2018-2019

Name: ______________________
 Table  of  Contents  
 
         Section  A:  Course  Syllabus        
 
Letter  to  Parents  and  Students                                                                                                                                                                                          2  
Introduction  to  the  Class                    3  
My  Pledge  to  You                      4  
Your  Responsibility  as  a  Student      4  
Important  Facts  about  the  Class                    4  
Supplies  Not  Provided  by  Class  Fees                  5  
Grade  Breakdown  -­  Photography  I  &  II                6  
Assessment  Rubric                      7  
Photography  I  -­Class  Chronology                  8  
Photography  II  Class  Abstract                 10  
Photography  I  Learning  Targets                       11  
Photography  II  Learning  Targets                 13  
Daily  Work  Points                     15  
Portfolio  Presentation  Project                   16  
The  Artist’s  Statement                   17  
Questions  to  Answer  in  Your  Artist’s  Statement                 18  

       Section  B:  Photography  Supplemental  Materials          

 
Light                         19  
How  Light  Forms  an  Image                   20  
Pinhole  Photography-­  History  and  How  to                                    22  
Making  a  Pinhole  Camera  the  BVHS  Way               24  
Pinhole  Math  101                     26  
Pinhole  Camera  Exposure  Scale                 27  
Reciprocity  Failure  Compensation  Chart               29  
Basic  Parts  of  the  35  mm  Single  Lens  Reflex  Camera           30  
Inside  a  Single  Lens  Reflex  Camera                 31  
My  Camera  (diagram)                     32  
Reciprocity  Wheel                     33  
The  Enlarger                       35  
Processing  a  Print  Step  by  Step                 36  
Two  Main  Types  of  Photographic  Paper               38  
Variable  Contrast  Paper                   39  
Bracket  Sheet  (Exposure  Log)                 41  
Lexicon  of  Photo-­Art  Terms  used  at  BVHS               43  
Notes                         50  
Camera  Checkout  Permission  Form                 71  
Student  Information  Sheet                     73  
Course  Evaluation                                                                                                                                                                                                                                75  
  
Dear  BVHS  Art  Students  and  Parents,  

Congratulations   on   choosing   a   Visual   Art   class   at   Blue   Valley   High   School.   We  

believe  this  will  help  your  student  develop  his  or  her  creative  problem-­solving  skills,  
visual  perception,  and  aesthetic  decision-­making  abilities.  Research  suggests  these  
skills  correlate  with  success  in  other  curricular  areas  as  well.    
 
In   order   to   help   you   understand   what   success   means   in   the   Arts,   we   would   like   to  
share   the   following   guidelines.   These   contribute   to   academic   achievement   in   the  
Visual  Arts  at  Blue  Valley  High  School.  Success  in  the  Arts  is  not  based  on  previous  
experience,   but   rather   on   demonstrated   learning   of   specific   stated   goals   and  
objectives.   These   include   following   directions,   meeting   objectives,   and  
demonstrating  proper  techniques.    
 
Effort  is  an  important  part  of  the  learning  process,  but  it  is  not  what  grades  are  based  
upon.   Often,   effort   correlates   with   achievement,   but   by   itself,   effort   is   not   the  
determining  factor.  
 
A  grade  of  4  is  representative  of  excellent  work  which  meets  all  objectives  at  a  high  
level.  
A  grade  of  3  represents  proficient  use  of  concepts  which  are  strongly  demonstrated.  
A  grade  of  2  reflects  adequate  work  by  the  student.  
A  grade  of  1  is  evidenced  by  insufficient  work.  
A  grade  of  0  is  unacceptable  or  incomplete.  
 
We  understand  students  are  not  always  satisfied  with  their  original  grades  received  
on   projects.   Students   have   the   opportunity   to   upgrade/resubmit   any   project   for   an  
improved   grade   that   reflects   additional   learning   for   the   activity.   Students   can   work  
before   and/or   after   school,   during   Tiger   Paws,   late   arrival   on   Thursday,   and   study  
hall   time.   When   making   improvements,   it   is   the   student’s   responsibility   to   initiate  
dialog  with  the  instructor  to  clarify  missed  learning  targets.  A  student  must  be  able  to  
accept  constructive  criticism  and  not  function  with  his  or  her  own  personal  agenda  or  
“understanding”  of  Art.  
 
Many  students  will  have  to  use  time  outside  of  class  to  hone  their  skills  in  Art,  just  as  
they   may   need   to   spend   additional   time   working   on   Math,   Science,   or   any   other  
academic  class.  
 
Just   like   every   other   curricular   area   at   Blue   Valley   High   School,   we   have   high  
standards   for   Visual   Arts   students.   We   will   provide   your   student   with   a   quality  
education–not  just  an  “experience”  in  Art.  
 
We  look  forward  to  working  with  your  student  during  his  or  her  time  in  our  classes.    
 
The  BVHS  Art  Department  Faculty,  
 

 
 
 …  Knowledge  of  photography  is  just  as  important  as  that  
of  the  alphabet.  The  illiterates  of  the  future  will  be  ignorant  
of  the  use  of  the  camera  and  pen  alike.  
 

Laszlo  Moholy-­Nagy  
   

  Why  Should  I  Enroll  in  Photography  

 
The  visual  arts  are  an  essential  part  of  your  education.  
The  visual  arts  foster  development  in  every  aspect  of  
the  human  experience.  You  will  grow  by  making  
connections  that  enrich  who  you  are.  You  will  sharpen  
your  perceptual  and  analytical  skills,  as  well  as  hone  
your  innovative  thinking  and  problem  solving  ability.    
 
Art  experiences  will  improve  your  skills  in  
conceptualization,  reasoning,  perceiving,  and  
  making  abstract  associations.
 
 
 
 
Introduction  to  the  Class  
 
This  class  will  introduce  you  to  the  principles  and  processes  of  photography  in  such  
a  way  that  you  can  soon  begin  to  concentrate  on  the  art  of  making  images.  Because  
photography   is   a   visual   language   it   has   a   basic   vocabulary   that   you   must   learn  
before  you  can  begin  to  make  expressive  images.  Just  as  a  child  learns  to  speak  you  
will   have   to   practice   this   vocabulary   to   master   it.   The   technical   processes   of   black  
and  white  photography  make  up  the  vocabulary  and  are  the  basis  for  the  language.  
Understanding   these   processes   involves   learning   the   principles   of   light,   image  
composition,   camera   manipulation,   exposure,   development   and   presentation.   It   is  
important   to   remember   that   learning   the   vocabulary   is   not   an   end   in   itself,   but   as  
something  that  once  mastered,  becomes  a  foundation  for  creative  expression.  
 
Photography   is   currently   undergoing   a   fundamental   transition.   Today   many   more  
digital   cameras   are   sold   than   traditional   film   based   cameras.   However  
Understanding   the   fundamentals   of   traditional   film   based   photography   is   of  
paramount   importance.   With   the   digital   revolution   many   photographers   have  
renewed  their  interest  in  large  and  medium  format  photography,  historical  processes  
and  experimental  approaches  in  order  to  personalize  the  photographic  process.  The  
making  of  a  conventional  photograph  does  not  occur  while  you  are  seated  in  a  chair.  
It   is   a   multi   sensory   experience   that   allows   you   to   have   a   tangible,   tactile   and  
kinesthetic   involvement   with   all   the   steps   in   the   creation   of   your   image.   These   are  
among  the  topics  that  we  will  explore  in  Photography  I  &  II.  
 
 
My  Pledge  to  You  as  the  Instructor  
 
As  your  photography  teacher  at  Blue  Valley  High  School  I  pledge  to  provide  you  with  
the   guidance   and   leadership   that   fosters   the   development   of   your   critical   thinking  
skills.   I   will   work   to   create   an   atmosphere   of   give   and   take   where   I   will   be   patient,  
enthusiastic,   and   prepared   with   good   learning   materials,   establish   clear   learning  
goals   and   be   accountable   and   honest   in   my   responses   to   you.   I   will   always  
encourage   experimentation   and   creative   thinking   skills   with   the   realization   that   the  
results   may   sometimes   be   a   temporary   failure.   These   momentary   failures   can  
provide   a   valid   learning   experience   that   will   prepare   you   for   more   advanced  
concepts.  I  will  require  that  you  find  your  own  voice  in  the  development  of  aesthetic  
and   critical   thinking   skills.   Most   importantly   I   hope   to   build   your   confidence   by  
instilling  the  belief  that  if  you  focus  on  visual  problems,  think  critically  and  creatively,  
and  act  specifically,  you  will  succeed.
 

Your  Responsibility  as  a  Student  

As  a  student  in  photography  at  Blue  Valley  High  School  you  need  to  have  the  desire  
to  learn,  be  self  motivated  and  work  for  yourself,  not  to  please  others.  You  should  be  
alert,   curious,   and   enthusiastic,   pay   attention,   keep   an   open   mind   and   enjoy   the  
learning   process.   You   will   be   required   to   set   personal   goals,   maintain   a   work  
schedule   in   lab   by   managing   your   time   wisely.   You   must   assume   responsibility   for  
your   actions   and   accept   the   challenge   to   think   critically   about   the   material.   At   the  
conclusion   of   your   study   you   will   be   able   to   demonstrate   your   knowledge   and  
integrate  it  into  your  life.  This  should  lead  to  the  realization  of  where  you  are  at  the  
moment,  where  you  would  like  to  be  in  the  future,  and  how  to  adjust  your  life  to  make  
it  happen.  
 

Important  Facts  about  BVHS  Photography  Classes  

 
1.   Class  will  stress  a  systematic  approach  to  all  phases  of  photography.    We  have  
to  learn  the  hard  stuff  before  we  can  do  the  fun  stuff.  
2.   Photographic  expression  is  a  skill  that  can  be  learned.    No  one  is  born  an  artist.  It  
takes  lots  of  practice  just  like  everything  else.  
3.   My  goal  is  to  help  you  learn  how  to  make  expressive  photographs.  
4.   Your   photographic   message   must   reflect   your   own   thoughts,   concerns,   and  
experiences.     Be   honest   with   yourself.   Don’t   make   images   that   you   think   your  
classmates  will  like,  make  images  that  you  like.  
5.   What   you   get   out   of   this   class   will   be   directly   proportional   to   the   time   and   effort  
you  are  willing  and  able  to  invest.  The  more  you  do  the  better  the  photographer  
you  will  be.    
6.   My  expectations  for  you  are  high.    
7.   There   is   a   considerable   out   of   class   time   commitment.     If   you   think   that   sports,  
jobs,   or   other   extra   curricular   activities   exempts   you   from   this   commitment   you  
are  wrong.  
8.   Procrastination  leads  to  failure.  
9.   Never  be  satisfied  with  less  than  your  best  effort.  Your  first  attempt  is  not  always  
your  best.  The  only  excuse  for  failure  is  laziness.  
10.  Take  good  notes  and  always  ask  me  if  you  are  unsure  of  a  procedure  or  concept.    
Remember  there  are  probably  others  that  do  not  understand.
  
SUPPLIES  NOT  PROVIDED  BY  CLASS  FEES  
 
•   Three  Ring  Binder  with  Paper    
This  will  be  used  to  hold  paper  for  notes  and  negative  sleeves.    
 
•   Pencil  with  an  Eraser  
 

•   Soft  Cloth  for  Cleaning  Negatives  

This  can  be  cut  from  an  old  cotton  T-­shirt  that  is  soft  and  worn  out. You  could  
buy  one  at  a  photo  store  but  they  are  expensive.  
 

•   Black  Permanent  Marker  (Sharpie)  

 

•   Photographic  Paper*  
8”  X  IO”,  Resin  Coated,  Black  and  White,    
Multicontrast,  Multigrade,  or  Polycontrast  (same  thing)  
Any  Brand  (Ilford,  Agfa,  Oriental  are  the  main  ones)  
Any  Surface  (Glossy,  Matte,  Semi  Matte,  Pearl,  Lustre-­your  choice)  
 
You  will  probably  end  up  using  between  30-50  sheets.    
 

*  BVHS  Photo  Club  sells  photo  paper  as  a  convenience  to  students.  
Current  prices  are:  $15.00  (per  25  sheet  package).  Checks  payable  to  
BVHS  or  cash.  
                     
Process  One  
Two  local  businesses  that  sell  Photographic  paper  

7105  W.  95th  Street                          

Overland  Park,  KS  66212  
Monday-­Friday        8am  to  8pm  
Saturday                        10am  to  6pm  
Sunday                              12pm  to  6pm  
Phone:    913-­648-­0871  
Fax:            913-­648-­8063  
Email:    info@processonephoto.com

   
 GRADES
GRADES

Possible Points
Quizzes …………………..………………………………….……5-50 pts.
Projects ………………………………………………….…………100 pts.
Daily Work Points ……………………………..……………..……5 pts.
Final Presentation Photo I&II………………………………...…...150 pts.

Photography I
Tests …………………………………………..………………….……..2
Quizzes …………..………………….…………….…………...……....TBA
Projects ………………………………….…………..……………......….10
Final Project …………………………………………….….…..…..……...1
Daily Work Points …………………………………..……..…………. TBA

Photography II
Projects …………………………………………………………..……….10
Daily Work Points ………………………………..……….………….. TBA
Final Project …………………………………………………..……..…….1
Final Presentation …………………………………………………………1
 
 
 
 
 
 
 
 
 Photography  I  &  II  Assessment  Rubric  
Name:  ________________________Asssignment:  ____________________  Hour:  ____  
 
Date:  ______  Points  Earned:  ____/20  ÷  5  =  Grade:  ____/4  =  Percentage  Score  _____  %  
_________________________________    

 
           

Technical   0   1   2   3   4  
Quality  
   
 
No  Credit  
 
Insufficient  
 
Adequate  
 
Proficient  
 
Excellent    
Focus.  
 
