Syllabus, SAIC:

Texts: Basic Photography, Henry Horenstein

Week 1

• Introduction and Expectations; Camera/Film/Exposure; Materials/Costs; Facilities, Lockers, etc.
• Slides
• Assignment: 1 roll each of Tri-X:
  • a) things/places/situations that are frightening,
  • b) fill frame to abstract forms which attract you
  (Due for class development Week 2).

Week 2

• Exposure/Camera lecture: gray scale/zone system, depth of field;
• Film development;
• Slides;
• Assignment: 1 roll each of Tri-X:
  • a) Depth of field: using one's own body parts as reference points,
    explore/define a public space using a variety of depths of field
    from maximum to selective
  • b) Shutter speeds: using a single object, explore its relative motion
    in various contexts from still to ghost to blur
  (Due developed Week 3).

Week 3

• Exposure/Camera lecture: special situations, pushing, expansion & compression,
  reciprocity, filters;
• Slides;
• Inspect results of first 4 rolls;
• Lab tour and Authorization
• Printing: polycontrast paper & filters, photograms, proof-sheets, printing from
  negatives, dodging & burning, test strips;
• Assignment:
  • a) 6 photograms to form one large picture,
  • b) proof-sheets from all negatives,
  • c) 2 prints from each of first 4 rolls
  (Due Week 4).

Week 4

• Critique: photograms, prints, & proof sheets;
• Discussion: printing refinements, polycontrast, paper grades;
  Low-level light readings exposures with tripod & cable-release;
• Prepare for field trip to Field Museum (Week 5);
• Slides: ghosts & museums, Frank, Arbus, Michaels, White;
• CLASS PRINTING TIME in afternoon--bring supplies.
• Assignment:
  • Portrait of a Stranger, 2 rolls/6 prints
  (Due Week 5).

Week 5

• Field trip to Field Museum to shoot "ghosts";
  Bring: camera, tripod, 2 rolls of Tri-X, cable release, and props;
  Meet at West entrance at 9:45 AM;
• Critique: (back at school at 1:00) of Portrait assignment;
• Assignment:
  • print 4-6 ghost pictures - IMPROVISE!
  (Due Week 6)

Week 6

• Critique: ghost pictures;
• Slides;
• Demo: spotting, bleaching, toning, mounting;
• WORK TIME in afternoon--bring supplies
• Assignment:
  • 6-8 print SEQUENCE: psychological transition - mounted & spotted
  (Due Week 8).

Week 7

• Individual Meetings: bring everything to date including negs, proofs, prints, camera;
• WORK DAY otherwise.

Week 8

• Critique SEQUENCE;
• Slides;
• Lighting Demo & high contrast;
• Assignment:
  • Two figures in spacial and formal relationship,
    emphasized/created by lighting, 6-8 prints
  (Due: Week 10).

Week 9

• Experimental Films & Videos;
• Teaching Assistant shows work;
• WORK TIME.

Week 10

• Critique: Figure/Lighting assignment;
• Slides;
• Assignment:
  • Photohraph "empathetically" to define sexuality
    from the viewpoint of the opposite sex, 6-8 prints
  (Due Week 12).

Week 11

• Slides;
• Demo: Applied Color, Copy Stand & Copy Machine;
• WORK TIME.
• Assignment:
  • Autobiography of a dream or fantasy: collaged,
    photographed on copystand, printed 16x20, applied-color (4 prints)
  (Due: Week 15)

Week 12

• Critique sexuality assignment;
• Discussion: large printing problems & techniques;
• Slides;
• WORK TIME.

Week 13

• Slides
• Visit to Museum and/or Columbia Photo collection;
• Possibly some WORK TIME.

Week 14

• Individual Meetings: Everything since Week 7 meeting (except final assignment);
• Otherwise WORK DAY.

Week 15

• Final Critique: fantasy/collage assignment
  Please be on time, and ready to participate for the whole day!

Credit will be based upon timely completion and quality of work as evidence of learning
the course materials. Excessive lateness, inattentiveness, or lack of participation will erode
the "grade". Three unexcused absences can result in no-credit. I will meet with each student
individually at a mid-course point to establish a mid-term progress report, and to discuss
potential problems. Otherwise, individual meetings can be arranged by appointment at the
student's initiative.

I am always optimistic about what can be accomplished in a learning situation if both teacher
and students work together toward a common goal. I didn't get into this `art/teaching business'
to be an `art-cop', and prefer taking the "role" to learn your names. I hope we can concentrate
on learning and making art.