The Unofficial CFA Photography Equipment Office Information Repository

Fall 2022 Course Schedule

62-141   Black and White Photography I

Section A   TR 6:40pm-9:30pm   Dillon Roberts ( )

Section B   MW 1:25pm-4:15pm   Sean Carroll (

Section C   TR 8:00am-10:50am   Karon Antonelli ( )

This course will teach you the basic craft of photography from exposure of the negative through darkroom developing and printing to print finishing and presentation. Content includes student presentations, class discussions, shooting assignments, darkroom sessions and class critiques. We will concentrate not only on the technical aspects of photography, but also the aesthetics of seeing with a camera. The course concentrates on photography as a fine art---what is unique to it and the concerns that are shared with other visual arts, such as composition, tonal values, etc. and aims to equip students with an understanding of the formal issues and the expressive potentials of the medium.

Class meets in MM B10.

62-241   Black and White Photography II

  TR 1:25-pm-4:15pm   Jamie Gruzska (

This course allows you to gain experience with medium and large format film cameras while emphasizing aesthetic development and personal artistic growth. As an advanced student, you have access to an unusual assortment of panoramic and pinhole cameras that will change the way you make photographs, revealing unknown perspectives. Additional topics include digital process though negative scanning and inkjet printing, advanced monotone printing methods, and a focus on exhibition and folio presentation. Cameras will be supplied for this course.

Class meets in MM B10.

62-142   Digital Photography I

Section A   MW 1:25pm-4:15pm   Dylan Vitone ( )

Section B   TR 1:25pm-4:15pm   Aaron Blum ( )

This course explores digital photography and digital printing methods. By semester's end students will have knowledge of contemporary trends in photography, construction (and deconstruction) of photographic meaning, aesthetic choices, and the use of color. Students will learn how digital cameras work, proper digital workflow, RAW file handling, color management and Adobe Photoshop. Through the combination of the practical and theoretical, students will better define their individual voices as photographers.

Class meets in MM B2.

62-208   Alternative Photography: Contemporary Antiquarian Printmaking

Section A1 (mini)   TR 8:00am-10:50am   Aaron Blum

This course will explore alternative photographic techniques and concepts in an effort to extend the boundaries of the photographic image. Through the course we will investigate contemporary digital imaging techniques and apply them to turn-of-the-last-century hand-applied emulsions. Subjects covered are digital imaging, digital negative printing and workflow, hand-applied emulsions, alternative uses of Polaroid photography, and concepts and theory of the still image. As we move through the course we will also consider the theory and history of photography and create images that are not standard in today’s imaging practices. A diverse range of contemporary photographic work will be presented to increase students’ visual awareness and understanding of the possibilities inherent in the medium. Through work/review sessions, students will evaluate their own ideas and judgments in pursuit of a well-communicated image.

Class meets in MM B10.

62-277   Constructing Meaning with Photographs

Section A2 (mini)   TR 8:00am-10:50am   Ross Mantle ( )

Constructing Meaning with Photographs will discuss ways in which multiple images can be used to expand upon and clarify the intended message of individual photographs and a visual series in whole. Throughout this half-semester studio course, students will work through a variety of approaches to image sequencing and editing. At the start of the course, students are expected to have a significant body of completed work or an easily accessible archive of print resolution images (100+ images) to work with for out of class assignments. Using their archive, they will edit sequences for different presentation methods including gallery exhibitions, books and zines, websites, linear displays, and print portfolios. Weekly in class editing exercises will conceptually correspond with out of class assignments to allow for experimentation and conversation around different approaches to photographic sequencing. Lectures, readings, guests, exhibition visits, and book presentations will provide additional support for understanding how to use photographs in series to build meaning.

Class meets in B2.

62-278   Infinite Rooms: Photography and Installation

  MW 6:40pm-9:30pm   Bryan Martello ( )

Infinite Rooms is an interdisciplinary photography course designed for students of various backgrounds interested in exploring the relationships between place, images, and installation. This course will investigate the methodologies of how a place is documented, constructed, and imagined in photographs. This class will introduce a critical survey of images, films, and texts from artists who work at the intersection of installation and images. Throughout the semester various prompts will introduce different frameworks for thinking about photography and installation, such as the dramatic; the psychological; and the personal. Students will utilize digital and analog equipment, learn how to use a large-format view camera, learn studio lighting techniques, develop approaches to working with natural light, and explore methods of printing and presentation.

Class meets in MM B14.

62-371   Photography, The First 100 Years, 1839-1939

  M 6:40pm-9:30pm   David Oresick

Photography was announced to the world almost simultaneously in 1839, first in France and then a few months later in England. Accurate "likenesses" of people were available to the masses, and soon reproducible images of faraway places were intriguing to all. This course will explore the earliest image-makers Daguerre and Fox Talbot, the Civil War photographs organized by Mathew Brady, the introduction in 1888 of the Kodak by George Eastman, the critically important social documentary photography of Jacob Riis and his successor, Lewis Hine, the Photo-Secession of Alfred Stieglitz, the Harlem Renaissance of James VanDerZee, the precisionist f64 photographers Ansel Adams, Imogen Cunningham, and Edward Weston, and other important photographers who came before World War II. The class will be introduced to 19th century processes, such as the daguerreotype, tintype, and ambrotype, as well as albumen prints, cyanotypes, and more.

Class meets in PH A-18B.

62-398   Interdisciplinary Independent Study: Topics in Photography

This course is a tutorial studio in which a student proposes a self-generated project and works one-on-one with a photography instructor of their choice to complete it. Prior to enrolling, the student must complete an Independent Study Proposal. Students can choose this course as 5 or 10 units, in consultation with the CFA Photography Administrator. Prerequisite: Junior/Senior status and by instructor permission.