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ARTS 3374-021 Technical Photography Summer 2006- 12 Week Session Wednesday 1:00pm-5:00pm Instructor: Nicole Arendt

Office: AS 2.112 Office Hours: Tuesday 1:00pm-1:45pm, Wednesday 5:00pm-5:45pm 972-883-2292 Technical Lab: Prerequisites: Previous experience in photography is recommended for taking this course. Course Description and Student Learning Objectives/Outcomes This course will focus on Lighting with discussion and readings providing an introduction to students to a variety of the professional applications of photography. Through introductory and more advanced technical workshops, students will be introduced to camera formats, the photography set, portraiture, location work and lighting techniques. Lighting Demonstrations will include the use of natural light, tungsten light and strobe lighting. Students will practice and apply lighting controls to achieve direct and indirect use of lighting techniques with reflectors and umbrellas. Students are encouraged to work in color due to summer lab chemistry schedules, though we will also be learning about the digital camera during several of the workshops. If available, a field trip to a commercial studio is planned in order to introduce students to the commercial studio and its functions. Conceptual discussions will enter the class room throughout the semester in readings, lectures, class discussions and assignments. Course work will include participation in three workshops as well as the completion of three assignments and a final critique. Required Textbooks UTD Handbook on Photography Various Brief Readings Through WebCT Required Materials: 35 mm CAMERA: Each student should have a camera that has fully manual capabilities (adjustable aperture, focus, and shutter speed controls) and a working light meter. Costs for the course will vary somewhat depending upon the scope of individual student projects. Supplies estimate: $180.00- $250.00 (not including camera) Remember to request a student discount when you buy your supplies. Some vendors offer a deep discount; others offer no discount to students. Keep in mind that film and paper are never returnable. Select your paper very carefully; double check the specifications of the paper type! (Don't rely on the vendor to select the proper paper for you.) Shop around if you have the time for good prices. COLOR PAPER: use Kodak (preferred) or Fuji Crystal Archive Use the same type of paper as the semester progresses due to problems with the filter pack. brand, contrast, and surface, i.e.glossy.)

Work with the same

Paper Options: Kodak Portra Endura Color Paper in E (fine luster), F (glossy) or N (smooth luster) 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 (not EP-2) …PLEASE NOTE: FUJI paper tends to get caught in processor so is not recommended! 8" x 10" Glossy Surface (G) 100 Sheets per Box (Green Box)

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) for those first working in the color darkroom. Determining the emulsion side of the paper is easier when working with glossy paper. Other ptions include lustre, semi-matte (E), or matte (N) or (M). Keep in mind that the filter pack varies often from one type surface to the next. PAPER CONTRAST: For the technical class, Kodak Portra is suggested especially for assignments working with portraiture. You can also use a standard contrast paper, such as the Kodak SUPRA. The ULTRA is a high contrast paper for flat negatives-which you won't need. Fuji has a softer contrast paper as well, that is coded differently. Keep in mind that the filter pack often varies when moving from paper of one contrast type to the next. Color Paper is usually refrigerated until opened; store paper away from heat and moisture. You will need about 100-200 sheets of photographic paper. Costs vary due to student patience and print technique. 100 sheet package = @ $35.00 - $45.00 FILM: ****Although color film such as Kodacolor Gold is an option. I encourage, for this class especially, that students purchase Professional films.***** Kodacolor Gold 100 or 400 ISO 24 or 36 exposure 12-15 rolls at $4.00 = $48.00 - $60.00 (in 4 roll packs film can be purchased for $2.00/roll) ....don’t skimp on film / also see film type outline for the range of professional and amateur films available FILM NOTES: Don't buy outdated or close-dated film. Grey or Brown market films are made in a foreign country and imported; these films can demonstrate color shifts. Professional films cost more per roll and are stored under refrigeration. These films are tested for color and exposure accuracy. NON-professional films like Kodacolor Gold "ripen" on the shelves of the stores. These amateur films are less sensitive to extreme changes in heat. Nevertheless, avoid exposing all film to excessive heat or humidity. Refrigerate film that you will not use right away, to prevent further aging--this is a requirement with professional slide and negative films. Allow film and paper to warm-up prior to breaking the seal or opening the canister. Develop film promptly for best results. And keep dust away from your negatives by storing them in a plastic bag or box. Purchasing film: When purchasing film, try to buy several rolls with the same emulsion batch--the numerical code on the box. Also, inspect the imprinted date and country of origin.

