Color from B&W: info for your amusement and consideration

The Empire that was Russia. Great collection of early color work. Here is a nice Boston.com article about that Russian photographer.

A very long thread in the Large Format Photography forum with some great information on the process. You may have to be a member to see the photos. You an easily join for free.

A French blog about the topic featuring lots of examples.

Early Technicolor processes worked in a similar way only using 2 color filters.

A PDF manual for an old camera that captures color this way.

A very nerdy write up on color filter arrays for digital cameras. It explains how color is made from a monochromatic sensor.

Another French site on the process.

Part of a book describing early color photographic processes. More on early color processes.

Millennials: A Portrait of Generation Next

January 9 - February 5, reception Friday, January 13, 6-8pm. The PR person already has the postcard made up and sent to the printer. The gallery will cover the reception cost.
Once I get the images via email, I will combine them into one zipped folder and send them to whoever wants to put together a website or FB page.

Millennials: A Portrait of Generation Next

These works endeavor to identify and explore the characteristics of Generation Y: people ranging from age 18 to 29. These Millennial artists used photography to explore and illustrate facets of personal and generational identity including the sexuality, technology, morality, and mentality of the Millennial Generation.
Collectively, these images construct a body of humanity, visualizing more than the face of one, but the many faces of an entire generation.

Things to turn in by Friday December 16th at 2:30

• Diptychs
• 2 Landscape and Reclamation Prints
  
• close up shots - even just the neg is fine
  
• 2 images for the Millenials show. Email me scans for use with publicity.
  
• At least 4 other prints (there were multiple weeks were one print was due such as a print demonstrating shift, etc...)
  
• 1 Portrait image (the very first thing you did)
  
• 2 framed Millenials prints due by Friday, December 16th at 2:30pm.

EXTRA CREDIT OPPURTUNITY - email me your cleaned up color image (film to be put in my office mail box by Friday @7). This is no longer a mandatory assignment.

NOTE: a general postcard for our show and other 'projects' is already at the print shop. They just needed to get it done.

Times I will be around during Final Exams Week

Wednesday, December 14th from 8:00-10:00am.

Thursday, December 15th from 12:30-2:30.

Friday, December 16th from 12:30-2:30.

As long as you have turned in your cameras and any other equipment that you have checked out (or received permission to hang on to), then you don't have to attend your final exam session on Wednesday morning. If you forget to turn in your camera or any other equipment that you have checked out, then you must return it during one of these time periods. Your prints for the Millenials exhibit, as well as any other work that you want a grade for, must be turned in by Friday at 2:30. I will be in my office during these times.

Interesting Triptychs

Interesting Triptychs

Summary of the remainder of the semester

Today's class was cancelled as there was no power in the building.

Next class is a work session. Status check on where the exhibition committees are at. Discuss artist statement in particular. Your color film is due. I will take it to Troy, MI for processing. Hope to have it back by Tuesday's class.

Tuesday, Dec. 6 we will be going over to the museum to see some prints by some incredible photographers including Duan Michaels, Man Ray, Ansel Adams, etc. Please arrive by 8:45. That will conclude by 10:30. We will do a demo on scanning LF film if I haven't done so on Tuesday.

Thursday, Dec. 8th will be our final critique. All selections for the Millenials exhibit must be made. Your framed prints for the Tis' the Secor exhibit are due.

Wednesday, December 14th. 8:00-10:00. This is our scheduled final exam day. On this day, I need your two framed prints for the Millenials exhibit. In addition, I need a digital copy of your color image and the two images for the exhibit. They should be sized to 2000 pixels at the longest dimension.

Shutters and shutter/lens repair

SK Grimes - a big name is large format lens repair and customization. I have had two lenses repaired there. I am very happy with the service.

Flutot's - another lens/shutter repair place with a good reputation. I haven't used them personally.

Information on shutters in general.

FLASH! Savior of the Universe! King of the Impossible!

