You are on page 1of 8

SPRING 2005 ARTS4372.001 Prof. Marilyn Waligore Tuesday 12:30 – 3:15 pm Advanced Photography / Portfolio AS 2.

104 (visual arts building) 972-883-2001 Office hours: T 3:15 – 5:15 PM W 5:30 – 6:30 PM webct ( will be your source for the assigned readings and listings of corresponding assignments. For more information about webct see: To locate your user ID and password go to: The course will involve advanced techniques relating to shooting and printing, discussion of issues in contemporary art and photography, emphasis on the development of an individual portfolio of creative work, instruction in the process for documenting, organizing and preparing work for review and exhibition, and the process of collaboration to produce a group portfolio. Students enrolled in the course may continue their work in color, black and white, or digital photography, based upon their prior coursework and demonstrated facility in a given area. The course will emphasize the process involved in locating a theme or subject for the generation of a portfolio of images. The class will discuss topics such as defining an audience and discovering sources of inspiration in the larger context of contemporary art and photography. Lectures will include an overview of procedures, from the actual assembly of a portfolio of photographs to submitting and preparing photographs for an exhibition. Required projects will involve the creation of a group portfolio as well as an individual portfolio. This is an intermediate / advanced level course which combines an investigation of photographic processes within the larger context of current issues in contemporary art. As we move from an emphasis on the single photograph to the presentation of several images, we will explore a variety of methods for printing and for image display, including mounting, bookmaking and installation. Each student should have an automatic (with manual override) or manual 35mm camera or digital camera (of at least 3 megapixels). Students with prior experience in photography may work in medium or large formats. Costs for course supplies will vary depending upon the scope of individual student projects. REQUIRED TEXTS: Technical Handbook: provided by instructor. Electronic reserve: writings by artists, historians, and critics. COURSE REQUIREMENTS/EVALUATION CRITERIA: a 3000-level studio art course in appropropriate. medium or permission of instructor Prerequisite: ARTS 3371 Black and White Photography or ARTS 3372 Color Photography or ARTS 3377 Digital Photography or prior experience in photography with consent of instructor. REQUIREMENTS: Evaluation will be based on attendance, participation, class assignments with a primary emphasis on a group portfolio, a midterm review, a written essay, and a final portfolio. PHOTOGRAPHY is a practice-based studio course. During specific course periods when studio work time is scheduled, students should be prepared to print, to develop film or to review contact sheets with the instructor. Evaluation will be based on attendance and participation, class assignments, a final portfolio and essay, discussion of specific reading assignments, the individual midterm review and participation in critiques. Attendance at critiques is comparable to exams in lecture courses. The studio assignments are designed to assess the student's ability to apply principles discussed in class and to measure the individual student's improvement over time. Consequently, assignments that are turned in late are downgraded one letter grade and must be submitted within two weeks of the deadline. Class Participation Attendance is required and the final grade for class participation will be lowered due to absenteeism. Arriving at class late or leaving early is disruptive, and should be avoided. Students, who are absent from class when assignments are announced, need to check with other students regarding the parameters of the exercise. The instructor will only clarify specific points. UTD students enrolled in art

courses must attend the prescribed three hours of class per week. This arrangement of scheduled time is designed to accommodate the UTD student population. Most studio courses offered by universities require six hours of contact per week. Hence, attendance during the stipulated three hours is necessary. Also, students need to work outside of class time--at least those three remaining hours if not more--in order to finish assignments in a timely manner. Proper academic conduct during class is expected. Work submitted for evaluation must be generated by the individual student and must represent the product of activity from the current semester and class. Any student with a severe illness or with other problems that hinder their attendance should contact the instructor at 972-883-2001 or Students have the responsibility to obtain a written medical excuse from a doctor and to submit it to the instructor if absences are due to medical problems. Students with special needs that relate to physical challenges should consult with the instructor as early as possible during the semester. Proper academic conduct during class is expected. Enrolled students are responsible for maintaining a cooperative environment. The syllabus is subject to change at the instructor’s discretion. Withdrawal dates: Observe the university calendar online for the deadline to withdraw from classes: without a W-January 25; with WP/WF-March 16. Requests for an incomplete grade are in general not considered for undergraduate courses. Equipment and the Laboratory: Instruction in the use of equipment and care of facilities is designed to prevent damage through misuse. Questions on the use or location of equipment should be directed to the instructor. Enrolled students are responsible for maintaining a cooperative environment. Only currently enrolled photography students are permitted to use the darkroom. Students may gain access to the lab during scheduled building hours.

