University of Western Ontario – Department of Visual Arts
Visual Arts 2244A/B: Introduction to Photography
Clementina, a Study from Life, Lady Hawarden, 1857-1864, London
INSTRUCTOR: Maryse Larivière
LOCATION: VAC 139
TIME: Tuesday & Thursday 9:30 – 12:30
OFFICE: VAC 170
CONTACT: mlarivie@uwo.ca
OFFICE HOURS: Monday, 11:30 – 13:00
CALENDAR DESCRIPTION
A comprehensive examination of the basic techniques, theory and practice in photography, including an
overview of the SLR still camera, image processing, analogue output and the use of related printing
techniques. The course also traces the evolution of photography, examining its historical foundations
and the theoretical debates that have informed its status. Course information: this is a 6 studio hours,
0.5 course. Course prerequisite: VAS 1020 or VAS 1025.
COURSE DESCRIPTION
This is an introductory course on the fundamentals of black and white analogue photography. This class
will offer students a foundational knowledge of analogue photography and darkroom production
techniques including exposing and developing black and white negatives, producing prints in the
darkroom, and finishing and mounting techniques. Through hands-on workshops, lectures, readings,
and group discussions, students will be encouraged to build their technical skills, explore their aesthetic
awareness and start to develop a critical understanding of the many facets of the photographic medium.
Early assignments will focus on attempts to recreate the photographic experience of historical
works. Subsequent assignments will explore site intervention and time-sensitive photographic
experiments. A final major assignment will conclude the course. Throughout the course various lectures
and in class discussions preceding related assignments will explore specific examples of how the
photograph functions as an important conceptual device supplying a kind of “evidence” of the art
experience.
COURSE OBJECTIVES
Upon completion of the course, students will be able to demonstrate:
• Depth and Breath of knowledge: Students will have a thorough knowledge of key critical and
theoretical writings on art and photography since its invention.
• Knowledge and application of Photographic techniques: Students will gain proficiency in the
operation of a 35mm SLR camera, the development and printing process, as well as lighting and
traditional mounting techniques.
• Communication skills: Students will start building a photographic and theoretical vocabulary
from which they can discuss their work, and the ones of their peers.
• Independent practice: With these skills, confidence will be fostered in order for the student to
execute individual creative interests through the diversity of the photographic process in this
class.
PARTICIPATION / CRITIQUES
In order to achieve the course outcomes, students attendance, keeping up with required readings and
active participation in class is mandatory. Active in-class discussion is important for the worthwhile
exchange of information but also in strengthening the ability to speak about your own work and the
work of others. Participation in class critiques and discussions is therefore essential. The critiques are a
central aspect of the course, and function as exams. Attendance at critiques is mandatory.
ACCOMMODATION
Students requiring accommodation with respect to course requirement should speak to the instructor
after class or during office hours. If needed, please visit the Student Development Centre, where you
can meet with a counsellor and get the appropriate documentation. For more information visit
http://www.sdc.uwo.ca/ssd/.
POLICIES AND CONDUCT
Attendance and participation in all classes is mandatory. Students are expected to act respectively
towards their peers, regardless of differing opinions. Every effort will be made to create an
environment where we can all encourage creative production and thought. Please refrain from using
social networking sites, cell phones and other distracting behaviour during class time.
Students must observe all darkroom safety and technical protocols set out by the Visual Arts
department. Consistent failure to do so will result in suspension from the production facilities.
OFFICE HOURS/EMAILS
I will be available during my posted office hours to answer any questions or concerns you might have
about the course. If you cannot come during my posted hours you can email me to ask to set up another
time. I am available by email throughout the term and will, generally, answer within 48 hours.
WebCT OWL
The syllabus, readings and other resources will be posted to WebCT as a supplement to materials
distributed in class. WebCT can be accessed at http://webct.uwo.ca/ where your UWO usemame and
password are used to sign in.
EVALUATION
Students must be prepared to spend at least 4 hours of out-of-class time per week in order to
successfully complete assignments.