Flash, Flash, I love you!

The Strobist website/blog is a great place to start learning about using flash. There is a ton of information available from there. The video immediately below if from there.

Large format lenses use leaf shutters which allow you to use flash at all shutter speeds. This allows you to use fill flash even when it is very bright outside and you need/want to use a fast shutter speed.


Nikon AS-15 PC to hotshoe adaptor

Various Nikon off camera TTL cables

Richard Moss

Richard Moss
This guy's work is brilliant. Look at his work. Read the interview in the Press section.

Florian Maier-Aichen

Florian Maier-Aichen





CLICK HERE to watch a full ART:21 segment on him

Random Large Format videos

Sarah Pollman

Millenialls project update

New print due Tuesday morning.

Also expect you to have done the readings and research on your generation.

Due by the end of the semester for the exhibit:
2 prints each. Must be on 11x14 paper. White frames and white mat. (I went to the DIA this weekend to see an exhibit titled Detroit Revealed. Very nice show. All the images were framed using white mat and white wood frames.) Can tone if so desired.

Committees:

Artist statement: Emily and Aria
Publicity: Rachelle
Website: Joe
Postcard: Alyssa, Caitlynn, and ?





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Millennials

READ This Pew Research article about Millennials. Also read the full report found here. Take the Millennials Quiz.
Watch this video as well.
Perform at least an additional 20 minutes of research on your generation. It will really help you.

Friendly reminder

You have one 'Our Generation' print due first thing Tuesday morning.

Tis' the Secor

I have reserved nearly 100 linear feet of wall space for Photography students at Tis' the Secor. This is an annual event held a the Secor building located at 425 Jefferson Ave in downtown Toledo. They are putting up brand new walls for this show. They have recessed lighting as evidenced by the lower of the two photos below. I am only accepting framed work for this. It is going to be a nice show.

Our space will be in a very large room which will also have a stage. Our walls are either side of the stage. Barb Miner's students will have the part of the room opposite the stage. Tom Lingeman's students will have work on the 6th floor. All the artists in the building that have studios there will also have their studios open.

The Reclaiming Toledo exhibit will be in a different gallery in the same building. Because I don't want to step on any toes, you can't exhibit anything that you submitted for that show or anything on the topic of reclamation. I am firm on this.

I would like you all to submit one piece for this show. This is an exhibition opportunity being handed to you. Take it.

The reception date is set for December 3rd.

At least one exhibit....CVA Gallery Spring 2012

Hello all,

You guys will be having an exhibit at the beginning of Spring semester at the CVA Gallery. Congrats! I haven't heard back from the ACGT about the Parkwood Gallery yet, so I don't know if it will be the Our Water, Our Waste work of the Our Generation work yet. Either way, you need to bring your A game as all your professors and peers will be looking at this work for weeks.
Anyone have a better name than 'Our Generation'?
The exhibition dates are January 9 - February 12. Tentative Reception dates are January 13 or January 20th.
There is much to be done.
You need to determine how many prints are going to be in show. What size. How they are to be framed.
You need to design postcards. You need to write an artist statement. You need to write press releases. You need to create a FB page. You might want to put up a website.

Due Tuesday

We are going to have a critique promptly at 9am on Tuesday. This critique will be over your multi print image (your diptych/triptych/quadtych or what have you). For the sake of clarity, let me state that each negative should have its own print. That is to say that you aren't printing multiple negatives to the same piece of paper.
You should have two sets of these images. One that is toned and one that isn't.
There are three toners pre-mixed for your convenience. One is Berg branded Blue, one is Berg branded Sepia, and one is Kodak branded Selenium. I have set the instructions for each next to the respective bottle. Thursday afternoon, I got a Berg branded Copper in but didn't have time to mix it up. If you want to do so, simply follow the instructions. NOTE: Toners are more caustic than the chemicals that you use for processing papers and films. Take the necessary measures to insure that you don't touch them. If you do, wash up right away.
I will not be accepting any late work for this assignment as I have already given you an extension on it. If you don't have the work, then you will receive a Zero.
You should also have shot and processed a negative for the 'Our Generation' theme. We still need a better name for that.
Please bring in your Landscape and Reclamation prints as well so that I can grade them.
Lastly, be sure to put away money for framing as it is likely that you will have to mat and frame at least one print.