You can by a quantity of professional film at a discount (i.e. 20 rolls) from suppliers such as Competitive Camera. Amateur films like Kodacolor Gold are sold widely often in discounted packages (at Wolfe/Ritz camera, CVS, Target, Sam's, etc.) PROCESSING: $3.50 per roll = $42.00 ($2.00/roll at minilabs)

****Like the film purchased, I encourage students in this class to get their film developed at a professional lab.***** Select a lab that is convenient to you. Most labs have a night drop, including the professional ones. Some professional labs will place your negatives in clear archival sleeves at no “extra” change if you request: PROCESS ONLY AND PAGE. Some professional labs add a charge if you want your negatives cut and sleeved. The sleeves provided by the mini-labs like Eckard's are not appropriate for making contact sheets. You will need to transfer your negatives to appropriate sleeves. REQUEST C-41 FILM DEVELOPMENT (for color negatives) & PROCESS ONLY AND SLEEVE (sometimes left uncut) PROCESS ONLY AND PAGE (cut and sleeved) During class we will make contact prints of the negatives and then enlargements. BWC PHOTO IMAGING LAB: Central and Arapaho (northwest corner facing Central, along northbound access road) offers night drop off WP WAREHOUSE PHOTOGRAPHIC has in-house C-41 processing lines. Some students have used other outlets such as Master Photo (Midway and Beltline). Other professional labs downtown include BWC . Some students use CVS or Walmart mini-labs, which vary in quality depending upon the staffing and processing volume. Don't take your special roll of film to a lab that you have not tested yourself. Irresponsible film processing produces scratches, color shifts, water spots, dust and worst of all chemical staining. You will not notice color shifts until you start printing and experience frustration in achieving accurate color balance. Your old family or personal negatives, if improperly stored, may already have these flaws. You may want to shoot shorter rolls at the beginning. Shooting for "success" means that you will have to spend a lot of time "thinking" about what you will shoot. Invest time in framing, focusing and carefully choosing exposures. Be sensitive to colored light and the contrast inherent in that light. You will experience softer light before 10:00 AM and after 2:00 pm. And remember to bracket slightly toward overexposure. Thin negatives produced by underexposing the film in low night--can be almost impossible to print. Likewise, negatives exposed with harsh flash illumination can retain excessive contrast depending upon the quality and quantity of light emitted by the unit. Lectures will be presented in class to discuss methods for working in low light situations. PENLIGHT: a darkroom necessity...we will convert to a "pinlight" FOR DUSTING NEGATIVES PRIOR TO PRINTING: CANNED AIR: $7.00 or less OR Kodak Camel Hair Brush 1”: $9.00 Kostiner or StaticMaster Brush 1”: $15.00 - $20.00 Soft Round Watercolor Brush (camel hair or soft hair): $3.00 and up (available from art supply stores like MJD Designs) BINDER OR BINDER/BOX: for storing negatives and contact sheets NEGATIVE PRESERVES OR SLEEVES: style 35 7B $7.00 for 25/package (polypropylene print-file or vue-all)--- share a pack with another student SHEET PROTECTORS: 81/2 X 11 ( to protect prints, available at office supply stores) $3.99 small 8x inexpensive Agfa type is fine: $6.00 - $8.00 WHITE GLOVES : helps you keep your fingerprints from marring the print paper LENS TISSUE AND CLEANER: good to have on hand