Contrast.  
Out  of  focus.  
Many  spots  or  
Slightly  out  of  focus.  
Noticeable  spots  or  
Fair  focus.  
A  few  spots  or  
Good  focus.  
Very  few  spots  or  
Sharp  focus.  
No  spots  or  
 
Spots  &   scratches.  Dirty.   scratches.  Dirty.  Poor   scratches.   scratches.  Clean.   scratches.  Clean.  
scratches.   Failing  tonal   tonal  range.   Clean.  Fair   Good  tonal   Complete  tonal  
 
Presentation.   range.   –3  zones  of  contrast.   tonal  range.       range.   range.  
Cropping.   –4  zones  of   –2  zones  of   –1  zone  of  
  contrast  or  more.   contrast.   contrast.  
         

0   1   2   3   4  
 
Composition            

No  compositional   Attempted  use  of  at   Attempted  use   Good  use  of   Excellent  use  of  
 
Rule  of  
thirds.   organization.   least  1  compositional   of  compositional   compositional   all  compositional  
tech.   rules.  May  have   rules.  May  have   rules.  
 
Focal   some  flaws.   minor  flaws.  
point(s).  
 
Movement.  
 
Use  of  depth.  
         

 
Content    
0  
 
1  
 
2  
 
3  
 
4  
 
Meaningful.   No  subject  or  
identifiable  
No  meaning.  
No  Emotion.  
Little  meaning.  
Little  Emotional  
Meaning  
apparent.  
Meaningful.  
Emotional.  
Emotional.  
 
Aesthetic.  
meaning.   Poor  documentation.   response.    
Only  
Some  Emotion.  
Engaging.  
Aesthetic.  
Expressive.  
 
Expressive.   documentation.    
           

0   1   2   3   4  
 
Creativity          
Unique  
Perspective.   No  use  of  creative   Includes  1  of  the   Includes  at  least   Includes  at  least  
 
Point  of  view.   techniques.   techniques   2  of  the   3  of  the  
perspective.  
Unusual  point  of  
mentioned  in  4.   techniques   techniques  
 
Arrangement.   mentioned  in  4.   mentioned  in  4.  
view.  Lighting  
Lighting.   enhances  
 
Subject   meaning.  
choice.   Creative  subject.  
             

Process   0   1   2   3   4  
 
Application  
 
 

All  objectives  of  

 

All  objectives  of  the  

 

All  objectives  of  

 

All  objectives  
 

All  objectives  met.  

 
Objectives  
and  criteria  of  
the  assignment  not  
met.  
assignment  met.  
Attempted  some  use  
the  assignment  
met.  
met.  
Good  use  of  
Excellent  use  of  
required  
the     No  use  of  required   of  required   Required   techniques.     techniques.  
assignment.   techniques.   techniques.   techniques  may   May  have  minor  
 
Required   be  after  thought.   flaws.  
techniques.  
 
   

 
 
 Photography  I:  Class  Chronology  
Week  1:    
 
                             
Week   one   will   begin   with   an   introduction   to   the   darkroom   and   the   enlarger.   Darkroom  
chemicals   and   print   processing   will   be   the   focus   of   the   week   with   students   producing   a  
photogram  using  proper  contact  printing  techniques.  Students  will  begin  working  with  black  
and   white   variable   grade   resin   coated   enlarging   paper.   Assessment   will   be   based   on   the  
completed  photogram  project.  
 

Week  2:  
Week   two   will   include   basic   principles   of   light,   How   Light   forms   an   image,   The   Camera  
Obscura,   and   an   introduction   to   basic   photography   history.   Students   will   need   note   taking  
materials,  Handout  on  Light,  and  access  to  the  classroom  text.  
 
 

Week  3:  
 

Week   three   will   begin   with   the   construction   of   pinhole   cameras.   Each   student   will   build,  
calculate   f   stop   from   focal   distance,   calculate   exposure   time   factoring   for   reciprocity   failure  
and  apply  the  formula  T  X  I  =  E  as  they  exposure  a  self  portrait.  
 

Week  4:  
 

Week  4  will  find  students  printing  contact  prints  from  their  pinhole  camera  made  negatives.  
Students   will   first   produce   a   printed   image   for   assessment   using   white   light.   Students   will  
then   determine   the   correct   filter   to   improve   the   tonal   quality   of   their   print   and   produce   an  
example   for   assessment.   Students   must   understand   and   apply   knowledge   of   proper   print  
tonality,  filter  selection  and  use,  and  print  processing  procedures.    
 

Week  5:  
 

Week  five  will  begin  with  instruction  on  dry  mounting  techniques.  Students  will  be  required  to  
dry   mount   their   best   pinhole   camera   made   image   for   display.   Week   five   will   also   include   a  
summative  quiz  over  Light,  the  Pinhole  camera,  and  the  Darkroom.  
 

Week  6:  
 

Week   six   will   begin   the   study   of   the   35mm   single   lens   reflex   camera.   Parts,   use,   and  
exposure   techniques   will   be   the   main   focus   throughout   the   week.   Students   will   gain   an  
understanding  of  bracketing  exposures,  reciprocal  exposures  and  depth  of  field.    
 

Week  7:  
 

Week   seven   will   find   students   pairing   up   to   photograph   each   other.   Students   will   have   to  
bulk   roll   their   own   film,   load   the   camera,   expose   using   both   bracketing   and   reciprocal  
exposures,  and  rewind  and  unload  film.  Students  will  learn  how  to  load  film  into  developing  
tanks,   film   development   times   and   temperatures,   chemical   steps   and   care   of   negatives  
before  using  lab  time  to  develop  their  film.  
 

Week  8:  
 

Week   eight   will   begin   with   students   printing   a   5”   X   7”   photograph   from   their   negatives.  
Students   will   be   expected   to   analyze   negative   density   and   sharpness,   properly   use  
darkroom  procedures  including  the  addition  of  the  grain  focuser  and  enlarging  techniques  in  
the   production   of   their   finished   print.   Week   eight   will   be   concluded   with   a   summative   quiz  
over  the  35mm  SLR  camera  and  exposure.  
 

Week  9:  
 

Week  nine  begins  a  shift  in  the  focus  of  the  class.  Where  the  first  half  of  the  class  focuses  on  
the   technical   side   the   2nd   emphasizes   the   creative,   expressive,   and   aesthetic   side   of   the  
medium.  Students  will  view  a  presentation  on  composition  and  apply  the  learned  techniques  
in  their  first  out  of  class  shooting  assignment.  Each  student  will  receive  their  own  individual  
assignment   from   a   random   drawing;;   they   will   then   apply   both   technical   and   compositional  
techniques   while   shooting   a   roll   of   24   exposures   using   bracketing   and   an   exposure   log.  
Students   will   then   produce   their   best   quality   8   X   10   inch   print   for   evaluation.   Instruction  
includes  video  presentation.  
 

Week  10:  
 

Abstraction:   Abstract   Photography   avoids   symbolic   representation,   rejecting   the   notion   that  
something   identifiable   must   be   depicted   by   a   photograph.   Instead,   its   object   is   the   image  
itself   and   the   process   of   its   creation.   Students   will   explore   abstraction   by   photographing  
patterns,   textures,   lines,   and   shapes   with   an   interesting   point   of   view   and   overall  
composition.  Students  will  produce  one  final  8  x  10  mounted  print  for  evaluation.    
 

Week  11:  
 

Silhouettes   or   Alternate   Assignment:   Students   will   isolate   a   subject   against   a   light  

background   and   use   proper   exposure   techniques   to   produce   a   silhouetted   image.  
Consideration  of  negative/  positive  space,  exposure,  lighting  and  design  will  be  the  students’  
emphasis  here.  Students  will  be  required  to  turn  in  one  8  X  10  inch  print.  Instruction  includes  
video  presentation.  
 

Week  12  &  13:  

 

Night  Photography:  Students  will  explore  the  possibilities  of  shooting  at  night  using  the  bulb  
setting   on   their   camera.   This   assignment   will   require   students   to   employ   three   distinct  
shooting   techniques   to   push   creativity   and   facilitate   an   awareness   of   exciting   possibilities  
that   exist   for   night   photography.   Students   will   be   required   to   complete   a   finished   print   for  
each   of   the   three   categories   for   which   the   receive   instruction.   Instruction   includes   video  
presentation.  
 

Week  14  &  15  

 

Toning   and   Hand   Coloring:   Students   will   receive   instruction   on   hand   tinting   and   chemically  
toning  black  and  white  silver  gelatin  photographs.  Students  will  use  Marshall’s  photo  oils  and  
pencils   to   create   a   hand   colored   image.   Students   will   also   experiment   with   sepia   and   cool  
toned   images   using   proper   image   toning   techniques.   Split   toning   and   bleaching   will   be  
introduced.  The  student  will  be  required  to  produce  two  toned  images  (one  warm  toned,  one  
cool  toned)  and  a  hand  tinted  photograph.  Instruction  includes  video  presentation.  
 

Week  16:  
 

Double  Exposures:  Students  will  receive  instruction  on  three  techniques  to  create  a  multiple  
exposure;;   Sandwiching,   double   printing,   and   in-­camera.   Each   student   will   be   required   to  
complete   a   finished   example   of   each   of   the   techniques.     Instruction   includes   video  
presentation.  
 

Week  17:  
Final  Photographic  Assignment  -­  Conceptual:  Each  student  will  receive  their  own  individual  
concept   (word   or   phrase)   from   a   random   drawing.   Students   will   then   produce   their   best  
quality  8  X  10  inch  print  for  evaluation.    
 
 
 
 

Week  18:  
 

Final  Presentation:  Students  will  present  their  semester  portfolio  and  artist  statement  to  the  
class   targeting   specific   questions   and   responding   to   peer   critique.   Students   will   all   be  
required   to   participate   in   lab   clean   up   day   which   will   occur   on   the   last   day   of   regular   class  
preceding  finals.  
 
 
 
 Photography  II:  Class  Abstract  
 
 
This   course   is   designed   for   students   who   are   passionate   about   traditional  
photography   and   want   to   broaden   their   horizons   in   creative,   contemporary   and  
alternative   photographic   media.   Students   must   have   successfully   completed  
Photography  I.  Students  who  have  completed  Photography  II  and  wish  further  study  
may   opt   to   become   a   Photo   Mentor   and   continue   to   take   the   class   for   repeated  
credit.   Projects   will   stress   individual   application   of   photographic   techniques   and  
ideas.   Photographic   artists   and   methods   will   be   studied.   Students   will   reflect   upon  
and  assess  characteristics  and  merits  of  artists'  work  as  well  as  their  own  individual  
approaches.   The   main   focus   of   the   class   will   be   each   student’s   development   of   a  
personal   language   that   utilizes   specific   creative   thinking   skills.   A   structured  
sequence  of  creative  thinking  activities  will  be  a  key  component  to  the  class.  
 
 
Students  will  be  exposed  to  a  variety  of  photographic  media  that  will  be  an  integral  
part  in  their  creative  thinking  and  individual  project  development.  Since  students  will  
play   a   large   roll   in   tailoring   assignments   to   their   individual   needs,   no   specific  
chronology  for  the  class  is  available.  The  following  is  meant  as  a  guide  to  clarify  what  
media  students  will  receive  instruction  in.  
 
 
 
 
Black  and  White  Infra  Red  Photography  
Xerox  Transfer  
Cyanotype  
Polaroid  Transfer-­Emulsion  Transfer  
Liquid  Emulsions  
Toning  and  Tinting  
Lith  Printing  
Medium  Format  Photography  
Large  Scale  Printing  
Mordancage  
Solarization-­Sabatier  
Mixed  Media  and  Sculptural  Photography  
Collage  and  Montage  
Multiple  Exposures  
Fiber  Based  Paper  
 
 
 
 
 
 
 
 
 
 
 
 
 Learning  Targets  for  Photography  I  
 
A  Photography  I  student  will  be  able  to  accurately  make  the  
following  statements  upon  completion  of  the  class.  
 
