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Presentation
Presentation
This course expands students' understanding of the photosensitive materials used throughout the history of photographic printing and works on their aesthetic sensibility by exploring alternative methods of creating and printing photographic images. Through practical experimentation on different papers and supports, students explore the plastic dimension of photography. This course also addresses the preservation of photographic materials.
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Class from course
Class from course
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Degree | Semesters | ECTS
Degree | Semesters | ECTS
Bachelor | Semestral | 6
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Year | Nature | Language
Year | Nature | Language
3 | Mandatory | Português
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Code
Code
ULHT624-13688
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Prerequisites and corequisites
Prerequisites and corequisites
Not applicable
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Professional Internship
Professional Internship
Não
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Syllabus
Syllabus
Photosensitive families and how they work Forms of image construction, density and digital negatives Characteristics of photosensitive materials and their relationship with different papers and other supports Family of silver salts - printing on salted paper and creation of an appropriate analog negative for the process Family of iron compounds - cyanotype printing and botanical tonners Family of dichromated colloids - printing on dichromated gum Family of natural pigments - antotype Multiple layers, combinations of processes and interventions Principles of preserving photographic species, materials used to preserve photographic species, construction of some individual protective enclosures.
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Objectives
Objectives
Extending the understanding of photography to less conventional processes, from different families of photographic processes. To stimulate interest in the plasticity and aesthetic qualities that result from the practice of artisanal processes, as well as the interaction with the dimension and depth of the different photographic objects that can be constructed, through the creative use of alternative processes. To promote rigor in recording the procedures and materials involved in the processes, so as to be able to analyze the influence of the different variants on the print. Developing autonomy in the planning, creation and presentation of photographic projects, as well as promoting experimentation and critical thinking. In relation to work methodologies, the aim is to encourage students to better identify and understand the material, technical and aesthetic aspects of each type of photographic species, enabling them to identify chemical and physical alterations.
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Teaching methodologies and assessment
Teaching methodologies and assessment
From the very first session, students are visually contaminated with the aesthetic potential inherent in the practices they will be experimenting with. Throughout the unit, methodology, recording and learning through error are encouraged. The approach to tools, processes, combinations of processes and manipulations focuses on the potential of the choices made and their relationship to discourse.
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References
References
Anderson, C. Z. (2017). Gum printing: a step-by-step manual highlighting artists and their creative practice . New York: Focal Press. Clerc, L. P. (1970). Photography Theory and Practice . London and New York: Focal Press. Crawford, W. (1979). The keepers of light. New York: Morgan & Morgan. Christopher, J. (2007) The Book of Alternative Photographic Processes , 2nd edition. Delmar Cengage Learning, New York. Fabbri, M. (2012). Anthotypes: explore the darkroom in your garden and make photographs using plants. Stockholm: CreateSpace Independent Publishing Platform. Golaz, A. (2021) Cyanotype Toning : Using Botanicals to Tone Blueprints Naturally . London: Routledge. Pavão, L. (1997). Conservação de Colecções de Fotografia . Lisboa: Dinalivro.
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Office Hours
Office Hours
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Mobility
Mobility
No