PRESENTATION SUPPLIES: The Final Project will determine whether Gatorfoam or MatBoard will be needed and can be discussed and purchased later in the semester. GATORFOAM or MATBOARD: IF NEEDED FOR 8x10 conventional prints: order by mail or locally 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) 8352 Olive, St. Louis, MO 63132 Asel's: Richardson: west side of Central Exp.--immediately south of Beltline on access road 60 Richardson Heights Shopping Center 972-690-6320 Dallas: 2701 Cedar Springs 214-871-2425 at Routh (near Maple) Plano: on Central Expressway southbound access road Photography Vendors: REQUEST STUDENT DISCOUNT WP Warehouse Photographic 972-416-7110 2225 E. Beltline Rd. Carrollton (b/t Webbs Chapel and Josey Lane) Competitive Camera 2025 Irving Blvd. Dallas (b/t Wycliff and Manufacturing) 972-487-1209 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 Film Depot Dallas 11111 N. Central Expwy Dallas (Royal Lane + Central) 214-265-0650 mail order: Calumet photographic http:// B&H Photo http:// Freestyle Photographic: 5124 Sunset Blvd. Los Angeles, Ca 90027 323-660-3460 800-292-6137 fax order: 800-616-3686 Suggested Course Materials: JOURNAL-- Students should keep a journal of their ideas for their projects. The journal may include notes for shooting, developing film, and printing. LUPE: optional but highly recommended for viewing negatives CAMERA LENS FILTER: optional: If you purchase a filter , make sure that it fits your camera lens. A polarizer (rotating linear polarizer for most manual cameras and a circular polarizer for most electronic cameras and manual cameras) will help to reduce atmospheric haze and increase saturation when working outdoors in sun. LENS SHADE: optional: The lens shade can help to reduce flare, especially in the summer or in bright sun. COMBINATION LOCK: for securing supplies and locker

Assignments & Academic Calendar

May 17 Introduction Bring for the next week: Pick out various photographic imagery that contains people. This could be a fashion photograph, a portrait, a headshot or a piece of photojournalism. May 24 Color Lab Management and Color Darkroom Introduction Class Discussion: The Subject (from tear sheets brought in by students) WebCT Post: “Color and Light” and “Photo Fiction” Introduce Assignment #1 The Portrait Using Available Light Assignment #1 The Human Subject: Using Available Light (1-2 prints) Due June 7 This assignment focuses on the image containing a human subject. The style of the photo (i.e. fashion, portrait, headshot, photojournalism) is up to the student. Think about the way in which the subject is represented in a photograph. Is the human subject central to the photograph or is something else in the photograph of higher importance? Is the subject selling something? Perhaps themselves? Is the subject depicting a narrative? What are you, the photographer, trying to speak about and how is the human subject helping you? May 31 The Color Darkroom: The Enlargement and Workshop 1: Outside Light and the Portrait Bring for the next week: Pick out Tear Sheets depicting a variety of types of advertising from magazines. Choose the imagery based on your attraction not to the product, but to the image. Next week, there will be a class discussion around this imagery, focusing on lighting, but not ignoring the conceptual or theoretical discussion/critique of the chosen commercial imagery. Reading Due/Class Discussion WebCT: “Color and Light” and “Photo Fiction” Time Permitted: Shoot Day for those that are already familiar with the color darkroom. June 7 Critique Assignment #1 WebCT Post: “The Advertisement” Class Discussion: Tear Sheets and the Commercial Image: the Product Introduce Assignment #2 Due June 21 Assignment #2 Represent Yourself Through Your Objects (1-2 prints) Due June 21 Pick an object from your house that is of some importance to you. This could be a favorite piece of clothing or a sentimental object from your past or your family’s past. What does this object mean to you? How should it be photographed in order to represent its importance and its place in your life? Should it be photographed in a bare, minimalist environment? Should it look like a professional advertisement or not? June 14 Workshop 2: The Studio Set: TableTop Workshop and Shoot Day Slide Lecture: various photographers that work both commercially and in the fine art realm Reading Due/Class Discussion WebCT: “The Advertisement” June 21 Critique Assignment #2 Introduce Assignment #3 WebCT Post: “Telling a Story: The Narrative and Advertising” “Semiotics”

Assignment#3 The Narrative (2-3 prints) Due July 5 For this assignment, you are going to set up a narrative or story. You will do this in a sequence of photographs or you can do 2-3 separate narratives where each photograph contains its own story. Tell the viewer a story. What story are you trying to tell? What needs to be in the photograph to represent what you are trying to say? What needs to be left to

the imagination of the viewer? The choices of what is in the photograph is important; but also, what is the lighting saying? How is the light affecting the way the story is told and perceived? June 28 Workshop 3: The Portrait in the Studio Workshop and Shoot Day Reading Due/Class Discussion WebCT: “Telling a Story: The Narrative and Advertising” and “Semiotics” July 5 Critique Assignment #3 Introduce the Final Project The Final Project The Final Project focuses on presentation. A portfolio of work will be based on a topic or theme selected by the student and can be an extension of a previous assignment. Each student will select one of the options below that best matches their project concept. 1- a small portfolio of photographic prints (approximately 10 images; two images prepared for presentation, either matted or mounted) 2- a group of up to ten prints, perhaps printed larger than 8" x 10", that are designed to be viewed as a single unit --as in an installation, sculptural object, or larger two-dimensional work. July 12 Matting and Mounting the Photograph and Darkroom Workday Demonstration for Final Project: Matting and Mounting the Photograph Darkroom Workday July 19 Field Trip: The Commercial Studio July 26 Final Critique

