ARTS 3372.

002
Color Photography
Spring 2007 Friday 1:30 – 4:15

Instructor: Danielle M. Avram

Email: danielle.avram@gmail.com
Office Hours: Friday, 4:15 – 5:15 and Saturday, 12:45 – 1:45 AS 2.112

Prerequisites

All Arts and Performance Students must have had a 2000 level ARTS course prior to
taking this class. This course does not require previous experience in photography.

Course Description

This course will focus on the color photograph in context. How is the meaning of a
photograph or a set of photographs impacted by its surrounding environment? Sound
clips, text, objects, space, etc. all act in conjunction with photographic images to produce
a certain effect and communicate a particular set of ideas. We will examine the historic
and contemporary uses of color photography from an artistic, commercial and amateur
perspective, and explore how the color photograph has affected the way we view the
world. Students will be provided with technical training: use of a 35mm camera, color
film types, printing and mounting techniques and familiarity with the color darkroom.
Students will explore the problems of achieving accurate color balance and basic color
theory.

Required Texts

UTD Technical Handbook CDROM

The Photograph as Contemporary Art, Charlotte Cotton
Assigned Readings (to be handed out/on electronic reserve at library)

Suggested Texts

Photography, Eighth Edition, Barbara London and John Upton

Exploring Color Photography, Robert Hirsch
Camera Lucida, Roland Barthes,
On Photography, Susan Sontag
Regarding the Pain of Others, Susan Sontag (in UTD Library)

Academic Calendar and Assignments

01/12/07: Introduction and syllabus review.

Darkroom tour.
Overview of required materials and cameras.
01/19/07: Lecture: Camera Basics and Photographic Aesthetics, Color Theory
Bring in cameras (and manuals if necessary) for review
Outline Project 1: Color and Composition

01/26/07: Bring in 1 roll of shot and developed film

Demonstration: Using the enlarger and the color processor, making
contact sheets and prints**

02/02/07: Discussion: Readings to be assigned

Darkroom work session

02/09/07: PROJECT 1 CRITIQUE

Outline of Project 2

02/16/07: Discussion: Readings to be assigned.

Slideshow: Using color photography (amateur, commercial, document, slides)

02/23/07: Lecture: Lighting and color film

Darkroom work session

03/02/07: PROJECT 2 CRITIQUE

Outline of Project 3

03/09/07: NO CLASS, SPRING BREAK

03/16/07: Discussion: Readings to be assigned.

Slideshow: Contemporary photographic displays and context

03/23/07: Demonstration: Matting and Mounting Techniques**

03/30/07: PROJECT 3 CRITIQUE

04/06/07: Discussion: Readings to be assigned.

Personal meetings with me to discuss final project ideas
Darkroom work session

04/13/07: Darkroom work session

Opportunity to troubleshoot any last-minute problems with me!

04/20/07: FINAL PROJECT CRITIQUE

 COURSE PROJECTS

Project 1
Color and Composition
Contact sheet and 1-2 prints in sleeves/folder

The goal of this assignment is to actively consider color as an integral part of your overall
composition. How do colors in your image relate to each other? How does color affect
your subject matter? Use color to emphasize depth of field – are the focal points of color
in the foreground or background? Are they blurry or in focus? Carefully consider what
information you choose to include in the photographic frame.

Project 2
Color and Lighting
3-5 prints in sleeves/folder

This assignment will require you to shoot color film under different lighting conditions.
Color film that is temperature balanced for daylight or flash reacts differently under
certain lighting conditions Work with yellow light (tungsten, candles, firelight), green
light (fluorescent), blue light (TV/computer monitors), neon signs, traffic lights, etc. Use
a self-timer and a tripod for long exposures. Try extremely long exposures to see how the
film reacts. Carefully consider how these different colors affect the mood and emotive
qualities of your images, and how this can be used to your advantage.

Project 3
Color and Context
3-5 prints in sleeves/folder

Context is a vital component in contemporary photography. The images we see in the

media are a particularly pertinent example of this. How do photographs react to other
images, objects, sound, space, color, etc. placed next to or near them? This project will
require you to think about how you would like viewers to experience your final prints.
How will you group them together? What order do they need to be seen in? Does an
image encompass more than one photographic frame (like a panoramic) or does it need to
be shown in direct comparison to another image (diptych)?