Quadtych

Chris McCaw makes quadtychs and such using a large format camera and paper negatives.

Extra credit oppurtunity

Great opportunity to design Toledo's new bicycle racks. Deadline of November 1st.

http://www.acgt.org/images/documents/call_for_artists/adbr_call_for_artists.pdf

www.acgt.org

LF photographers

A collection of large format photographers:

Edward Weston
Random Sally Mann images
Random Ansel Adams images
ART:21 video with the Sally Mann segment

Clyde Butcher








Vincent Jalet



Johnathan Andrews- Okay, I really don't know if he shoots LF, but I imagine that he does.

Article about Clyde Butcher who is known for his large format swamp images
Aperture article about Gregory Crewdson with information on his process
David Burnett's 4x5 reportage. To see the gallery we looked at go to My Formats > Big Camera
Washington Post article about David Burnett




Gregory Crewdson

Excellent Aperture web feature on Gregory Crewdson. His work is amazing. Sometimes, I think my process of shooting my Three Minute Series is complex, but his process makes me feel inadequate.

Great video about Gregory Crewdson and his beginnings.

Smithsonian article about Crewdson.





Great interview with Gregory Crewdson talking about his work and Normal Rockwell's work.

New York Magazine Article about Gregory Crewdson.

Jeff Wall

NY Times article on Jeff Wall

article about Jeff Wall selling a print to $1,000,000

Excellent resource on Jeff Wall and his work.

MOMA exhibit of Jeff Wall's photography





Long panel discussion featuring Jeff Wall. It starts out in French, but it is in English after the introduction.

CD label

Slideshow of the Parkwood Gallery Proposal images

Here is a slideshow of the 15 images submitted as part of the Parkwood Proposal.


Created with flickr slideshow.

Reclaiming Toledo, etc.

As we discussed in class last week, your next assignment is to prepare three images for submission to the Reclaiming Toledo gallery show curated by the Gallery Practices class.

Here is a link to the Facebook page with the show details.

You need to submit three images via email by Sunday, October 16th. You have to submit a brief artist statement with the images as well.

Re-size your image without Photoshop

• Here is some info on resizing your images for your submissions without the use of Photoshop. You can use Pixlr which is a free online image editor similar to Photoshop. www.pixlr.com/editor
  Here is a link to a video tutorial on how to resize an image using Pixlr.http://www.youtube.com/watch?v=ok0g2FLq9iY
  In the case of the CVA Gallery presentation, you would set the pixel dimension to 1000 pixels for the longer dimension. Save the files as JPEGs. Use the highest quality JPEG settings.

  NOTE: Pixlr doesn't work with RAW files, so you have to begin with TIFFs or JPEGs.
  -Seder

• Photo editor online / free image editing direct in your browser - Pixlr.com

  pixlr.com

  Pixlr Editor is a free online photo editor with a prefessional touch. Fix, adjust and filter your images. Manage your images in your browser, no registration required jump right in!

Scanning a print larger than your scanner’s bed

Scan the first section, fitting as much of the image onto the scan bed as you can. Make sure that this section is abutted to one of the edges of the scanner’s bed as best as possible. Then scan the second section also insuring that the edge is lined up nicely. Make certain that you do not change any settings from one scan to the next. Now, you have two partial images.
You can use the Photomerge function, designed to assemble multi image panorama, in Photoshop CS, CS2, CS3, CS4, CS5 and Photoshop Elements 3, 4, &5 to assemble the individual pieces back into one image. Sometimes it works great, sometimes not. You might want to try this method before putting them back together yourself as outlined below.

