The Unofficial CFA Photography Equipment Office Information Repository

Spring 2018 Course Schedule

62-141   Black and White Photography I

Section A   MW 1:30pm-4:20pm   Jamie Gruzska ( )

Section B   TR 6:30pm-9:30pm   Ivette Spradlin ( )

Section C   TR 8:30am-11:20am   Martin Prekop ( )

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 1:30-pm-4:20pm   Martin Prekop ( )



Black and White Photography II allows you to gain experience with medium and large format film cameras that aren't available at many universities. View cameras remain the state of the art in control and quality for both analog and digital workflows; knowing how to use one is a very valuable professional skill. You can make stunning large-scale prints using either darkroom or inkjet processes; imagine the resolution of an 8x10 or 11 x14 inch sensor and you begin to see the potential of the view camera. This course emphasizes aesthetic development and personal artistic growth through individual tutorials and group critiques. 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

  TR 1:30pm-4:20pm   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.

62-242   Digital Photography II

  MW 8:30am-11:20am   Ross Mantle ( )



Digital Photography II combines digital and analog processes in both color and black white. Students will gain experience with digital workflow, analog to digital conversion, virtual drum scanning and large format digital printing. Topics include trends in contemporary photography, professional practices, project development, narrative and serial work, and portfolio presentation. Students will be expected to develop their own self-directed projects throughout the semester culminating in a cohesive portfolio of their work. Readings, assignments, artist visits, critiques and discussions will give context to the practical work and help develop a wide ranging familiarity with the subjects.

Class meets in MM B2.

62-376   Meaning in Images

Mini A3   F 8:30am-11:20am   Charlee Brodsky ( )



Images abound in our culture. This course takes a critical look at many different kinds of photographic images to understand how they operate in our culture to inform, persuade, and entertain various audiences. The content for this course will be generated from looking at, thinking about and discussing issues discovered while studying well-known to lesser-known images that range from photographs used in ad campaigns, to photographs that are used in scientific representation, to snapshots in family photo albums, to photographs that are used to show social injustices, to photographs that exist in museum collections. Readings will be assigned and short writing exercises will be required throughout the semester. In addition, photography assignments will be given.

Class meets in MM A121.

62-474   Book/Portfolio: Photo & Print Workshop

  MW 1:30pm-4:20pm   Kim Beck ( )



This advanced print media course is a screen-printing intensive that moves print out of editioned works on paper. Students will utilize the multiple to create immersive wall installations, participatory social sculpture, objects that act as interventions, and hand-printed yardage that can be used in soft sculpture and/or wearable forms. Students will challenge their screen-printing techniques and the scale and reach of their printed matter. Projects will concern the role of ornamental design within socio-political-cultural frameworks and the role of hand-made within exchange and gift economies. Projects will problematize artworks in relationship to the human body: as wearer, as laborer, and as consumer.

Class meets in DH C300.

62-360   Photographers and Photography Since WWII

  M 6:30pm-9:20pm   David Oresick



Invented in 1839, photography was a form of visual expression that immediately attracted a large public following. Starting around 1900, photography was practiced with two dominant strands. One of these firmly believed in the power of photographs to provide a window on the world, as pursued by Lewis Hine, while the other strand adhered to the philosophy of Alfred Stieglitz, founder of the elite Photo-Secession movement in the United States, who adamantly affirmed that photographs were first and foremost reflections of the soul. As such they were art objects, equal to painting, drawing and sculpture. These two schools of thought guided photographers throughout the twentieth century. This course explores in depth the tremendous range of photographic expression since World War II and examines in particular the contributions of significant image-makers such as Helen Levitt, W. Eugene Smith, Robert Frank, Diane Arbus, Garry Winogrand, Harry Callahan, Charles "Teenie" Harris, Cindy Sherman, Annie Leibovitz, Duane Michals, Carrie Mae Weems, Nan Goldin, James Nachtwey, and many others. Classes include lectures, student presentations, and video excerpts. A local field trip to visit a photography exhibition may also be arranged.

Class meets in DH 1209.

62-239   Reading Pictures, Writing Photography

  R 6:30pm-9:20pm   Leo Hsu ( )



Our experience of the world is mediated through photographs, but how are photographs mediated by text? As culturally-constructed objects, photographs are both complex signifiers and vehicles of social and political influence. In this course students will engage critically with photographs and photography through classic and contemporary texts on photography and by producing their own writing. Students will become familiar with significant photographers and key issues raised around photography, and develop their own critical and authorial voices through class discussion and weekly short response papers, as well as longer assignments and occasional in-class exercises. Course readings include texts by James Agee, Roland Barthes, Teju Cole, Joan Fontcuberta, Abigail Solomon-Godeau, Susan Sontag, and many others.

Class meets in PH A20A.