FINE ART PHOTOGRAPHY COMM.

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Professor: Leena Jayaswal
Office Hours Wed 9:30am-11:30am, or by appointment
Office phone 202-885-2662 or Cell 202-341-6911
Email: leenajayaswal@gmail.com
Office: MGC 331C
Teaching Assistant: Jacob Montes

I WILL BE USING BLACKBOARD FOR ALL COMMUNICATION IN THIS

CLASS. IT IS UP TO YOU TO MAKE SURE YOU ARE ABLE TO ACCESS
BLACKBOARD

Text: Required:
Basic Critical Theory for Photographers by Ashley la Grange ISBN: 0240516524

Objective:
This course is a secondary course to the Introduction to Photography. By the end
of the semester you will be able to print and process alternative methods of
photography. You will learn how to control exposure, use various types of films,
papers, and different chemistry to achieve communicating a message using
photography. You will have a better understanding of the history of Fine Art
Photography as well as the more recent artists in this field. We will also see Fine
Art Photography’s connection to the art world.

Course Structure:
This course meets once a week for four hours. During this time, there will be time
for lab work, but not all of your work will be finished during this time. Classes will
begin with a lecture, then open lab. Some classes will then also end with lectures
as well. There will be an open lab schedule posted for extra lab time. You will not
be allowed to attend the lab during other photography classes. All other
assignments such as shooting, and readings will be done outside of class.

Lab:
The lab time will be divided into class demonstrations, review of contact sheets,
individual conferences, and general help. The majority of lab time is darkroom
work. Both the Instructor and teaching assistant will be able to help at this time.
Lab is mandatory. I will only accept a few prints that have been done outside of
class without my or the ta's help for the first couple of assignments. Plan on
attending the class for the full four hours. I will know who has left and borderline
grades may be helped with lab participation.

Open Lab Time:

AU offers more open lab time than most other schools. The students will be
issued a lab pass to check out equipment. The lab is run on a first come first
served basis. During this class, only the students of this class will be able to use
the lab. Weekend labs are opened to rentals as well as photography students.

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LIGHTS WILL BE TURNED ON 30 MINUTES BEFORE THE LAB CLOSES. This
is time for your final washes and drying, as well as general clean up. Be
considerate to others in the lab, as well as others work. The lab assistants may
not be photo students, so be understanding. Any failure to comply with the lab
assistants, or any problems with lab assistants should be reported to me directly.

COURSE REQUIREMENTS:

ASSIGNMENTS:
1. Critiques: Prepared work is due at the beginning of class on the day of the
scheduled critique. There will be no exceptions. Whether or not work is
completed, attendance is mandatory for the whole time during critiques. Part of
your grade will reflect on participation at these critiques. Contact sheets are due
during this time. The first critique will be 20% and the final critique will be 30% of
your final grade.

2. Readings: Students are responsible for finishing the readings assigned on

the due date. Exam questions will be taken from these readings. If you have any
questions, bring them to the next class.

3. Exams: Exams will be given out two times during the semester. Each exam is
worth 10% of your final grade. There will be no make-ups for missed exams.
They will cover lectures, readings, and the lab.

4. DC Fotoweek Guidelines will be given later. This will be 10% of your grade.
We will be working with local photo programs for an exhibition at University of
District of Columbia during Fotoweek DC photos will be due on OCT 23th. 4
photos due. Graduate Students will have to also write a gallery review
about a photography show or event during this time.

5. Zone System: This is an exercise in exposure using 3 rolls of film. We will go

into this assignment during the lecture of the first class. This project will be
developed as a group the second class. The prints will be due on SEPT 25th.
This is 5% of final grade.

6. Attendance: Attendance is taken at the beginning of the class and

periodically at lab time. It will be the student's responsibility to make up any work
that is missed as well as lectures. I will not repeat lectures. Three unexcused
absences will result in a failing grade in the course. Three unexcused tardies will
result in one unexcused absence. It is very important to come to class and to
come on time. (5% of final grade)

7. General Assignments: I will show you multiple processes in class as part of

the lecture. You will be expected to try at least one of the processes and turn in
an example the following week. These images will not be images you turn in for
critique. We will have time in class for you to experiment with the process, so in
theory you should be able to do this during our class. Shoot a minimum of two
rolls of film a week and show me the contact sheets. I will collect all contact
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sheets at each critique. The more you shoot the better of a photographer you will
become. Look at photo books and magazines as well as attend photo shows to
help train your eyes. I will also give particular shooting assignments that are
mandatory. (10% of final grade) Graduate students will have to do multiple
general assignments.