Final Project
8-10 mounted prints, or Wow me with an original idea
Artist Statement

The final project can encompass any idea or style of shooting that you want. The goal is
for you to create a series of images that center around a single concept. Presentation is
key with this project: consider how your images would be best represented (mounted, in
book format, as part of a larger installation, etc.), in what order you show them, and do
they need any additional information to be fully realized (i.e. text, accompanying objects,
etc.)
Course Materials

**Remember to request a student discount when you buy your supplies. Some vendors
offer a deep discount; others offer no discount to students. Keep in mind that film and
paper are never returnable. Select your paper very carefully; double-check the
specifications of the paper type! (Don't rely on the vendor to select the proper paper for
you.) Shop around if you have the time for good prices**

SHOOTING SUPPLIES

1. 35 mm Camera: Each student should have a camera that has fully manual
capabilities (adjustable aperture, focus, and shutter speed controls) and a working
light meter.
2. Film: Kodacolor Gold 100 or 400 ISO 24 or 36 exposure
12-15 rolls at $4.00 = $48.00 - $60.00 (in 4 roll packs film can be purchased for
$2.00/roll)
3. Journal: You won’t be graded on your journal, but it is extremely helpful to keep
a log of your shots (exposure/film/time of day), your prints (color levels/time) and
your ideas so you can refer to them later or when troubleshooting. If you ask me for
help, I may ask to see your journal so be sure to use it!

DARKROOM SUPPLIES

1. Color Paper: Kodak (see below)

2. Penlight: we will convert to a “pinlight”
3. Canned Air/Brush/Soft Cloth: Kodak Camel Hair Brush 1”
Kostiner or StaticMaster Brush 1”
Soft Round Watercolor Brush (camel hair or soft hair)
4. Binder or Binder Box: to store negatives and contact sheets
5. Negative sleeves: Print File or Vue-All #35-7B, pack of 25
6. Sheet protectors: 8 ½ x 11 (available at office supply stores)
7. Lens tissue and cleaner: good to have this on hand
8. China Marker/Sharpie: useful for marking contact sheets
9. White gloves: to keep negatives and prints clear of fingerprints
10. Lupe: For viewing contact sheets and negatives

PRESENTATION SUPPLIES (for traditional matted photographs)

**These can be purchased later in the semester**

1. Gatorboard/Matboard: see below

2. Photocorners: used to mount photographs
3. Linen Tape: used to secure boards and to mount photographs
ADDITIONAL SUGGESTED SUPPLIES

1. Camera Lens Filter: If you purchase a filter, make sure that it fits your camera lens.
A polarizer (rotating linear polarizer for most manual cameras and a circular polarizer
for most electronic cameras and manual cameras) will help to reduce atmospheric haze
and increase saturation when working outdoors in sun.
2. Lens Shade: The lens shade can help to reduce flare, especially in the summer or in
bright sun.
3. Combination Lock: for securing supplies and locker
4. Acid-free Archival Paper/Polyethylene Bags: to preserve prints
5. Archival Box/Portfolio Case: print storage

FILM INFORMATION

Purchasing film: When purchasing film, try to buy several rolls with the same emulsion
batch--the numerical code on the box. Also, inspect the imprinted date and country of
origin.

You can by a quantity of professional film at a discount (i.e. 20 rolls) from suppliers such
as Competitive Camera. Amateur films like Kodacolor Gold are sold widely often in
discounted packages (at Wolfe/Ritz camera, CVS, Target, Sam's, etc.)

Don't buy outdated or close-dated film. Grey or Brown market films are made in a
foreign country and imported; these films can demonstrate color shifts. Professional
films cost more per roll and are stored under refrigeration. These films are tested for
color and exposure accuracy. Amateur films like Kodacolor Gold "ripen" on the shelves
of the stores. These amateur films are less sensitive to extreme changes in heat.
Nevertheless, avoid exposing all film to excessive heat or humidity. Refrigerate film
that you will not use right away, to prevent further aging--this is a requirement with
professional slide and negative films. Allow film and paper to warm-up prior to breaking
the seal or opening the canister. Develop film promptly for best results. And keep dust
away from your negatives by storing them in a plastic bag or box.

