California School of Fine Arts Application Questions
(Continued from the blog post, “Photography’s Golden Era 9” in which Philip Hyde shared how the teaching of Minor White and Ansel Adams differed. For more on the teaching of Minor White and Ansel Adams at the California School of Fine Arts now the San Francisco Art Institute see also the blog post, “Photography’s Golden Era 7.”)
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Ansel Adams taught the 1946 Summer Session at the California School of Fine Arts now the San Francisco Art Institute. The 1946 Summer Session, besides being an intensive round-the-clock photography experience, was also an opportunity for students to either show they were ready for the full-time professional training classes or were to stay with more of the evening classes geared more toward amateurs and semi-professional training.
In his book The Moment of Seeing: Minor White at the California School of Fine Arts, Jeff Gunderson wrote that by the Fall 1946 class, a more in-depth application had also been devised to better determine whether students were ready for the full-time course. By September 1947 there were 20 full-time students for the new fall class. Due to a mix up, Philip Hyde’s application did not get processed for the Fall 1946 Class. He had to wait until the Fall 1947 Class to start at the San Francisco Art Institute. For the story of what he did for that year read the blog post, “Photography’s Golden Era 6.”
We have not yet found Philip Hyde’s application for enrollment. He must have filled out one of the forms below, either in 1946 or 1947. The following are the application questions for the Fall 1947 California School of Fine Arts Photography Department full-time student application:
CALIFORNIA SCHOOL OF FINE ARTS
800 CHESTNUT STREET
SAN FRANCISCO 11, CAL.
Because of the great number of requests for entrance in the Photography class of Fall 1947, it has become necessary to ask you to answer a few questions. It will aid us greatly in selecting students for the Fall class if you will answer them as carefully as possible.
2. What schooling have you had?
3. Are your abilities and preferences more mechanical than intellectual? Do you do things with your hands well or only moderately well?
4. What kind of music do you like best?
5. Why do you want to learn photography?
6. If you have had less than two years of university or college training, why do you seek to enter a photography school rather than go to college or complete your work there? (It is recommended that all potential photographers obtain a college degree before attempting to become professionals, although this is not an essential condition of entrance to this school.)
7. If you have finished college, what was your major and minor and what extra-curricular activities did you have?
8. Do you intend to aim for the high bracket money reputed to be available to the top-flight commercial or journalistic photographer?
9. Are you willing to accept a low wage standard for most of your life in order to follow photography as a means of expressing yourself? In other words, do you wish most of all to use the camera as an art medium?
10. Briefly stated, what are your impressions of the following photographers? Valentino Sara, Edward Weston, Paul Strand, Edward Steichen, Lisette Model, Berenice Abbott, D.O. Hill, Alfred Stieglitz, George Hurell, George Platt Lynes.
11. What cameras have you worked with? What experience have you had with photography?
12. What is your opinion of the present day Salon?
(Please use separate sheet of paper for answers.)
For background on the California School of Fine Arts now the San Francisco Art Institute see the blog post, “Photography’s Golden Era 8.” To read a summary of the beginnings of Ansel Adam’s photography department, the first art school program to teach photography as a full-time profession, see the blog post, “Photography’s Golden Era 1.” To read the controversy over whether the present day is another Golden Era, see the blog post, “Photography’s Golden Era 2.” Find an overview of the first straight photography, Paul Strand, Group f64 and Alfred Stieglitz in the blog post, “Photography’s Golden Era 5” and the blog post, “Photography’s Golden Era 3.” To read about other early influences on Philip Hyde and his father’s wilderness painting, see the blog posts, “Photography’s Golden Era 4,” and “Minor White Letters 1.” For an overview of Philip Hyde’s black and white printing and role in the introduction of color to landscape photography see the blog post, “Black And White Prints, Collectors And Philip Hyde.”
The series will continue in the blog post, “Photography’s Golden Era 11.”