Class assignments are listed below, numbered by the week in which they were given. They are offered with this caveat: Each assignment is based on the information discussed in class, and so the description below will only be fully understood if you have followed that discussion. Come to class. Pay attention.
Introduction: The First Loop
This is a mechanical shakedown. Find a partner; Get to know your camera and tripod; Buy film; Figure out how to load it. Spend the time you need to spend with a subject of your choice. Expose your film, process it, and bring it to class next week.
Subject: Look for a subject that will make you interested in seeing your results. You will have an easier time if you choose something at a distance rather than a close-up subject.
Mechanics: Basic view camera operation, film loading, darkroom development, subject selection.
Goal: You are solving and getting experience with some of the basic skills and requirements needed to operate the camera. It probably won't feel like art this week.
Resources: Camera-tripod-meter, film holder, film, darkroom.
This is a mechanical shakedown. Find a partner; Get to know your camera and tripod; Buy film; Figure out how to load it. Spend the time you need to spend with a subject of your choice. Expose your film, process it, and bring it to class next week.
Subject: Look for a subject that will make you interested in seeing your results. You will have an easier time if you choose something at a distance rather than a close-up subject.
Mechanics: Basic view camera operation, film loading, darkroom development, subject selection.
Goal: You are solving and getting experience with some of the basic skills and requirements needed to operate the camera. It probably won't feel like art this week.
Resources: Camera-tripod-meter, film holder, film, darkroom.
1
1/16
1/16
Camera Movements 1: Focus
This week you will put to use what you learned in class. Put to work the ability of the view camera to focus on a plane.
Subject: You may choose a subjact that is planar in nature-- architecture, landscape, or some other subject that uses the view camera's ability to focus on both near and far subjects at the same time. If you could create this photograph with another camera, you probably need to do some more head scratching.
Mechanics: Camera tilt, swing, or a combination of both.
Goal: Develop both the understanding of the Scheimpflug principle and a respect for its execution in real life subjects.
Resources: Camera, film, and unless you are working inside, warm gloves and a hat. Be careful this week!
This week you will put to use what you learned in class. Put to work the ability of the view camera to focus on a plane.
Subject: You may choose a subjact that is planar in nature-- architecture, landscape, or some other subject that uses the view camera's ability to focus on both near and far subjects at the same time. If you could create this photograph with another camera, you probably need to do some more head scratching.
Mechanics: Camera tilt, swing, or a combination of both.
Goal: Develop both the understanding of the Scheimpflug principle and a respect for its execution in real life subjects.
Resources: Camera, film, and unless you are working inside, warm gloves and a hat. Be careful this week!
2
1/23
1/23
Tonal Range
Work your way through the threshold exposure test we demonstrated in class. If you had a problem with development, or if you exposures were way off, you will need to repeat the process until you get it right, because from the next class on I will assume that you have this assignment figured out.
Bring your results to class. It is optional, but I would encourage you to take this week as an opportunity to reshoot last week's assignment if you didn't get good results. There is no other way to iron out all the details than to gain experience in making the process work for you.
Mechanics: Camera setup, light meter use, correct application of the bellows extension factor.
Goal: Check your mechanics and pin down any exposure problems so that from this point forward, we can assume that exposure problems are really just faulty judgement, not mechanical difficulties!
Resources: Class handout. Although you may download the instructions again, I encourage you to use the sheets I handed out in class for this reason: I actually measured the reflectance of the graduated bar after it was printed on my printer, but the results from another printer may vary.
Work your way through the threshold exposure test we demonstrated in class. If you had a problem with development, or if you exposures were way off, you will need to repeat the process until you get it right, because from the next class on I will assume that you have this assignment figured out.
Bring your results to class. It is optional, but I would encourage you to take this week as an opportunity to reshoot last week's assignment if you didn't get good results. There is no other way to iron out all the details than to gain experience in making the process work for you.
Mechanics: Camera setup, light meter use, correct application of the bellows extension factor.
Goal: Check your mechanics and pin down any exposure problems so that from this point forward, we can assume that exposure problems are really just faulty judgement, not mechanical difficulties!
Resources: Class handout. Although you may download the instructions again, I encourage you to use the sheets I handed out in class for this reason: I actually measured the reflectance of the graduated bar after it was printed on my printer, but the results from another printer may vary.
3
1/30
1/30
Camera Movements 2: Perspective
This week you will cover an architectural subject with several views. Find a building, interior, or other architectural detail that interests you and put the knowldedge you have about your camera to use. Look for light and shadow, choose a good time of day if you are using natural light. Compose carefully! Give some thought to how you would like your photograph to appear and translate your light readings accordingly.