Film Processing: $3.50 per roll = $42.00 ($2.00/roll at minilabs)

Select a lab that is convenient to you. Most labs have a night drop, including the
professional ones. Some professional labs will place your negatives in clear archival
sleeves at no “extra” change if you request: PROCESS ONLY AND PAGE. Some
professional labs add a charge if you want your negatives cut and sleeved.
The sleeves provided by the mini-labs like Eckard's are not appropriate for making
contact sheets. You will need to transfer your negatives to appropriate sleeves.

REQUEST C-41 FILM DEVELOPMENT (for color negatives)

& PROCESS ONLY AND SLEEVE (sometimes left uncut)
PROCESS ONLY AND PAGE (cut and sleeved)
BWC PHOTO IMAGING LAB: Central and Arapaho (northwest corner facing Central,
along northbound access road) offers night drop off.
WP WAREHOUSE PHOTOGRAPHIC: Has in-house C-41 processing lines.
MASTER PHOTO: Midway and Beltline.
MINILABS: Wal-Mart or Drugstores. These will vary in quality depending upon the
staffing and processing volume.

Don't take your special roll of film to a lab that you have not tested yourself.
Irresponsible film processing produces scratches, color shifts, water spots, dust and worst
of all chemical staining. You will not notice color shifts until you start printing and
experience frustration in achieving accurate color balance. Your old family or personal
negatives, if improperly stored, may already have these flaws.You may want to shoot
shorter rolls at the beginning. Shooting for "success" means that you will have to spend a
lot of time "thinking" about what you will shoot. Invest time in framing, focusing and
carefully choosing exposures. Be sensitive to colored light and the contrast inherent in
that light. You will experience softer light before 10:00 AM and after 2:00 pm. And
remember to bracket slightly toward overexposure. Thin negatives produced by
underexposing the film in low light (i.e. at night) can be almost impossible to print.
Likewise, negatives exposed with harsh flash illumination can retain excessive contrast
depending upon the quality and quantity of light emitted by the unit. Lectures will be
presented in class to discuss methods for working in low light situations.

PAPER INFORMATION

Kodak paper is recommended for use at UTD, as Fuji paper tends to get stuck in the
processor.

Use the same type of paper as the semester progresses due to problems with the filter
pack. Work with the same brand, contrast, and surface, (i.e. glossy)

Kodak Endura Supra RA Rapid Access (not EP-2)

8" x 10" Glossy Surface (F) 100 Sheets per Box (Yellow / Red Box)

Note: Don't buy Ilford Ilfochrome Paper, Fujichrome Paper, Fujiflex or any paper type
with the words "chrome" or "reversal" in the description. Don't buy paper for EP-2
processing; we are using RA-4 processing. These two chemical processes are
incompatible.

Paper Surface: The preferred surface is glossy (F) or (G); options include lustre, semi-
matte (E), or matte (N) or (M). Determining the emulsion side of the paper is easier when
working with glossy paper. Keep in mind that the filter pack varies often from one type
surface to the next.

Paper Contrast: We will use a standard contrast paper, such as the Kodak SUPRA.
Kodak has a softer contrast PORTRA paper...for portraits or to accommodate for a higher
contrast negative. The ULTRA is a high contrast paper for flat negatives-- which you
won't need. Keep in mind that the filter pack often varies when moving from paper of one
contrast type to the next. Color Paper is usually refrigerated until opened; store paper
away from heat and moisture.

You will need about 100-200 sheets of photographic paper. Costs vary due to student
patience and print technique. 100 sheet package = @ $35.00 - $45.00

GATORFOAM/MATBOARD INFORMATION

2 ply sheets (for base)

4 ply sheets (for mat) museum board
100% rag board white or off-white 16" x 20" (for 8" x 10" prints)

STEPHEN KINSELLA: 1-800-445-8865 (mail order) 8352 Olive, St. Louis, MO 63132
ASEL ART: www.aselart.com Website lists local stores.
FILM DEPOT: See below

LOCAL PHOTOGRAPHY VENDORS (request student discount)

