This course introduces students to the 4x5 camera. Emphasis is placed on both technical and aesthetic considerations. The course will involve lectures, demonstrations, critiques and supervised printing sessions.

Required Text: None

Recommended Text:

• Using the View Camera by Steve Simmons ISBN: 0817463534
• View Camera Technique 7th Edition by Leslie Stoebel ISBN: 0240803450

As a result of successfully completing this course, students will be able to:

• Effectively use a light meter and perform advanced exposure calculations
• Successfully expose and develop large format black-and-white film
• Compose images using a heightened process of observation
• Demonstrate expertise in large format techniques including camera movements, depth of field control and perspective correction
• Read a negative to assess for printing and conduct necessary testing procedures in order to make a work print
• Analyze and discuss work based on aesthetics, content, and technical quality using industry specific terminology

Will display the following attitudes / professional behaviors:

• Meet assigned deadlines
• Accept and apply feedback
• Proper care for equipment
• Prepare for and contribute to class discussions and critiques

Technical Proficiency Exam

The technical proficiency exam will test the student’s knowledge of view camera controls, film processing and industry specific vocabulary.

Grading Criteria

A level: Outstanding Work
Work meets ALL class requirements and demonstrates an exceptional degree of quality and effort in assignments. Work that goes beyond the basic level of completion needed for the assignment and combines concept, craft and research using refined skills often through repetition (multiple attempts at project). Written work in this category goes beyond the scope of the assignment, combining outside perspectives and sources.

B level: Above Average Work
Above average work. Work meets all class requirements and demonstrates a high degree of quality and effort in assignments. Creative work in this category is often really good, but stops just short of going further to the next level. Might be aesthetically pleasing and well crafted, but shows room for improvement and integration of concept/research. Written work is thoughtful and well written, demonstrates an engagement with the content that is beyond the basic assessment of the reading and incorporates personal unique viewpoints.

C level: Average Work
Average work. Work meets all the minimum class requirements and demonstrates an acceptable degree of quality and effort in assignments. For creative assignments this is work that is simply completed to the letter of the task assigned. Might not demonstrate a high level of enthusiasm, but is basically proficient. Written work is properly composed and proofread, but does not delve very deep into subject matter. Shows basic completion of thought.

D level: Poor Work
Poor work. Work meets some, BUT NOT ALL the class requirements and may be missing elements and / or lacks quality and effort in assignments. Shows obvious room for improvement. Written work is misspelled or demonstrates vague or superficial ideas.

F level: Failure
Meets few, if any, of the class requirements. Inadequate and / or incomplete assignments.

Point Distribution/Calendar

Project 1

Getting Started Week 1-3 Jan 8-22nd
Due on January the 22nd

• Part 1: Film Load/Expose/Develop
• Part 2: Filter Test
• Part 3: Advanced Camera Movements 50 total points

Project 2

Putting it to use Week 4-6 Jan 27th-Feb 5th
Due on February 10thth

• Part 1: Perspective/DOF:
• Part 2: Macro
• Part 3: Multiple Exposures
• Part 4: Making Color 100 total points

Project 3

Your Place/You/Your World
Due Feb 24th 100 total points

Final Project Proposal and Statement

Due March 5th 50 points

Final Project (minimum 8 cohesive images)

25% completion progress critique
Due March 19th 25 points of final proj

Final proj Due April 21 75 points of final proj

Total Points Possible: 400 points

ALL ASSIGNMENTS ARE DUE IN CLASS ON THE DATE STATED ON EACH INDIVIDUAL ASSIGNMENT SHEET AND MUST BE TURNED IN PERSONALLY BY EACH STUDENT.

NO LATE WORK WILL BE ACCEPTED

Late Work

All assignments are due on the date as stated on each assignment sheet. Late work will NOT be accepted.

Attendance

In the studio class setting, regular attendance is required at all class meetings. Missing more than 5 class sessions will result in a grade no higher than a “C-“ final grade. Class starts promptly at 1pm, arrival within the first 10 minutes will count as late. Tardiness from class exceeding 10 minutes will count as an absence. 2 lates count as an absence.

Absences are only excused through the submission of an official doctor’s note or a preemptively excused school related function. Proper documentation is required. No other absences will be excused. The student is solely responsible for any missed materials covered during an absence. Upon the absent student’s return, the student is responsible for acquiring notes on any missed materials from their peers and then scheduling a time to review those notes with the professor.

Critique Groups: (If applicable)

To create a more conducive setting for critique each student will be assigned a critique group (A or B), during which each assigned groups assignments are due. Attendance is only required during the assigned critique groups time. Alternately the group who is not meeting should view the allotted time as unsupervised lab/studio work time.

Supervised / Open Lab Days

Supervised Lab Days are mandatory. These days are designed for you to work on your projects in a supervised environment alongside your peers and to receive crucial feedback from the instructor. You are expected to be present and engaged in your work. Absence on a Supervised Lab Day will result in zero credit for that date.

Open Lab Days are for shooting.