Alternative assembly method:
What you need to do is make the canvas (the area that you have to work with, the area that the image rests on) larger. Let’s assume you have an 11 x14 inch print but your scanner’s bed is only 8.5 x 11. You would position the print on the bed so that you could scan an 11 x 8.5 inch section each time. So each image would by 11 x 8.5 (at whatever pixels per inch you set your scanner to sample at). You need an additional 5.5 inches of working room to accommodate the full 11 x 14 inches of the print once you assemble it. In Photoshop Elements you would go to Image > Resize > Canvas Size. You will see a box that indicates what the width and height currently are. You will want to change the width to 14 inches. You would then want to click on one of the squares in the diagram indicating the position of your image in relation to the soon to be enlarged canvas. If you are adding canvas to the left section of the print, then you would want to click on the left most center square which would indicate that all the additional width would be added to the right hand side which is what we want since we need to add the right section. Now we need to get that other section onto the newly created canvas. Click anywhere on the window of the image to make that the active window. Then from the main menu go to Select > All. You will then see the marching ants walking around the second section. Then go to Edit > Copy. Then click anywhere on the other window to activate it and go to Edit > Paste. The copy of the second section is now visible in the window of the first section. That section was put onto its own layer, so it can be moved around easily. Select the Move tool from the toolbar (located in the top right corner of the toolbar). Move your mouse over the second section and while holding down the left mouse button, drag the image to the right, trying to position it so that it lines up with the first section. This is hard to do, as you can’t see through the top layer to make sure it is lined up well. So, what we will do is lower the opacity (make it semi-transparent). Click on the layers tab so see your layers. Click on Layer 1 to make the layer made up of the second section active. Then click on the Opacity tab above. This will then give you a little slider that you will drag to the left to make the top layer semi-transparent. This allows you to see how all the elements are lining up. Select the move tool and drag the second layer into position. When you get it close, use the arrow keys to move the layer in very fine increments. If the second layer is out of kilter with the first one because it is spun in relation to the first one, then go to Image > Rotate > Free Rotate. This will give you handles around your top layer. If you move the mouse just outside one of its corners, you will get a curved double arrow. Hold the mouse button down when you see this and drag left or right. This rotates your layer. Do this till you have it aligned with the underlying section. When you think you have it, return the opacity to its full intensity. How does it look? You are likely to notice a line running vertically where the top layer overlaps the background layer. Select the Eraser tool, choose a large soft edged brush and then go over this line. Like magic, the line disappears leaving you a seamless 11x14 image!

*****SUPER IMPORTANT STUFF*******

This Thursday morning, Deborah Bright, the Dean of the Rhode Island School of Art and Design (RISD) whose work is on display in the CVA gallery, will be joing our class for a group critique.

You can check out her website if you want more information on her. Here is her faculy bio at RISD.

To this end, please bring 4-5 of prints to class for her review. These can be from any photography project from any photography class. For that matter, it can be photos that you shot outside of class. If you aren't sure what you want to show, bring your work on Tuesday and we can sort it out then. This is a great oppurtunity to recieve feedback from a very accomplished artist.

On a different note, I have written a draft proposal for Parkwood Gallery. You can read it here. Please read it and we can discuss it as a group on Tuesday.

Dippy, Trippy, etc..

Your next assignment is to create a diptych/triptych/quadtych.

You all saw some of Jeff Brouws diptychs.

Check out this series by Masataka Nakano titled Tokyo Nobody.

You are to create this piece utilizing the shift/rise/fall capabilities of your camera. Next class, I will demonstrate how to insure you don't vignette too much.

Next class, we will discuss this in greater detail. This assignment is an oppurtunity for you to shoot any subject matter that you like.