WP WAREHOUSE PHOTOGRAPHIC
972-416-7110
2225 E. Beltline Road, Carrollton (b/t Webb Chapel and Josey Lane)
COMPETITIVE CAMERA
972-487-1209
2025 Irving Blvd. Dallas (b/t Wycliff and Manufacturing)

FILM DEPOT
Plano: 1405 Vontress Dr, Suite 1103, NE corner Avenue K and 14th Street, on the
ground floor of the Eastside Village apt bldg. 972-424-6958
Dallas: 11111 N. Central Expwy, at Royal Lane, 214-265-0650

MAIL-ORDER PHOTOGRAPHY VENDORS

CALUMET: www.calumetphoto.com
B&H PHOTO: www.bhphotovideo.com
FREESTYLE PHOTOGRAPHIC: www.freestylesalesco.com

Grading

Projects 1 – 3: 40%
Final Project: 30%
Final Artist Statement: 10%
Critiques and Class Participation: 20%
Instructor Policies

Attendance: Your success in this class is dependant on your participation and

demonstration of acquired knowledge. Neither of these will occur if you don’t come to
class. Unexplained absences will result in a lowering of your final grade.

Late Assignments: Assignments are due at the beginning of class. If you have a VALID
reason for being late with an assignment, please see me and we may be able to work
something out. Assignments over two weeks late cannot be submitted. Late assignments
will be deducted one full letter grade.

Critiques: Critiques are designed to be CONSTRUCTIVE exercises for everyone in the

class, no matter the age or experience level of the artist. Participation in critiques, both as
an artist and a critic, are a required component of the course. Keep your comments
limited to technical, aesthetic or theoretical issues relevant to the work. Personal attacks
will not be tolerated.
University of Texas at Dallas Policies

Student Conduct & Discipline

The University of Texas System and The University of Texas at Dallas have rules and regulations for the
orderly and efficient conduct of their business. It is the responsibility of each student and each student
organization to be knowledgeable about the rules and regulations which govern student conduct and
activities. General information on student conduct and discipline is contained in the UTD publication, A to
Z Guide, which is provided to all registered students each academic year.

The University of Texas at Dallas administers student discipline within the procedures of recognized and
established due process. Procedures are defined and described in the Rules and Regulations, Board of
Regents, The University of Texas System, Part 1, Chapter VI, Section 3, and in Title V, Rules on Student
Services and Activities of the university’s Handbook of Operating
Procedures. Copies of these rules and regulations are available to students in the Office of the Dean of
Students, where staff members are available to assist students in interpreting the rules and regulations (SU
1.602, 972/883-6391).

A student at the university neither loses the rights nor escapes the responsibilities of citizenship. He or she
is expected to obey federal, state, and local laws as well as the Regents’ Rules, university regulations, and
administrative rules. Students are subject to discipline for violating the standards of conduct whether such
conduct takes place on or off campus, or whether civil or criminal penalties are also imposed for such
conduct.

Academic Integrity

The faculty expects from its students a high level of responsibility and academic honesty. Because the
value of an academic degree depends upon the absolute integrity of the work done by the student for that
degree, it is imperative that a student demonstrate a high standard of individual honor in his or her
scholastic work.

Scholastic dishonesty includes, but is not limited to, statements, acts or omissions related to applications for
enrollment or the award of a degree, and/or the submission as one’s own work or material that is not one’s
own. As a general rule, scholastic dishonesty involves one of the following acts: cheating, plagiarism,
collusion and/or falsifying academic records. Students suspected of academic dishonesty are subject to
disciplinary proceedings.

Plagiarism, especially from the web, from portions of papers for other classes, and from any other source is
unacceptable and will be dealt with under the university’s policy on plagiarism (see general catalog for
details). This course will use the resources of turnitin.com, which searches the web for possible plagiarism
and is over 90% effective.

Email Use

The University of Texas at Dallas recognizes the value and efficiency of communication between
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Withdrawal from Class

The administration of this institution has set deadlines for withdrawal of any college-level courses. These
dates and times are published in that semester's course catalog. Administration procedures must be
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words, I cannot drop or withdraw any student. You must do the proper paperwork to ensure that you will
not receive a final grade of "F" in a course if you choose not to attend the class once you are enrolled.

Student Grievance Procedures

Procedures for student grievances are found in Title V, Rules on Student Services and Activities, of the
university’s Handbook of Operating Procedures.

