files, how to use Raw files, JPEG, TIFF, PSD, and the digital negative format. How to use digital cameras as opposed to film cameras, compare and contrast. Continue to work on damaged photograph and clear up any questions about retouching. Bring in two to five images created since midterm, along with finished retouched image for next class. November 5, 2014: Critique of images created since midterm and retouched damaged photograph. Digital montage workshop and using Photoshop as a creative tool.

6 November 10, 2014: Photoshop Class.Photoshop as an artform November 12, 2014: Photoshop Class Continued Keep working on final project! November 17, 2014: Review of digital outputting techniques and digital SLR techniques. Using color versus black and white, and basic color theory. Deadline for a change in theme for your final project. Don t forget about notebooks, to be turned in with your final project! November 19, 2014: Talk about how to make a cohesive project. Talk about what defines a fine art project. Cover specific genres: Landscape, Travel, Portraiture, Fashion, and why fine art is considered fine art. Cover any questions about final project, or have open critiques(not required). November 24, 2014: Lab work day, bring in working prints, CD or contact of images that are to be considered for the final project. We will discuss, how to fill in gaps to create a well rounded project. A look at photographer Alec Soth. November 26, 2014: Thanksgiving Holiday! Final project work day PRINT YOUR PROJECT ASAP (Not the day before finals!) December 1, 2014: CLEAN UP DAY AS WELL AS PRINTING. December 3, 2014: Review of the entire class and where to go from here. The many different paths of doing photography as a hobby and beyond. Hand in final portfolios, consisting of 15 new images created after your midterm portfolio and printed by yourself; sign up for individual portfolio reviews to be held for the next class. Also hand in notebooks with work and photo notes inside. Last class, individual portfolio reviews Sign up for your time! Materials that you will need: Film: You will need 10 rolls of 36 exposure B&W film for the term. Consider Kodak Tri-X, Kodak T-Max, Ilford 400 Delta, or Ilford HP5 Plus. If you would like, you can purchase a few rolls of each type. Archival Negative Sheets: These sheets are used to protect your negatives. You are required to store all of your negatives in negative sheets. 3 Ring Binder: You will need a 3 ring binder for this class. Purchase the kind that zips shut. You can find these at discount stores and office supply stores. You will want some loose leaf paper for the binder. Notebook: You will need a small notebook to carry in your camera bag. The approximate cost for the above items should be under $ Google Document Account: Free to set up and use for your journal. The following websites have competitive film prices: bhphotovideo.com and adorama.com Composition Handout & Glossary

7 Abstract Shape: A shape that is derived from a perceptual source but is so transformed that it bears little visual resemblance to that source. Abstraction: The reduction of an image or object to an essential aspect of its form or content. Asymmetrical Balance: equilibrium among visual elements that differ in size, number, weight, color, or texture. Asymmetrical balance is generally nonaxial and highly dynamic. Composition: 1. Consciously assembling and arranging the visual elements within a photograph (David H. Curl) 2.The thoughtful arrangement of the visual elements within a work of art. (Bruce Warren) 3. The structural relationships that are created between objects, tones, and colors as you frame a scene in the camera s viewfinder. (John P. Schaefer) Content: The intellectual and/or emotional meaning or message of an artwork. Contrast: The degree of difference between compositional parts or between one image and another. High contrast tends to be eye-catching and is often used by graphic designers to create dynamic, highly readable images. Critique: Any means by which the strengths and weaknesses of artwork are analyzed. Common strategies include comparison, description, formal analysis, and inventing alternatives. Curvilinear Shape: A shape whose contour is dominated by curves and flowing lines. Depth of Field: The range of focus in a photographic image, from foreground to background. In a photograph with great depth of field, an object that is 15 feet from the camera is in focus, as well as an object that is 5 feet from the camera. Form: The physical manifestation of a design as opposed to the content, or the idea behind the design. Implied Line: A line that is suggested by movement or by a gesture rather than being physically drawn or constructed. Mass: A volume that has weight, density, and bulk. Monochromatic: A color system based on variations of a single hue (light, med., and dark blue). Objective Criticism: The assessment of strengths and weaknesses in a design based on the visual information presented. Essentially, objective criticism focuses on the ways in which lines, shapes, textures, volumes, and so forth are combined to create a cohesive whole. Organic Shape: A shape based on forms from the natural world or suggestive of living organisms. Also known as biomorphic shape. Picture Plane: The flat surface on which an artist creates a pictorial image.

8 Repetition: The use of the same visual elements or visual effects a number of times in the same composition. Can be used to increase unity in a composition, produce a rhythmic movement, or emphasize the importance of a visual idea. Representation: The lifelike depiction of persons or objects. Rhythm: The repetition of multiple parts in a composition to create a pattern of sound and silence, positive and negative, or other contrasting forces. Scale: A size relationship between two separate objects, such as the relationship between the size of Mount Rushmore and a human visitor to the monument. Shape: A flat, enclosed area created when 1. A line connects to enclose an area 2. An area of color or texture is defined by a clear boundary 3. An area is surrounded by other shapes. Subject: The person, object, event, or idea on which an artwork is based. Subjective Criticism: The assessment of strengths and weaknesses in artwork based on nonobjective criteria, such as narrative implications of an idea, the cultural ramifications of an action, or the personal meaning of an image. Symmetrical Balance: A form of balance that is created when shapes are mirrored on either side of an axis, as in a composition that is vertically divided down the center. Tension: The manifested energies and forces of the art elements as they pull or push in affecting balance or counterbalance. Value: The lightness or darkness of a color. Visual Elements: In design, distinguishable features in a work of art, such as tone, color, line, shape, form, light, texture, mass, space, etc. Visual Weight: The inclination of shapes to float or sink based on their solidity and compositional location. Volume: A measurable area of defined or occupied space. Glossary/From: Photography 2nd Edition by Bruce Warren Aperture- An opening, usually variable in size, located in or near a lens, that is used to control

