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.
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.
Langford, Michael. 35MM Handbook. Alfred A. Knopf, New York. 1997
35mm single-lens reflex camera with manual capabilities for focus,
shutter speed and aperture. An older camera is preferable because
of stealing and breakage.
Camera manual (comes with camera)
lens cleaning papers
lens cleaning solution
cleaning brush with air bellows
Standard (50 mm.)
Telephoto (70 +mm)
Wide angle (28 mm)
Cloud or haze filter (to protect actual lens)
"Warm up" and "cool down" color
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.
tripod (consider a miniature one)
shutter release cable
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.
(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.
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.
To be completed prior to trip (make copies of information and bring what
The Ansel Adams Photography Series:
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,
Photographers on Photography by Nathan Lyons, Englewood Cliffs, New
Jersey: Prentice Hall, 1966.
Photographs by Berenice Abbott, New York: Horizon Press, 1970.
The Portfolios of Ansel Adams by Ansel Adams, Boston: New York Graphic
Shadow of Light by Bill Brandt, New York: Da Capo, 1977.
Compassionate Photographer by Larry Burrows, New York: Time-Life
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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