LATE POLICIES AND SUBMISSION POLICIES
Extensions may be granted for extraordinary circumstances where issues of illness, bereavement, and
other compassionate reasons are the case. If you know that you will not be able to meet a deadline,
please speak to me prior to the deadline for negotiation. All assignment~ must be handed in on the
scheduled due dates. Late assignments will not be accepted. It is the student's responsibility to be aware
of due dates and other important dates. Submitting work for grading will be labeled with your name,
student number, and course code on the reverse of the image and/or written on the envelope containing
the prints.
REQUIRED READINGS
All readings come from Wells, Liz. editor. The Photography Reader, London: Routledge, 2003. You
can purchase the book, as it would be a great resource, but not necessary, all readings will be
available on WebCT.
Szarkowski, John. "Introduction to The Photographer's Eye" in The Photography Reader, ed. Liz Wells, 97-103.
Eco, Umbetto. "A Photograph" in The Photography Reader, ed. Liz Wells, 126-129.
Metz, Christian. "Photography and Fetish" in The Photography Reader, ed. Liz Wells, 138-145.
Grundberg, Andy. "The Ct·isis of the Real: Photography and Postrnodernism" in The Photography Reader, ed. Liz Wells,
164-179.
Tagg, John. "Evidence, Truth and Afterthoughts (on Documentary Photography)" in The Photography Reader, ed. Liz
Wells, 257-260.
McGrath, Roberta. "Re-Reading Edward Weston: Feminism, Photography and Psychoanalysis" in The Photography
Reader, ed. Liz Wells, 327-337.
Lippard, Lucy R. "Doubletake: The Diary of a Relationship With and Image" in The Photography Reader ed. Liz
Wells, 343-353.
Bailey, David A. and Stuart Hall. "The Vertigo of Displacement" in The Photography Reader, ed. Liz Wells, 380-386.
Crimp, Douglas. "The Museums Old, The Library's New Subject" in The Photography Reader, ed. Liz Wells, 422-427.
Sekula, Allan. "Reading an ATchive: Photography Between Labow- and Capital" in The Photography Reader, ed. Liz Wells,
433-452.
Benjamin, Walter. "A Short History of Photography" in Screen (1972) 13(1): 5-26.
REQUIRED MATERIAL
Students are required to pay a $40.00 materials fee to cover darkroom supplies. Beyond the most basic
equipment and chemistry which is provided by the university, students should expect to invest at least
$300.00 to $400.00 on the essential supplies listed below. 35mm SLR camera with working light meter.
Shutter aperture and focus must be controlled manually.
• Grey card (optional)
• Film Developing tanks, with reels (optional)
• Dial Type thermometer
• 36 Exposure 35mm Film
• 100 sheet box of Multigrade RC photo paper
• Plastic Film Sleeves
• 3 Ring Binder for negatives, contact sheets, and notes
• Can Opener
• Dust-Off Compressed Air or bulb blower/Orange Anti-Static Cloth
• Gloves, mask and apron
GRADE BREAKDOWN
Assignment # 1
Assignment #2
Research Presentation
Assignment #4
In-Class Assignments
Participation
15%
20%
10%
30%
15%
10%
ASSIGNMENTS DESCRIPTIONS
1. Exposure and Depth of Field
This assignment is a technical exercise, yet it will involve re-enacting historical photographic works,
thus allowing to better understand the history of the medium. Broken into three sections these are
exercises in exposure and depth of field.
A) Pin-Hole camera
Build a pin-up camera, and using photographic paper as negative film, take some
pictures of an outdoor scenery involving nature. You will need to take many shots using
a wide brackets of time, since we can't precisely determine time exposure and aperture.
B) Exposure
Choose an interior setting, with a model to sit for your photograph. With your camera on
a tripod, first, shoot the subject as recommended by your light meter. By changing your
shutter speed photograph your model +2 stops and -2 stops with the aperture of 8,
resulting in 5 images per subject. Record your setting for each exposure and print the
best series of images.
C) Depth of Field
Choose an architectural subject. As with the last project, this is a process of changing the
aperture to determine the depth of focus. Starting with the widest aperture 5.6, light
meter to determine your shutter speed. Shoot the image and repeat this with the other
apertures (8,11,16, 27) for each subject Record the exposures for each frame and print
the best series.