I  can  ……  
 
o   Demonstrate  an  understanding  of  basic  light  theories.  
o   Demonstrate  an  understanding  of  quality  of  light.  
o   Define  and  use  appropriate  terminology  needed  in  black  and  white  
photography.  
o   Demonstrate  the  use  of  composition  guidelines.  
o   Demonstrate  the  use  of  basic  design  principles.  
o   Apply  composition  guidelines  properly  in  my  work.  
o   Demonstrate  an  understanding  of  basic  camera  design  and  
functions.  
o   Identify  camera  parts,  camera  types,  and  camera  formats.  
o   Demonstrate  understanding  of  film  speed  ratings.  
o   Explain  how  light  affects  film,  and  how  to  choose  the  correct  film  to  
use.  
o   Demonstrate  understanding  of  motion  and  shutter  speeds.  
o   Demonstrate  understanding  of  depth  of  field.  
o   Demonstrate  basic  camera  handling  skills.  
o   Demonstrate  the  use  of  proper  focusing  techniques.  
o   Demonstrate  proper  light  metering  techniques.  
o   Demonstrate  an  understanding  of  the  different  films,  paper  and  
chemistry  available.  
o   Demonstrate  proper  film  development.  
o   Demonstrate  proper  printing  techniques.  
o   Demonstrate  the  proper  use  of  darkroom  equipment.  
o   Verify  how  different  chemicals  used  in  processing  film  affect  the  film  
itself.  
o   Demonstrate  how  to  handle  and  load  film  properly  to  begin  the  
developing  process.  
o   Control  variables  during  the  developing  process.  
o   Apply  the  film-­processing  sequence.  
o   Evaluate  my  negatives  by  identifying  key  characteristics.  
o   Properly  spot  tone  my  print.  
o   Properly  dry  mount  my  photographs.  
o   Properly  use  all  mounting  equipment.  
o   Demonstrate  how  to  do  specific  darkroom  techniques  to  help  improve  
the  quality  of  my  prints,  such  as:  cropping,  sizing,  dodging,  and  
burning.  
 o   Decide  what  techniques  or  media  will  best  solve  my  problems.  
o   Make  connections  with  photographic  history  and  social  history.  
o   Check,  edit  and  revise  for  correct  information,  appropriate  emphasis,  
grammar,  spelling  and  punctuation.  
o   Identify  and  implement  problem-­solving  strategies  necessary  for  
proper  darkroom  and  classroom  activities.  
o   Consistently  model  the  following  interpersonal  skills:  
o   Tact  and  diplomacy  
o   Respect  for  others  
o   Respect  for  diversity  
o   Recognition  of  strengths  
o   Positive  assertiveness  
o   Positive  attitude  
o   Works  wells  in  group  team  environment  
o   Demonstrates  willingness  to  go  beyond  expectations;;  takes  initiative.  
o   Reflect  upon  and  adapt  to  new  situations.  
o   Exhibit  the  role  of  leader  in  teamwork  situations.  
o   Define  goals,  identify  priorities,  and  establish  objectives  for  a  project.  
o   Accept  responsibility  for  personal  decisions  and  actions  
o   Demonstrate  and  maintain  the  link  between  effective  time  
management  and  effective  leadership.  
o   Demonstrate  a  capacity  for  self-­evaluation  and  reflection.  
o   Understand  and  value  effective  work  ethic  attitudes  and  behaviors.  
o   Take  initiative  with  new  challenges.  
o   Take  responsibility  for  decisions  and  actions  
o   Create  a  portfolio  that  displays  artistic,  academic  and  technical  skills.  
o   Make  deadlines  early  or  on  time.  
o   Follow  oral  instructions.  
o   Reduce  barriers  (or  interference)  that  may  impede  effective  listening.  
o   Identify  educational  and  occupational  opportunities  for  a  career  in  
photographic  related  employment.  
o   Perform  a  self-­assessment  showing  strengths/weakness  
o   Utilize  problem  solving  skills.  
o   Keep  track  of  equipment,  supplies,  labeling  work,  prep  for  class.  
o   Locate  information  and  select  the  materials,  tools,  equipment,  or  
other  resources  to  perform  the  activities  needed  to  accomplish  a  
specific  task.  
o   Set  priorities  or  order  in  which  several  tasks  will  be  accomplished.  
o   Comply  with  safety  and  health  rules.  
o   Exhibit  the  safe  use  of  tools,  equipment  and  materials.  
o   Maintain  a  clean  and  orderly  work  area.  
 
 
 
 
  
Learning  Targets  for  Photography  II  
 
A  Photography  II  student  will  be  able  to  accurately  make  the  
following  statements  upon  completion  of  the  class.  
 
I  can  ……  
 
o   Demonstrate  an  understanding  of  basic  light  and  apply  it  for  my  own  
creative  intent.  
o   Demonstrate  an  understanding  of  basic  camera  design  and  
manipulation.  
o   Demonstrate  and  apply  the  elements  of  art  and  principles  of  design  
when  creating  photographic  works  of  art.  
o   Integrate  design  principles  into  my  own  individual  style.  
o   Evaluate  my  own  photographs  and  the  works  of  other  historical  
images  using  a  creative  process.  
o   Demonstrate  the  ability  to  use  depth  of  field  and  composition  for  my  
own  creative  intent.  
o   Expose  film  for  my  intended  values.  
o   Demonstrate  multiple  matting  techniques  and  prepare  my  finished  
work  for  exhibition.  
o   Exhibit  my  work  in  a  professional  manner.  
o   Understand  camera  exposure  modes.    
o   Calculate  consistent  print  exposures.  
o   Use  exposure  tools  and  techniques  in  my  own  work  to  produce  
properly  exposed  negatives.  
o   Identify  proper  use  and  application  of  camera  filters  and  apply  my  
understanding  for  my  own  creative  intent.  
o   Choose  film  types  and  formats  effectively  for  specific  desired  effects.  
o   Demonstrate  knowledge  of  camera  accessories  and  use  them  
properly  in  my  own  work.  
o   Demonstrate  proper  use  of  toning  techniques  such  as  special  effects,  
archival  permanence  and  aesthetic  value.  
o   Demonstrate  an  understanding  of  darkroom  special  effects  and  
techniques  such  as  high  contrast  printing,  lith  printing,  sabattier  
printing,  photograms,  flashing  and  split  filter  printing.    
o   Examine  and  apply  alternative  photographic  methods  to  produce  my  
individual  stylistic  intent.  
o   Demonstrate  proper  maintenance  of  all  classroom  equipment.  
o   Understand  the  use  of  and  application  of  different  paper  types  and  
surfaces.  
 o   Demonstrate  an  understanding  of  different  films,  formats  and  
characteristics.  
o   Utilize  appropriate  techniques  or  processes  for  specific  problems.  
o   Integrate  photographic  history  and  social  history  into  my  individual  
style.  
o   Develop  higher  order  writing  skills  and  basic  research  techniques  in  
the  evaluation  of  my  own  work  as  well  as  the  work  of  others.  
o   Use  appropriate  art  vocabulary.  
o   Participate  in  group  discussions  and  critiques  for  problem  solving  and  
formative  assessment.  
o   Interpret  information  from  photography  resource  materials  and  apply  
it  to  my  own  work.    
o   Use  computers  for  information  processing  and  research.  
o   Identify  educational  opportunities  for  a  photographic  career.  
o   Incorporate  my  images  into  a  multimedia  presentation  to  the  class.  
o   Compare  diverse  options  of  photographic  careers  in  the  community.  
o   Create  a  portfolio  that  displays  artistic  and  technical  skills.  
o   Prepare  gallery  space  for  professional  exhibition,  organizing  lighting,  
display,  writing  artist  statement  and  promoting  the  exhibition.  
o   Visual  problem  solve  to  create  original  works  of  art.  
o   Demonstrate  how  to  compare  photographs  of  different  artists  and  
styles.  
o   Make  critical  judgments  and  creatively  problem  solve  based  on  the  
criteria  of  individual  assignments.  
o   Identify  periods  of  photographic  history  and  recognize  that  artists  
make  contributions  to  society.  
o   Recognize  the  connection  photographic  arts  have  to  other  subject  
areas  in  the  school’s  curriculum.  
o   Create  a  portfolio  that  displays  artistic,  academic  and  technical  skills.  
o   Understand  and  value  effective  work  ethic,  positive  attitudes  and  
productive  behavior.    
o   Demonstrate  a  willingness  to  take  initiative  with  new  challenges.  
o   Take  responsibility  for  my  own  decisions  and  actions.  
o   Follow  oral  instructions.  
o   Reduce  barriers  (or  interference)  that  may  impede  effective  listening.  
 
 
 
 
 
DAILY  WORK  POINTS:  
An  explanation  
 
I   believe   that   a   student   in   an   advanced   elective   class   like   Photography   should   be   there  
because   he   or   she   enjoys   photography   and   wants   to   use   class   time   to   work   on   creative  
and  expressive  images.  As  you  know  photography  at  Blue  Valley  High  School  is  a  popular  
class.   Many   times   this   class   fills   up   rapidly   and   students   that   really   want   to   take   it   are  
denied  the  opportunity.  If  you  are  enrolled  in  the  class  it  is  my  expectation  that  you  work  
everyday   when   lab   time   is   given,   participate   and   take   notes   when   lecture   or   written  
material  is  given,  and  respect  others  property  and  right  to  do  the  same.  The  experience  of  
working   in   the   studio   is   a   vital   part   of   the   creative   process   and   essential   to   a   good  
photography  program.  Work  points  are  a  simple  way  to  evaluate  those  who  do  use   their  
class  time  wisely.  This  will  constitute  a  significant  part  of  your  grade  in  the  class.  With  a  
large   group   working   together   and   sharing   supplies   and   equipment   clean   up   and  
organization  are  vital.  That  is  why  they  are  included  in  the  daily  work  point  evaluation.  
 
How  do  I  earn  work  points?  
 
Work   points   are   earned   by   students   who   are   actively   engaged   in   the   process   of   image  
making   and   clean   up   on   lab   days.   Actively   engaged   includes   developing   film,   printing  
photographs,  manipulating  photographs,  compiling  portfolios,  scanning  images,  and  digital  
manipulation.   Work   points   will   not   be   earned   for   brainstorming   for   extended   periods   of  
time,  organizing  negatives,  internet  research,  or  library  research.  Although  they  are  noble  
activities   that   is   not   what   lab   time   is   designed   for   and   you   will   therefore   receive   no   work  
points,   but   I   will   at   least   not   be   irritated   that   you   wasted   your   time   completely.   Doing  
homework   from   other   classes,   sitting   and   doing   nothing   or   talking   will   receive   no   work  
points,  irritate  me,  and  result  in  disciplinary  action.  
 
What  if  I  am  done  with  my  assignment?  
 
What  a  great  opportunity  to  be  done  with  the  required  work  and  have  time  to  experiment  
on  your  own,  print  other  images  that  you  have  wanted  to  print  but  didn't  fit  the  criteria  of  the  
assignment.   Investigate   other   ways   of   completing   the   assignment.   Maybe   your   second  
attempt  is  better  than  the  first.  Often  it  is.  You  will  still  be  responsible  for  working  in  the  lab.  
 
What  if  I  am  absent?  
 
See  individual  teacher    
 
  
Portfolio  Presentation  Project  
Mr.  Johnston’s  Class  
-­   Final  Project  for  Photography  I&II  -­  

Photography   students   will   have   the   opportunity   to   present   a   portfolio   which   they   have  
developed   during   their   experience   in   the   class.   Students   will   begin   to   consider   how   to  
integrate  learning  from  the  photography  studio,  and  other  courses  in  the  visual  arts.  Students  
will   receive   feedback   from   their   peers   and   the   instructor.   This   ongoing   portfolio   process  
assists   students   in   planning   for   future   courses,   defining   skills   and   concepts   they   want   to  
enhance,   articulating   a   personal   career   philosophy   and   preparing   for   professional   uses   of  
portfolios.   Portfolio   Presentations   are   held   during   finals   week   and   allow   students   to  
demonstrate  their  learning  to  a  wider  audience.    

Ø   Portfolios  must  include  all  images  from  assigned  prompts.  

Ø   Portfolios  must  be  presented  and  stored  electronically  using  PowerPoint  software.  
Ø   Students  must  present  to  the  class  in  a  professional  critique  format.  

Grades:  
      Presentation         100  Pts  
Artist’s  Statement          50  Pts.  
 

Must  be  included  in  presentation:  

•   Presentation  title  page  with  your  name.  

•   Image  Titles  and  sizes.  
•   Professional  Presentation  (not  humorous  or  silly).  Should  be  
targeted  for  college  entrance  or  job  application)  
•   Artist’s  Statement  (500–750  words).  Artist  statements  should  be  
included  in  the  PowerPoint  following  the  last  image.  
•   Written  description  of  how  each  piece  was  created  (Photo  II  only).  
 

Extra  credit  if  included  in  presentation  (Photo  II  only):  

 
•   Description  of  ideas.  
•   Historical  references  or  images  that  have  influenced  your  work.  
•   Include  sketches  or  preliminary  drafts  with  a  description  of  your  thought  
processes.    
•   Include  additional  images  (if  they  are  quality)  
 
 

Questions  to  answer  for  each  image  during  critique:  

 
1.   What  inspired  the  image,  what  was  your  initial  idea,  what  is  the  meaning  of  
the  piece?  
2.   How  was  the  image  created,  what  processes  did  you  use,  any  manipulations  
or  dodging  and  burning.  
3.   What  do  you  think  are  the  strengths  of  the  image,  what  do  you  like  about  it,  
and  why  did  you  choose  it  for  your  portfolio?  
  
 
THE  ARTIST’S  STATEMENT:    WHAT  IS  IT?  
 
The   artist's   statement   is   a   short   written   description   of   the   artist’s   intent,   purpose,  
reason,   motivation   for   making   art.   Many   art   competitions,   galleries,   grants   and  
scholarships   require   artists   to   submit   statements   about   their   work.   This   process  
allows  the  artist  an  opportunity  to  look  at  their  work  collectively  and  comment  about  
what  their  work  means  to  them  and  why  they  make  art.    
At   this   point   in   the   semester   you   should   have   completed   a   body   of   work.   You’ve  
experimented  with  several  techniques,  and  you’ve  begun  to  explore  your  own  visual  
language   through   the   subjects   that   you   have   chosen.   You   should   be   discovering  
both   strengths   and   weaknesses   in   your   work,   and   you   should   also   be   discovering  
how  you  handle  challenges  in  your  work.    
An   analysis   of   your   process   of   art   making   is   helpful   for   you   as   an   artist.   The  
statement   should   reflect   the   thought   process   that   you   use   to   make   your   work.   This  
analysis   will   help   you   to   see   how   and   why   you   selected   the   subjects   and  
compositions  you  did;;  how  you  handle  the  materials  and  what  direction  you  hope  to  
go  in  the  future  with  your  work.  Where  does  your  work  come  from?  What  does  your  
work   communicate?   Why   do   you   make   art?   How   has   your   visual   language  
developed  over  the  course  of  the  semester?  How  do  the  materials  you  have  chosen  
affect  your  work?  Do  your  work  patterns  influence  your  end  product?    
 
