Stan's Used film Camera Recommendations (IMHO)

Stan’s used film Camera Recommendations

Fall 2015

Leica:

Perhaps the best camera system ever made in terms of quality and durability, especially the lenses. Up to 5 years ago, you could buy the lenses cheap, but when Leitz started making digital bodies, the used lens market shot up. You might be able to get a good deal on a used Leica body, but are you sure you can afford the glass?

Camera Bodies to consider:

M4 made from 1967-1975

M5 Many of this model had meter issues.

M6 made from 1984-1998, last of the mechanical M series

Nikon:

If there is an “iron man” camera, Nikon and especially early F series Nikons are the ones that come to mind. Solid, heavy, all metal designs mean you could almost use them as hammers. With the models F, F2, F3, the year of manufacture is shown as the first two digits in the serial #. All Nikon lenses are of three types, non-AI, AI and AF, all will work in a fashion on all bodies, but it’s all about the meter coupling.

F,  Totally mechanical, no batteries needed, they did make a FTn with a light meter head, but the meter was for the most part very poor. This camera used a unique method of removing the film back for loading that either you love or hate.

F2, also a totally mechanical body, improved meter system, traditional film back and the last hand assembled camera Nikon made.

F3, first Nikon with an electronic shutter, requires a battery to work, some say the best film Nikon ever made.

F5, The penultimate film Nikon, all the features and technology of a digital Nikon in a film camera, sold for $2,000 when new, you can still buy them for $250-300.

FM & FE (also FE2), both of these would make excellent cameras for the class, but are not considered “professional grade”. Both cameras are good choices for this class however. 

Canon:

Canon got into the professional film camera game late, making solid consumer grade cameras for years. Canon unlike Nikon has two distinct lens systems, the non-autofocus and the autofocus, and they are not interchangeable.

F1, this was Canon answer to the Nikon F, it’s a pro body, all metal design and very tough, not so many in used circulation.

AE-1,  1976-84  This was a prosumer body that had some nice electronics in it and a decent meter system, they made a boatload of them for years. Be aware the foam on the film door now is prone to falling apart and some of the older ones leak light.

Pentax:

The workhorse camera of the photo I class is without question the Pentax K1000. It’s a no frills take care of business camera. Nothing special about this camera and made as an inexpensive entry level camera. Made from 1976-97 and they made a lot of them. Buy them used for $75-150.00. Only limitation, not a lot of used lenses for them out there. The ones made in Japan have more metal in them than the ones made in China at the end of the production run.

Assignment-Studio Nude

The female nude – magical, erotic, aesthetic – has been modeled and painted since prehistory. Appearing rarely and awkwardly in the earliest art, she attained fulfillment and glory in ancient Greece. In their idealized treatment of the nude, The Greeks established a standard that only the asceticism of the Middle Ages ignored. The artists of the Renaissance and their successors of the eighteenth and nineteenth centuries revived the nude, and by the 1930’s she was again a conventional form. It was inevitable that she should become a favorite subject of photography. - Peter Lacey

Bring one print to class for critique on November 18.

Model will be supplied during in class shoot on November 9, students may of course photograph a model of their own choosing.

Field Trip Day

Be sure to bring your camera and some film to class today!

Assignment #2 Photograms

Man Ray made his "rayographs" without a camera by placing objects-such as the thumbtacks, coil of wire, and other circular forms used here-directly on a sheet of photosensitized paper and exposing it to light. Man Ray had photographed everyday objects before, but these unique, visionary images immediately put the photographer on par with the avant-garde painters of the day. Hovering between the abstract and the representational, the rayographs revealed a new way of seeing that delighted the Dadaist poets who championed his work, and that pointed the way to the dreamlike visions of the Surrealist writers and painters who followed. 

Today, we generally call these types of images, "photograms".

In this assignment you will bring three objects to class, a transparent, a translucent and an opaque one, all sized to fit on a piece of 8x10 paper.

Assignment #1

Black & White photography is different from color photography from both an obvious visual approach but also from a more conceptual understanding. With the exception of a few who are color blind, we all see and understand the world in color. To make black & white images requires that you make the translation in your head as your shooting.

For this assignment shoot one roll of 36 exposure HP-5 or similar film with the goal of making images where it matters that the image is mono toned and not in color. As part of this assignment, you will be testing your camera, film and development using the Zone system. To this end, set camera ISO at 400, take a photo of your gray card, then make a second exposure 4 stops less. Set your camera to ISO 200, repeat, set your camera to ISO 100 repeat.

Bring the exposed film to class for in class processing January 20.

First Day of Class!

