1. Black andWhite Photography,ARTV 2121
Annemari Tarsitano
The Richard StocktonCollege of New Jersey
Course Outline
Course Objectives
 Studentsshouldacquire asolidtechnical foundationinphotographyfromwhichtobuildtheir
ownpersonal vision.
 Studentsshouldgainanappreciationof photographyand itsevolutionasamediumforartistic
expression;includingageneral understanding of modernismwithinthe genre of photography,
and a familiaritywithwell-knownmodernistphotographers.
 Students will learnbasiccritiquelanguagesuchasform, content,and composition;aswell as
howto “read” image informationthroughdescribingandinterpreting.
Course Overviewand Format
The course formatconsistsof lecture andstudiowork.Youmust come to classpreparedto workinthe
studio,basedonthe givenassignment.The classformatisinteractive.Youhave the opportunityandthe
expectationtoparticipate.
This is a Q2 (Quantitative Reasoning across the Curriculum) course. As such, attention is given to the
development of problem solving approaches, especially as they relate to problem-solving in
photographicmethods.Youwill be given assignments that require you to understand the quantitative
aspects of basic photography principles.
In addition to a Q2 learning component, assignments are designed width specific learning objectives
designedtofacilitatethe evolution of your aesthetic as a visual artist as well as your technical mastery
as it relates to exposure, processing, printing. Each assignment builds on the latter so that you can
incorporate previouslylearnedconceptsandtechniques into new work. Content areas include: the SLR
camera,exposure,filmandfilmdevelopment;contrast,depthof fieldand exposure scales; focal length
and angle of view;photocriticismandcritique terminology; and examples of work crafted in the genre
of modernism.
There are tworequiredQ2presentations.The firstrelatestoprocessingandbeginswithyourinitiation
of a queryto the photo.netBlackandWhite FilmProcessingforum. The secondrelatestoprintingand
beginswithyourinitiatingaquerytothe photo.netBlackandWhite Printingforum. These technical
forumsprovide youwiththe opportunitytoengage inanexchange withotherstudents,artists,and
professionalsworld-wide,aswell astothe opportunitytocapture theirinput,data,andfeedback.
Repliestoyourthreadserve asa springboardto yourresearchon a course relatedtechnical topic.

2. From there,youwill presentyourinterpretations tothe class viaa paper that documentsyourfindings
and a visual aspectthatillustratesyourfindings.
Academic Expectations
Attendance is taken. The class email list will be used to advise you of group related announcements.
Grades are based on quality as well as timely completion of assignments. Late assignments receive a
grade deduction. Quality is primarily based on two criteria: Image content and print quality (subject
matter,technique,andachievementof the assignmentobjectives are considered). The followingcriteria
are also considered in grading:
A Work that far exceeds the minimum requirements in content, craftsmanship, and achievement
of the assignmentobjective.
B Above average completion of work, understandingof concepts and demonstration of skills.
C Average completion of work with adequate control of materials and intention toward picture
making. Minimum classand critiqueparticipation.
D Failureto complete assignments resultingfroma minimum amount of effort, execution, and/or with little
or no classparticipation.
F Little or no effort with consideration to assignments.No participation in classor critiques.
Gradingis weightedasfollows:
 Assignments(includingq2presentations):25%
 Mid-termexam= 25%
 Critique/studioparticipation/presentation/journal =25%
 Final portfolio=25%
Assignments
Assignmentsare designedtoencourage youto explore andstretchwaysof seeing. Eachassignmenthas
specificobjectives.Collaborative andoptionassignmentsgive youthe freedomtochoose whatinspires
youand to workwithyour peers.Photo.netcritique assignmentsgiveyouthe opportunitytosolicitand
provide criticismandtoengage intechnical debatesvis-à-visthe blackandwhite photoforums.
Journal
It isimportantto keepa journal todocumentexposure data,store yourinspirationimage(s), andlecture
notesas youmove througheach project. Yourjournal servesasa learningtool thatwill helpyouin
troubleshootingtechnical issuesandserve todocumentyourevolutioninthe classasyourindividual
aestheticunfoldsthroughoutthe semester.The journal formatcanbe traditional (suchasa ledgeror
notebook) orelectronic.

3. Supplies
The followingitemsmustbe purchasedinordertoparticipate inthe course:
 Film:20 minimum20rollsof KodakTrix-135 36 exposure film.
 Paper:Three (3) 100 sheetboxesorone 250 sheetbox of 8 x 10” IlfordVCMultigrade IV RC
Deluxe Pearl surface paper.
 One can dust-off and(optional)ananti-staticcloth.
 Print-file (orother) negative preservesfor35 mm film
 Vue-all (orother) archival storage sleevesforstoring8x 10” prints
 Binderforstoringnegativesandprints
 Text:Horenstein,Henry,Black&White Photography:A BasicManual ThirdRevisedEdition
Lecture: The camera and film.The lens.The lightmeter.
Journal Assignment:Documentyourcamera’s lightmetertype andreportback on how it works.
Documentthe entire range of aperture andshuttersettings onyourcamera.Use onlyfull stops.
Project #1
Exposure Equivalents:thisassignment willbeginthe cameraexperience.Youwill learnaboutfilm
chemistry,processing,andprinting.Youwill capture andprocesstworollsof film, make yourfirsttest
strip, contact sheet,andfourfinal prints(intwopairs).
Afterobtainingacorrect exposure withyourcameras’light meter,change the aperture andshutter
speedproportionality toshow howdepthof fieldandshutterspeedaffectfocal point,movement,and
ultimatelyimagecontent.Exposure equivalentsare usedtoallow the properamountof lighttoreach
the filmineachframe.What will change is how yourimage looksas youmove up andown each
exposure scale.
Photograph the same subjectasyou move eachwayon your aperture andthenshutterspeedsettings.
Q2 LearningObjective:Tounderstand the exponentialrelationship of doubling/havingthe amountof
lightwitheachfull stoponthe scales.Tocalibrate exposure equivalents,indicatingchangesinmotion
and depthof fieldwhile maintainingproperexposure. Masteryof these technical conceptswill enable
youto have the creative control neededtoarticulate changesinmotionanddepthof fieldbasedon
whatyour artisticintentionis.
Lecture/demo:Making a teststripand contact sheet.Studiotourandprintingdemos,framinginthe
easel.