 

How  to  begin  

 
Collect   your   current   body   of   work.   Add   any   other   pieces   of   your   work   that   have   a  
relationship   to   the   current   work.   Are   there   similarities   in   symbols,   images,   form,  
techniques,   materials,   subjects,   marking   style?   If   so,   explore   your   reasons   for  
recurring   images,   or   certain   compositional   structure,   whatever   you   see   in   the   work  
that  binds  it  together.  This  close  scrutiny  of  the  body  of  work  is  your  place  to  start.  
While  you  are  looking  at  your  work  and  finding  similarities  or  differences,  make  notes  
about  what  you  find.  Look  back  at  artists  whose  work  you  admire.  How  do  works  by  
other   artists   affect   your   photographs?   Do   you   see   yourself   as   a   part   of   art   history  
through   this   relationship?   When   you   construct   the   artist’s   statement,   you   are  
constructing   a   statement   about   what   your   work   is   about,   who   you   are   as   an   artist,  
how  your  creative  process  works,  and  what  you  are  trying  to  communicate  through  
your  work.    
I  am  not  a  good  writer  so  how  can  I  write  an  artist’s  
statement  
 
The  best  policy  is  to  write  as  though  you  were  speaking  about  what  you  do.  Writing  
about  your  work  must  come  from  inside.  It  shouldn't  be  slick  or  sound  too  contrived.  
This  is  one  instance  where  simplicity  of  thought  and  execution  can  be  very  powerful.    
Don't   gloss   over   the   emotions   that   have   driven   your   work.   Don't   try   too   hard   to  
explain  where  your  work  comes  from.  Just  tell  your  story  ...  plain  and  simple.  There    
is  nothing  wrong  with  getting  help  to  fine-­tune  your  statement.  
 
Artist  Statement  Do’s  &  Don’ts  
 
Be  honest.  
Mention   well-­known   artists   who   have   influenced   your   work.   Show   influences   that  
connect  your  work  to  the  well-­known  artist.  
Use  historic  quotes  that  you  relate  to  as  an  artist  to  validate  you  or  your  work.  Check  
art  history  books,  etc.  
Always  write  in  the  first  person  (I),  unless  you  are  using  quotes  from  someone  else.  
Be  passionate,  personal,  and  intimate  about  what  you  have  to  say.  
Update  the  statement  regularly;;  especially  if  there  have  been  substantial  changes  in  
your  work  or  your  life.  
Have  someone  who  knows  you  read  your  statement.  Does  it  really  sound  like  you?  
Do   not   make   the   statement   so   difficult   to   comprehend   that   you   lose   the   reader's  
interest.  
Do  not  critique  your  own  work,  especially  by  comparing  yourself  to  famous  artists.  
Do  not  make  excuses  for  who  or  what  you  are  about.  
 
 
Questions  to  answer  in  your  artist’s  statement  
 
Why  do  you  like  to  make  art?  
What  subjects  do  you  prefer?  Why?  
What  processes  and  techniques  do  you  use?  Why?  
How  is  your  work  different  from  others?  
What  do  you  see  in  your  artwork?  
What  do  other  people  say  they  see?  
What  are  your  goals  and  aspirations  as  an  artist?  
Who  or  what  inspires  you?  
 
 
Your  statement  must  be  “your  statement”  
 
You  will  have  to  look  at  your  own  work  and  decide  what  its  motivation  is,  and  what  
has  become  a  part  of  your  intent  and  purpose.  I  will  be  happy  to  look  at  your  body  of  
work   and   help   you   see   the   associations   between   pieces.   Other   art   teachers   are   a  
great  source  of  information  and  advice  as  well.  Good  luck  and  enjoy  the  process.  
 
 
 

 
Light  
 
The   term   photography   comes   from   the   Greek   words   phos-light   and   graphein-­to   write   or  
draw.   Thus   photography   is   drawing   with   light.   For   photographers   an   understanding   of   the  
qualities  and  Properties  of  light  is  of  fundamental  importance.  Light  is  after  all  the  essential  
ingredient  of  photography.  
 
What  you  recognize  as  light  is  just  part  of  an  enormous  range  of  electromagnetic  radiation.  
This   spectrum   ranges   from   X   rays   and   Gamma   rays   at   one   extreme   to   radio   waves   at   the  
other.   What   distinguishes   each   type   of   energy   is   its   wavelength.   Each   band   of  
electromagnetic  radiation  merges  into  the  next  but  has  its  own  special  characteristics.  Some  
wavelengths,   such   as   radio   waves   can   be   transmitted   over   vast   distances.   Others   such   as  
X-­rays  will  penetrate  thick  steel,  or  destroy  human  tissue.  The  human  eye  cannot  see  most  
of   this   radiation.   Your   eyes   are   sensitive   to   only   a   narrow   band   between   wavelengths   400  
nm   and   700nm   approximately.   (A   nanometer   or   nm   is   one   millionth   of   a   millimeter.)   This  
limited  span  of  wavelengths  is  therefore  known  as  the  visible  spectrum.  
 
The  waves  in  the  visible  spectrum  are  the  most  important  to  photography.  Within  the  visible  
spectrum  the  human  eye  sees  a  change  of  wavelength  as  a  change  of  color.  Although  the  
change   from   one   color   to   another   is   not   clear-­cut   the   approximate   color   ranges   can   be  
indicated  on  the  visible  spectrum.  
 How  Light  Forms  a n  Image  

For  simplicity's  sake,  the  drawing  above  shows  only  a  few  rays  coming  from  only  two  points  
on  the  man,  his  pipe  and  his  coat  tip,  but  their  random  distribution  over  the  entire  film  makes  
it   clear   that   they   are   not   going   to   produce   a   useful   image.   The   rays   from   the   pipe,   for  
example,  will  hit  the  film  all  over  its  surface,  never  creating  in  any  one  place  an  image  of  the  
pipe.   What   is   needed   is   some   sort   of   light-­control   device   in   front   of   the   film   that   will   select  
and   aim   the   rays,   putting   the   pipe   rays   where   they   belong   and   the   coat   rays   where   they  
belong,  resulting  in  a  clear  picture.  Although  all  the  light  rays  reflected  from  an  object  cannot  
produce  an  image  on  a  flat  surface,  a  selection  of  rays  can.  Suppose  there  is  a  barrier  with  
an   aperture   (small   hole)   in   it,   like   that   in   the   drawing   above.   All   but   a   few   rays   from   each  
point   are   deflected   by   the   barrier.   Those   few   rays   that   do   get   through,   traveling   in   straight  
lines  from  object  to  film,  can  make  an  image.  
 
For  example,  the  few  rays  from  the  man's  pipe  that  get  through  the  hole  all  fall  on  a  certain  
spot  near  the  bottom  of  the  film.  Only  that  one  spot  on  the  film  registers  an  image  of  a  pipe.  
Similarly,   rays   from   the   coat,   the   shoes,   the   ear,   the   hat   brim-­from   every   point   on   the  
man-­travel  to  other  specific  points  on  the  film.  Together  they  form  a  complete  image,  but  one  
that  is  inverted.  Everything  that  was  at  the  top  of  the  man  appears  at  the  bottom  of  his  image  
on  the  film  and  everything  at  the  bottom  appears  at  the  top.  Similarly,  left  becomes  right  and  
right  becomes  left.  
 
The   image-­making   ability   of   the   pinhole   was   first   put   to   use   long   before   the   invention   of  
photography  as  part  of  the  Camera  Obscura,  a  darkened  room  whose  only  light  source  is  a  
small   hole   in   one   wall.   Light   rays   coming   through   the   hole   form   on   the   opposite   wall   an  
image  of  the  scene  outside.  The  Camera  Obscura  is,  in  fact,  a  room-­sized  primitive  camera.  
Shrink  the  room  down  to  shoebox  size,  reduce  the  hole  to  1/50th  inch  (0.5  mm)  in  diameter,  
place  a  piece  of  film  at  the  end  opposite  the  hole,  and  it  will  make  a  recognizable  image.  
Pinhole  Photography  –  History  and  How  to  
 
Pinhole   photography   is   photography   without   a   lens.   A   tiny   hole   called   an   aperture  
replaces  the  lens.  Light  passes  through  the  aperture  and  forms  an  image  in  the  camera.  
 

Pinhole  cameras  are  small  or  large,  improvised  or  designed  with  great  care.  Cameras  
have  been  made  from  every  object  imaginable;;  many  have  been  made  from  shoeboxes,  
Pringles   cans,   check   boxes,   and   jewelry   boxes   here   at   Blue   Valley   High   School.  
Cameras  have  been  cast  in  plaster,  constructed  from  beautiful  hardwoods,  built  of  metal  
with  bellows  and  a  range  of  multiple  pinholes.  Rooms  in  large  buildings  have  also  been  
transformed  into  pinhole  cameras.  Take  a  look  at  the  book  on  the  bookshelf  at  the  front  
of   the   room   titled   Camera   Obscura   by   Abelardo   Morell.   Morell   transforms   rooms   into  
large  pinhole  cameras  to  create  giant  inverted  images.  Basically  a  pinhole  camera  is  a  
box,  with  a  tiny  aperture  at  one  end  and  film  or  photographic  paper  at  the  other.  
 

Pinhole  cameras  are  used  for  fun,  for  art  and  for  science.  
 

Designing   and   building   a   pinhole   camera   can   be   great   fun.   Making   images   with  
cameras  you  have  made  yourself  is  also  a  great  pleasure.  By  making  the  best  of  your  
camera's   potential   great   images   can   be   produced.   Some   of   the   images   created   by  
pinhole  cameras  could  not  have  been  produced  with  a  lens.  
 

Characteristics  
 

Pinhole  images  are  softer  –  less  sharp  –  than  pictures  made  with  a  lens  but  the  images  
have   nearly   infinite   depth   of   field.   Exposures   are   long,   ranging   from   half   a   second   to  
several  hours.  Images  are  exposed  on  film  or  paper.  
 

History    
 

The  basic  optical  principles  of  the  pinhole  are  commented  on  in  Chinese  texts  from  the  
fifth   century   BC.   Chinese   writers   had   discovered   by   experiments   that   light   travels   in  
straight  lines.  The  philosopher  Mo  Ti  (later  Mo  Tsu)  was  the  first  –  to  our  knowledge  –  to  
record   the   formation   of   an   inverted   image   with   a   pinhole   or   screen.   Mo   Ti   was   aware  
that  objects  reflect  light  in  all  directions,  and  that  rays  from  the  top  of  an  object,  when  
passing   through   a   hole,   will   produce   the   lower   part   of   an   image.   In   the   western  
hemisphere   Aristotle   (fourth   century   BC)   comments   on   pinhole   image   formation   in   his  
work  Problems.    
 

The  Arabian  physicist  and  mathematician  known  as  Alhazen,  experimented  with  image  
formation  in  the  tenth  century  AD.  He  arranged  three  candles  in  a  row  and  put  a  screen  
with  a  small  hole  between  the  candles  and  the  wall.  He  noted  that  images  were  formed  
only  by  means  of  small  holes  and  that  the  candle  to  the  right  made  an  image  to  the  left  
on  the  wall.  From  his  observations  he  deduced  the  linearity  of  light.    
 

In   the   Renaissance   and   later   centuries   the   pinhole   was   mainly   used   for   scientific  
purposes  in  astronomy  and  fitted  with  a  lens,  as  a  drawing  aid  for  artists  and  amateur  
painters.  
Leonardo   da   Vinci   (1452–1519)   describes   pinhole   image   formation   in   his   Codex  
Atlanticus.   In   1475   the   Renaissance   mathematician   and   astronomer   Paolo   Toscanelli  
placed  a  bronze  ring  with  an  aperture  in  a  window  in  the  Cathedral  of  Florence,  still  in  
use   today.   On   sunny   days   a   solar   image   is   projected   through   the   hole   onto   the  
cathedral's  floor.  At  noon,  the  solar  image  bisects  a  "noon-­mark"  on  the  floor.  The  image  
and  noon-­mark  were  used  for  telling  time.  
 

In   1580   papal   astronomers   used   a   pinhole   and   a   similar   noon-­mark   in   the   Vatican  
Observatory   in   Rome   to   prove   to   Pope   Gregory   XIII   that   the   spring   equinox   fell  
incorrectly   on   11   March   rather   than   on   21   March.   Two   years   later,   after   careful  
consideration,   Pope   Gregory   XIII   corrected   the   Julian   calendar   by   10   days,   thus  
creating  the  Gregorian  calendar.  
 

Giovanni  Battista  Della  Porta  (1538–1615),  a  scientist  from  Naples,  was  long  regarded  
as  the  inventor  of  the  camera  obscura  because  of  his  description  of  the  pinhole  camera  
obscura   in   the   first   edition   of   his   Magia   naturalis   (1558).   His   description   has   received  
much  publicity,  as  did  his  camera  obscura  shows,  but  he  was  by  no  means  the  inventor.  
 