8. Equipment: This course requires a 35mm camera with adjustable aperture

and / or shutter speed controls. (They cannot be fully automatic.) We will use a
normal 50mm lens for this class. During such a short period of time, use of flash
or other variables are not expected.

CLASSROOM POLICIES:
INCLUSIVITY STATEMENT
“American University embraces diversity in its broadest sense, including diversity
of race, ethnicity, gender, sexual orientation, age, religion, nationality, disability,
socioeconomic standing, and intellectual viewpoint.” AU Photography supports a
learning environment where inclusivity is respected and encouraged. Throughout
the course diversity and inclusivity may be a part of the class discussions,
readings, projects or assignments. All students will be treated respectfully
regardless of their identity. Every effort will be made to create an inclusive
environment in the course. If you have any questions, concerns or suggestions
please feel free to speak to the professor or the Center for Diversity and
Inclusion. 202-885-3651

ACADEMIC INTEGRITY CODE

"Standards of academic conduct are set forth in the University's Academic
Integrity Code. By registering, you have acknowledged your awareness of the
Academic Integrity Code, and you are obliged to become familiar with your rights
and responsibilities as defined by the Code. Violations of the Academic Integrity
Code will not be treated lightly, and disciplinary actions will be taken should such
violations occur. Please see me if your have any questions about the academic
violations described in the Code in general or as they relate to particular
requirements for this course."

EMERGENCY PREPAREDNESS
In the event of a declared pandemic (influenza or other communicable disease),
American University will implement a plan for meeting the needs of all members
of the university community. Should the university be required to close for a
period of time, we are committed to ensuring that all aspects of our educational
programs will be delivered to our students. These may include altering and
extending the duration of the traditional term schedule to complete essential
instruction in the traditional format and/or use of distance instructional methods.
Specific strategies will vary from class to class, depending on the format of the
course and the timing of the emergency. Faculty will communicate class-specific
information to students via AU e-mail and Blackboard, while students must inform
their faculty immediately of any absence due to illness. Students are responsible
for checking their AU e-mail regularly and keeping themselves informed of
emergencies. In the event of a declared pandemic or other emergency, students
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should refer to the AU Web site ( www. prepared. american.edu) and the AU
information line at (202) 885-1100 for general university-wide information, as well
as contact their faculty and/or respective dean’s office for course and school/
college-specific information.

LABS AND SUPPORT:

ACADEMIC SUPPORT CENTER

If you experience difficulty in this course for any reason, please don’t hesitate to
consult with me. In addition to the resources of the department, a wide range of
services is available to support you in your efforts to meet the course
requirements.
Academic Support Center (x3360, MGC 243) offers study skills workshops,
individual instruction, tutor referrals, and services for students with learning
disabilities. Writing support is available in the ASC Writing Lab or in the Writing
Center, Battelle 228.
Counseling Center (x3500, MGC 214) offers counseling and consultations
regarding personal concerns, self-help information, and connections to off-
campus mental health resources.
Disability Support Services (x3315, MGC 206) offers technical and practical
support and assistance with accommodations for students with physical or
psychological disabilities. If you have a disability and might require
accommodations in this course, please notify me with a letter from DSS or ASC
early in the semester so that we can make arrangements to address your needs.

DIGITAL LABS
Anderson Computing Complex - Anderson Hall, north lower level (The largest
computing facility on campus, Anderson operates on a 24-hour schedule during
fall and spring semesters and is open until 10 p.m. on most days during summer
sessions.)
New Media Center –Open to the entire AU community, the New Media Center
houses 22 Macintosh Computers as well as a high quality image scanner. The
NMC also provides digital editing stations with Mini DV and VHS input and output
capabilities. The Center maintains a high-resolution color laser printer as well as
a black and white laser printer. Available applications include several graphic
design, multimedia and web development programs. The NMC has
documentation and tutorials available for most software packages. Software titles
include: Dreamweaver, Flash, Fireworks, Photoshop, Illustrator, InDesign,
Acrobat, AfterEffects, Final Cut Pro, DVD Studio Pro, QuickTime Pro, iMovie,
iDVD, Maya, and Peak DV.
Media Services Lower Level Bender Library
SOC Phillips and Advanced Labs – McKinley 301 Reservations made in the
Sub Hub.

