This course introduces and consolidates traditional (‘wet’) processes in photography with digital technologies. The course is about understanding the difference between seeing and looking, and how processes shape expression.
The photograph is considered in terms not only of what it is of and about, but also what it is, as an object, as a primary source. This approach requires a mannered and well-considered methodology, one that is in keeping with many ‘slow’ movements, as in gastronomic circles for instance. Thus, students work with digital and wet-lab technologies and materials, with particular attention to the print-out method of platinum-palladium printing.
While subject matter is not specified in assigned work, core reference texts help shape an approach that will condition the methods and nature of the photographic portfolio resulting from the class. In the past, students have studied Emmet Gowin’s work, which compresses both subject matter and scale into a consistent vision, and in doing so, shifts the photograph as a representation to a symbolization of experience. His use of equipment and materials is crafted such as to leave each print in full dialogue with the viewer. Similarly, Paul Strand’s “The Garden at Orgeval” and Stanley Kunitz’ “The Wild Braid: A Poet Reflects on a Century in the Garden” consider the garden and the image as deeply reflective phenomena, and ones that are born of the creative and expressive urge but become symbolizations of a broader realm, “the cosmos in miniature” as Kunitz put it.
At the core of these three bodies of work is a tacit acknowledgement of porosity between our means of expression and our realms of experience: the maker as revealer, the revealed as reflection, the mirror as window, and so on.
Throughout, the course uses photography as a primary tool for investigating these ideas. There is a particular stress on how resolution, via the large format negative and highly nuanced tonalities of the print, affects meaning and expression. The course also refers to a broad range of philosophical, art historical, literary, anthropological and scientific readings along with frequent viewings of photographic works. The course will rely heavily on student-led discussions and there will be supplementary lectures by guest speakers. Other material will be taught by lecture, demonstration and slide shows. The core technical text, Henry Horenstein’s “Black and White Photography: A Basic Manual” (3rd edition), is supplemented with numerous handouts and guides.
NOTE: All of the core texts are provided to each student as part of the studio/lab kit.