The   first   published   picture   of   a   pinhole   camera   obscura   is   apparently   a   drawing   by  
Gemma  Frisius,  an  astronomer,  had  used  the  pinhole  in  his  darkened  room  to  study  the  
solar   eclipse   of   1544.   The   very   term   camera   obscura   ("dark   room")   was   coined   by  
Johannes  Kepler  (1571–1630).  At  his  time,  the  term  had  come  to  mean  a  room,  tent  or  
box  with  a  lens  aperture  used  by  artists  to  draw  a  landscape.  The  lens  made  the  image  
brighter   and   focused   at   a   certain   distance.   In   the   1620s   Johannes   Kepler   invented   a  
portable  camera  obscura.  Camera  obscuras  as  drawing  aids  were  soon  found  in  many  
shapes  and  sizes.  Both  artists  and  amateur  painters  used  them.  
 
During   the   19th   century   several   large-­scale   camera   obscuras   were   built   as   places   of  
education  and  entertainment.  Several  buildings  or  towers  with  camera  obscuras  remain  
today:   The   Camera   Obscura   at   Royal   Mile,   Edinburgh;;   the   Great   Union   Camera   at  
Douglas,  Isle  of  Man;;  the  Clifton  Observatory  at  Bristol,  England;;  the  camera  obscura  at  
Portmeirion,  North  Wales;;  the  Giant  Camera  at  Cliff  House,  San  Francisco;;  the  camera  
obscura  at  Santa  Monica,  California,  the  camera  on  the  Mount  Oybin  in  Germany,  and  
others.    
 

Cameras  
 
Basically  a  pinhole  camera  is  a  light-­tight  box  with  a  tiny  aperture  in  one  end  and  film  or  
photographic  paper  in  the  other.  
 
Most   pinhole   photographers   make   their   own   cameras.   The   construction   is   simple.  
Pinhole   cameras   may   differ   with   regard   to   (a)   focal   length,   (b)   pinhole   diameter,   (c)  
number   of   pinholes,   (d)   image   format,   (e)   flat   or   curved   film   plane,   (f)   type   of   light-­
sensitive  material,  and  (g)  other  characteristics.  
   
For   any   focal   length   there   is   an   optimal   pinhole   diameter   for   image   sharpness.   A  
number   of   formulas   and   charts   have   been   produced.   Generally   a   smaller   pinhole   will  
produce   a   sharper   image   than   a   larger   one.   If   the   pinhole   gets   too   small,   the   image  
becomes  less  sharp  because  of  diffraction.  See  Formula  on  page  30.  
 
 

  23
  
Making  a  Pinhole  Camera  the  Blue  Valley  High  School  Way  
 
1.   Choose  a  rigid  box  that  you  can  easily  hold  in  your  hands.  For  your  first  pinhole  camera  
don’t  choose  a  box  bigger  than  a  shoebox.  Pick  a  box  with  a  removable  lid,  not  a  folding  
lid,  or  flaps.  If  you  can  not  find  one  then  you  may  build  one  by  constructing  a  tight  fitting  
lid  out  of  cardboard,  masking  tape  and  construction  paper.  
 
2.   Paint  the  insides  of  your  box  including  the  lid  with  flat  black  acrylic  paint.  Make  sure  the  
lid  is  not  translucent  (no  light  getting  through).  If  necessary  glue  some  black  construction  
paper   or   cardboard   to   the   lid   to   make   it   opaque   (no   light   getting   through).   This   step   is  
critical.  It  will  prevent  any  stray  light  from  reflecting  back  onto  the  film  and  distorting  the  
image.   Two   light   coats   of   paint   will   cover   better   and   actually   dry   faster   than   one   thick  
coat.   Hold   your   box   up   to   a   bright   light   and   inspect   the   corners.   Many   times   there   are  
gaps   or   frayed   areas   that   need   repair.   If   you   find   any   tape   them   up   with   black  
construction  paper  and  masking  tape.  
 
3.   Make  a  hole  in  the  front  of  the  box  where  you  want  the  aperture  to  be  using  a  sharp  x-­
acto  knife.  The  hole  should  be  about  the  size  of  your  little  finger  or  a  dime.  Clean  away  
any  frayed  cardboard  created  by  this  step.  The  "optical  axis"  should  extend  to  the  center  
of  film  plane  -­  provided  you  are  not  looking  for  special  off-­center  effects.  In  other  words  
center  the  hole  in  the  middle  of  the  box.  
 
Note:  The  aperture  will  be  opposite  the  film  plane  and  choosing  different  sides  of  the  
box  will  render  different  focal  distances.  Choose  wisely.  
 
4.   The  most  important  part  of  a  pinhole  camera  is  the  pinhole  itself.  We  will  be  making  ours  
from  aluminum  can  scraps.  They  should  be  sanded  carefully  with  ultra-­fine  emery  paper  
(e.g.   #   600)   to   remove   any   paint   and   to   make   them   thinner.   The   hole   is   made   with   a  
needle  or  pin.  The  edge  of  the  hole  should  be  sharp.  The  optimal  diameter  depends  on  
the  focal  length  of  the  camera.    To  determine  the  focal  length  of  your  camera  measure  
the  distance  from  the  middle  of  the  hole  you  just  cut  to  the  back  of  the  box,  or  opposite  
side  where  the  film  will  be.  Measure  in  millimeters  or  measure  in  inches  and  multiply  by  
25.4.  The  result  is  your  focal  distance  in  millimeters.  Write  it  down  on  the  outside  of  your  
box   so   you   won’t   forget   it.   (Ex.   Focal   Distance   =   ___mm.)   Next   you   must   consult   the  
chart   below   to   determine   the   ideal   aperture   (pin)   size   for   your   camera.   In   general:   the  
smaller  the  hole,  the  sharper  the  Image.  If  the  hole  is  too  small,  however,  the  image  gets  
less  sharp  because  of  diffraction  effects.  Look  at  the  chart  described  in  #  8  to  determine  
which  size  pin  will  work  the  best  for  you.  After  choosing  the  proper  pin  size  write  down  
the   size   of   the   diameter   of   the   pin   you   chose   on   the   outside   of   your   box   so   you   won’t  
forget  it.  This  will  be  critical  for  step  #  9.  
 
5.   Place  the  piece  of  aluminum  can  on  top  of  a  roll  of  paper  towels.  Carefully  poke  a  hole  
with  the  correct  size  pin  for  your  focal  distance  taking  care  that  the  hole  is  as  round  as  
possible.   It   is   important   that   you   push   straight   down   (not   at   an   angle).   Hold   the   needle  
steadily   in   a   90-­degree   angle   to   the   surface.   Slightly   twisting   the   needle   like   a   drill   will  
help  to  minimize  tearing  the  hole.  Turn  the  piece  of  metal  over  to  the  backside  and  sand  
the  rough  burr  with  fine  emery  paper  to  make  it  smooth.  After  sanding  examine  the  hole  
carefully   to   make   sure   that   it   is   perfectly   round.   The   hole   can   be   checked   with   a  
magnifying  loupe,  enlarger,  or  microscope.  If  it  is  not  round  reinsert  the  pin  carefully  and  

  24
 repeat   sanding   until   successful.   If   you   ruin   one,   oh   well   after   all   it   is   only   a   scrap   of  
aluminum  from  a  coke  can.  This  is  the  most  important  step.  
 
6.   The   hole   can   be   checked   with   a   magnifying   loupe,   enlarger,   or   microscope.   If   it   is   not  
round   reinsert   the   pin   carefully   and   repeat   sanding   until   successful.   If   you   ruin   one,   oh  
well  after  all  it  is  only  a  scrap  of  aluminum  from  a  coke  can.  This  is  the  most  important  
step.  
 
7.   Tape   the   aluminum   with   the   aperture   in   it   over   the   hole   that   you   cut   in   step   #   3.   The  
rough  side  or  the  side  that  you  sanded  to  remove  the  bur  should  be  facing  down  into  the  
box.  It  should  be  taped  flat  to  avoid   any   bends   or   buckles   in   the   aluminum.   Be   sure   to  
center  the  aperture  over  the  hole.  
 
8.   Make  a  simple  shutter  (the  gate  like  mechanism  that  controls  access  of  light  to  the  film).  
Take   a   2”   X   2”   piece   of   black   construction   paper   and   tape   it   over   the   pinhole   on   the  
outside   of   the   box.   Hinge   on   side   of   the   shutter   so   that   it   may   work   like   a   door   to   be  
taped  open  or  shut.  
 
9.   You   now   have   a   working   camera,   but   there   is   still   more   work   to   be   done   before   you  
begin  creating  images.  
 
10.  Now  you  are  ready  to  figure  your  f.  stop  number  (A  numerical  indicator  of  the  size  of  the  
aperture).   To   do   this,   divide   the   focal   length   of   your   camera   by   the   diameter   of   your  
aperture  (the  pin  size).  For  example:  focal  length  =  100mm,  aperture  =  .4mm  so  ...  100  
divided  by.4  =  f.  250.  Write  f.  stop  =  and  whatever  number  you  just  came  up  with  on  the  
outside  of  your  box  in  big  bold  numbers.  This  is  the  most  important  number  as  it  will  help  
determine  the  length  of  time  you  will  expose  your  film.  
 
11.    Find  your  f.  stop  number  on  your  f  scale  included  on  page  of  this  handout.  If  the  exact  
number  is  not  available  round  to  the  closest  number  or  make  note  on  the  chart  that  your  
number   falls   half   way   between   two)   Mark   the   chart   by   the   f.   number   that   you   have  
chosen  and  cut  out  both  scales  on  the  dotted  line.    
 
12.  Take  a  current  light  meter  reading  from  a  hand  held  light  meter  or  from  your  SLR  with  a  
built  in  light  meter.  Remember  to  set  your  light  meter  to  the  proper  film  speed.  In  class  
we   will   be   using   Arista   lith   film   rated   at   ISO   8.   Adjust   your   scale   to   coincide   with   the  
meter  reading.  For  example:  if  the  light  meter  indicates  that  at  f.16  a  2  sec  exposure  is  
correct,  place  the  Time  scale  over  f  scale  and  match  up  f.16  with  2  sec.  Without  moving  
the   scale,   determine   which   time   lines   up   with   your,   f   stop.   This   is   your   indicated  
exposure  time.  
 
13.  You  are  not  done  yet.  Because  we  are  using  such  small  apertures  not  much  light  will  be  
reaching   the   film.   Film   responds   to   light   equally   and   predictably   until   one   gets   down   to  
very  low  levels  of  light.  Film  then  experiences  reciprocity  failure.  Because  of  reciprocity  
failure   we   cannot   use   the   indicated   exposure   time   to   make   our   correct   exposure.   We  
must  compensate  by  multiplying  the  indicated  exposure  time  by  the  information  found  on  
page   21   the   "Reciprocity   Failure"   chart,   to   give   a   corrected   exposure   time.   That’s   all  
there   is   to   it.   Now   you   have   built   your   own   camera,   mathematically   determined   your   f.  
stop   and   calculated   your   exposure   time.   If   your   reading,   science,   math   and  
craftsmanship  have  been  successful  you  are  ready  to  make  art.      
 

  25
              
 

 
        PINHOLE  MATH  

  This  is  a  condensed  version  of  the  basics  required  to  create  an  initial  exposure  
using   your   pinhole   camera.   After   the   first   attempt,   some   fine-­tuning   may   be   required  
based  on  your  desired  effect.  
 
What  you  need  to  know  before  you  begin  
 
1)   Aperture  size-­  this  is  the  hole  that  you  have  made  in  your  camera  to  allow  light  
inside.  
2)   Focal   length-­   the   distance   from   aperture   to   film   plane.   NOTE:   keep   your  
measurements  in  a  consistent  mode,  i.e.  metric.  FYI…  25.4mm  =  1  inch.  
3)   The  ISO-­  or  speed  of  the  film  you  are  using.  (lith  film  ISO  8)  
 
Now  for  the  fun  part!  
 
a)   Figure   your   f.   stop   number   for   the   camera   you   have   created.   To   do   this  
divide   your   focal   length   by   your   aperture.   For   example:   focal  
length=100mm,   aperture=.4mm   so…100   divided   by   .4=250.   Find   this  
number  on  your  cut  out  f.  scale.  (Look  on  the  following  page)  
 
b)   Take  a  current  light  meter  reading.  Remember  to  set  your  light  meter  to  
the  proper  film  speed  (ISO).  
 
c)   Adjust  your  scale  to  coincide  with  the  meter  reading.  Shutter  scale  over  f.  
scale.  Slide  the  scale  to  match  the  meter.  
 
d)   Without   moving   the   scale,   determine   which   time   lines   up   with   your  
camera’s  f.  stop  #.  This  is  your  indicated  exposure  time.  
 
e)   MULTIPLY   the   indicated   exposure   time   by   the   information   found   on   the  
“Reciprocity  Failure”  chart,  to  give  a  corrected  exposure  time.  
 