Grading Policy Grading will be determined by a number of factors including attendance, class participation (including during reading discussions, workshops and critiques) and general effort. Students will be expected to do several hours a week of non-class time darkroom work. Course & Instructor Policies If a student does not have their work ready to present to critique or is late for the oral presentation, or the final grade will be lowered unless the instructor is notified of a severe notice or other problem. 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 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 four hours is necessary. Also, students need to work outside of class time--at least those two 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 (347)247-9243 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.

Field Trip Policies The class will be taking a field trip during one of our class times. We will be meeting at the chosen location at a time designated previous to the field trip. It will be during the hours of our regular class meeting. Students will be responsible for transportation to the location. Carpooling is suggested and a DART transportation map will be handed out during a prior class. Mandatory paperwork will be handed out prior to the field trip date including Release and Indemnification Agreement for Adult Participants and Student Travel Authorization forms.

Student Conduct & Discipline The University of Texas System and The University of Texas at Dallas have rules and regulations for the orderly and efficient conduct of their business. It is the responsibility of each student and each student organization to be knowledgeable about the rules and regulations which govern student conduct and activities. General information on student conduct and discipline is contained in the UTD publication, A to Z Guide, which is provided to all registered students each academic year. The University of Texas at Dallas administers student discipline within the procedures of recognized and established due process. Procedures are defined and described in the Rules and Regulations, Board of Regents, The University of Texas System, Part 1, Chapter VI, Section 3, and in Title V, Rules on Student Services and Activities of the university’s Handbook of Operating Procedures. Copies of these rules and regulations are available to students in the Office of the Dean of Students, where staff members are available to assist students in interpreting the rules and regulations (SU 1.602, 972/883-6391). A student at the university neither loses the rights nor escapes the responsibilities of citizenship. He or she is expected to obey federal, state, and local laws as well as the Regents’ Rules, university regulations, and administrative rules. Students are subject to discipline for violating the standards of conduct whether such conduct takes place on or off campus, or whether civil or criminal penalties are also imposed for such conduct.

Academic Integrity The faculty expects from its students a high level of responsibility and academic honesty. Because the value of an academic degree depends upon the absolute integrity of the work done by the student for that degree, it is imperative that a student demonstrate a high standard of individual honor in his or her scholastic work. Scholastic dishonesty includes, but is not limited to, statements, acts or omissions related to applications for enrollment or the award of a degree, and/or the submission as one’s own work or material that is not one’s own. As a general rule, scholastic dishonesty involves one of the following acts: cheating, plagiarism, collusion and/or falsifying academic records. Students suspected of academic dishonesty are subject to disciplinary proceedings. Plagiarism, especially from the web, from portions of papers for other classes, and from any other source is unacceptable and will be dealt with under the university’s policy on plagiarism (see general catalog for details). This course will use the resources of, which searches the web for possible plagiarism and is over 90% effective. Email Use The University of Texas at Dallas recognizes the value and efficiency of communication between faculty/staff and students through electronic mail. At the same time, email raises some issues concerning security and the identity of each individual in an email exchange. The university encourages all official student email correspondence be sent only to a student’s U.T. Dallas email address and that faculty and staff consider email from students official only if it originates from a UTD student account. This allows the university to maintain a