In attempting to resolve any student grievance regarding grades, evaluations, or other fulfillments of
academic responsibility, it is the obligation of the student first to make a serious effort to resolve the matter
with the instructor, supervisor, administrator, or committee with whom the grievance originates (hereafter
called “the respondent”). Individual faculty members retain primary responsibility for assigning grades and
evaluations. If the matter cannot be resolved at that level, the grievance must be submitted in writing to the
respondent with a copy of the respondent’s School Dean. If the matter is not resolved by the written
response provided by the respondent, the student may submit a written appeal to the School Dean. If the
grievance is not resolved by the School Dean’s decision, the student may make a written appeal to the Dean
of Graduate or Undergraduate Education, and the deal will appoint and convene an Academic Appeals
Panel. The decision of the Academic Appeals Panel is final. The results of the academic appeals process
will be distributed to all involved parties.

Copies of these rules and regulations are available to students in the Office of the Dean of Students, where
staff members are available to assist students in interpreting the rules and regulations.

Incomplete Grade Policy

As per university policy, incomplete grades will be granted only for work unavoidably missed at the
semester’s end and only if 70% of the course work has been completed. An incomplete grade must be
resolved within eight (8) weeks from the first day of the subsequent long semester. If the required work to
complete the course and to remove the incomplete grade is not submitted by the specified deadline, the
incomplete grade is changed automatically to a grade of F.
Disability Services

The goal of Disability Services is to provide students with disabilities educational opportunities equal to
those of their non-disabled peers. Disability Services is located in room 1.610 in the Student Union. Office
hours are Monday and Thursday, 8:30 a.m. to 6:30 p.m.; Tuesday and Wednesday, 8:30 a.m. to 7:30 p.m.;
and Friday, 8:30 a.m. to 5:30 p.m.

The contact information for the Office of Disability Services is:

The University of Texas at Dallas, SU 22
PO Box 830688
Richardson, Texas 75083-0688
(972) 883-2098 (voice or TTY)

Essentially, the law requires that colleges and universities make those reasonable adjustments necessary to
eliminate discrimination on the basis of disability. For example, it may be necessary to remove classroom
prohibitions against tape recorders or animals (in the case of dog guides) for students who are blind.
Occasionally an assignment requirement may be substituted (for example, a research paper versus an oral
presentation for a student who is hearing impaired). Classes enrolled students with mobility impairments
may have to be rescheduled in accessible facilities. The college or university may need to provide special
services such as registration, note-taking, or mobility assistance.

It is the student’s responsibility to notify his or her professors of the need for such an accommodation.
Disability Services provides students with letters to present to faculty members to verify that the student
has a disability and needs accommodations. Individuals requiring special accommodation should contact
the professor after class or during office hours.

Religious Holy Days

The University of Texas at Dallas will excuse a student from class or other required activities for the travel
to and observance of a religious holy day for a religion whose places of worship are exempt from property
tax under Section 11.20, Tax Code, Texas Code Annotated.

The student is encouraged to notify the instructor or activity sponsor as soon as possible regarding the
absence, preferably in advance of the assignment. The student, so excused, will be allowed to take the
exam or complete the assignment within a reasonable time after the absence: a period equal to the length of
the absence, up to a maximum of one week. A student who notifies the instructor and completes any missed
exam or assignment may not be penalized for the absence. A student who fails to complete the exam or
assignment within the prescribed period may receive a failing grade for that exam or assignment.

If a student or an instructor disagrees about the nature of the absence [i.e., for the purpose of observing a
religious holy day] or if there is similar disagreement about whether the student has been given a
reasonable time to complete any missed assignments or examinations, either the student or the instructor
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executive officer or designee must take into account the legislative intent of TEC 51.911(b), and the student
and instructor will abide by the decision of the chief executive officer or designee.

Off-Campus Instruction and Course Activities

Off-campus, out-of-state, and foreign instruction and activities are subject to state law and University
policies and procedures regarding travel and risk-related activities. Information regarding these rules and
regulations may be found at the website address given below. Additional information is available from the
office of the school dean. (http://www.utdallas.edu/Business Affairs/Travel_Risk_Activities.html)