 
 
 
 
 

  26
  
Shutter   Aperture  
Speed  
 
Size    

1/30  
 
f.  11  
   

1/15  
 
f.  16  
   

1/8   f.  22  
 

   

1/4  
 
f.  32  
   

1/2  
 
f.  45  
   

1  sec.  
 
f.  64  
   

2  sec.  
 
f.  90  
   

4  sec.  
 
f.  128  
   

8  sec.   f.  180  
 

   

15  sec.  
 
f.  256  
   

30  sec  
 
f.  360  
   

1  min.  
 
f.  512  
   

2  min   f.  720  
 

   

4  min  
 
f.  1024  
   

8  min  
 
f.  1440  
   

16  min   f.  2048    

   

32  min  
 
f.  2880  
dotted  lines  
Cut  only  on    
above  

  27
  

  28
  

Reciprocity  Failure  Compensation  Chart  

Indicated      x  Compensation   Actual  Exposure  
Exposure   Factor  
1  second   1  .25   1  .25  sec.  
2.5  seconds   1.37   3.5  sec.  
5  seconds   1  .5   7.5  sec.  
10  seconds   1.75   18  sec.  
15  seconds   2   30  sec.  
30  seconds   2.25   1  min  8  sec.  
45  seconds   2.5   1  min.  13  sec.  
1  minute   2.75   2  min  45  sec.  
1  minute  30  sec.   2.87   4  min  20  sec  
2  minutes   3   6  minutes  
3  min.  30  sec.   3.5   12  min.  15  sec.  
5  minutes   4   20  minutes  
7  min.  30  sec.   4.5   33  min  45  Sec.  
10  minutes   5   50  minutes  
20  minutes   6   2  hours  
40  minutes   8   5.5  hours  

This  reciprocity  failure  compensation  chart  is  for  

 Orthochromatic  lith  type  films  exposed  at  ISO  8  

 
 
 
 

  29
  
Basic  Parts  of  the  35  mm  Single  Lens  Reflex  Camera  
 

  30
  
 
 

  31
 My  Camera  
Make  a  sketch  of  the  camera  that  you  will  be  using  for  this  course.  Be  sure  to  label  all  
the   parts.   Include   details   and   functions.   It   will   be   necessary   to   draw   multiple   views   to  
properly  identify  all  the  working  parts.  
 
Top  View  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Front  View  
  Back  View    
 
 
 
 
 
 

   
   
   
   
   
   
Camera  Type:____________________       Camera  Brand  &  Model:_____________  
Film  Format:_____________________     Modes  of  Operation:___________  
Shutter  Speed  range:  ______________   Lens  Focal  Length:  ________________  
Aperture  Range:  __________________   Battery  Replacement:  ______________  
 
 

  32
Reciprocity    
Wheel  
 

  33
  
 

  34
  

  35
  

  36
  
 
 
 
 
 
 
 
 
 
 
 

  37
 Two  Main  Types  of  Photographic  Printing  Paper  
 

Fiber  Based  (FB)  

Printing  paper  
 
Fiber   based   papers   have   a  
thicker   all   paper   base.  
Properly   processed,   FB  
prints   can   last   well   over  
100   years.   Many   people  
think   they   look   better   than  
RC   prints   with   more   depth  
in   the   black   areas.   The  
drawback   of   FB   paper   is  
that   the   thicker   base  
absorbs   more   chemicals  
that   then   require   extra  
processing  steps,  and  more  
time  in  the  wash.  
 
Processing  time:  1  Hr.    

 
Resin-­coated  (RC)  
Printing  paper  
 
Resin   coated   papers   have  
a   water   resistant   coating  
that   lets   the   chemicals  
reach   the   emulsion   layer  
but   not   the   paper   fibers   in  
its   base.   RC   paper   does  
not   become   saturated   with  
liquid,   so   less   processing  
time   is   required   for   fixing,  
washing   and   drying.   The  
drawback   of   RC   paper   is  
that  it  will  only  last  about  75  
years   when   properly  
processed.  
 
Processing  time:  8  Min.    
 

  38
 Variable-­Contrast  Paper  

Variable  contrast  papers  are  convenient  because  they  can  change  the  contrast  so  you  
have   to   purchase   only   one   type   of   paper.   Each   sheet   is   coated   with   two   emulsion  
layers.  One  is  sensitive  to  yellow-­green  light  and  produces  low  contrast  (gray);;  the  other  
is  sensitive  to  purple-­blue  light  and  produces  high  contrast  (black  &  white).  You  control  
the  contrast  by  dialing  in  the  correct  filtration  on  the  enlarger  in  the  darkroom.  The  filters  
affect   the   color   of   the   light   that   exposes   the   paper.   The   color   of   the   light   determines  
primarily   which   layer   of   emulsion   that   gets   exposed.   You   expose   the   top   layer   with   a  
filter   above   2   ½   (blue   to   violet)   to   produce   a   print   that   has   darker   shadow   areas   and  
lighter  highlights.  You  expose  the  bottom  layer  with  a  filter  below  2  ½  (yellow-­green  to  
blue-­green)  to  produce  a  print  that  is  lower  in  contrast  (more  middle  tone  gray  areas).  
During  printing,  if  you  change  from  one  filter  to  another  you  may  also  need  to  adjust  the  
exposure  time  because  not  all  filters  will  allow  the  same  amount  of  light  to  pass  through.  
 
Graded   papers   are   manufactured   and   packaged   in   fixed   degrees   of   contrast   and  
therefore  will  produce  only  one  contrast  level.      
 

  39
                          
 

  40
  
 

  41
  
 
 

  42
 Lexicon  of  Photo-­Art  Terms  used  at  BVHS  
 
Aesthetic        Qualities  or  experience  derived  from  or  based  upon  the  senses  and  how  they  are  
affected  or  stimulated;;  from  the  Greek  word  meaning  “of  sense  perception,  artistic;;”  appreciative  
of,  responsive  to,  or  zealous  about  beauty.  
Abstract        An  image  or  design  that  is  not  primarily  perceived  or  understood.  (It  does  not  have  
fidelity   to   the   natural,   i.e.,   representational,   world   although   sometimes   using   a   simplification   or  
exaggeration  of  natural  form.)  
Aperture      The  adjustable  opening  in  a  camera  lens  used  to  control  the  amount  of  light  reaching  
the  film.  The  size  of  this  hole  is  called  the  f-­stop.    
Art   Criticism       Skill   of   studying,   understanding,   and   judging   artworks.   (It   has   four   stages:  
description,  analysis,  interpretation,  and  judgment.)  
Art   Element/Elements   of   Designs       Components   that   comprise   a   work   of   art,   such   as   line,  
color,  value,  shape,  texture,  form,  and  space.  
Backlighting       Light   coming   from   behind   the   photo   subject.   Can   cause   underexposure   of   the  
main  subject  with  auto  exposure  systems.  
Balance       A   principle   of   art   that   refers   to   the   way   the   art   elements   are   arranged   to   create   a  
feeling  of  stability  in  the  work,  i.e.,  symmetrical,  formal,  asymmetrical,  informal,  or  radial.  
Bellows        Accordion-­like  device  on  cameras  that  allows  the  lens  to  move  toward  or  away  from  
the  film-­plane.  Usually  used  for  close-­up  or  macro  work.    
Black  and  White  Film      Light-­sensitive  film  that,  when  processed,  produces  a  black  and  white,  
negative   image.   The   resulting   "negative"   is   projected   onto   light-­sensitive   paper   to   make   black  
and  white  photographic  prints.    
Blur      Unsharp.  Caused  by  inaccurate  focus  or  excessive  movement  of  the  camera  or  subject.    
Bracketing      Practice  of  varying  exposure  to  insure  accurate  exposure  of  a  given  subject;;  e.g.,  
exposing  "one  stop  under"  and  "one  stop  over".    
Bulb       Shutter   speed   setting   where   the   shutter   stays   open   as   long   as   the   shutter   release   is  
depressed.  Usually  indicated  by  a  B  on  the  shutter  speed  selector.    
Cable  Release      A  cable  device  for  releasing  the  shutter.  Usually  used  for  slow  shutter  speeds  
when  the  camera  must  remain  absolutely  still.    
Chromogenic  Film      Black  and  white  film  made  for  processing  in  C-­41  color  chemicals.    
Color-­negative  Film      Light-­sensitive  film  that,  when  processed,  produces  a  colored,  negative  
image.   The   resulting   "negative"   is   projected   onto   light-­sensitive   paper   to   make   photographic  
prints.    
Composition       Structure   or   basic   organizing   plan   of   all   the   elements   within   a   work   of   art;;   the  
product  of  creative  effort.  
Content        Message  the  artist  is  trying  to  convey  in  an  artwork.  The  content  may  relate  to  the  
subject  matter,  and  idea,  or  an  emotion.  (Theme  refers  to  content.)  
Contrast       The   difference   between   light   and   dark   values.   Usually   refers   to   the   gradation  
between  black  and  white.  Fewer  gray  values  are  described  as  "high  contrast."  Many  shades  of  
gray  are  low  contrast.    
Creative   Process       Those   reflective   thoughts   and   actions   that   move   from   generation   to  
completion  of  an  idea  to  solve  a  creative  problem  such  as  brainstorming,  selecting,  researching,  
organizing,  testing,  revising,  and  finalizing.  
Creativity     Experience   of   thinking,   reacting,   and   working   in   an   imaginative   and   idiosyncratic  
way  that  is  characterized  by  a  high  degree  of  innovation  and  originality,  divergent  thinking,  and  
risk  taking.  
Criticism        A  process  used  to  describe,  analyze,  interpret,  and  judge.  
Crop      To  enlarge  an  image  so  that  parts  are  cut  or  left  off  the  print.    

  43
Darkcloth      Dark  material  used  to  cover  the  photographer's  head  and  the  ground-­glass  viewing  
screen  on  large  format  cameras.    
Darkroom      "Dark",  light-­tight  space  for  processing  and  printing  photographic  materials.    
Darkslide       Thin,   flat   piece   of   metal   or   plastic,   which   protects   unprocessed   film   from   light  
exposure.    
Dedicated  Flash      Electronic  flash  designed  to  work  with  the  meter  and  exposure  system  of  a  
specific  camera.    
Density      The  amount  or  "density"  of  silver  on  an  exposed  and  processed  piece  of  film.    
Depth   of   Field   (DOF)       The   distance   between   the   farthest   and   nearest   points   which   are   in  
focus.   "Depth-­of-­field"   can   also   be   used   to   describe   the   zone   of   acceptable   sharpness   before  
and   behind   a   given   focused   subject.   DOF   varies   according   to   numerous   factors   such   as   lens  
focal  length,  aperture,  shooting  distance,  etc.    
Describe/Description      In  art  criticism,  making  a  careful  list  of  all  things  seen  in  an  artwork;;  in  
art  history,  telling  who  produced  a  particular  work  of  art,  when,  and  where  it  was  done.  
Design        Plan  or  blueprint  for  a  visual  work  of  art  as  well  as  the  outcome  or  product  of  applying.  
Developer      Chemical  that  converts  silver  halide  on  film  to  a  visible,  black  image.    
Diaphragm      Another  word  for  aperture.  Can  also  be  a  type  of  shutter.  See:  Leaf  Shutter.    
Diffuser      Material  that  softens  and  "diffuses"  light  in  order  to  soften  the  edges  in  an  image.    
DX  Coding      Type  of  bar  coding  used  to  electronically  communicate  film  speed  to  the  camera.    
Elaboration        Something  planned  or  carried  out  with  great  care  and  worked  out  in  detail.  
Elements   of   Art/Elements   of   Design         Components   comprising   a   work   of   art,   such   as   line,  
color,  texture,  value,  shape,  space,  and  form.  
Emphasis         A   principle   of   art   that   refers   to   a   way   of   combining   elements   to   stress   the  
differences  between  those  elements  and  to  create  one  or  more  centers  of  interest  in  an  artwork.  
Emulsion      The  light  sensitive,  chemically  active  surface  on  photographic  film  and  paper.    
Enlargement      A  photographic  print  made  by  "enlarging"  an  image  from  a  piece  of  film.    
Exposure      The  amount  of  light  that  reaches  film  or  the  combination  of  f-­stop  and  shutter  speed  
that  controls  the  amount  of  light.  Also  used  to  describe  an  exposed  piece  of  film.    
Extension  Tubes      Hollow  metal  tubes  used  to  extend  the  length  of  a  lens.  Used  for  "macro"  or  
close-­up  photography.  
F  Numbers      Numbers  on  the  outside  of  the  lens  corresponding  to  the  aperture  opening.  The  
larger  the  number  (e.g.,  F/22),  the  smaller  the  opening  of  the  lens;;  the  smaller  the  number  (e.g.,  
F/2.8)  the  larger  the  opening  of  the  lens.  The  f-­number  is  equal  to  the  focal  length  divided  by  the  
aperture  diameter.    
Film       Photosensitive   material   used   in   a   camera   to   record   an   image.   Made   from   a   thin,  
transparent  base  coated  with  light  sensitive  chemicals.    
Filters      Transparent  lens  attachments  used  to  change  the  color,  or  other  characteristics,  of  an  
image.  They  are  used  both  on  the  camera  and  in  the  darkroom.    
Fisheye  Lens      Super  wide-­angle  lens.  Angle  of  view  can  approach  180  degrees.  Nearly  infinite  
depth-­  of-­field.    
Fixed   Focal   Length       A   camera   with   a   non-­removable,   non-­zoom   lens.   The   lens   focal   length  
can't,  therefore,  be  changed.    
Flare      Reflected  light  from  lens  elements,  metal,  etc.  Appears  as  a  non-­uniform  haze  or  bright  
spots  on  the  film.  Usually  occurs  when  bright  light  (sun)  enters  the  lens.    
Flash       Artificial   light   source.   Usually   camera   mounted   but   also   larger   studio   models   called  
strobes.    
Flash  Sync  (Synchronization)      The  shutter  speed  that  corresponds  to  the  timing  of  the  flash.  
Any  faster  and  the  shutter  won't  be  open  for  the  duration  of  the  flash.  Any  shorter  and  subject  
movement  might  cause  blur.    
Flexibility        Characterized  by  a  readiness  to  adapt  to  new,  different,  or  changing  requirements.  
Fluency        Smooth  and  rapid  effortlessness,  flowing  from  one  idea  to  another.  