high degree of confidence in the identity of all individual corresponding and the security of the transmitted information. UTD furnishes each student with a free email account that is to be used in all communication with university personnel. The Department of Information Resources at U.T. Dallas provides a method for students to have their U.T. Dallas mail forwarded to other accounts. Withdrawal from Class The administration of this institution has set deadlines for withdrawal of any college-level courses. These dates and times are published in that semester's course catalog. Administration procedures must be followed. It is the student's responsibility to handle withdrawal requirements from any class. In other words, I cannot drop or withdraw any student. You must do the proper paperwork to ensure that you will not receive a final grade of "F" in a course if you choose not to attend the class once you are enrolled. Student Grievance Procedures Procedures for student grievances are found in Title V, Rules on Student Services and Activities, of the university’s Handbook of Operating Procedures. In attempting to resolve any student grievance regarding grades, evaluations, or other fulfillments of academic responsibility, it is the obligation of the student first to make a serious effort to resolve the matter with the instructor, supervisor, administrator, or committee with whom the grievance originates (hereafter called “the respondent”). Individual faculty members retain primary responsibility for assigning grades and evaluations. If the matter cannot be resolved at that level, the grievance must be submitted in writing to the respondent with a copy of the respondent’s School Dean. If the matter is not resolved by the written response provided by the respondent, the student may submit a written appeal to the School Dean. If the grievance is not resolved by the School Dean’s decision, the student may make a written appeal to the Dean of Graduate or Undergraduate Education, and the deal will appoint and convene an Academic Appeals Panel. The decision of the Academic Appeals Panel is final. The results of the academic appeals process will be distributed to all involved parties. Copies of these rules and regulations are available to students in the Office of the Dean of Students, where staff members are available to assist students in interpreting the rules and regulations. Incomplete Grade Policy As per university policy, incomplete grades will be granted only for work unavoidably missed at the semester’s end and only if 70% of the course work has been completed. An incomplete grade must be resolved within eight (8) weeks from the first day of the subsequent long semester. If the required work to complete the course and to remove the incomplete grade is not submitted by the specified deadline, the incomplete grade is changed automatically to a grade of F.

Disability Services The goal of Disability Services is to provide students with disabilities educational opportunities equal to those of their non-disabled peers. Disability Services is located in room 1.610 in the Student Union. Office hours are Monday and Thursday, 8:30 a.m. to 6:30 p.m.; Tuesday and Wednesday, 8:30 a.m. to 7:30 p.m.; and Friday, 8:30 a.m. to 5:30 p.m. The contact information for the Office of Disability Services is: The University of Texas at Dallas, SU 22

PO Box 830688 Richardson, Texas 75083-0688 (972) 883-2098 (voice or TTY) Essentially, the law requires that colleges and universities make those reasonable adjustments necessary to eliminate discrimination on the basis of disability. For example, it may be necessary to remove classroom prohibitions against tape recorders or animals (in the case of dog guides) for students who are blind. Occasionally an assignment requirement may be substituted (for example, a research paper versus an oral presentation for a student who is hearing impaired). Classes enrolled students with mobility impairments may have to be rescheduled in accessible facilities. The college or university may need to provide special services such as registration, note-taking, or mobility assistance. It is the student’s responsibility to notify his or her professors of the need for such an accommodation. Disability Services provides students with letters to present to faculty members to verify that the student has a disability and needs accommodations. Individuals requiring special accommodation should contact the professor after class or during office hours. Religious Holy Days The University of Texas at Dallas will excuse a student from class or other required activities for the travel to and observance of a religious holy day for a religion whose places of worship are exempt from property tax under Section 11.20, Tax Code, Texas Code Annotated. The student is encouraged to notify the instructor or activity sponsor as soon as possible regarding the absence, preferably in advance of the assignment. The student, so excused, will be allowed to take the exam or complete the assignment within a reasonable time after the absence: a period equal to the length of the absence, up to a maximum of one week. A student who notifies the instructor and completes any missed exam or assignment may not be penalized for the absence. A student who fails to complete the exam or assignment within the prescribed period may receive a failing grade for that exam or assignment. If a student or an instructor disagrees about the nature of the absence [i.e., for the purpose of observing a religious holy day] or if there is similar disagreement about whether the student has been given a reasonable time to complete any missed assignments or examinations, either the student or the instructor may request a ruling from the chief executive officer of the institution, or his or her designee. The chief executive officer or designee must take into account the legislative intent of TEC 51.911(b), and the student and instructor will abide by the decision of the chief executive officer or designee. Off-Campus Instruction and Course Activities Off-campus, out-of-state, and foreign instruction and activities are subject to state law and University policies and procedures regarding travel and risk-related activities. Information regarding these rules and regulations may be found at the website address given below. Additional information is available from the office of the school dean. ( Affairs/Travel_Risk_Activities.htm)

These descriptions and timelines are subject to change at the discretion of the Professor.