PO 270 - Alternative Photographic Processes

2. Apply critical and creative thinking toward the creation of in-camera versus enlarged negatives.

3. Analyze similarities and differences between film and digital enlarged negatives.

4. Recognize distinguishing chartacteristics of various historical photographic processes.

5. Demonstrate a working knowledge of plotting D log E contrast curves as they apply to enlarged digital negatives for each of the investigated historical processes.

6. Demonstrate skillful and creative methods toward the production of photographic images based on historical and contemporary aesthetic movements.

7. Practice safety protocols toward chemicals used in historical processes as well as ultraviolet light sources used during printing.

8. Manage time as demonstrated by the coordination of various steps in the photographic process and by the ability to move through stages of completion.

9. Exhibit an attitude of curiosity and habits of inquiry which are utilized in successful discussions and critique.

10. Apply appropriate technical and aesthetic evaluation skills toward historical print production and appreciation through verbal and written critique.

11. Interact cooperatively with fellow students and professor inorder to understand and respect the diverse opinions and aesthetics of others.
Course Outline:
A. Historical examination and explanation of various historical photographic processes

1. Sir John Herchel and Cyanotype

2. Comparisonbetween Van Dyke Brown and Kallitype processes

3. Modern Ziatype versus historical Palladium process

4. Palladium and Platinum processes

B. Compare and contrast in-camera and enlarged traditional negatives process

C. Compare and contrast enlarged traditonal negatives with enlarged inkjet digital negatives

1. Substrate to use

2. Plotting contrast (DlogE) curves

3. Inkjet denities to useD. Safety protocols for historical proceses

1. Chemical safety

2. Eye protection from UV radiation

3. Proper technique during processing steps

E. Production: Traditional workflow

1. Contrast range of in-camera traditional negatives

2. Matching negative denities with various historical processes

3. The Art of the contact print

4. Timing Exposure

F. Production: Digital workflow

1. Plotting Dlog E curves to create contrast templates for digital negatives

2. Defining substrates to use in printing to an inkjet printer

3. Editing files in both Camera Raw and Adobe Photoshop CS 5

4. Exporting Files

G. Proper paper coating techniques

1. Counting “drop” for various print sizes

2. Traditional brush versus glass coating rod

3. Humidity control and effect on print

H. Print Presentation

1. Archival Mounting

2. Drymounting versus corner tabs

3. Floating window matI. The Art of Critique

1. Discussion of traditional and contempory aesthetics applied to 19th century photographic processes

2. Interacting with peers and developing tolerance for conflicting opinion

Demonstration: 25 - 50%

In Class Critique: 5 - 25%
Mandatory Course Components:
None
Equivalent Courses:
None