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 SCHEDULE OF CLASSES:

August 28 - Introduction to the course, review of Basic Photography, Zone

System shooting assignment

September 4 - Exposure, Zone System, Hand Tinting, Various film and paper
types. Developing of Zone System assignment.

September 11 - Transparency /Infra Red film/ Lumen Print Contact Sheets due
of Zone System, PHOTOREALISM , JOHN BERGER, WAYS OF SEEING
PRESENTATIONS,

September 18 - Lighting Demonstration bring cameras and slide film along

with props to class, Transparency/Infra Red due, SURREALISM GROUP, JOHN
SZARKOWSKI, THE PHOTOGRAPHER’S EYE AND STEPHEN SHORE, THE NATURE OF
PHOTOGRAPHY PRESENTATIONS

September 25 - Toners/Solarization/Paper Negative/Rayograms Slides/Contact

Sheets from Lighting Demo due, Zone System Prints Due , BAUHAUS GROUP,
SUSAN SONTAG, ON PHOTOGRAPHY PRESENTATIONS

October 2 - Liquid Light, Window Matt demonstration, Toner/Solarization/Paper

Negative Due, MARTHA ROSLER, IN, AROUND AND AFTERTHOUGHTS PRESENTATION

October 9 - CRITIQUE #1 All work due at the beginning of class

October 16 - EXAM #1, Transfers and Emulsion Lifts bring processed slides to
class, INSTALLATION ART GROUP, DIGITAL IMAGING GROUP, ROLAND BARTHS,
CAMERA LUCIDIA PRESENTATION, Liquid Light due

October 23 - Medium Format Cameras, Cyanotypes, DC PHOTO WEEK DUE

CLIVE SCOTT, THE SPOKEN IMAGE: PHOTOGRAPHY AND LANGUAGE PRESENTATION,
Fuji Transfers due

October 30 - Color Photography, History and Demonstration, bring one

unprocessed roll of slide film, already exposed, to class, RAGHUBIR SINGH,
RIVER OF COLOUR PRESENTATION,

November 6 - Processed slides from last class due POP ART GROUP, POST
MODERN GROUP, APPROPRIATION GROUP, ANDY GRUNDBERG, THE CRISIS OF THE
REAL PRESENTATION Open Lab

November 13- EXAM #2, Open Lab

November 20 - NO CLASS!! THANKSGIVING BREAK!

November 27- Guest lecture or Open Lab Graduate Students Gallery

Review Due
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December 4 - FINAL CRITIQUE All work due at beginning of class
PORTFOLIO ASSIGMENTS:

CRITIQUE #1
20% of final grade
A concise series of 5 photographs theme and concept driven. You can use any
of the techniques we have discussed but this series must have one central
theme.
2 alternative technique photographs. They cannot be the same process or be any
of the general assignments you have already turned in.

CRITIQUE #2
30% of final grade
A minimum of 8-12 photographs theme and concept driven. You will turn in an
artist’s statement with this. I also require a digital form of the work, either a link to
your website, a DVD, or thumb drive.

REQUIRED SUPPLIES AND EQUIPMENT:

3 Rolls of Tri X 400 24 exposure
1 Daylight Slide film
1 Tungsten Slide film or 1 Color negative film
Can opener and scissors if you are shooting film
Spot tone brush if you are shooting black and white film
Canned air/ anti-static cloth if you are shooting film
1 package of negative sleeves if you are shooting film
Matt board (at least 11 x 14 size) Depending on your final presentations
White gloves and apron are suggested.
Various papers (both darkroom and digital) and film

LAB RULES:
1. Lab attendance is required
2. No smoking, drinking or eating in any photo work areas, including the light
table area.
3. Lab passes are required to check out any enlargers and film processing
equipment.
4. Return all equipment in the manner it was given to you, rinse and dry all
processing equipment.
5. Clean up any chemical spill and let the lab assistant or manager know if it is a
big spill.
6. Do not keep cameras, or your personal belongings lying around, they will get
stolen.
7. Always keep your paper box closed when working in the darkroom.
8. Critiques: All work is due on time. During these times, all other photo classes
will also be having critiques, so plan your lab time accordingly.
9. AU check out equipment, such as cameras, lens, flashes, are not insured.
Students must replace lost or broken equipment.

