Studio of Classic Photography 3
Subject is not scheduled Not scheduled
|307ESC3||ZK||4||24 exercise hours (45 min) of instruction per semester, 82 to 102 hours of self-study||English||winter|
Name of lecturer(s)
Learning outcomes of the course unit
The listener is able to formulate his/her intention, prepare a work plan, consult the chosen means and technological procedure. He/she realizes a high quality and comprehensive exhibition project. The assigned topic of the studio exercise is processed on the basis of the author's research, innovative and experimental approach to the acquired and deepened knowledge in the field of classical photography.
Mode of study
Prerequisites and co-requisites
The Classical Photography Studio focuses on the technological procedures and processes of photography. Its content is based on the assumption that the student must master certain specific tasks of a technical nature, which will only open the way to the realization of their creative intentions. With the students, the processes leading to predetermined goals are analyzed within the studio. The teaching includes confronting different technologies and defining their specifics, which can often become the only vehicle for the realization of a chosen project.
The studio is devoted to working with classical analogue photography from cine film to large format photography. Students have the opportunity to work with a negative up to 30x40 cm and then to make a contact or enlarged print on meter-sized barite paper. In addition to black and white photography, students are introduced to traditional color photography and the processing of color inverse materials.
Emphasis is placed on the creative handling of the studio assignment, while dividing up the different possible views - the creative circuits:
- the work of the tooth of time: historical material in comparison with analogous images from the present (people, buildings, places)
- temporality: recording the degradation of things (sequences, time-lapse series)
- ephemerality in the form of changes in lighting of objects and places during the day
- transformation: changes in nature due to natural energy (wind, drought, pests, etc.)
- transience as mortality: vanitas, memento mori, death mask
- the impact of time on the medium of photography: the degradation of photographic material due to expiration, the external environment and controlled interventions
- reconstruction of time, memories
- photography of movement and fleeting moments, recording the course of action, arbitrary vs. decisive moment
- ephemerality expressed through the use of technological techniques, emphasis on atmosphere (dispersion of motifs, soft optics, fog, smoke, multi-exposure)
1 - 2/ Consultation of plans, creation of a work plan
2 - 3/ Consultation of work in process - correction, revision of the chosen approach and planned output
3 - 6/ Participation in studio exercises - emphasis on experimentation, expanding expression and presentation possibilities
7 - 8/ individual work in the studio or outdoors - individual consultation
9 / proofreading - refining work on studio exercises and preparing an exhibition project
10/ Exercise - non-standard techniques
11 - 12/ Joint presentations, post-production, adjustments, completion of the final form
Recommended or required reading
Collective: Experimental Photography: A Handbook of Techniques, Themes and Hudson, 2014
Christopher James: The Book of Alternative Photographic Processes 1st Edition, Cengage Delmar Learning, 2012
Wicks Brady: Alternative Photographic Processes: Crafting Handmade Images (Alternative Process Photography)
Focal Press, 2015
Blacklow Laura: New Dimensions in Photo Processes, Routledge, 2018
Hirsch Robert: Photographic Possibilities: The Expressive Use of Concepts, Ideas, Materials, and Processes, Routledge 2017
Salvaggio Nanette L.: Basic Photographic Materials and Processes, Taylor and Francis, 2019
Johnson G. L., Parsons J. H. :Photographic Optics and Colour Photography, Legare Street Press, 2021
Rubinstein Daniel: Fragmentation of the Photographic Image in the Digital Age, Taylor & Francis Ltd, 2021
Christopher James, The book of alternative photographic processes(Clifton Park, NY: Delmar Cengage Learning, 2009), 2nd edition.
John Barnier, Coming into Focus: a step-by-step guide to alternative photographic printing processes (San Francisco, CA: Chronicle Press, 2000).
David Scopick, The Gum Bichromate Book: non-silver methods for photographic printmaking. 2nd ed. (Boston, Mass.; London : Focal Press, 1991).
Bea Nettles, Breaking the Rules: A Photo Media Cookbook, 3rd edition (Urbana, Illinois: Inky Press Productions, 1992). Includes recipes for Cyanotype, Van Dyke Brown Printing, Gum Bichromate and others.
Mike Ware, Cyanotype : the history, science and art of photographic printing in Prussian blue (London : Science Museum ; Bradford [England] : National Museum of Photography, Film & Television, 1999).
Lyle Rexer, Photography’s Antiquarian Avant-Garde: the new wave in old processes (New York: Harry N. Abrams, 2002).
Jan Arnow, A Handbook of Alternative Photographic Processes (New York: Van Nostrand Reinhold, 1982).
Articles, recipes and technical information about alternative photography processes.
A source for chemistry, nonsilver processing kits, supplies, technical support and workshops.
Rockland Colloid Corp.
A source of nonsilver processing kits.
Bostick & Sullivan
A source for camera equipment, chemistry, books, and other technical information.
The World Journal of Post-Factory Photography, Issue #1, 1998
downloadable at http://www.alternativephotography.com/
Assessment methods and criteria
Active participation, completion of ongoing tasks, realization of an individual exhibition project, realization of a studio assignment on a given topic common to all students
No schedule has been prepared for this course
The subject is a part of the following study plans
- Photography EN - Bachelor - 2022 (required optional subject)