4. Project #2
Lightand Shadow:Photographyourchoice of subject,emphasizingthe contrastthatiscreatedthrough
the interplayof darkand light. A chiaroscuro effect— the contrastbetweendarkandlight — may
emerge inyourimages,especiallyasyoulearnto bracketforthis assignment.
Photography definedIs“lightdrawing.”Take advantage of subjectsthatlendthemselvestothatidea.
Imagesshoulddescribe the subjectbasedonthe use of light,sothat lightcreatesa sense of volume to
your subjectanddrawsattentiontoit as a focal point.Considerhow thatqualityof lighting(andfactors
such as type of lighting,time of dayetc.) elevateyourimage andeffectmeaning.
Q2 Project#1: Black& White PhotoProcessingincludingthe lens, camera,and film.
Post a query to the photo.net black & white photography film and processing forum
Http://photo.net/bboard/forum?topic. You can initiate a thread on a problem that you are attempting
to solve that occurred in class (e.g., streaky negatives) or on a topic that interests you. For example:
Quantifying percentages in the amount of light that reaches your film at each aperture setting, or
pushingandpullingfilm.Etc. Use repliesasa jumping off point to continue your research and as a form
to engage ina dialogue aboutthe topicwithothers. Reportyourfindingsbacktothe class in the form of
a paper that evidences your takeaway with data and vis-a-vis a visual aspect that illustrates your
takeaway(E.g.,a PowerPointpresentationwithimagesof yourwork scanned into slides, a video that is
posted online, a drawing, or a sculpture that shows a three-dimensional view of film layers).
Q2 learning objective: To present a convincing argument that a method related to course concepts is
viable (through data and other research) and/or to present a problem/solution/result to a technical
challenge you experienced in class.
Lecture/demo:Critiques/critique primer. Dodging and burning. Filtration. Introduction to Modernism.
Journal Assignment: Write about the work of one of the modernists photographers. Utilize critique
terminology in providing your interpretation.
Project #3
Option Assignment: Choose from one of the following. Each is designed with an opposite learning
objective. Icons and photograph a dream are conceptually based (where content drives form) with
Perspectives form drives content or form is content. Choose either A, B, or C.
A. Icons: Capture what is, in your opinion, a visual representation of the world today. Consider:
Political issues, local, national, or international; religion, technology; the workplace, fashion
(trendsin) food,design,music,orissuesof yourchoice in the public eye or not. Represent your
topic of choice within the context of an icon defined as: “an important and enduring symbol.”
Considerwhatyouare sayingabout an issue (orsocietytoday) and, how you might capture and
interpret it visually.

5. B. Photograph a dream: An opportunity to engage in pure picture making. Pulling subject matter
froma place that will inspire youtocreate oftenabstract,surreal,andunique imagery.Consider
layers of elements, alternative approaches and symbolism to articulate your dream in this
conceptually based assignment where, like icons, content will direct form.
C. Perspectives: Photograph the same object in different ways—from diverse angles of view,
vantage points,anddistances.Use what you have learned in previous projects to add diversity
to each image sothat eachof yourfive final images is completely transformed from one to the
next. Considervariablessuchasyouruse of DOF, motion, (indicated or frozen), lens to subject
distance,how youlightyoursubjectand how light describes your subject. Achievement of this
assignmentobjectiverequiresyouto show five completelydiverse images of the same subject.
Q2 Project #2: Black & White Photo Finishing and Printing.
Visitthe photo.netblack&white photofinishingandprintingforum.
http://photo.net/bboard/forum?topicandposta query(initiateathread) ona topicof yourchoice
relatedtoprintingandprintingprocesses.Aswithproject#1, youwill prepare afive-to-tenminute
presentationonyourfindings.A successfuloutcome requiresthatyoudemonstrate anunderstandingof
your chosentopic,basedonyouroriginal work(research,findings,takeaway)andpresentationof same.
Q2 learning objective: To present a convincing argument that a method related to course concepts is
viable (through data and other research) and/or to present a problem/solution/result to a technical
challenge you experienced in class.
Project #4
Faces: A formal studyof the humanface where gesture andexpressionisexplored. There isagreement
between the subjectand the photograph and an awareness of being photographed and participates in
the process at your direction. Consider eye contact, a study, yet uncontrived. Each compositional
element is important and should relate directly to the person.
Project #5
Narrative/Sequencing:A seriesof imagesthattells a visual story and depicts a sense of time and place.
The seriesof tenimages must contain a beginning, middle, and end. While each differs from the next,
theyare interrelatedvariationsonatheme. Youmustsubmityour concept in writing prior to beginning
and previsualize images by creating a storyboard in your journal of what you will capture and in what
order. Consider the transformation of verbal into visual that occurs when a poem or song lyrics are
interpreted. You must shoot a minimum of five rolls of film since ten final prints are required.
Final Portfolio Critique:
Present your final 25 images. This important critique will give you the opportunity to view each
assignment together as a body of work and therefore make relationships between each. The critique
enablesyoutosee how yourinherentaestheticconnects your images and the evolution that has taken
place in your work throughout the semester.

6. Annemari.k.tarsitano@stockton.edu
annemari@comcast.netTextto:609-350-4001