Need by Tuesday

Digital images of your two prints for inclusion in the Parkwood Proposal. Two images downsampled such that the longest dimension is 2000 pixels. Highest quality JPEG. Please email it to sedernb@hotmail.com. I may only submit one image per person.

Your artist resume that is to be no longer than one page. It should have your address and phone number of it. You can check out Cher's artist resume if you are not familiar with the concept. www.cherilynpaige.com.

Information about the Maumee and relevant water reclamation stuff

Wikipedia article on the Maumee

Where does our water come from?

NViro This company makes fertilizer from reclaimed bio mass. I think they are the people who work with the sewer treatment place on the North side of town.

Toledo Water Treatment Center
article on increase in rates
article about solar array at the center
Collins Park Treatment Center

Somewhat nutty, but interesting article on vertical farming

Ohio EPA

Greenhouse Row in Toledo - a green initiative

Hocus Pocus! Focus!

As a view camera allows you control the plane of focus in ways that a rigid camera cannot, it is more imperative that you have a solid understanding of depth of field and matters pertaining to it such as circle of confusion, subject to camera distance, and effect of focal length.

DOF Master great resource for all things related to DOF

article on Wide Angle Lenses and DOF

Good explanation of Circle of Confusion

How to Focus the View Camera

Super Technical Explanation of Depth of Field

Downloadable books on focusing....

Howard Bond write up on setting up the view camera with instructions on focusing.

Howard Bond's website to show you he knows what is doing. He used to teach at University of Michigan.

Site I used to make a custom DoF chart for your lens.

Making a DoF dial for your camera

Super technical information on lens design.

Filters that we have for your use

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Filter - Hey Man, Nice Shot

NOT A RELEVANT VIDEO- feel free to skip it.



Excellent write up on the use of filters with B&W film.

Tiffen Filter company list of their filters with accompanying examples.

Ilford guide to using filters with black and white

Schneider Optics short write up with a nice example of tonal separation by means of color filtration

Bellows Extension Factor

Collection of various methods to determine bellows extension

A very nice write up with nice bellows extension factor chart.

Online bellows extension calculator

Nice PDF write up explaining view camera movements and bellows extension

Quick Disc

Why you have to adjust for bellows extension.

Jan Stoller series you should really look at....

On Planet Earth

Where we are at and where we are going

Thursday, you printed your Camera Buddy portrait. If you get one good print out of a 2 1/2-3 hour printing session, then you had a good printing session. Large format photography is all about quality over quantity.

For Tuesday, you are to have a contact print and enlargement of your Camera Buddy portrait (or a portrait of someone else). In addition, you are to have one contract print and enlargement from the first shooting assignment. Ideally, this is on the theme of Landscape and Reclamation.

For shooting homework, you are to shoot:
1 photo demonstrating the use of front swing
1 'freebie' photo on the theme of Landscape and Reclamation

We will spend Tuesday in the classroom. We will have a 'light' critique of the prints due. This will be followed by a discussion of what Landscape and Reclamation means to you. Here is an interesting UT article about a local reclamation group. Lastly, I feel it is important that we review metering and exposure determination. Be sure to have read the London book section on Exposure and the Zone System prior to next class.

Thursday will be spent working in the lab.

What's due on Thursday

Things took a little longer than I anticipated today. No one had time to make an enlargement of their portrait, so you can begin Thursday working on that. Then, you can begin to make contact prints and enlargements of your 3 assigned shots. Ideally, you will have that film processed prior to class, but if you still don't feel comfortable without my assistance, then you can process it Thursday morning; just know that film processing is the bottleneck in our set up.
Some of your prints look very nice this morning. I am excited to see what you have for Thursday.

Please take detailed notes for all your shots

Here is a link to an Exposure Log in PDF form. In addition to filling out the fields provided, I suggest you make notes on any camera movements that you applied including where you tried to place the plane of focus.
Given that I have not used all the film holders that you are utilizing, it might be worthwhile to put a piece of masking tape on each side of film holder and assign each side a number. Then, when shooting, record the side that you used for each shot. That way, if it turns out there is a light leak in that holder, we can try to fix it or swap out the film holder.