class attendance and participation 30% --active participation in critique and discussion, including individual student oral presentation on artist --attendance and review of artist exhibition and/or lecture --preparation for class including materials needed for developing film or printing and for group critique class assignments: 30% Assignments, including the group portfolio, and group critiques (assignments 1-5) will provide a general framework for exploring issues in contemporary photography . final portfolio (and “beta” critique) : 30% The final portfolio of fifteen prints will be based on a topic or theme selected by the student, with advance approval from the instructor Artist’s statement, exhibition proposal and CDROM with images: 10% A one page artist’s statement written by the student should include a discussion of the process and the student’s reflection on the appropriateness of the working method to their concept. The length of the essay should be one concise, clearly written, typed, double-spaced page. Along with the artist’s statement students will submit a one page exhibition proposal, outlining the space requirements, number of works, potential issues in terms of shipping and delivery, necessary materials or physical needs required for display, and timetable required for installation. Students will want to archive at least six of their images electronically on a CDROM. In the context of working with prints, students will want to scan their images using a flatbed scanner or use a digital camera on a copy stand (to be discussed). Portfolio and Class Assignments: Class assignments are designed to encourage experimentation with the photographic process and with the possibilities for working with light. The final portfolio will be based on a topic or theme selected by the student, perhaps representing an extension of one of the class assignments. The final form of the portfolio may consist of one ( or a variation) of the following :

1-a series of fifteen 8" x 10" enlargements 2-a photographic book consisting of about fifteen (printed 8" x 10" ) to twenty pages (printed smaller than 8" x 10". 3-a group of up to fifteen prints, printed 8" x 10" or larger, that are designed to be viewed as a single unit -as in an installation, sculptural object, or larger two-dimensional work designed to be hung on a wall. EVALUATION CRITERIA FOR CREATIVE WORK: 1-the relationship between content and form: Is the image a work of art? How does the idea that serves as the point of origin for the image influence the selection of materials and processes for execution? How does the meaning of the work and its construction interrelate? 2-experimentation: Have we seen this before? What risks were taken to arrive at the final form of the work? Does the work surprise the viewer in terms of correspondences between content and form? Are there new combinations of familiar methods, materials, visual approaches to design? 3-presentation: Are we convinced? Considering the limitations of the workshops, what kind of care and attention was devoted to the creation of the photographs/images? If the project was less ambitious in terms of scale and execution, perhaps a series of images will best demonstrate the overall intention of the artist in terms of concept. Does the execution of the work demonstrate a confidence both in terms of visualizing and producing the final image? 4-concept: What’s the idea? The concept informing the creation of the final project may be complex and multi-faceted. Photographic work may be more conceptual and less dependent upon traditional aesthetic criteria for evaluation. GENERAL DARKROOM SUPPLIES / IF NEEDED: JOURNAL-- Students should keep a journal of their ideas for their projects. The journal may include notes for shooting, developing film, and printing. PADLOCK--for locker BE SURE TO LABEL YOUR LOCKER FOR SPRING 2006*** BINDER OR BOX--for protection and storage of contact sheets and negatives. HAND TOWEL--for black and white darkroom work** LUPE—highly recommend inexpensive plastic Agfa lupe is fine $ 6.50 DUSTING BRUSH and/or CANNED AIR ( SOFT camel hair brush ) i.e. Kostiner, Staticmaster, Kodak camel hair, Kinetronics, or inexpensive craft store substitute) NEGATIVE PRESERVERS: 35mm style 35-7B Vue-All or Print-File 25/pack, could be shared PRINT SLEEVES: standard archival 8x10 or 8 1/2 x 11 sleeves for protecting your prints/turning in assignments. You will definitely need a pack of sleeves for the prints distributed in the context of the group portfolio exchange.

BLACK AND WHITE PRINTING (if shooting B&W film)
TANK AND REELS: two 35mm stainless steel reels $6.50 ea and tank $15.00 (Do NOT purchase the BRANDESS/KALT (#NP-10110) reels as the quality has been very inconsistent.) Some students prefer the HEWES brand reels with the fork the catches the sprockets of the film. These reels, more costly than the standard reels (estimated at $20 each) are made in Britain. JOBO brand reels also are good. Plastic tanks and reels such as Yankee or Paterson brand are adequate substitutes for a lower overall cost.