Sunny 16 Rule Explained (and yes, you still need to buy a light meter)

In photography, the sunny 16 rule (also known as the sunny f/16 rule) is a method of estimating correct daylight exposures without a light meter. (For lunar photography there is a similar rule known as the looney 11 rule.) Apart from the obvious advantage of independence from a light meter, the sunny 16 rule can also aid in achieving correct exposure of difficult subjects. As the rule is based on incident light, rather than reflected light as with most camera light meters, very bright or very dark subjects are compensated for. The rule serves as a mnemonic for the camera settings obtained on a sunny day using the exposure value (EV) system.

The basic rule is, "On a sunny day set aperture to f/16 and shutter speed to the [reciprocal of the] ISO film speed [or ISO setting] for a subject in direct sunlight."^[1] For example:

• On a sunny day and with ISO 100 film / setting in the camera, one sets the aperture to f/16 and the shutter speed to 1/100 or 1/125 second (on some cameras 1/125 second is the available setting nearest to 1/100 second).
• On a sunny day with ISO 200 film / setting and aperture at f/16, set shutter speed to 1/200 or 1/250.
• On a sunny day with ISO 400 film / setting and aperture at f/16, set shutter speed to 1/400 or 1/500.

As with other light readings, shutter speed can be changed as long as the f-number is altered to compensate, e.g. 1/250 second at f/11 gives equivalent exposure to 1/125 second at f/16. More in general, the adjustment is done such that for each step in aperture increase (i.e., decreasing the f-number), the exposure time has to be halved (or equivalently, the shutter speed doubled), and vice versa. This follows the more general rule derived from the mathematical relationship between aperture and exposure time—within reasonable ranges, exposure is proportional to the square of the aperture ratio and proportional to exposure time; thus, to maintain a constant level of exposure, a change in aperture by a factor c requires a change in exposure time by a factor 1/c² and vice versa. Steps in the aperture always correspond to a factor close to the square root of 2, thus the above rule.

An elaborated form of the sunny 16 rule is to set shutter speed nearest to the reciprocal of the ISO film speed / setting and f-number according to this table:^[2][3]

Aperture	Lighting conditions	Shadow detail
f/22	Snow/sand	Dark with sharp edges
f/16	Sunny	Distinct
f/11	Slight overcast	Soft around edges
f/8	Overcast	Barely visible
f/5.6	Heavy overcast	No shadows
f/4	Open shade/sunset	No shadows
Add one stop	Backlighting	n/a

Assignment #8 Studio nude

The female nude – magical, erotic, aesthetic – has been modeled and painted since prehistory. Appearing rarely and awkwardly in the earliest art, she attained fulfillment and glory in ancient Greece. In their idealized treatment of the nude, The Greeks established a standard that only the asceticism of the Middle Ages ignored. The artists of the Renaissance and their successors of the eighteenth and nineteenth centuries revived the nude, and by the 1930’s she was again a conventional form. It was inevitable that she should become a favorite subject of photography. - Peter Lacey

Bring one print to class for critique on April 9

Model will be supplied during in class shoot on March 26, students may of course photograph a model of their own choosing.

Assignment #7 Studio portrait

Photography can be an additive practice as we have discussed in class, but no where is this more evident than the lighting studio. You begin with a black room, add a back ground, set lights, determine  camera angle and lastly choose a subject.

In this assignment you will enlist the help of a human subject, no younger than 14 years old and photograph them under controlled lighting conditions in the lighting studio. Pay attention to direction of main and fill lights and ratio between each source. In the studio, everything matters.

Richard Avedon

Artists to research are: Karsh, Avedon, Halsman, Leibovitz, Scavullo and Penn.

Crit date April 2

Assignment #3-Audio as inspiration for the visual

In this assignment, you will use a song by Tom Waits as your guide to making a photographic response to a very visual, audio, experience. I have selected a song from his album "Rain Dogs" for this assignment, Ninth and Hennepin. The goal of this assignment is not to literally reproduce the song as a photograph but to use the audio work as a point of departure. You can find this in iTunes or other on line sources. Here's a note that might assist you:

• In a 1985 interview with Spin magazine, Tom states that the imagery found in this song is drawn mostly from his observations of New York, though the actual named location - Ninth Street and Hennepin Avenue - is in Minneapolis. The location "Ninth and Hennepin" understandably stuck with Waits because he was in an all-night donut shop when he was caught in the middle of a pimp war that involved live ammunition firing into his booth. Tom alludes to this with the line, "All the donuts have names like prostitutes."
• In support of the album's lyrical themes, "Ninth and Hennepin" is presented as a place of transition, not a home or a destination of any kind. The lyric says of the song's characters: "They all started out with bad directions." The broken umbrellas symbolize failed attempts at shelter by the corner's inhabitants.
• More symbols of travel and rootlessness found in this lyric: the smell of diesel, horses, the evening train, being lost.
  