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10. NO GUESTS, only the class is allowed to work during their designated lab
time. The space is crowded enough, and also for security reasons we ask you
not to bring any guests to the work area.

F-STOPS (Aperture)

F 22 16 11 8 5.6 4 2.8/2.4 1.4/1.8

LESS LIGHT MORE LIGHT

<----------------------------------------------------------------->
MORE DEPTH OF FIELD LESS DEPTH OF FIELD

SHUTTER SPEEDS

BULB 1 SEC 1/2 1/4 1/8 1/15 1/30 1/60 1/125 1/250 1/500 1/1000
TIME
LONG EXPOSURE SHORT EXPOSURE
<---------------------------------------------------------------->
MORE LIGHT LESS LIGHT

LIGHT READINGS

MORE | F/ 11 1/60 | LESS

LIGHT | | LIGHT
| F/8 1/125 |
| |
| F/5.6 1/250 |
| |
| F/4 1/500 |
| |
| F/2.8/2.4 1/1000|
v v

BRACKETING
|--------------->1/60
F8 ---------------1/125
|--------------->1/250

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 FILM PROCESSING PROCEDURE

CHEMICAL TIME AT 68 DEGREES AGITATION

1. Water pre soak 1 Minute 1st 30 sec.

knock air bubbles
2. Developer D-76 1:1 1st 30 seconds
-film type 11.5 minutes (knock air bubbles)
-developer type then 5 seconds every 30
-developer dilution seconds
-temperature
3. Stop Bath/ Running Water 30 seconds None
4. Fixer 7 minutes Same as Developer
Always check the fixer before you use it with the hypo check and always save
after you finish.

5. Water Rinse 30 seconds None

6. Perma Wash 1 minute Constant and gentle

7. Final Wash 5-10 minutes None, constant running

water

8. Photo Flo 30 seconds None

9. Dry 20 minutes in heat dryer

DO NOT TOUCH
30-40 min. in hanging dry.
while film is drying
it will scratch
KEEP DARKROOM CLEAN. MOP UP ANY SPILLED CHEMICALS.
CLEANLINESS IS ESSENTIAL TO YOUR HEALTH AND THAT OF YOUR
NEGATIVES.

1. Each reel of loaded film (in a steel canister) holds a total of 8 ounces or 250
mls. Always fill the canister to its full capacity. Be sure to dilute the developer as
indicated. Maintain temperature at 68 degrees Fahrenheit.
2. Water rinse and the rest of chemicals should be as close to 68 degrees
Fahrenheit as possible.
3. After agitation, knock bottom of tank gently to dislodge air bubbles.
4. Agitate consistently: inconsistency, under and over-agitation result in uneven
development, streaks and or denser edges on film.
5. FIXER IS REUSED. Check fixer with a drop of Hypo Check: it will turn cloudy
when it is exhausted. Exhausted fixer is saved. Good fixer is returned to brown
jug in sink.
6. Rinse and dry tanks and reels before returning. Rinse and replace beakers,
funnels and thermometers.
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NEGATIVE EVALUATION (development not considered here)

1. Normally exposed negative

a. Good separation of tones
b. Normal grain
c. Good shadow detail
2. Underexposed negative
a. Appears "thin" or clear
b. Loss of detail in shadows
c. Often low in contrast, or "flat"
3. Overexposed negative
a. Appears very dark, "dense"
b. Increased grain
c. Blocked up highlights (black, no detail)
d. Loss of sharpness
e. Often "bleeds" into clear spaces between frames

PRINT MAKING PROCEDURE FOR RESIN COATED (RC) PAPER

CHEMICAL TIME AGITATION FIBER TIMES

Developer 90 seconds constant, gentle 2-3 minutes

Dektol 1:2

Stop Bath 15 seconds constant, gentle 30 seconds

(turns purple when
exhausted)

Rapid Fixer 2 minutes constant, gentle 5 minutes

(Hypo-check turns
cloudy when the fix
is exhausted.)