Homework & Schedule for the week

On Tuesday, we will begin by making a contact print of the portrait of your camera buddy. Then, you will make an enlargement from the same negative. If you are not happy with the negative that you shot during class, then please have another negative ready to print by Tuesday morning. It can be of your camera buddy, or if that isn't practical, it can be of anyone. You will receive a grade based on the quality of the negative and the resulting prints.

Please read Chapter Four: Optical Principles & Chapter Five: Camera Movements before you begin the shooting assignment.

Shooting Assignment - processed negatives due by the beginning of class Thursday.
You are to take the following:
1. Photo demonstrating appropriate use of front tilt.
2. Photo demonstrating appropriate use of real tilt.
3. Photo demonstrating appropriate use of front rise, fall, or shift.

These are creative photo assignments with small technical requirements; not the other way around. Since we need photos of the theme of Landscape and Reclamation in order to submit an exhibition proposal, if you address that theme with this assignment it would be ideal.

We will begin class on Thursday by contacting printing your negatives. The rest of the class will be spent looking at large format landscape photography.

Here is a little write up that takes a problem solving approach to camera movements.

Here is a link to a PDF article with some nice illustrations and notes on camera movements. The illustrations begin on page 8.

Here is a yet one more write up on camera movements. It uses a real nice variety of example photos and illustrations.

Below is a video that demonstrates rise/fall/shift on a 4x5 field camera. It works the same on your monorail cameras.


Below is a video demonstrating the Scheimpflug rule. Basically, it describes how to use tilt/swing to predictably place the plane of focus. I suggest you avoid shooting anything close up like this until we cover compensating for bellows extension.


Happy shooting!

Determining film exposure

Determining film exposure (This information is largely extracted from Black and White Photography: A Basic Manual by Henry Horenstein [an excellent book])

I suggest that you use two or more of these methods and compare the results. They should be very close. If not, you may be doing something wrong.

1. Take a general reading.
For predominately white or light subjects, add more light-by the equivalent of one f-stop or more-than the meter suggests.
For predominately dark subjects, cut back on the light the meter suggests; close down the aperture or make the shutter speed faster.

2. Use a gray card. Photographers sometimes use a gray card to reflect an average amount of light falling onto the subject rather than the light reflected off specific parts of the subject. To use the gray card, place it in front of the subject, and aim it towards the camera position. Take a meter reading off the card only; take care not to cast a shadow onto the card while reading the light. Use the f-stop and shutter speed combination indicated by the meter without adjustment.

3. Expose off skin. Skin can substitute for a gray card. Take a light reading off the palm of a hand, flattened out and positioned directly in from of the subject, toward the camera position. Or take the reading off the subject’s face. Be careful not to cast a shadow onto the hand or face when taking the reading. For ‘average’ Caucasian skin, add the equivalent of one f-stop more exposure. If the meter reads f16 at 1/250, use instead f11 @ 1/250 or f16 @ 1/125. Dark skin may simulate a gray card perfectly, so use the meter reading without adjustment. Extremely dark skin may need as much as one-half to one f-stop less exposure than the meter suggests.

4. Read incident light. Incident-light meters read light falling onto the subject rather thanlight reflecting off the subject. They do not read specific dark, gray, or light areas of a subject. As such they provide an average exposure for the given subject lighting conditions, much like a gray card.

5. Average the shadows and highlights. Since meters read for middle gray, the correct exposure will be somewhere between the meter readings for the dark and light areas of the subject. Meter a dark area, then a light area, and average the two readings. If the reading off the dark area is f4 at 1/60, use f8 at 1/60.
Most of the time this exposure system works well enough. However, the dark and light areas metered should be approximately equal in darkness and lightness. Do not average meter readings from a jet black car and mildly tanned Caucasian skin.