  44
Focal   Length       The   distance   between   the   back   lens   element   and   the   focal   plane.   In   35mm  
format,  lenses  with  a  focal  length  of  approximately  50mm  are  called  normal  (standard),  lenses  
35mm   and   shorter   are   called   wide-­angle,   and   lenses   with   a   focal   length   of   more   than  
approximately  70mm  are  called  telephoto  lenses.    
Focal  Plane      The  area  of  the  camera  where  the  lens  focuses  on  the  film.    
Focal  Plane  Shutter      A  shutter  placed  just  off  the  surface  the  focal  plane.    
Focal  Point      The  point  on  the  optical  axis  where  light  rays  form  a  sharp  image  of  a  subject.  An  
ideal   lens   would   allow   light   rays   to   reflect   from   a   subject,   travel   through   the   optical   axis   and  
converge  to  a  point  after  they  pass  through  the  lens.    
Focus      To  move  the  lens,  or  film,  in  relation  to  the  focal  plane  in  order  to  record  a  sharp  image  
on  the  film.    
Form        An  element  of  art  that  is  three-­dimensional  (having  height,  width,  and  depth)  and  which  
encloses  volume,  i.e.,  cubes,  spheres,  pyramids,  and  cylinders;;  the  configuration  or  shape  of  an  
object   in   two-­dimensional   or   three-­dimensional   space;;   and   art   marked   by   a   distinctive   style,  
form,  or  content.  
Format      Can  mean  either  the  size  of  the  camera  or  the  size  of  the  film.  For  camera  sizes  there  
are  APS,  35mm,  medium  and  large  formats.  For  film  formats  there  are  APS,  35mm,  645,  6x6,  
6x7,  6x9,  4x5,  5x7,  8x10,  etc.    
Function        Refers  to  the  intended  use  or  purpose  of  an  object.  
Genre      Category  of  art  marked  by  a  distinctive  style,  form,  or  content,  i.e.,  still  life,  portrait,  etc.;;  
representation   of   subjects   and   scenes   from   everyday   life,   i.e.   works   by   Vermeer,   the   17th  
century  Dutch  painter.  
Grade       Refers   to   contrast   rating   of   black   and   white   enlargement   papers.   Zero   is   the   lowest  
contrast  and  5  is  the  maximum  contrast.    
Grain      Exposed  and  processed  silver  halide  crystals  and  colored  dyes.  After  processing  they  
turn  black  or  appear  colored  and  form  the  miniature  "grain"  that  makes  up  an  image  on  a  piece  
of  film.    
Ground  Glass      Frosted  glass  used  as  a  viewing  mechanism  in  cameras  without  prisms.  The  
glass   is   positioned   so   that   the   lens   projects   an   image   on   it   for   focusing   and   composition  
purposes.    
Harmony/Unity      A  principle  of  art  referring  to  a  way  of  combining  the  elements  of  art  to  accent  
their  similarities  and  bring  the  parts  of  an  image  or  form  into  a  whole.  
Highlights      The  bright  to  white  range  of  tones  in  an  image.    
Hyperfocal  Distance      The  closest  point  at  which  a  camera  can  be  focused  where  the  depth  of  
field  includes  infinity.    
Image  (s)      Physical  likeness  or  representation  of  a  person,  place,  event,  or  idea  made  visible  
though  an  art  process.  
Image  Plane      The  area  at  which  a  lens  forms  a  sharp  image,  i.e.,  the  film  plane  if,  and  when  
focused  correctly.    
Imagination        The  act  of  recalling  natural  and  human-­made  objects,  animals,  people,  places,  
and   events   from   one’s   past   experiences   and   rearranging   them   in   a   new   or   unusual   order   or  
format.  
Incidental   Light       Light   measured   as   it   falls   on   a   surface,   rather   than   light   reflected   from   a  
surface.  Measured  from  the  subject,  not  the  camera.    
Infinity      In  relation  to  camera  focus:  the  horizon.    
Infrared      Light  not  visible  with  the  human  eye.  Measured  at  the  red  end  of  the  spectrum,  it  can  
be  photographed  with  special  film.    
Infrared  Compensation  Index  (IR  Setting)      An  index  mark  on  a  camera  lens  used  to  correctly  
focus   infrared   film.   With   most   lenses,   the   focal   plane   for   infrared   film   is   slightly   removed   from  
that  of  visible-­light  photography.    

  45
Interpret/Interpretation       In   art   criticism,   determining   and   explaining   the   meaning,   mood,   or  
idea  of  artwork;;  In  art  history,  noting  how  the  sense  of  time  and  place  affect  an  artist’s  style  and  
subject  matter.  
ISO       The   International   Organization   for   Standardization   (ISO)   is   a   worldwide   federation   of  
national  Standards  bodies  from  some  130  countries,  one  from  each  country.  The  mission  of  ISO  
is  to  promote  the  development  of  standardization  and  related  activities  in  the  world  with  a  view  
to  facilitating  the  international  exchange  of  goods  and  services,  and  to  developing  cooperation  
in  the  spheres  of  intellectual,  scientific,  technological  and  economic  activity.  ISO's  work  results  
in   international   agreements,   which   are   published   as   International   Standards.   "ISO"   is   not   an  
acronym,  it  is  a  word,  derived  from  the  Greek  isos,  meaning  "equal”.    
Judge/Judgment           In   art   criticism,   making   a   decision   about   an   artwork’s   success   or   lack   of  
success  and  providing  the  reasons  to  support  the  decision.  In  art  history,  deciding  whether  an  
artwork  introduces  a  new  style  or  if  it  is  an  outstanding  example  of  a  particular  style.  
Latent  Image        The  exposed  but  undeveloped  image  on  a  photosensitive  surface.    
Latitude      How  much  variation  an  emulsion  allows  while  still  delivering  acceptable  exposures,  
i.e.,  how  "forgiving"  a  film  is.    
Leaf   Shutter       Camera   shutter   located   in   the   lens.   Utilizes   a   spring   with   the   aperture   control  
device   to   control   the   exposure   time.   Useful   because   it   can   be   synched   with   a   flash   at   any  
speed.    
Lens  An  optical  device  used  to  control  and  focus  light.    
Lens   Coatings       Thin   anti-­reflective   materials   applied   to   the   surface   of   a   lens   in   single   or  
multiple  layers  to  help  reduce  light  reflection  and  increase  amount  of  transmitted  light.    
Lens   Hood/Shade         A   lens   addition   used   to   minimize   lens   "flare"   or   unwanted   light   from  
reaching  the  lens.    
Light      Radiated  energy  which  forms  that  portion  of  the  spectrum  visible  to  the  human  eye.    
Light  Box      A  device  for  viewing  film.  Constructed  of  a  light  source  (usually  sunlight  balanced  
fluorescent)  behind  a  glass  or  plastic  surface  on  which  the  film  is  placed  for  viewing.    
Light   Meter       A   light   sensitive   device   used   for   evaluating   the   amount   of   light   in   a   scene   for  
exposure.  There  are  four  types:  Incidental  meter,  reflective  meter,  flash  meter  and  spot  meter    
Line        An  element  of  art,  which  refers  to,  the  continuous  mark  made  on  a  surface  by  a  moving  
point,  i.e.,   2-­dimensisonal  pencil  marks  on  paper  or  3-­dimensional  wire  lines.  (Line  is  often  an  
outline,  contour,  or  silhouette.)  
Macrophotography       Commonly,   close   up   photography.   Specifically,   any   photography   where  
the  level  of  magnification  is  1:1  or  larger.    
Medium/Media       The   material   and   associated   techniques   used   in   an   art   form,   such   as  
watercolor,  charcoal,  or  any  other  vehicle  for  visual  expression.  
Mirror   Lens       A   lens,   which   uses   mirrors   as   well   as   glass   elements   to   control   and   focus   an  
image.  Usually  a  telephoto  lens.    
Mode      Type  of  exposure  method  used  by  a  camera,  e.g.,  manual  mode,  aperture  priority  mode,  
picture  mode,  flash  mode,  etc.    
Monochromatic      One  color.    
Movement/Rhythm       A   principle   of   art   which   refers   to   a   way   of   combining   elements   of   art   to  
produce   the   look   of   action   or   to   cause   the   viewer’s   eye   to   travel   over   the   artwork   in   a   certain  
way.  
Negative      A  processed  piece  of  film  where  the  image  is  reversed  so  that  the  shadows  are  light  
and  the  highlights  are  dark.    
Neutral  Density  Filter      A  dark,  color-­neutral  filter  used  to  control  the  amount  of  light  reaching  
the  film.    
Normal  Lens      A  lens  where  the  focal  length  is  approximately  equal  to  the  diagonal  of  the  film  
size  it's  being  used  for.  This  is  also  representative  of  the  field  of  view  of  human  sight.  In  APS,  

  46
approximately  28mm,  in  35mm  approximately  50mm,  in  medium  format  approximately  90mm,  in  
4x5  approximately  200mm.    
Originality       Freshness   of   idea,   design,   or   style;;   the   result   of   independent   thought   or  
constructive  imagination.  
Over-­Exposure      When  light  sensitive  material  is  exposed  to  too  much  light  resulting  in  film  that  
is  too  dense  to  print  or  view  well.  
Panchromatic      Photo  material  that  is  sensitive  to  all  colors  that  the  human  eye  can  perceive.    
Panning      The  act  of  following  a  moving  subject  with  the  camera  while  releasing  the  shutter.    
Panoramic      In  photography,  an  image  proportionally  more  rectangular  than  a  35mm  film  frame.  
Also,  a  type  of  camera  for  exposing  film  in  a  panoramic  format.    
Parallax      In  rangefinder  cameras,  the  difference  between  the  image  seen  by  the  lens  and  the  
viewfinder.  The  discrepancy  increases  as  the  subject  moves  closer  to  the  camera.  This  does  not  
occur  in  SLR  cameras    
Pattern        A  decorative  design,  usually  of  a  repeated  figure  or  motif;;  the  overall  composition  or  
layout  of  a  work  art.  
Pentaprism      A  prism  in  an  SLR  camera  that  allows  the  photographer  to  view  the  image  while  it  
is  being  focused.    
Perception       Information   obtained   through   the   senses;;   observation;;   quick,   acute,   and   intuitive  
cognition.  
Perspective       The   visual   representation   of   three-­dimensional   space   in   a   two   dimensional  
medium.  Three  dimensions  are  implied  by  converging  lines  and  a  focal  point.    
Photoflood      Tungsten  light  source  with  a  metal  reflector.    
Pinhole  Camera      A  camera  with  a  fixed  aperture  made  by  poking  a  hole  in  a  piece  of  metal.  
Usually  made  from  a  small  enclosed  container  such  as  an  oatmeal  box  or  small  tin.    
Plane      An  imaginary  line  or  field  which  lies  perpendicular  to  the  optical  axis.    
Polarization       Use   of   polarizing   filters   to   control   the   direction   light   travels.   The   effects   are  
minimizing  glare  and  reflections,  and  saturation  of  colors,  especially  in  landscapes.    
Polarizing   Filter       Two   pieces   of   polarizing   material   which   rotate   on   an   axis   so   that   the  
polarizing  effect  can  be  increased  or  decreased.    
Portfolio       A   collection   of   documents   and   art   works   representative   of   a   person’s   completed  
works  and/or  works  in  progress.  
Positive       A   photographic   image   in   which   the   light   areas   correspond   to   light   areas   in   the  
subject,  and  the  dark  areas  correspond  to  the  shadow  areas  in  the  subject.  Also  called  a  slide  or  
transparency.    
Principles  of  Design/Principles  of  Art      Organizing  concepts  for  perceiving  and  understanding  
the   elements   of   art   such   as   balance,   rhythm,   movement,   repetition,   harmony,   gradation,  
proportion,  emphasis,  contrast,  variety  and  unity.  
Problem  Solving      The  process  of  finding  a  solution  to  a  stated  problem.  (Convergent  problem  
solving  tasks  require  the  identification  of  one  correct  response;;  divergent  problem  solving  tasks  
require   the   formation   of   multiple   solutions   to   a   problem,   e.g.,   generating   a   list   of   uses   for   an  
object.)  
Process      The  manipulative  skills  of  a  specific  method  of  painting,  sculpture,  etc.,  such  as  the  
techniques  used  for  watercolor  painting,  copper  enameling,  or  ceramic  glazing.  
Processing       In   photography,   the   chemical   process   by   which   a   latent   photographic   image   is  
converted  to  a  stable,  visible  image.    
Proportion      A  principle  of  art  referring  to  the  relationship  of  various  elements  of  art  to  the  whole  
composition  and  to  each  other;;  also  refers  to  size  relationships.  
Rangefinder      A  camera  with  a  viewfinder  separate  from  the  lens.  Not  an  SLR.    
Reciprocity  Failure      Photosensitive  materials  require  a  linear  sensitivity  within  a  certain  range.  
Beyond  that,  their  sensitivity  requires  that  exposure  times  be  increased  in  larger  amounts  than  
normal.    

