Photography: Course

dark room

4242
Zdaka Noa, Semester 2, Tuesday, 10:00-13:00
Zdaka Noa, Semester 2, Tuesday, 14:00-17:00
2.0
The course is a continuation of the course "Darkroom beginners" in which you have learned the basic darkroom skills: operating an analog 35 mm camera, managing 35mm enlarger, developing a film, making a contact-sheet, selecting a print, enlarging and retouching. Perceiving the analog photographic practice as a separated working practice which critically constitutes a different photographic consciousness, which molds another content and another manifestation and appearance.Film cannot be a File and a File cannot act as a FilmWhen the analog practice is already internalize and operated we will "visit" the darkrooms of other photographers and we'll try to figure out concretely how they work - how they photograph, expose, develop and print their workHow much did Lisete Model cut from her original frame before she was printing? Why did Diane Arbus aspire in her early works to create grainy sand printings and later she aimed for transparency and clearness? Why did Bill Brandt print the same negative in different ways in separate times? Why and how did Daido Moriyama add so much black into the final printing? Why did Eugene Smith need to listen to a noisy loud flickering TV while printing? Why Joel Kantor is not at all panicking when the developing tank falls on floor and slightly open during development? And how come Tamar Levinson doesn't mind which film she's using and all is fine and adjustable? Why Dalia Amotz couldn't allow nobody will print her photos? And why Tomer Kep takes care so much to have details in the black and I care less, seek for black with no details at all? And why Simcha Shirman throughout years insists using the same and only specific developer-chemical? And for what light was Walker Evans waiting when he photographed Robert frank’s Oven in Nova Scotia.The course requires intensive lab work during the class and independently, the submission thematicall-technical exercises and presence in the theoretical and practical lessons.The entrance to the class is conditional on having background knowledge of Dark Room work.