ARTVS 228X Photography (0-6) Cr. 3 Basic operation and use of the 35mm camera for slide and print photography. Topics include compositional considerations; subject matter and film choices; lighting and exposure control. Critiques of student-recorded images and compositions will occur weekly. Field trip.

Instructor: Shirlee Singer, ISU
TR 8:30 - 12:30 AM

This syllabus is subject to change as a result of studio conditions and teaching staff in Rome.Course description: Weekly assignments will focus on three approaches to photography: documentation, design, and art. Studies will be divided between color and black and white, and print and slide film. Weekly developing of at least one 36-exposure role of film will be required.

Course Description

to learn to maximize the use of the camera
to notice and enjoy the visual effects of light
to apply design composition to photography
to learn to solve picture problems
to tackle special projects

Required Equipment: Students will be required to have a manual operating 35 mm camera with a 50 mm lense.

Required Text

Langford, Michael. 35MM Handbook. Alfred A. Knopf, New York. 1997 (ISBN 0-679-74636-X)

Recommended Equipment and Supplies:

35mm single-lens reflex camera with manual capabilities for focus, shutter speed and aperture. An older camera is preferable because
of stealing and breakage.

Shoulder strap

Camera manual
(comes with camera)

Cleaning supplies:
lens cleaning papers
lens cleaning solution
cleaning brush with air bellows
Standard (50 mm.)
Telephoto (70 +mm)
Wide angle (28 mm)

Filters, recommended:
Cloud or haze filter (to protect actual lens)
Polarizing filter
"Warm up" and "cool down" color filters

Extra sets of camera and flash batteries

Pocket notebook to record your shots
( you can use the Lets go Travel Diary at CBS.)

Camera carrier bag to hold all items. Consider a regular padded tote bag that doesn't look like a camera bag. You don't want to draw too much attention to yourself when traveling with expensive equipment.Never let this bag leave your sight.

Optional equipment:
flash attachment
tripod (consider a miniature one)
shutter release cable
lens hood

Quantity of Film Required for the Course:
A minimum of 7 rolls 36 exposures color and 7 rolls 36 exposure black and white print film is required for class purposes in Rome. A minimum of 7 rolls 36 exposure color slide film is also required. It is suggested that you bring at least 30 rolls of film. [A minimum of one roll of film will be shot and developed at a local photo to use in the 228X weekly crits. The remaining film can be developed when you return to the US, if you so desire.] Types of film are of your choosing . Visit a professional camera store and inquire about film types (their advantages and disadvantages). Read your texts to learn more about film types. Price around with different stores because typically the photo stores are the most expensive for film. In Rome, the price of film will be considerably higher.

ISU Photo Service (in the Communications Building) has some of the best
prices on quality film. Brand ASA # Slide/Print Cost
Fuji 100 36 Slide $6.20
Fuji 100 24 Slide $3.90
Kodak 200 24 Print $4.30
Kodak 200 36 Print $5.50
Kodak 100 24 Slide $5.20
Kodak 100 36 Print $4.80
Kodak 400 24 Print $4.70
Kodak 400 36 Print $5.90

(Use 400 film for action/motion & low light shots)

The types of film recommended are average speed daylight color film (ASA 200+/-). (ASA 100 is good for very bright light outdoor situations or slow indoor shots.) This will give you a good range of possibilities. Perhaps you may buy some fast film for action and slow film for clarity of detail work. Slower film provides greater clarity than a fast film like ASA 400. If you take slower film types you may want to bring a tripod and shutter release cable for shooting low light shots. This is not required equipment but you can get nice evening (dim light) shots.

Check with a professional photo shop on night shooting and the special film requirements. It is up to you whether you take color slide, color print film or black & white print film for your personal use. You can also make nice small prints from slides.

Remember that the color in Italy is brilliant as well as the natural light. As an art form black and white prints offer pure images and are also very beautiful, but expensive to develop if you do not do the work yourself. Some of the great "classic" photographers worked in B & W. You will do some of each.

Special Notes

Before you depart you must experiment with your camera to get to know it. Shoot a few rolls of film around your home and develop them before you leave the US to test your camera. Do not bring a broken camera to Rome. If it is an old camera you may want to have it cleaned and conditioned by a professional prior to departure.

You should use a lead travel sack for your film since contrary to what the airport security people say, repeated exposure to the airport x-rays can cause the film and negatives to become blurred.

Once purchased, store your film away from heat or sun. This can also degredate the quality of your images.

Recommended Readings

To be completed prior to trip (make copies of information and bring what you need):

Photographers: Ansel Adams
Henri Cartier-Bresson
Walker EvansDorothea Lange
Jacques-Henri Lartique
Man Ray
Erich Salomon
Alfred Stieglitz
Laszlo Maholy-Nagy
Edward Weston
Life Library of Photography Series:
The Art of Photography
The Camera
Frontiers of Photography
Great Photographers
Light and Film

The Ansel Adams Photography Series: The Camera
The Negative
Polaroid Land Photography
The Print

The New History of Photography From 1839 to the Present Day by Newhall and Beamont, Boston: New York Graphic Society, 1982.

About Looking by John Berger, NewYork: Pantheon Books, 1980.

Photo-Secession: Stieglitz and the Fine Art Movement in Photography by Robert Doty, New York: Dover, 1978.

Photography and Society by Gisele Freund, Boston: David R. Godine, 1980.

Photographers on Photography by Nathan Lyons, Englewood Cliffs, New Jersey: Prentice Hall, 1966.

Collections of Photographs

Photographs by Berenice Abbott, New York: Horizon Press, 1970.

The Portfolios of Ansel Adams by Ansel Adams, Boston: New York Graphic Society, 1977.

Shadow of Light by Bill Brandt, New York: Da Capo, 1977.

Compassionate Photographer by Larry Burrows, New York: Time-Life Books, 1972.

Henri-Cartier-Bresson:Photographer by Henri Cartier-Bresson, Boston: New York Graphic Society, 1 979.

Sight and Insight by Philippe Halsman, New York: Doubleday, 1972.

Travelog by Charles Harbutt, Cambridge, Massachusetts: M.I.T. Press, 1974. A Way of Seeing by Helen, New York: Horizon, 1981.

Shooter by David Hume Kennerly, New York: Newsweek Books, 1980.

Signs of Life by Olivia Parker, Boston: David R. Godine, 1981.Worlds in a Small Room by Irving Penn, New York: Viking, 1980.

Intimate Landscapes by Eliot Porter, New York: The Metropolitan Museum of Art, 1979. 980.


Group and individual projects will be assigned.

Formative evaluation: students and faculty will informally critique work each week. Regular outside critics will participate in formative evaluation about every two weeks. The best work of the week will be selected for further review at the end of the semester.

Summative evaluation: at the end of the semester each student's best work will be selected for grading.

Group project 25%
Individual work 75%

Group slide shows and individual prints will be shown at the February student exhibition in Ames.

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