FILM: 35mm 24 or 36 exposure--ISO 100 or 400 12+ rolls $3.00-$4.00 ea 35mm Kodak TMAX 100 ( for outdoors with plenty of light, for use with flash, for use with tripod) 35mm Kodak TMAX 400 (for indoors, at dusk, at night, low light, cloudy skies, to stop action etc.) Ilford DELTA 100 or DELTA 400 or Ilford FP4 100 or HP5 400 are good. Limit your purchase to two film types: one at 100 ISO (for bright light) and one at 400 ISO (for low light). (DO NOT PURCHASE or use C-41 or color negative “black and white” films such as Ilford XP2 or Kodak’s generic Black and White film that is distributed to the consumer market for mini-lab processing. Students who choose to use C-41 process films that are either color or black and white will receive a failing grade.) PHOTOGRAPHIC PAPER: Variable contrast or Multigrade FIBERBASE DOUBLE WEIGHT GLOSSY PAPER $ 65.00 /box of 100 100 to 200 sheets Ilford Multigrade (pink/green box); Agfa Multigrade Classic; Forte poly contrast; 25 or 100 sheet packages. (RC resin coated paper is unsatisfactory for assignments as in the final portfolio or the group portfolio; use for contact sheets and proofing only) PAPER SURFACE: The preferred surface is GLOSSY (F) or (G); options include lustre, semi-matte (E), or matte (N) or (M).

COLOR PRINTING (if shooting color film)
Color films: A range of C-41 process color films are readily available from consumer grade films to high quality professonal films. See instructor for list. FILM: Kodacolor Gold 100 or 400 ISO 24 or 36 exposure 20 rolls (in 4 roll packs film can be purchased for $2.00/roll) At the lab: REQUEST C-41 FILM DEVELOPMENT (for color negatives) PROCESS ONLY AND SLEEVE (sometimes left uncut) PROCESS ONLY AND PAGE (cut and sleeved) Work with the

COLOR PAPER: use Kodak or Fuji...(or maybe Agfa) Use the same type of paper as the semester progresses due to problems with the filter pack. same brand, and preferably the same type surface, i.e.glossy. Kodak Endura Supra RA Rapid Access (not EP-2) 8” x 10” Glossy Surface (F) 100 Sheets per Box (Yellow / Red Box)

Fujicolor Crystal Archive RA4 compatible (not EP-2) This paper tends to get caught in the machine so KODAK is PREFERRED! 8” x 10” Glossy Surface (G) 100 Sheets per Box (Green Box: sometimes difficult to find) Note: Don’t buy Ilford Ilfochrome Paper, Fujichrome Paper, Fujiflex or any paper type with the words “chrome” or “reversal” in the description. Don’t buy paper for EP-2 processing; we are using RA-4 processing. These two chemical processes are incompatible. PAPER SURFACE: The preferred surface is glossy (F) or (G); options include lustre, semi-matte (E), or matte (N) or (M). PAPER CONTRAST: We will use a standard contrast paper, such as the Kodak SUPRA. Kodak has a softer c contrast PORTRA paper...for portraits or to accommodate for a higher contrast negative. The ULTRA is a high contrast paper

for flat negatives--that you won’t need for the most part. Fuji has a softer contrast paper as well, that usually is coded differently. Color Paper is usually refrigerated until opened; store paper away from heat and moisture. You will need about 200 sheets of photographic paper. Costs vary due to student patience and print technique. 100 sheet package = @ $35.00 - $45.00

DIGITAL PRINTING (with prior digital experience)
Students with demonstrated ability in digital photography may print their work in a digital format. For reviews that require contact sheets, digital images can be placed onto a “contact sheet” by using Photoshop. (Select File/Automate /Contact Sheet II) Place 12 images minimum on a contact sheet and print out a copy for the group discussions (set layout in dialogue box for 3 images across and 4 down, or 4x5 or 4x6 images) For print output, students may opt to use a service bureau, for example, to produce Frontier Prints, which are output to Fuji Crystal Archive color photographic paper. Other options include printers in the ATEC Media Lab and in the 2nd floor color darkroom. Students who wish to use the 1280 color printers on campus, may want to purchase inks for their own use, or coordinate use of ink with other students. The 1280 printers use a dye-based printer ink, not a pigment based ink, the latter which resists fading over time. These dye-based Epson inks are denoted as: T007201 (black); T009201 (color) Students should consult with the instructor regarding paper type. For editioning the group portfolio, a more archival paper is preferred such as Colorlife paper by Epson, a rag paper such as Epson Velvet or Legion Somerset, or a RC type inkjet paper that is relatively stable. Epson and other manufacturers such as Ilford provide substantial information on their websites relating to the longevity of printer ink and paper, in various combinations.

