Advanced Black and White Photography
I. Course Prefix/Number: ART 218
Course Name: Advanced Black and White Photography
Credits: 3 (3 lecture; 6 lab)
III. Course (Catalog) Description
IV. Learning Objectives
B. To demonstrate understanding of what chemicals do to film and paper, by developing a more intelligent and efficient processing technique.
C. To implement archival processing and storage of negatives and prints in order to ensure their maximum permanence.
D. To apply processing controls, taking into account that different films, papers and chemicals have different characteristics.
E. To demonstrate appropriate use of the different types of lighting, both natural and artificial.
V. Academic Integrity
• plagiarism (turning in work not written by you, or lacking proper citation),
• falsification and fabrication (lying or distorting the truth),
• helping others to cheat,
• unauthorized changes on official documents,
• pretending to be someone else or having someone else pretend to be you,
• making or accepting bribes, special favors, or threats, and
• any other behavior that violates academic integrity.
There are serious consequences to violations of the academic integrity policy. Oakton's policies and procedures provide students a fair hearing if a complaint is made against you. If you are found to have violated the policy, the minimum penalty is failure on the assignment and, a disciplinary record will be established and kept on file in the office of the Vice President for Student Affairs for a period of 3 years.
Details of the Code of Academic Conduct can be found in the Student Handbook.
VI. Sequence of Topics
1. Basic principles of negative-making
2. Controlling exposure and development
3. Bracketing exposures
4. More complex negative-making methods
a) Exposing for maximum shadow density
b) Changing exposure and development
c) The Zone system – Edward Weston, Ansel Adams, Wynn Bullock, Minor White, d.d. John Sexton, Paul Caponigro, Arthur Lazar, etc.
d) Basic sensitometry
5. Reciprocity failure
6. Close-up photography
7. Filter factors
B. Photographic Chemistry
1. How each chemical works
2. A guide to common photographic chemicals
3. Mixing your own formulas
4. Formula storage and capacity
C. Archival Processing and Storage
1. Reasons for staining and fading
2. Good fixing and washing techniques
3. Drying prints
4. Mounting prints
5. Negative and print storage
D. Processing Controls
1. Film Processing
a. Development controls
b. Replenishing developers
e. Reversal processing
f. Intensification and reduction
2. Print Processing
a. Development controls
b. Two bath development
c. Water bath development
d. Toning, bleaching
1. Natural Light
a. Quality of light
b. Location of light
2. Artificial Light
a. Lighting with one light source
b. The main lighting functions – key, fill, background
c. A typical lighting setup
d. Lighting equipment
e. Flash – exposure, bare bulb, open flash
F. Introducing the Medium Format Camera
G. Introducing the View Camera
VII. Methods of Instruction
B. Demonstrations of exposure and printing techniques during class
C. Critiques of student work, both in progress and at the end, to develop standards and evaluative criteria
D. Assignments requiring the student to solve problems
E. Field trip to the Art Institute Print Study Room
Course may be taught as face-to-face, media-based, hybrid or online course.
VIII. Course Practices Required
B. It is essential to be on time; lectures and slide presentations take place at the beginning of class and will not be repeated.
C. All assignments/projects are to be submitted on time and demonstrate proficiency.
D. Attendance at review sessions and critiques is required. Active participation in critiques is a key component of the course grade..
E. Do all the shooting assignments and turn in proof sheets of each assignment during the scheduled critiques
IX. Instructional Materials
It should be noted that you can expect to spend a minimum of $120.00 on supplies for this course.
Source Book: Varies by instructor
Additional Source Material: London and Upton, Photography
Black and white supplies: Kodak 18% gray card
Papers: Ilford Variable-Contrast FB papers or Contrast-graded FB papers (Galerie)
Kodak Polymax Fine-Art double weight
Agfa, Forte, Oriental and Luminos B&W papers
Films: Kodak T-Max 100 or 400, Technical Pan, Tri-X
Ilford – FP4 Plus, HP5, Delta 100 or 400
Additional supplies purchased by the student:
Approximately 20 rolls of film
10 11x14 White Museum Grade non- textured mount boards.
Oakton supplies the photography facility, which includes enlargers, chemicals and studio equipment.
X. Methods of Evaluating Student Progress
The final grade will be composed of the following elements and their indicated weights.
a) Quizzes 25%
b) Final examination 25%
c) Critiques 25%
d) Final critique 25%
XI. Other Course Information
If you have a documented learning, psychological, or physical disability you may be entitled to reasonable academic accommodations or services. To request accommodations or services, contact the Access and Disability Resource Center at the Des Plaines or Skokie campus. All students are expected to fulfill essential course requirements. The College will not waive any essential skill or requirement of a course or degree program.