9 the amount of light that reaches the photosensitive material. ASA- American Standards Association. An exposure index system.(now called ISO) Burn- Increasing the exposure in a particular area of a print by blocking everything else in the print from image light and giving additional printing time to that area. Dense- Describes an area of a negative or print that transmits or reflects little light. Also describes a negative or print that is darker than desired. Developer- A chemical solution that converts a latent image to a visible one. Emulsion- A mixture of gelatin and silver-halide salts that is coated onto a film or paper base to produce a photosensitive material. Fixer- A chemical solution that removes unexposed and undeveloped silver salts from a photographic emulsion. Fog- An overall layer of silver (density) in a negative or print due to chemical action, age, exposure to heat, and/or exposure to unwanted light. Full-Frame Print- A print of the entire image that appears on the negative. Grain- A granular texture visible under magnification in processed silver-halide emulsions, a result of the clumping of silver particles during processing. Hypo Eliminator/Hypoclear- A chemical used after fixing photosensitive material to convert residual fixer to a form that is more easily washed from the material. Latent Image- An image on a photosensitive material that is not visible to the eye. It is composed of small specks of silver reduced from silver salts by the action of light. Development reduces more silver in the area of the latent image, creating a visible photographic image. Middle Gray/18 Percent Gray Card- A neutral color of 18% reflectance. A Gray Card is a card with a matte surface of 18 percent reflectance used as a standard tone for metering. Shutter- A device in a camera or lens consisting of curtains or overlapping blades designed to protect the film from exposure until the shutter release is pressed. Shutter Speed- A measure of the length of time a shutter remains open for an exposure, given in seconds or fractions of seconds. Silver-Halide Crystals- Light-sensitive crystals consisting of metallic silver in chemical compound with iodine, chlorine, or bromine. Most modern photographic materials use silverhalide crystals as the light-sensitive component. Single-Lens Reflex Camera- A camera design in which the image from the lens is deflected to a ground glass by a mirror that swings out of the way when the shutter release is operated.

10 Test Strip- A small piece of photographic paper, cut from a larger sheet, on which one or more trial exposures are made to determine the correct exposure for the full sheet of paper. Thin- describes negatives that have an overall density that is lower than normal. This usually results from underexposure, but can also be caused by underdevelopment. Wetting Agent (Photo-Flo)- A pure and mild detergent in which film is treated after washing to prevent water marks during drying. Working Solution- A photographic chemical solution that is at the proper dilution for use. Mixing Chemicals &Waste Storage Waste Disposal: All developers (Dektol and HC110) should be funneled into a 5 gallon waste drum labeled waste developer when they are depleted (Dektol should be put in a waste bin when it turns a murky amber color, HC110 should be put in the waste bin after developing a tank of negatives). Fixer should be placed in a 1 gallon waste jug labeled waste fixer when it is exhausted. Use one drop of Hypocheck to test the fixer to determine if it is exhausted. The drop of Hypocheck will turn milky white if the fixer is bad. *USED FIXER: Test the Used Fixer with one drop of Hypocheck before using it to make certain that it is not exhausted. If the Used Fixer is exhausted, pour the exhausted fixer into a gallon jug labeled Waste Fixer. If there is not one already labeled, grab an empty 1 gallon jug from the back and label it. If there is no Used Fixer available, follow the instructions on Mixing Chemicals.* Photography Class Contract I, (print your name), have read the rules on the syllabus for my Photography class at GRU this semester, and I understand them. I realize that to achieve a desirable grade, it is my responsibility to work hard

11 and perform well as described in the syllabus. I particularly understand that if I violate the Safety Rules listed in the syllabus, my professor may apply a penalty to my final grade or may remove me from the course, at his/her discretion. I understand that removal from the course after midterm results in the grade of WF. Cleaning the darkroom and keeping food and drinks out of both the darkroom and digital lab are my responsibilities. I will keep the darkroom CLEAN and keep safety first! The Wet Lab: Because this is a community lab, you must abide by the lab rules to make this a safe and comfortable working environment. * Wear gloves or use tongs at all times when handling chemistry. * Clean all equipment, counters, floors, and sinks when you re done working. Your grade, and lab access, is directly affected by your adherence to this rule. * Keep an eye on the amount of chemistry available. Make certain that you leave enough chemistry for the next student that uses the lab. * You are required to sign in and out of the lab whenever you are using the facility outside of class. * Refer to and follow the things to check before leaving the lab sheet. * Only students currently enrolled in photography classes are allowed to work in this lab. * No food or drinks are allowed in the labs. The Digital Lab: This lab is for use by only Art majors/minors and students currently enrolled in a Photo class. Because there is no budget for ink and paper replenishment, it is essential that you are conservative with your resources. Do not use equipment that you do not know how to use. Only students currently enrolled in Art courses are allowed to work in this lab. No food or drinks are allowed in the lab. Renting Camera Equipment Rented cameras are the sole property of Georgia Regents University Art Department. Students are welcome to rent available cameras at no charge. If a camera is lost or stolen, the student renting the camera is responsible for a replacement camera to be purchased by said student. Signed, (sign your name) Date: