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Photography in Industrial Arts Gerald D. Keeton

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Photography in Industrial Arts Gerald D. Keeton PHOTOGRAPHY IN INDUSTRIAL ARTS by GERALD D. KEETON '<\. Bac~elor of Science Northeastern State College ·,Tahie qU~h, Oklahoma 1952 Submitted to the Faculty of the Graduate School of the Oklahoma State University of Agriculture and Applied Sciences in partial fulfillment of the requirements for the degt~~· of Master of Science 1959 OKLAHOMA STATE UNtV£RSn'Y LIBRARY t NOV 1.:'I :359 t ~ •~• f PHOTOGRAPHY IN INDUSTRIAL ARTS GERAID D. KEETON MASTER OF SCIENCE THESIS APPROVED: Thesis Advisor and Head, D,epartment of Industrial Arts Education Dean of the Graduate School 430783 ACKNOWLEDGMENT.' l wish to express my appreciation and gratitude .to the following person for h:ts enc.ouragement, aid, and advice in making this thesis posslble. To Mr. c. L. Hill, Head, Department of Industrial Arts Education, Oklahoma State Uni­ versity, for his assistance and guidance given during the preparation of this thesis, and for his time and efforts in helping with my plan of study for the Master of Science Degree. G. D. K. iii TABLE OF:CONTENTS Chapter Page Io AN INTRODUCTORY STATEMENT • • • • 0 • • • • • • • • 1 Purpose of the Study •• • • • 0 • • • • • • • 1 Research Techniques Used • • • • • • • • • • • 2 Scope of Study ••••• • • • • • • • • • • • 2 Definitions of Terms •• • • • • • • • • e • .e 2 II. A BRIEF HISTORY OF INDUSTRIAL ARTS AND PHOT·OGRAPHY. 5 Part A. History of Industrial Arts • • • • • • • • 5 Unconscious Imitation • • • • • • • • • • • • 5 Conscious Imitation • • • • • • • • • • • • • 6 Apprenticeship • • • • • • • , • • • • • • • • • 6 The Guilds • • •.,.. • • • • • . • • • • • • • • • 6 The Industrial Revolution·. • • • • • • • • • 7 The Manual Iabor Movement • • • • • • • • • .. • 8 The Morrill Act • • • • • • • • • • • • • • • 8 The Russian. System • • • • • • • • • • • • • • 8 The Sloyd System • • • • ·. • • • • • • • • • • • 9. Manual Training • • • • • • • • • • • • • ., • · 9 Manual Arts • • • • • • • • • • • • • • • • · •. 10 Industrial Arts •••.•••••••••.•• • 10 Frederick Gordon Bonser ••••••••••• 11 Ira Samuel Griffith ••••••••••••• 11 John Daniel Runkle • • • • • • • • • • ., • • • 11 William Elmer Roberts •••••••••••• 12 Ferdinand Theodore Struck •••••••••• 13 Objectives of Industrial Arts Education .••• 13 Part B. A Brief Hi.story of Photography • • • • • • 14. The Camera Obscura. • • · ~· • • • • • • • • • • • 14 The · liens •.. :. • • • • • ·.• • • • • · • • • • • .• • • 1·5 Joseph Nicephore Niepce • • • • • • • • • '!, • 15 Louis· Jacques Mancie Daguerre ·.• • • • • • • • • 15 Daguerreotype • • • • • • • • • ·• • • • • •. · • 16 The Negative • • • • • • • • • • • • . • • • ~ • . 16 The Alchemists • • • • • • • • • • • • • • • • 16 Sir J,ohn Herschel • • • • • • • • • • • • • • 16 Wet Collodion • • • • • • • • • • • • • • • • 1? The Dry Plate • • • .,. • • • • ·• • • • • • • •· 17 .. Roll Film • • .:,.. • • • • • • • • • • • • • • • 1? iv Chapter Page III. THE PHOTOGRAPHIC PROCESS ..... ~ ....... 20 Part Ao The Mechanics of Photography • • • • • • • 20 The Essentials in Making a Picture • • • • • • 20 The Camera .~ . • • • • ;, • • • • • • • • • • • 21 Part B. Types of Cameras • • • • • • • • • • • • • 23 The Simple Box Camera • • • • • • • • ~ • • • 23 The Fo+ding Camera • • • • • • • • • • • • • • 2l+ The Reflex Camera •••••••••••••• 24 The Miniature Camera ••••••••••••• 24 The View Camera • • • • • • • • • · • ,• • • '! • 24 The PreEis Camera ••••••••••••••• 2'5 The Polaroid Camera. • • • • • • • • • • • • 2·5 .The Mo"lfie Camera • • • • • • • • • • • • • • • 25 Part c. Act:essories .......-. ..... 25 I I,enses • • • • • • • • • • • .• • . - . 26 Flash Attachments ••••••• • • • • • • • 26 The Tripod. • • • • • • • •• • • • • .. ~ • 27 e~ble Release • • • • • • •• • • • .. • • • 27 Filters •••••••••••• • • • • • • • 27 L;ight Meters •••••••••• • • • • • • • 27: ' Part D. The Chemistry of Phdtography. • • • • • • 28 Film Graininess • • • • • • • • • • • • • • 28, Film Contrast ., • • • • • • • • • • • • • • • 28 . Film Speed • • .i •. • • • . • • • • • • • 29 Characteristics of Film • • • • • • •· ~ • • • 29 Preparing Film for Development • • • • • • . 30 Film Developers • • • • • • • • • • • • • • • 30 Hypo '• • • •. • • • • • • • • • • • • • ·• • . • 31 Washing the Film 1 • • • • • • • • • • • • • • 31 Drjing the Film ••••••• 1 ••••••• 31 Printing • . • • • • • • • • • • • • • • • • ~· • 31 Contact Printing ••••••••••••••• 32 Projection Printing ••••••••••• • • 32 Projection Control •••••••••••••• 33 Cropping ••••••••••••••••• ~ • 33 Diffusion • • • • • • • • • • • • • • • • I" • 33 Printing Papers •••••••• • • • • • • • 33 Developing-out Papers • • • • • • • • • • • • 3l+ ·Printing Chemicals • . • • • • • • • • • • • • • 34. Stop Bath • • • • • • .• • • • • • • • • • • 3:5. Hypo ·• • • • • • • • •. • • • • • • • .• • • • 35 Washing' Prints • • • • • • • ,• • • • • • • • • 35 Drying Prints • . • • • • • • • ·• • • • • • • • 35 . ·... .i,~ Chapter Part E. Developing and Printin~t- Areas • • • • • • The Filni Room • • • • • • • . • • • • • • . • • 36 Printing.Room •••••••••••••••• 37 Vetitilation • •-• •••••••• ~ •••• w 37 ··Materials, Equipment and Supplies • • • • • • 38 IV. SUGGESTED TEACHING OUTLINE • • • • • • • • • • • • 39 Objectives •••••••••••••••••• 39 Introiuetion or Preparation ••• ~ ••••• 39 Presentation • • • . • • • • • • • • • • ~ • • • 39 Appl,ication 'i • • . ~ • • • • • • • • • • • • • l+O Test or Check-up • • • • • • . • • • . • • • • • • 40 Tools and Materials ••• 1 ••••••• • • 40 Refeience Books • • • • • • ". • • • • • • • • 40 Assignments •. , • • ~ • • •• • • • • • • • • • • 40 Subject-Histovy of Photography ••••••• ·• 41 Subject-The ~ens and its fun~tion ' • • • • • • 4'3 S11bject-F stops and their uses· • • • • • • • • 45· Subject-The shutter · • • • • • • • • • • • • • 47 Subject-The simple box camera •••••••• 49 Subject-Camera film • • • • -· • • • • • • • • • 51 Subject-Filters • • • • • • 1• • • • • • • • • ·,3 Subject-Developing • • • .1 • • • • • • • • • • ·55 Subject-Printing and Enlarging •••••••• 57 Subject-Defects in negatives • • • • • • .:. • • .·,9 Subject-Defects in prints , • • • • • • • ,• • • 61 Improving the Picture •••••••••••• 63 v. CONCLUS-IONS AND RECOMMENDATIONS • • • • . • • • • 64 Conclusion •••••• 64 • • • • • • • • • • • • • R:eeommendation • • • • • • • • • • • • • • • • 6·5 Recommended Magazines • • • • • • • • • • • • 65' Recommended Textbook. • • • • • • • • • • • • 66 A SELECTED BIBLIOGRAPHY •• · •••• • • • • • • • • • • • 67 vi CHAPTER I AN INTRODUCTORY STATEMENT The curriculum of the ,industrial arts department is one f of the greatest sources for introducing, livelihoods and hobbies to the future citizens of any country or generatione This gives the student the chance to explore many different fields ·or interest and may influence a way of earning a living er merely serve as an introduction to a hobbye The teaching of photography in industrial arts as one of .the graphic arts is very benificial in that it involves the knowledg~ of several fields of education to completely process film to produce a pietureo The use of photography in teaching safety in the shop may be very important in the prevention of accidents. With a num­ ber of tools available in the shop a course in photography may be taught at a minimum. of expensee Purpose .Qf. .:tlul.Study:. This part~cular subject was select­ ed because the amount of interest it will arouse in .studentse Photography has become so popular in recen\. years that the home darkroom is becoming a necessity. This study has been made to be used as a guide and a ref­ erence for developing and printing of pictures by the amateuro It is not intended to be an encyclopedia of photographic in­ formation. 1 2 Research Technique Used. The information obtained for this study was through the historical technique of research. The library has a large number of books available that may be used, but no attempt will be made here to name each book. The names of the books used in this study will be listed in the selected bibliography. There are many manufacturers of photographic supplies that have literature available; much of which is free for the asking. Scope of Study. Chapter two is divided into two parts, giving a brief history of industrial arts, and of photography. Chapter three gives the complete photographic process in the making of a picture. Chapter four is a suggested course out­ line to be used as an aid to the instructoro Chapter five gives the conclusions and recommendations for further study relative to this study. Definitions of Terms. In the search for information , re­ gardless of the subject, there will be a need for explanation of termso To clarify a vocabulary for industrial arts and photography, it is necessary for the following terms to be defined. Manual Training. Manual training is a systematic study of tools, processes, and materials to enable those who have no career in mind to discover their inborn capaci­ ties. (1, p. 13) Industrial Arts. The industrial arts are those occupa­ tions by which changes are made in the forms of materials to increase their values for human usage. (1, Po 38) Industrial Education. A generic term including all educa­ tional activities concerned with modern industry, its raw materials, products, machines, personnel, and pro­ blems. It, therefore, includes both industrial arts, the general ~ducation forerunner of our introduction to voca­ tional industrial education and the latter also. (6, p. 7) 3 Photography. The art of obtaining the representation of objects by the .agency
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