Students will incur some costs, although somewhat minor, to edition the final portfolio and to prepare a print for exhibition. Confirmation of an off-campus exhibition venue for the group portfolio will require professional presentation. A number of options for presentation (mounting/framing/alternative presentation) will be discussed. PHOTOGRAPHY VENDORS: REQUEST STUDENT DISCOUNT WP Warehouse Photographic 972-416-7110 2225 E. Beltline Rd. Carrollton (b/t Webbs Chapel and Josey Lane) Dallas Camera 1321 Chemical Street , Dallas, 214-630-4040 (south of Motor Street) Competitive Camera 2025 Irving Blvd. Dallas (b/t Wycliff and Manufacturing) 214-744-5511 Film Depot Plano 1405 Vontress Dr, Suite 1103, NE corner Avenue K and 14th Street, Plano, on the ground floor of the Eastside Village apt bldg. new location! 972-424-6958 (on the north side of 14th St.) Film Depot Dallas 11111 N. Central Expwy Dallas (Royal Lane + Central) 214-265-0650 mail order: calumet photographic http:// B&H Photo http:// Other vendors: Freestyle Photographic: 5124 Sunset Blvd. Los Angeles, CA 90027 323-660-3460 800-292-6137 fax order: 800-616-3686

MATBOARD: FOR 8x10 conventional prints order by mail or locally at Film Depot or Asels mail order in a group for price break from Stephen Kinsella 1-800-445-8865 2 sheets of 2 ply (for base) and 3-4 sheets of 4 ply ( for mat) museum board 100% rag board white or off-white 16” x 20” ( for 8” x 10” enlargements) Stephen Kinsella 1-800-445-8865 (mail order) p.o. box 32420, Olivette MO 63132 Paper Routes: (new location on east side of Fair Park) Asel’s: Richardson: west side of Central Exp.--immediately south of Beltline on access road 60 Richardson Heights Shopping Center 972-690-6320 Asel’s: Dallas: 2701 Cedar Springs 214-871-2425 at Routh (near Maple)

4372 CALENDAR details may be subject to change at the instructor’s discretion
LECTURES/EXHIBITIONS TO ATTEND: Please attend one of these events or exhibitions and respond to the work discussed or on view by including specific comments and observations. Submit a one page response via webct no later than April 4.

Kenda North: digital color photography exhibition, Craighead Green Gallery, Dallas opening: Friday, January 13, 6:00 - 8:00 pm, 1011 Dragon Street, Dallas Kenda North: LECTURE: Friday, January 27 10:30 a.m. AS1.105 UTD David Levinthal lecture at UTA , Wednesday, February 1, 4:00 - 5:00 pm, 148 Fine Arts Bldg. David Levinthal lecture at Collin County-Spring Creek campus, February 2, location/time? David Levinthal opening at Gerald Peters Gallery (Fairmount at Cedar Springs) on Friday evening, February 3. (6:00 - 8:00 PM?) staged color photography Anni Holm: ARTIST’S GALLERY TALK, March 18 3:30 pm. Visual Arts Gallery UTD digital photographs / portraits / Distance & Trace exhibition Distance &Trace exhibition opening reception: March 18: 6:30 - 9:00 pm. Visual Arts Gallery UTD *some exhibiting artists will be in attendance at opening


introduction: the group and individual portfolio Outline: Assignment #1: collaborative portfolio Lecture: contemporary art Discussion: collaborative portfolio / selection of theme Discussion: eJournal article on Diane Arbus (see last page for info on eJournals) Rubenfien, Leo, “Where Diane Arbus Went,” Art in America, October 2005, p. 65-77 Lecture: contemporary art Discussion: contemporary art Outline: Assignment #2: view camera workshop / lighting issues Portfolio Critique: (Assignment #3) Bring 4 new contact sheets and 4 new proof prints for individual portfolio. Bring a list of at least 4 terms in an outline format to present your portfolio concepts. (turn in proof prints and outline) …digital students print out contact sheets WORKSHOP: view camera workshop/lighting issues (turn in one print on 2/21)






SUBMIT proposal for final project (no longer than 1 typed page) VIA WEBCT POSSIBLE FIELD TRIP: to 14th Street Gallery: to be confirmed OR Lecture: preparing work for exhibition