Program Fee

Program Fee: $51.00 ($17.00 per credit)

The program fee charged for this course is designed to maintain high quality programming, equipment, software, materials, and supplies and services for students in the College of Performing and Visual Arts at Southern Utah University.

Your program fee includes:

• Cost of ink to make inkjet prints in class
• Software/Hardware usage in the photography digital lab CN 207 B
• Access to Gloss / Semi-Gloss / Luster 13x19 for large prints
• Negative sleeves and photographic chemicals

Provided Course Materials

• Shared use of a Large Format Camera Kit
• Use of developing chemicals and darkroom facility
• Negative & print sleeves
• Color filter gels
• Cost of ink to make inkjet prints in class
• Software/ Hardware usage in the photography digital lab CN 207B

Required Course Materials

• A dark cloth (this could be as low budget as a t-shirt)
• Binder (1.5 - 2 inches) **
• Gallon sized Zip Top bags (share the cost)
• A pen or pencil **
• An 8.5x11 inch archival box for image storage and turning in assignments **
• At least one box (50 sheets) of Canon Premium Luster Inkjet Paper
• Ilford FP4 Plus 4x5” 25 Sheets Black & White Negative (Print) Film (ISO-125) - 2 boxes*
• White matboard (Pre-Cut Gallery purchased from Blick or cut your own)
• Any additional finishing supplies & costs (i.e. framing, mounting, etc.)

• Purchase prior to the start of the course

Course Minimum Cost Guide: (Shop around, prices may vary)

• Box of Canon Ultra Premium Luster Inkjet Paper: $39.99
• 8.5x11 inch Archival Box: $12.95
• FP4 Plus 4x5” (2 boxes) $66.00
• Matboard / Pre-Cut Gallery Mats purchased from Blick $30.00 +
• Call for Entries Fees (3) $30.00 +
• Estimated Total: Around $180

Course Prerequisite(s)

Art 2800 Advanced BW Photo

Photography Involvement

Advanced Photography students are encouraged to participate in co-curricular activities and events designed to create and foster personal and professional growth.

SUU Photography Club

Canvas

You are responsible for keeping track of your grades. All grades will be posted on SUU’s online instructional media system called CANVAS.

You can log on to CANVAS here: learn-suu.uen.org For help with CANVAS go here: help.suu.edu/imic/

Cellular Phone Policy

The use of cellular phones or any mobile communication device in class is not permitted. Students are responsible for silencing such devices and stowing them out of sight during class. If you are caught using such a device during class, you will be asked to leave and marked absent for that class.

Equipment Usage Terms

The student is responsible for the care and safety of all equipment provided by Southern Utah University. The student is responsible for notifying the professor in regards to any damage to the equipment immediately. If the student is found to be mishandling equipment in any way or form, at the discretion of the professor, they will receive a “0” on the current assignment.

The responsible parties will incur the costs of repairing major damages to the equipment. Equipment failure does not account for leniency on due dates for assignments.

Photo Chemicals

The chemicals we are using are safe, but should be handled with care and respect to avoid health and safety issues. Photo chemicals stain your clothes! Wear old clothes or invest in a lab coat (available at the bookstore) or an apron. The chemicals in the darkroom are for use only in the lab and any unauthorized removal of any of them will be treated as theft and prosecuted accordingly. You will be expected to clean the area you are working in before leaving the lab.

Professor/Student Dialog

It is highly encouraged that students communicate with the professor about any issues that they may be experiencing during the semester in regards to the comprehension and completion of assignments in a timely manner. This practice will facilitate proactive relationship between the professor and the student as opposed to a passive post-semester response that the student will not benefit from first hand. I am here for YOU. Please take advantage of the opportunity to obtain assistance and participate in dialog about your work.

Challenging Content Policy

Art, and college, by their very nature are meant to challenge ideas. During this course you will be exposed to a wide range of Photographic and Contemporary Art. Triggering and challenging topics of all kinds will possibly be discussed and shown. Topics can and will likely include: Nudity, Political/religious issues, historical combat and medical photography, work about identity, race, gender, sexuality, tragedy, crime etc. If you have objections to this content please consult your professor or department chair.

Online Photographic Collections and Exhibition Sites

The American Museum of Photography www.photographymuseum.com
American Photography: A Century of www.pbs.org/ktca/americanphotography
Images www.cepagallery.com www.eastmanhouse.org
CEPA Gallery George Eastman House www.getty.edu/museum
J. Paul Getty Museum International www.icp.org www.loc.gov/rr/print
Center of Photography The Library of http://memory.loc.gov/ammem/index.html
Congress Print Room LOC: American www.lightwork.org
Memory Collections www.luminous-lint.com
Light Work Luminous-Lint www.masters-of-photography.com
Masters of Photography Museum of www.moma.org/collection/depts/photography
Modern Art New York Public Library www.nypl.org/digital/index.htm
Photo-eye Galleries www.photoeye.com
The Photographers’ Gallery Smithsonian www.photonet.org.uk/index.php?archive
Institution www.si.edu/art_and_design/photography
Women in Photography International www.womeninphotography.org
Zone Zero www.zonezero.com
SF MOMA https://www.sfmoma.org/artists-
artworks/photography/