Due:
2 – 8x10 prints - part A
5 – 8x 10 prints - Part B
5 – 8x10 prints - Part C
Contact Sheets
Exposure Data Sheets
2. Printing Methods: Space & Site Intervention
This is a technical assignment that also begins to address how a series of images comes together
through a theme or aesthetic. For this assignment the photographic print is the main focus. This project
is about paying attention to detail and spending time on perfecting you skills in the darkroom. Using
the theme of 'space and site intervention', create a series of prints that explores your interpretation of
that theme. Consistency of idea and aesthetic are of great importance to your success with this project.
Due:
6 – 8x10 prints
Contact Sheers
3. Research- Presentation
This presentation is the first step in the development of the final project. It is a chance to unpack ideas,
textual and visual resources and artists and photographers that may influence your work. It also
provides a context for which the class can engage with your subject. The presentation will consist of a
10 minutes powerpoint presentation, discussion and a 2-3 page written report which will also be handed
in the day of your presentation to the instructor. The written report should include 10-15 images that
you are interested in as well as 3 or more textual references.
Due:
10 minute presentation
2-3 page written report, including textual and visual references
All references must be cited using MLA style formatting
4. Final Project: Documentary Photography & Art
The final project is an investigation into the many concepts brought up in lectures about photographic
seeing, the ability of photography to represent truth, the photograph as document and object. Produce a
project that explores any of these concepts through a subject matter that interest you - whether it is a
person, place or object(s). You can choose a style of documentary photography that you are interested
in or a subject matter that interests you as your start point. You will be required to produce a cohesive
body of work that contains a thread of narrative or movement of idea through all the images.
Due:
Minimum of 8 prints - you can print larger than 8xl 0 if you want to
Minimum size is 8x10
Contact sheets
SCHEDULE
September 8
Introduction, course overview, expectations and requirements. Tour of facilities
and safely protocols.
September 13
Basic camera operations
Film loading, exposure, light metering, lenses, troubleshooting
Bring your camera to class if you have any questions
September 15
Lecture & Discussion: A Brief History of Photography
READING: Benjamin, Walter. "A Short History of Photography"
Introduction to Assignment # 1
For next Class: An exposed practice roll of film
September 20
Developing Workshop
For Next Class: printing materials required
September 22
Printing Workshop & contact printing
Dodging, burning, filters
September 27
Lecture & Discussion: Seeing
READINGS: Szarkowski,]ohn. "Introduction to The Photographer's Eye"
Lippard, Lucy R. "Doubletake: The Diary of a Relationship With and Image"
September 29
Assignment # 1 Due
Introduction to Assignment #2
October 4
Lecture & Discussion: Truth, Evidence and the Trace
READINGS: Tagg, John. "Evidence, Truth and Afterthoughts (on Documentary
Photography)"
Eco, Umberto. "A Photograph"
October 6
Work Period
October 11
Lighting Workshop - Still Life and Portraiture
October 13
Work Period in Studio
October 18
October 20
Assignment #2 Critique
Assignment #2 Critique
October 25
Lecture and Discussion: Documentary & Documents
READINGS: McGrath, Roberta. "Re-Reading Edward Weston: Feminism,
Photography and Psychoanalysis" 327-337
Bailey, David A. and Stuart Hall. "The Vertigo of Displacement" 380-386.
October 27
Work Period
Next Week: bring in interesting objects, a spare print and unexposed
photo paper
November 1
Print Finishing and Alternative Printing Methods Workshop
Spot Toning, Colour Toning, Solarizing, Photogram, and Pinhole
For Next Class: 3 prints made using alternative processed
November 3
Work Period
3 Prints Due - made from alternative processes at end of class
November 8
November 10
Research Presentations - Assignment #3
Research Presentations – Assignment #3
November 15
Lecture and Discussion: Context, Narrative, Meaning
Crimp, Douglas. "The Museums Old, The Library's New Subject" 422-427
Sekula, Allan. "Reading and Archive: Photography Belween Labom and Capital"
November 17
Mounting and Exhibition of Prints Workshop
Dry mounting, matting, hanging, etc
November 22
Individual Consultation, if needed
November 24
November 29
December 1
December 6
Work Period
Work Period
Assignment #4 Critique
Assignment #4 Critique