Critique:Assignment #1 group portfolio print (“BETA” proof sample, one or more prints) Critique: Assignment #2 workshop print Lecture: preparing work for exhibition (and for possible exhibition at 14th Street Gallery TBD) CLASS FIELD TRIP / PHOTOGRAPHS DO NOT BEND GALLERY VISIT meet between 1:15 and 1:30 pm at gallery; we will be done by 2:30 pm / see maps SPRING BREAK Portfolio Critique: (Assignment #4) Bring 4 new contact sheets and 4 new proof prints for individual portfolio. Bring a list of at least 4 terms in a revised outline format to present your portfolio concepts. (turn in proof prints and outline) …digital students will print out contact sheets Presentations: student oral presentation on artist and one page artist overview DUE


3/7 3/14


EXCHANGE of portfolio prints: BRING EDITIONED PRINTS Lecture: locating venues for exhibition Digital Portfolio Workshop: (Assignment #5): artist's statement, exhibition proposal, CDROM/website creation Presentations: student oral presentation on artist and one page artist overview DUE Lecture: locating venues for exhibition Presentations: student oral presentation on artist and one page artist overview DUE DUE: lecture/exhibition review as noted above / select one item listed to review CRITIQUE: “BETA” VERSION OF FINAL PORTFOLIO / 5 PRINTS Presentations: student oral presentation on artist and one page artist overview DUE open lab day (for printing, print presentation, digital website/CDROM preparation, etc.) Assignment #5: CDROM digital portfolio DUE





Friday, April 21 Spring Show (undergraduate students) opening in gallery 6:30 – 9:00 pm. 4/25 final group critique--submit for evaluation: fifteen final prints—with at least two prepared for display, ten or more contact sheets(no negatives), and the final artist’s statement / attendance required* pick up final portfolio prints at 12:00 pm NOON / no class


SUMMARY OF READING ASSIGNMENTS Select handouts and electronic reference materials on CDROM DISCUSSION ON JANUARY 17TH: EJOURNAL ARTICLE on Diane Arbus Rubenfien, Leo, “Where Diane Arbus Went.” Art in America. October 2005. 65-77.

EJOURNALS via the UTD McDermott Library online catalogue Locate reading via via UT-

Dallas McDermott library Ejournal links ( see instructions below and use Comet Card offcampus).
      

 

Go to the UTD library link from the main webpage. Select Collections/eJournals ONLY. To gain access to the journals from off-campus you will need to enter your ID number, which can be found on your Comet Card. Under the Journals heading select a letter of the alphabet to take you to the journal needed, which is inUTD's collection (for example: A). Select the link for the specified journal (for example: Art in America). Be sure to select the link for current issues. Select the "Search within this publication" link on the right side of the webpage. In the second line of the FIND dialogue box, enter the title of the article and the appropriate pulldown menu to initiate your search.(for example: "Adams and Stieglitz: A Friendship" ; and select TI Title) Click on the PDF icon to download the PDF Full Text of the article for electronic review or printing. In some cases you can also view the HTML version of the article. You will need the Adobe Acrobat plug-in to view the PDF version of the article, which can be obtained from

SUMMARY OF WRITING ASSIGNMENTS: ALL SUBMITTED VIA WEBCT • General outline of terms relevant to portfolio, due at both critiques, 1/31 AND 3/14 (bring printed version to group critique for discussion) Final Portfolio proposal: no more than one page: DUE on 2/14 Written One page Response to photographic/digital artist lecture or exhibition as noted above: DUE on 4/4 Five Minute Oral Presentation on an Artist --selected from the list posted on webct: Submit written one page overview of selected artist’s work: DUE no later than 4/11 Artist Statement: One Page Concise! DUE on 4/25

• •

SUMMARY OF CREATIVE ASSIGNMENTS: ALL SUBMITTED IN CLASS Assignment #1: editioned print for group portfolio exchange (up to 25 copies of one image) Assignment #2: print of photograph taken during view camera workshop Assignment #3: 4 proof prints, 4 contact sheets, and outline of terms Assignment #4: 4 proof prints, 4 contact sheets, and outline of terms Assignment #5: digital portfolio: CDROM of at least SIX images in portfolio, along with draft of exhibition proposal and draft of artist’s statement FINAL PORTFOLIO OF FIFTEEN (15) FINISHED PRINTS: “BETA” VERSION OF 5 FINISHED PRINTS DUE 4/11 for initial review (last opportunity for feedback) FINAL VERSION OF 15 FINISHED PRINTS DUE 4/25 for final grading (submitted for final grading)