6. Bracket. Bracketing means taking exposures on either side of the recommendations of the meter. It is a safe way to guarantee good exposure. If the meter says f8 @ 1/250. You might also take a photo at f5.6 @ 1/250 and f11@ 1/250. This produces several exposures of the same image. At least one exposure should be ideal.

7. Expose for shadows and compensate. A more exact system for exposing film is to take the meter reading in the dark shadow area of the subject and then make an adjustment to that reading. The area should be the darkest part of the subject where detail is desired in the final print.
Let’s say a dark sweater represents the deepest shadow area where detail is desired. Read off the sweater only. (A spot meter is helpful.) Suppose the meter indicates f2.8 at 1/60. Use instead an exposure of two f-stops (or the equivalent) less, such as f5.6 at 1/60, f 4 at 1/125, or f2.8 at 1/250.
If the darkest areas of the subject are not particularly dark, the adjustment should be for one stop, rather than two.

8. Sunny 16 rule. On a sunny day set aperture to f/16 and shutter speed to the [reciprocal of the] ISO film speed [or ISO setting] for a subject in direct sunlight. So if you are using 400 speed film on a very sunny day, you would set your aperture at f16 and your shutter speed at 1/400.

As with other light readings, shutter speed can be changed as long as the f-number is altered to compensate, e.g. 1/250 second at f/11 gives equivalent exposure to 1/125 second at f/16.

An elaborated form of the Sunny 16 rule is to set shutter speed nearest to the reciprocal of the ISO film speed / setting and f-number according to this table:
Aperture Lighting Conditions Shadow Detail
f/22 Snow/Sand Dark with sharp edges
f/16 Sunny Distinct
f/11 Slight Overcast Soft around edges
f/8 Overcast Barely visible
f/5.6 Heavy Overcast No shadows
f/4 Open Shade/Sunset No shadows
Add One Stop Backlighting n/a

Excellent Article on loading your film holders

Excellent write up with nice photos about how to load your film holders

Kodak HC110 film developer information

We will be developing our film using Kodak HCC110 developer throughout the semester. If it was good enough for Ansel Adams, then it is good enough for me.

Kodak PDF on HC110. If you want to look up development times for a different film or temperature or simply want to know more about the developer, this is what you want to read.

Unofficial guide to HC110

Plus Minus suggested development times

Wikipedia article on developing sheet film

Syllabus

Here is a link to your syllabus. As I modify it, it will be automatically updated.

Landscape and Reclamation

“Landscape and Reclamation," is UT’s Department of Art's 2011–12 theme. We will be working with and responding to that theme this semester. I encourage you to begin thinking about what it might mean to you.

Here is a Toledo.com article with the information and dates of events surrounding the theme.

Welcome to Large Format Photography Class!

This blog will serve as a resource to you throughout the semester. The syllabus, assigments, and numerous other materials will be posted here. Occasionally, I will post course re-caps here.

It is but one of the numerous online resources that you will be utilizing throughout the course.

The required textbook is Using the View Camera: A Creative Guide to Large Format Photography by Steve Simmons.

Link to the book on Amazon.com where it is currently only $8.98. I want you to order the book immediately. I expect you to have read the Introduction and Chapter 1 by next Tuesday.

Prior to next class, I want you to read A beginner’s guide to large format photography.
I also want you to read the chapter titled View Camera in the London, Upton book that you should still have. If you don't have it still, then you need to read one of the two copies on reserve in the CVA library. Lastly, I want you to read a short View Camera article titled Getting Started in Large Format Photography.

By next Tuesday, I want you to have completed the reading in the Simmons book (the Introduction and Chapter 1). In addition, I want you to read the chapter on the zone system and re-read the chapter on Exposure in the London, Upton book.

This semester, I will regularly administer quizzes. Please keep up with the readings.