  47
Reflected  Light  Reading      Light  meter  reading  made  by  pointing  the  meter  towards  the  subject.  
It  will  vary  depending  on  the  subject  as  different  materials  reflect  different  amounts  of  light.    
Reflector      A  tool  for  redirecting  light-­  usually  a  white  or  metallic  card  or  umbrella.    
Reflex  Camera      A  camera  that  uses  a  mirror  to  reflect  light  onto  ground  glass  for  viewing  and  
focusing.    
Relative  Aperture      Diameter  of  the  aperture  divided  by  the  focal  length  of  the  lens.  Expressed  
numerically  as  an  f-­stop.    
Repetition      A  principle  of  art  closely  related  to  harmony  that  refers  to  a  way  of  combining  art  
elements  so  that  the  same  element  (s)  are  used  over  and  over  again.  
Representational  Art        Images  or  forms  in  which  the  natural  world  is  depicted  accurately.  
Resolution       (Also   known   as   Resolving   Power)   The   ability   to   reproduce   small   details   in   a  
photograph.  Resolving  power  is  used  to  quantify  lens  performance  and  is  measured  in  lines  per  
millimeter  (1/mm).  The  measurement  indicates  how  many  black  lines  placed  at  equal  intervals  
within  1mm  can  be  resolved  by  a  particular  lens.    
Rhythm/Movement          A  principle  of  art  referring  to  a  way  of  combining  art  elements  to  produce  
a  look  and  feel  of  action  or  to  cause  the  viewer’s  eye  to  travel  over  the  artwork  in  a  certain  way.  
Roll-­Film      Non-­sheet  film.  Film  that  comes  in  a  roll  and  can  be  exposed  in  multiple  "frames."    
Safelight      A  red  or  orange  darkroom  light  that  black  and  white  photo  papers  aren't  sensitive  to.    
Sculpture       A   three-­dimensional   work   of   art   which   may   be   carved,   modeled,   constructed,   or  
cast.  
Shape      The  element  of  art  that  has  two  dimensions:  length  and  width.  
Sheet  Film      Film  that  is  cut  into  individual  sheets  usually  4x5  (insert  space  after  5)  in.    
Shutter      The  mechanical  device  in  a  camera  that  controls  the  amount  of  time  light  is  allowed  to  
expose  the  film.    
Shutter  Priority      A  camera  exposure  mode  where  the  photographer  chooses  a  shutter  speed  
and  the  microprocessor  in  the  camera  sets  a  corresponding  aperture  for  best  exposure.    
Silver  Halide      The  light  sensitive  component  in  chemically  treated,  photosensitive  surfaces.    
Single   Lens   Reflex   (SLR)   Camera       A   camera   that   uses   a   mirror   and   prism   to   allow   the  
photographer  to  see  through  the  main  lens.    
Slide      A  transparency  (usually  35mm)  mounted  in  a  square  paper  or  plastic  frame.    
Slide   Film       Light-­sensitive   film   that,   when   processed,   produces   a   transparent   film   image.  
35mm   "transparencies"   are   usually   mounted   as   slides.   Transparencies   can   be   printed   or  
projected  with  a  slide  projector.    
Soft-­Focus       An   effect   achieved   by   diffusing   an   image   either   in   the   camera   or   printing   stage.  
Can  be  done  with  special  lenses  or  by  placing  diffusion  devices  or  materials  between  the  light  
source  and  the  light-­sensitive  material.    
Solarization      Also  known  as  the  Sabbatier  effect.  Usually  achieved  by  exposing  a  developing  
image   to   white   light   during   the   development   process.   The   effect   is   a   partial   reversal   of   the  
image.    
Space      An  art  element  that  can  be  described  as  two-­  or  three-­dimensional  in  reference  to  the  
distance  or  area  between,  around,  above,  below,  or  within  objects.  (Volume  refers  to  the  space  
within  a  form.)  
Speed      In  photography,  the  sensitivity  of  a  photosensitive  material.  This  is  expressed  as  either  
an  ASA  or  ISO  number.    
Spot  Meter      A  light  meter,  which  takes  its  reading  at  an  angle  of  1  to  8  degrees.  Used  for  the  
Zone  System  or  to  determine  the  reflective  values  of  specific  elements  in  a  scene.    
Spotting      Retouching  dust  spots  or  other  fine  blemishes  in  a  photographic  image  with  a  small  
brush.  Usually  done  on  prints.    
Standard  Lens      Refer  to  "Normal  Lens."    
Stopping  Down      To  decrease  the  size  of  aperture  in  a  lens,  e.g.,  to  stop  down  from  f3.5  to  f16.  
Increases  depth-­of-­field.    

  48
Style      Manner  or  process  of  employing  tools  and  materials  in  a  work  of  art  in  such  a  way  as  to  
communicate   the   personality   of   an   artist,   school,   or   group;;   artists   whose   thoughts,   words,   or  
style  demonstrate  a  common  influence  or  unifying  belief.  
Subject/Subject  Matter      That  which  is  represented  in  a  work  of  art.  (In  a  portrait,  the  subject  is  
the  person  depicted;;  in  a  landscape,  the  subject  is  the  actual  scene;;  in  abstract  art,  the  subject  
may  only  exist  in  the  artist’s  mind.)  
Symbol        A  form,  image,  or  subject  representing  a  meaning  other  that  the  one  with  which  it  is  
usually  associated.  
Technique         Specific   method   or   approach   to   art   making,   including   the   use   of   tools   and  
equipment,   the   application   of   media,   manipulation   and   control   of   materials,   etc.;;   any   way   of  
working  with  art  materials  to  create  an  art  object.  
Teleconverter       An   optical   device   used   to   increase   the   effective   focal   length   of   a   lens.   It   is  
mounted  between  the  camera  and  the  lens  and  usually  comes  in  two  different  sizes:  1.4X  and  
2.0X.   A   1.4X   teleconverter   increases   focal   length   by   1.4   times,   while   a   2.0X   increases   focal  
length  by  2.0  times.  The  aperture  of  the  lens  is  also  increased  by  the  same  amount  as  the  focal  
length  is  increased.  For  example,  a  2.0X  teleconverter  increases  focal  length  of  a  200mm  lens  
to  400mm;;  however,  the  aperture  of  F/2.8  is  decreased  to  F/5.6.    
Telephoto   Lens       A   lens   with   a   long   focal   length-­   longer   than   the   diagonal   of   the   film   format  
used.    
Texture        An  element  of  art  referring  to  surface  qualities;;  the  look  or  feel  of  objects.  
Thematic  Works        A  series  of  artworks  that  have  a  commonality,  i.e.,  the  same  subject  matter,  
style,  technique,  concept  such  as  works  about  life  and  leisure,  life  and  work.  
Tone  In  photography,  usually  refers  to  the  gray  values  in  an  image.    
Transparency      A  processed  and  stabilized  positive  film  image,  i.e.,  a  slide  is  a  transparency.    
Tripod  A  collapsible  camera  support  with  three  legs.    
TTL      Refers  to  flash  or  exposure  metering  which  is  read  "through  the  lens"  at  the  film  plane.    
Tungsten       A   metal   filament   used   in   most   light   bulbs.   Makes   a   reddish/yellow   colored   light.  
There  are  special  films  and  filters  for  correcting  the  color  cast  of  tungsten  light.    
Under-­Exposure      Allowing  too  little  light  to  reach  a  photosensitive  material.  Results  in  a  "thin"  
or  light  image  with  negative  material  and  a  "dense"  or  dark  image  with  reversal  material.    
Unity/Harmony        A  principal  of  design  referring  to  ways  of  combining  art  elements  to  achieve  
wholeness  or  total  effect  in  works  of  art  that  is  consequent  upon  the  successful  combining  of  all  
elements  and  constituent  parts.  
Value         An   element   of   art   that   describes   the   lightness   or   darkness   of   a   color;;   the   gradual  
changes  in  drawings,  woodcuts,  photographs,  etc.  even  when  color  is  absent.  
Variety         A   principle   of   art   that   refers   to   ways   of   combining   art   elements   in   involved   ways   to  
achieve  intricate  and  complex  relationships.  
View   Camera       A   camera,   usually   large   format   that   has   a   ground   glass   back   for   viewing   the  
subject.    
Viewfinder      An  optical  viewing  device  for  framing  and  focusing  an  image  in  a  camera.    
Vignetting       The   effect   from   blocking   the   light   at   the   edge   of   an   image.   Can   be   caused  
accidentally   by   a   combination   of   wide-­angle   lens   and   filters,   or   on   purpose   as   a   deliberate  
effect.    
Volume        Space  within  a  form.  
Wide-­Angle  Lens      A  lens  with  a  focal  length  less  than  the  diagonal  of  the  film  format  it's  being  
used  for.  For  35mm,  usually  wider  than  50mm.  For  medium  format,  wider  than  90mm.    
Zone   System       A   system   developed   by   Ansel   Adams,   Fred   Archer,   and   Minor   White   to   pre-­
visualize,  optimize  and  control  black  and  white  film  exposure  as  well  as  the  print  process.    
Zoom  Lens      A  lens  which  has  a  variable  focal  length,  e.g.,  70-­200mm.  
 

  49
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
 

  50
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
 

  51
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
 

  52
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
 

  53
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
 

  54
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
 

  55
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
 

  56
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
 

  57
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
 

  58
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
 

  59
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
 

  60
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
 

  61
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
 

  62
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
 

  63
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
 

  64
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
 

  65
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
Topic______________________________Date____________  

  66
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
Topic______________________________Date____________  

  67
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
Topic______________________________Date____________  

  68
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
Topic______________________________Date____________  

  69
Topic______________________________Date____________  
 
Questions  
 
 
 
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________
____________________________________________________  
  Sketches-­ideas-­Brainstorming-­Application  
  Sketches-­ideas-­Brainstorming-­Application  
 
 
 
 
 
 
 
 
 
 
 

  70
  
 
 
 

Camera  Checkout  Permission  Form  

 
Successful  completion  of  photography  I  &  II  classes  requires  access  to  a  35  mm  Single  
Lens  Reflex  Film  camera.  Students  who  do  not  have  their  own  camera  may  check  one  
out  from  the  school.  The  student  and  signing  guardian  must  assume  responsibility  for  
the  camera.  Should  the  camera  become  broken  or  lost  the  borrower  agrees  to  pay  the  
repair  costs  or  the  replacement.  (Currently  $500.00)  I  strongly  encourage  all  students  to  
bring  their  own  camera  from  home  if  they  have  access  to  one.  Old  cameras  may  not  
look  stylish  but  they  are  great  for  learning  on,  and  are  often  more  durable  than  modern  
replacements.  
 
I  understand  the  above  information  and  will  assume  responsibility  for  one  35  mm  
SLR  camera.  
_______________________________________  
(Student)  
 
_______________________________________  
(Guardian)  

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

  71
  
 

  72
 Student Info Sheet
Name: ___________________
Grade: ___________________
Contact Name: ____________
Contact Phone #: ___________
Class Schedule - Rm. #
1st Hour __________________
2nd Hour__________________
3rd Hour__________________
4th Hour__________________
5th Hour__________________
6th Hour__________________
7th Hour__________________
Enlarger #: ________________
Photo Rm. Locker #: ________
Photo Combination: ________
Camera Brand: ____________
Camera Serial #: ___________
Class Enrolled in Currently
o Photography I
o Photography II
o Photography II+
Design Fundamentals Teacher
o Pickell
o Mosier
o Crane
o Francis
o Other:_______________
 
The grade I got in Design
Fundamentals was _________
List all other art classes taken
_________________________
_________________________
_________________________
_________________________
_________________________
_________________________
_________________________
Why did you choose to enroll in
photography?
_________________________
_________________________
_________________________
_________________________
_________________________
_________________________
_________________________
I have my own camera for class
o Yes
o No
List your own camera
equipment:
_________________________
_________________________
_________________________
_________________________
_________________________
_________________________
73
  
 

  74
 COURSE EVALUATION, SUMMATIVE
BLUE VALLEY HIGH SCHOOL ART DEPARTMENT

COURSE TITLE TEACHER DATE

____________________________________________________________________________
Please read each statement and respond using the following scale:
4 Agree Completely 3 Agree Somewhat 2 Disagree Somewhat 1 Disagree Completely

For any statement you mark 1 or 2, please provide additional comments that you feel would help me improve this
course or the instruction provided.

Projects and activities helped me better understand. 4 3 2 1

Classroom instruction prepared me for project completion 4 3 2 1

and evaluation.

The classroom environment promoted learning. 4 3 2 1

The teacher regularly provided feedback on 4 3 2 1

assignments.

I was able to get extra help with assignments when 4 3 2 1

needed.

A variety of instruction was used throughout the course. 4 3 2 1

The teacher was well organized and prepared for class. 4 3 2 1

The teacher presented the material in a way that helped 4 3 2 1

me learn.

This was a challenging class that encouraged me to think 4 3 2 1

and apply what I learned.

I was consistently prepared for and worked during this 4 3 2 1

class.

I completed all assignments for this class. 4 3 2 1

My course grade is reflective of what I know and can do 4 3 2 1

regarding this content.

How many hours per week did you devote to this class outside of school?
 Less than 1 hour  1 – 3 hours  3 – 5 hours  More than 5 hours

What is your current grade in this class?

 90 – 100  80 – 90  70 – 80  Less than 70

How often did this teacher have to correct your behavior?

 Never  Sometimes  Frequently

As a student, what could you have done to make this class better? ________________________________________

One of the best things about this course was _________________________________________________________

One of the worst things about his course was _________________________________________________________

One recommendation I would make for the future of this course would be ___________________________________

_____________________________________________________________________________________________
 
  75
  
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

You don't take

a photograph,
you make it.
-­ Ansel Adams  

  76