This week you will cover an architectural subject with several views. Find a building, interior, or other architectural detail that interests you and put the knowldedge you have about your camera to use. Look for light and shadow, choose a good time of day if you are using natural light. Compose carefully! Give some thought to how you would like your photograph to appear and translate your light readings accordingly.
In at least one of your images, make sure to correct your camera to make sure vertical elements of your subject render as vertical lines on your image. Proof your images and bring them to class.
Subject: An architectural exterior or interior, in whole or in part, that has fixed vertical lines that will challenge your meticulous technique.
Mechanics: Leveling and plumbing of the camera back. Film handling, exposure interpretation.
Goal: You are putting the view camera to the test this week. Hmm. In truth, the view camera is putting you to the test-- to see whether you understand the principles, whether you can put the principles to good use, to see whether you can work through the whole process from loading film to proceessing it to get useful results. There is also a second purpose behind this assignment, which is to get you to look critically at your subject. That is one of the main reasons you are using this awkward device, no?
Resources: Film, paper.
4
2/6
2/6
Pushing Image Tone
Photograph the test target from week 3, taking your light reading from the gray card. You are using the gray card reading, corrected for bellows extension that you calculated (.9 stop) and any correction you needed based on your threshold exposure test. Expose at least three sheets and process them at you normal time - 33%, normal time, and normal time + 33%.
Proof your film on a single sheet of #2 or #2-1/2 paper so the clear edge of your film just goes to maximum black. (There should be little nor no difference in density between that film edge and the surrounding paper.) Record all of your times, temperatures, and any other information that affects your results!
If you owe me any assignments, or just need to reshoot any previous assisgnments, shoot them first but bring your film to the darkroom so you can process the film while you are working on this week's assignment. If you are unsure of your outcome so far, you can see if you learn anything helpful from this assignment before you process your film.
Subject: Week 3 handout.
Mechanics: Basic camera and darkroom skills that you've mastered so far; printing.
Goal: You are, whether this try or sometime soon, going arrive at a processing time that is normal for you, your camera and shutter, your way of exposing and even agitating your film. By proofing the + and - development negatives at the same time you can store the knowledge away until you need it.
Resources: Film, #2 or MC paper, gray card, test target.
Photograph the test target from week 3, taking your light reading from the gray card. You are using the gray card reading, corrected for bellows extension that you calculated (.9 stop) and any correction you needed based on your threshold exposure test. Expose at least three sheets and process them at you normal time - 33%, normal time, and normal time + 33%.
Proof your film on a single sheet of #2 or #2-1/2 paper so the clear edge of your film just goes to maximum black. (There should be little nor no difference in density between that film edge and the surrounding paper.) Record all of your times, temperatures, and any other information that affects your results!
If you owe me any assignments, or just need to reshoot any previous assisgnments, shoot them first but bring your film to the darkroom so you can process the film while you are working on this week's assignment. If you are unsure of your outcome so far, you can see if you learn anything helpful from this assignment before you process your film.
Subject: Week 3 handout.
Mechanics: Basic camera and darkroom skills that you've mastered so far; printing.
Goal: You are, whether this try or sometime soon, going arrive at a processing time that is normal for you, your camera and shutter, your way of exposing and even agitating your film. By proofing the + and - development negatives at the same time you can store the knowledge away until you need it.
Resources: Film, #2 or MC paper, gray card, test target.
5
2/13
2/13
Composition and Design
Take this week to make a wonderful photograph. The only requirements are that you give some very serious thought to the photograph instead of the subject. Try to think abstractly and use the elements of design as you put together an image for this assignment. Emphasize line, form, repetition, and texture by putting the skills you've learned so far to work.
Bring one nice print to class.
Subject: Subject is your choice, but try to think simple and try to keep the overall design of your final image in mind. The weather forcast is for warmer temperatures and fresh snow, so landscape could be a possibility.
Mechanics: Camera, lens, film handling; Subject scouting or finding; Light reading and interpreting; Basic visual creativity.
Goal: The purpose is to start to learn how to make a good photograph. Part of the challenge is to use the skills you've been working on for the past few weeks. The greater challenge is to put something interesting in front of your lens-- in relative terms, that is the hard part.
Resources: Film, paper.
Take this week to make a wonderful photograph. The only requirements are that you give some very serious thought to the photograph instead of the subject. Try to think abstractly and use the elements of design as you put together an image for this assignment. Emphasize line, form, repetition, and texture by putting the skills you've learned so far to work.
Bring one nice print to class.
Subject: Subject is your choice, but try to think simple and try to keep the overall design of your final image in mind. The weather forcast is for warmer temperatures and fresh snow, so landscape could be a possibility.
Mechanics: Camera, lens, film handling; Subject scouting or finding; Light reading and interpreting; Basic visual creativity.
Goal: The purpose is to start to learn how to make a good photograph. Part of the challenge is to use the skills you've been working on for the past few weeks. The greater challenge is to put something interesting in front of your lens-- in relative terms, that is the hard part.
Resources: Film, paper.
6
2/20
2/20
Designing with Time
More than other cameras, the view camera is truly a "time machine." Because it is used on a tripod, because its shutter functions independently from other functions, and because film is changed at will, the view camera allows you to stretch, interrupt, or rearrange the piece or pieces of time it takes to make your exposure. With a little thought, I am hoping you can put together an image that takes advantage of these qualities.
Subject: In a physical sense, the subject is up to you. It may be something that moves, or something that you manipulate. The real subject though, is time.
Mechanics: Exposure readings, understanding of reciprocity failure effect, camera setup and locking, production planning.
Goal: Break that 1/125th of a second mentality and develop a comfort level for long exposures. Develop a sense of using time to solve otherwise difficult visual problems.
Resources: Film, possibly more than you have for past assignment. Time, yours, also might require more than previous assignments.
More than other cameras, the view camera is truly a "time machine." Because it is used on a tripod, because its shutter functions independently from other functions, and because film is changed at will, the view camera allows you to stretch, interrupt, or rearrange the piece or pieces of time it takes to make your exposure. With a little thought, I am hoping you can put together an image that takes advantage of these qualities.
Subject: In a physical sense, the subject is up to you. It may be something that moves, or something that you manipulate. The real subject though, is time.
Mechanics: Exposure readings, understanding of reciprocity failure effect, camera setup and locking, production planning.
Goal: Break that 1/125th of a second mentality and develop a comfort level for long exposures. Develop a sense of using time to solve otherwise difficult visual problems.
Resources: Film, possibly more than you have for past assignment. Time, yours, also might require more than previous assignments.
7
2/27
2/27
High Key ~ Low Key
A few weeks ago you learned how to control tonal values. This week you will be pushing them around. I am looking for one photograph that uses the upper half of the tonal range, and another that uses the lower half. Small areas that don't fall within these parameters are ok, but try your best to push your tonal vocabulary beyond middle gray.
Subject: Your choice, but you can help yourself quit a bit by giving this some careful thought.
Mechanics: Light meter readings and interpretation; design sensibility.
Goal: Excercise that part of your imagination that thinks very dark and light, and that part of your technical skill that is required to pull such an image off.
A few weeks ago you learned how to control tonal values. This week you will be pushing them around. I am looking for one photograph that uses the upper half of the tonal range, and another that uses the lower half. Small areas that don't fall within these parameters are ok, but try your best to push your tonal vocabulary beyond middle gray.
Subject: Your choice, but you can help yourself quit a bit by giving this some careful thought.
Mechanics: Light meter readings and interpretation; design sensibility.
Goal: Excercise that part of your imagination that thinks very dark and light, and that part of your technical skill that is required to pull such an image off.
8
3/13
3/13
Meetings / Independent Project 1
If you haven't given me your written proposal, you still have that to work on. Otherwise, you are working on your independent projects. Have fun, do good work.
If you haven't given me your written proposal, you still have that to work on. Otherwise, you are working on your independent projects. Have fun, do good work.
9
3/20
3/20
Independent Projects 2
First work was due this week. Hopefully you have learned a thing or two about your subject and your project idea. If you were having trouble this week, take what you learned and redirect your energy this week. If you have not settled on a project idea yet or are not feeling like progress is near, talk to me.
First work was due this week. Hopefully you have learned a thing or two about your subject and your project idea. If you were having trouble this week, take what you learned and redirect your energy this week. If you have not settled on a project idea yet or are not feeling like progress is near, talk to me.
10
3/27
3/27
Independent Projects 3
11
4/3
4/3
Independent Projects 4
12
4/10
4/10
Independent Projects 5
Bring your projects to class-- the good, the bad, and the ugly. This will be our last chance to talk before the final presentation.
Bring your projects to class-- the good, the bad, and the ugly. This will be our last chance to talk before the final presentation.
13
4/17
4/17
Meetings / Final Presentation
14
4/24
4/24