The Unofficial CFA Photography Equipment Office Information Repository

Spring 2019 Course Schedule

62-141   Black and White Photography I

Section A   TR 1:30pm-4:20pm   Sean Carroll (

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

Section C   TR 8:30am-11:20am   Nina Young ( )

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.

62-241   Black and White Photography II

  MW 1:30-pm-4:20pm   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.

62-142   Digital Photography I

Section A   TR 1:30pm-4:20pm   Aaron Blum ( )

Section B   MW 8:30am-11:30am   Ross Mantle ( )

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.

62-235   Photographing America

  MW 6:30pm-9:30pm   Leo Hsu ( )

In this course, students will create an original photographic project that responds to a legacy of photography that has described and critiqued the United States of America, its aspirations, and its challenges. Through readings and class discussion, students will examine a range of projects that addresses notions of America or an American character, including writing and photography produced by both American and foreign observers, including Walker Evans, Robert Frank, Diane Arbus, Stephen Shore, Hank Willis Thomas, Justine Kurland, Vanessa Winship, and others. As students learn about how America has been seen, they will develop their own "American" body of work, culminating in a portfolio project. There is no prerequisite, but students must own a camera, know how to use it, and be familiar with Adobe Photoshop and digital output. Students who have not taken Digital I should contact the instructor before the course begins.

62-479   Photography: Picturing Identity

  TR 1:30pm-4:30pm   Shikeith( )

In this course, students will investigate the methodologies through which identities are expressed, revealed, deconstructed, and imagined in photographs. This class will provide students with a critical survey of images, texts, and conventions practiced by artists whose use of the photographic medium has shaped our understandings of the body, race, gender, nationality, sexual orientation, class, citizenship, religion, and ethnicity, among others. Students will work to develop their own visual language through forms of research and investigation, experimentation, and creative risk taking. A deeper relation to looking at, conversing with, and critiquing images will function as the centerpiece to this class, with work carefully assessed in terms of authenticity, reflection, expressivity, and execution. Although there are no technical prerequisites for this class, a confidence with and interest in working in photography, along with a belief in the potential of the image, is desired among those who enroll.

62-326   Photo Narrative

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

Most photographs tell stories. We see photographs in newspapers, magazines, snapshot albums, on the web, in books, and in posters. In these contexts photographs often work with words to convey meaning, whether they are shown with captions, news stories, or just with titles. Photographs can work without words, too, to create purely visual narratives. In this course, students will make two series of photographs: one that is fiction and one that is non-fiction. In addition to making photographs, students will determine the context in which their photo-stories will be seen. Students may make photo books, for example, or decide that their images will be seen on a website. While students are making photographs, we will explore the rich traditions of photo-graphic story-telling that range from the world-oriented work of photo-journalist W. Eugene Smith to the documentarians such as Walker Evans, Nicholas Nixon, and Alec Soth. We will look at photographers, too, who constructed private worlds, such as Duane Michals, Cindy Sherman, Bruce Charlesworth, and Laurie Simmons. As students explore both fiction and non-fiction through photographs, we will look at the interesting interplay between words and photographic images; how images are paced and scaled to create tempos; how photographs are sequenced to tell stories; and other formal elements involved in creating visual narratives.

62-471   Photo/Print Workshop

  MW 1:30pm-4:20pm   Kim Beck ( )

In this course in Photography and Print, students will develop semester-long individual projects in contemporary photography, printmaking, artists' books and/or multiples. Students will work in photography (traditional, alternative or digital processes) or print media (silkscreen, lithography, intaglio, monotype, etc), considering the ways one extends into the other, and the way that lens-based imagery might intersect with the hand-made. Readings, regular discussion, critique, field trips, and visiting artists will enhance the conversation and research. As a workshop, this course is for students who are ready to explore their work more deeply and create ambitious self-driven projects.

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.