Studio of Classic Photography 4

Subject is not scheduled Not scheduled

Code Completion Credits Range Language Instruction Semester
307ESC4 ZK 4 24 exercise hours (45 min) of instruction per semester, 82 to 102 hours of self-study English summer

Subject guarantor

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 original research, innovative and experimental approach to the acquired and deepened knowledge in the field of classical photography. He reflects his creative approach in the explication of the exhibition project and the verbal explication of the studio exercise.

Mode of study

in person

Prerequisites and co-requisites

-

Course contents

The Classical Photography Studio focuses on the technological procedures and processes of photography. The studio also includes workshops focusing on historical photographic techniques such as rubber printing, cyanotype, bromo printing, wet collodion process and work with gelatin and its transfer to other materials. In the case of photographs where the positive image is the negative, the result is only a single original.

However, the studio is also dedicated to contemporary technological innovation, exploring and assessing the possibilities of digital photography and other technologies involved in recording the optical image. This includes the study of new light sources, taking aerial photographs using a drone, or obtaining extreme quality images by composing the image using various robotic devices.

The search for possibilities to realise creative intentions depending on the chosen technology is, among other things, a process of discussion within the studio.

The emphasis is on the creative elaboration of the studio assignment:

The use of masks is closely intertwined with the history of artistic practice, from the animistic-spiritual use by indigenous tribes, to the colonialist appropriations of the African aesthetic tradition by the Fauvists and Cubists, to diverse contemporary trends that challenge the setting of geopolitical infrastructures.

In its most basic sense, the mask can be seen as a disguise that covers the face or part of the face to protect health, conceal identity, for ritual purposes, to entertain or deter others. There are also masks that reveal more than they hide. Masks are wonderfully paradoxical in this sense, because in addition to concealing physical reality, they can also show how someone wants to be seen.

In addition to the aforementioned level of meaning, for the purposes of the studio exercise, it is useful to extend the perception of masks to the area of camouflage and concealment.

The actual work of the assignment will be subject to regular consultation, the final work must be anchored in the medium of photography and should consist of a minimum of six individual photographic images

Main themes

1 - 2/ Consultation of ideas, creation of a work plan

2 - 3/ Consultation of the work in process - proofreading, revision of the chosen approach and planned output

3 - 6/ Participation in studio exercises and workshops of non-standard techniques.

7 - 8/ individual work in the studio or outdoors - individual consultation

9 / proofreading - refining work on studio exercises and preparation of the exhibition project

10/ Exercises - non-standard techniques - photography as the only original

11 - 12/ Joint presentations, post-production, adjustments, completion of the final form

Recommended or required reading

Required:

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

Recommended:

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).

INTERNET:

Alternative Photography

Articles, recipes and technical information about alternative photography processes.

http://www.alternativephotography.com/

Photographers’ Formulary

A source for chemistry, nonsilver processing kits, supplies, technical support and workshops.

http://www.photoformulary.com/

Rockland Colloid Corp.

A source of nonsilver processing kits.

http://www.rockaloid.com/

Bostick & Sullivan

A source for camera equipment, chemistry, books, and other technical information.

http://www.bostick-sullivan.com/

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

Note

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Further information

No schedule has been prepared for this course

The subject is a part of the following study plans