  
  
  
  

Assignment #4 Environmental portrait

“The subject must be thought of in terms of the 20th century, of houses he lives in and places he works, in terms of the kind of light the windows in these places let through and by which we see him every day.”

Arnold Newman

                                       "Willie The Lion Smith"  by Arnold Newman 1960

 Simply put, an environmental portrait is a portrait of a person that includes enough of the environment around that person to provide context that helps the viewer understand more about the defining characteristics of the subject.  One of the keys to a successful environmental portrait is that the portion of the scene included in the frame should be "representative" of the environment or context you want the viewer to associate with the subject.  The relative importance of the subject to the environment is also important in defining an "environmental portrait."  The subject should be the most prominent element in the scene, with the surrounding elements providing strong supporting context.  If you are too close to your subject to include enough of the environment, then the image simply becomes a normal portrait.  On the other hand, if the subject is so small in the frame that other elements become more prominent, or viewers cannot discern the defining characteristics of the subject, then the image would be better classified as something other than an environmental portrait.

"Baker" August Sander

Shoot a minimum of 50 images/frames. You can shoot this assignment at a number of locations and even on different days. The subject must be part of the process and may include others, no candid photos of random people you have not met however! No animals or no humans under the age of 14 year as primary subject matter.

Submit one print, any size for in class critique on March 17

Assignment #2 Street Photography & the Decisive Moment

“You must milk the cow a great deal, to get enough milk, to make a little bit of cheese”

Henri Cartier-Bresson

There come certain moments in our lives when any number of forces (both those we can control and those we can’t) merge together.  Everything comes together as if fate had planned it that way.  To simplify this in a phrase; being in the right place at the right time.

The French photographer Henri Cartier-Bresson describes this sensation in his work as being “The Decisive Moment”.  A point in time and space when those forces (people, buildings, autos, animals, shapes, forms, weather etc.) arrange themselves in front of his camera to present a complete statement, both visually and emotionally.  Everything is revealed with perfect clarity.

But this is a very quick and fleeting moment.  The power created by all these forces dissolves as quickly as it arises.  Cartier-Bresson sees it as his responsibility as a photographer to be aware of such moments and to photograph them at precisely “the decisive moment”.

Your assignment, shoot at least two rolls of 36 exposure of these decisive moments you find in your world.  These are best found outdoors and in situations where there are lots of people around.  Use ISO 400 speed setting and try to use higher shutter speeds if your subjects are moving, around 250-500 of a second.

Carry your camera in the ready mode, that is pre-focused and the exposure controls adjusted for the lighting situation you are in.  Try concentrating on the three basic elements (time, space, and objects in space, like people).  Observe their interaction.  You skill will increase with practice and timing is everything.

Turn in a minimum of one print that best presents the idea of the decisive moment. The print may be of any size.

For more information, check out the works of Cartier-Bresson in the art and architecture library and the works of Elliot Erwitt and Gray Winnogrand two other photographers who deal with these elements.

Gary Winogrand

Critique for this assignment is Feb 10, bring a minimum of one print to class.

Assignment #1 the black & White Image

Black & White photography is different from color photography from both an obvious visual approach but also from a more conceptual understanding. With the exception of a few who are color blind, we all see and understand the world in color. To make black & white images requires that you make the translation in your head as your shooting.

For this assignment shoot one roll of 36 exposure HP-5 or similar film with the goal of making images where it matters that the image is mono toned and not in color. As part of this assignment, you should bracket all your images, one stop over, one exposed what you believe to be the correct exposure and one stop under exposed.

Bring the exposed film to class for in class processing January 20.

Critique for this assignment is January 29, bring contact sheet and one print to class.

Welcome to ART 1186 Spring 2015

Here's the fine print for the class:

Black and White Photography I ART1186 sec 01

SP 2015 V1.1

Tuesday & Thursday 1:00-4:00

01/13/15          class intro; exposure and development; assignment #1-The Black & White image 01/15/15  TBA possible field trip weather depending or slide lecture

01/20/15          film processing demo; students bring exposed roll to class from Assignment #1

01/22/15          slides for assignment #2 (“Street Photography-Decisive Moment”) & lab time for film processing

01/27/15          Contact printing & enlarging demo; students bring developed film to class

01/29/15          Critique assignment #1-The Black and White Image (Eric) Stan @ IUSB

02/03/15          Contrast control & Burning and Dodging demo -work day-Filter assignment P/F

02/05/15          Lecture for assignment #3 Audio Assignment (9^th & Hennepin)

02/10/15          Critique for assignment #2- Street Photography/Decisive Moment assignment