Perma Wash not necessary constant, gentle 2 minutes

(Also called HCA with RC paper
or Orbit Bath)

Wash 5 minutes turn on rotation, 10-15 minutes

(Run separate washes use fresh water
for RC and Fiber Prints)

Dry
Do not put RC prints in Fiber Dryer, or Fiber Prints in RC dryer.
Fiber prints need a 10-minute wash time. Prints can also be dried in a blotter
book or hung dry on the racks near the dryer.
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 METRO DC AREA CAMERA STORES:

EMBASSY CAMERA
1735 Connecticut Avenue, NW, Washington DC 20009
Phone: (202) 483-0090

FULLER & D= ALBERT:

3170 Campbell Drive, Route 50, Fairfax, Virginia.
Phone: (703) 591-8000

VIENNA camera:
121 Maple Ave, Vienna, VA.
Phone: (703) 983-7575

RITZ camera: http://www.ritzcamera.com

CAMERA REPAIR & SERVICE:

STRAUSS Photo Technical Service
1240 Mt. Olivet Rd, N.E., Washington D.C. 20002
Phone: (202) 529-3200 Fax: (202) 526-6465

AV Tecs
619 Hungerford Dr, Rockville, MD
Phone: (301) 279-2500

PRO Photo
1919 Pennsylvania Ave, N.W., Washington D.C.

NEW YORK CITY PHOTO STORES:

ADORAMA http://www.adorama.com
42 West 18th St. N.Y., NY 10001
Phone: 1-212-741-0063

B&H http://www.bhphotovideo.com
429 9th Ave, (between 33rd and 34th St), N.Y., NY 10001
Phone: 1-800-606-6969
1-212-444-6615

LENS and REPRO http://www.lensrepro.com

33 West 17th St, (between 5th and 6th Ave), N.Y., NY 10011
Phone: 1-212-675-1900
Fax : 1-212-989-5018

PROFESSIONAL COLOR AND B&W LAB:

DODGE/CHROME:
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 4885 Mac Arthur Blvd. Washington, DC 20007
Phone: (202) 333-3270 Fax: (202) 333-8705

DODGE/CHROME:
11941-L Bourne field Way, Silver Spring, Maryland, 20904
Phone: (240) 247-1800 Fax: (240) 247-1899

GRADING POLICY:
(as taken from Prof. Ann Zelle)

The grade of A is awarded for excellence, the best work in the class. The A
student turns in all work on time with clear and consistent quality, creativity, and
original thinking. Tests and assignments average at least A-/B+

The grade of B is given to students who have turned in all work on time; when
the work shows creative thinking, extra effort, and care in presentation; and when
there is an average of B on tests and assignments.

The grade of C is given when all of the class work has been turned in, there is
an average of C grades on the exams and exercises, and overall evidence that
the students has mastered the basic material and skills of the course. This is the
average grade in the class.

The D or F grade is given for work that is below standard, incomplete, or

consistently late.

The grade of C or higher must be earned for SOC major credit.

MY NUMERICAL AVERAGES

A+ = 97 B+ = 87 C+ = 77 D+ = 67
A = 95 B = 85 C = 75 D = 65
A- = 93 B- = 83 C- = 73 D-/F = 63 &below

By enrolling in this course, you grant the University permission to have

your work, which you created in conjunction with this course, copied and
distributed (in print, electronic, and/or any digital medium) and to
incorporate your work, in whole or in part, into derivative works for
educational, research, archival, promotional, and other purposes
consistent with the mission of American University.

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 GROUP PRESENTATIONS:

September 11 - PHOTO REALISM-

JOHN BERGER, WAYS OF SEEING (readings)

September 18 - SURREALISM-
JOHN SZARKOWSKI, THE PHOTOGRAPHER’S EYE AND STEPHEN SHORE, THE NATURE
OF PHOTOGRAPHY (readings)

September 25- BAUHAUS-

SUSAN SONTAG, ON PHOTOGRAPHY (readings)

October 2 - MARTHA ROSLER, IN, AROUND AND AFTERTHOUGHTS (readings)

October 16 - INSTALLATION ART-

DIGITAL IMAGING

ROLAND BARTHS, CAMERA LUCIDIA (readings)

October 23 -
CLIVE SCOTT, THE SPOKEN IMAGE: PHOTOGRAPHY AND LANGUAGE (readings)

October 30 -
RAGHUBIR SINGH, RIVER OF COLOUR (readings)

November 6- POST MODERN GROUP-

POP ART GROUP-

APPROPRIATION GROUP-

ANDY GRUNDBERG, THE CRISIS OF THE REAL PRESENTATION

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