02/12/15          No Stan-Eric shows slide for #5-“Environmental Portrait”

02/17/15          No Stan-lab day with Eric

02/19/15          Critique for #4 Audio assignment

02/24/15          field trip

02/26/15          slides for assignment #6 Studio portrait

03/03/15          Studio lighting demo

03/05/15          Fiber print demo/lecture 

03/08-15          WU Spring Break-lab closed

03/17/15          Critique for # Environmental Portrait #5

03/19/15          Lecture and give assignment # 6 TA choice-Eric

03/24/15          Slides for studio assignment  #8 Studio nude

03/26/15          nude model in class

03/31/15          Critique for #6 TA’s Choice-Eric

04/02/15          critique  # 7 Studio portrait

04/07/15          Slides for Self portrait #10

04/09/15          critique for assignment  #8 studio nude

04/14/15          Stan’s Life in Art lecture

04/16/15          critique for assignment #9-Personal Still Life

04/21/15          presentation, mounting and matting

04/23/15          critique for # 10 Self Portrait

04/24/15          last day of classes

04/27/15          final portfolio due today                                 

04/29/15          final exams begin       

           

05/05/15          portfolios returned

Assignments:

1. Exposure and development P/F
2. Street Photography-decisive moment
3. Contrast filter assignment P/F
4. Audio assignment
5. Environmental Portrait
6. TA’s choice (Eric)
7. Studio Portrait
8. Studio nude
9. Personal Still Life
10. Self portrait

Final Portfolios:

You are expected to shoot film, perform all lab work, and final presentation. Students who use other students’ prints or negatives without attribution are guilty of cheating and will be referred to the Associate Dean for further action, and fail the class. Final portfolios consist of 10-15 matted or mounted prints, printed to your highest standards.  Portfolio may include assignments, may be thematic, or may just have 15 of your best images.  All prints should be spotted and ready for presentation.  All prints must be in something that resembles a folder or case.  No trash bags or loose prints please.  Label all mats on rear with your name and class.

Grading:

Work will be graded in two parts, 1) craft and technique, which refer to camera handling skills, and print quality and 2) concept and creative solution to assignment problem.

Final grade comprised of the following guidelines:

                                                                        25% assignment

25% attendance and class participation

                                                                        50% final portfolio

Grade values:

A+, A, A-: Superior work and effort. This grade level is for those who demonstrate and maintain strong, creative concepts, intellectual curiosity, focused work ethic, and courage to push beyond safe limits. They produce work consistently, and create technically and conceptually excellent work that is innovative and resolved. They actively participate in critiques, and show a high level of independence and motivation facilitating the studio community and their education.

B+, B, B-: Very good work and effort. This grade implies above average work,

participation/citizenship and demonstrates an effort beyond expectations to discovery in the process of developing a solid studio practice. The B student works hard but struggles with technique and process; or has good conceptual goals but does not put forth substantial skill/effort to communicate them effectively.

The B range student may be doing minimal outside research to develop ideas but makes use of the faculty/peer suggestions and dialogue.

C+, C, C-: Average work and effort. This grade indicates good attendance, completion of ideas, and some extra work. Adequate time spent in studio. The C student struggles with resolving projects in a coherent manner, or may struggle with the development of a consistent and rigorous studio practice. Their participation and initiative in critique settings and seminar is minimal, and they often fail to initiate peer/faculty feedback.

D+, D, D-: Unsatisfactory work. Often, these grades are earned through poor attendance, late work or not following directions.

F: Failing work.

Attendance policy:

Students are expected to attend all classes, in case of medical excuse, students are responsible for supplying documentation to faculty.  Excessive absence  (five unexcused) will result in lowering of grade, one letter and seven unexcused, failure of class entirely.  Students should plan on arriving to class on time. Excessive tardiness will result in a lowering of the final grade.

Digital Etiquette:

This should go without saying, but let’s say it anyway: you should turn off your cell-phone and/or other devices (iPods, etc) before you enter the classroom. If your phone rings once during class this semester, we’ll all laugh and I’ll ask you to turn it off. If your phone rings again during class this semester, we’ll need to have a talk.

I understand that your phones connect you with your friends and family, but the classroom should be a place apart, however briefly, from the outside world. You will learn more, in short, if you can concentrate on the class while you’re in class. If you’re really into your phone to that extent, consider taking my class this Spring 2015 “Cell Phones, Snapshots and the Social Network”, it’ll all be about the mobile device and making art.

Stan’s office number/voice mail:  935 8406

Stan’s cell 314 440 2894

Stan’s E mail address:  Strembicki@wustl.edu

Class blog: www.blackandwhitephoto1.blogspot.com