The Unofficial CFA Photography Equipment Office Information Repository

Spring 2022 Course Schedule

62-141   Black and White Photography I

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

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

Section C   TR 7:00pm-9:50pm   Dillon Roberts ( )

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 2:10-pm-5:00pm   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   TR 8:00am-10:50am   Dillon Roberts )

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 B14.

62-165   Mutable Landscape

  MW 1:25pm-4:15pm   Kim Beck ( )

With camera in hand, students will explore, document and invent a sense of place in Pittsburgh. Informed by photographic history and landscape studies, students will develop their own portfolios of digital prints. As a CFA Interdisciplinary photography course, students will be encouraged to consider their photographs in the medium of their home department, and in some cases as a starting point for projects in other materials.

Class meets in MM B2.

62-209   Photographic Problems

  MW 7:00pm-9:50pm   Leo Hsu ( )

Garry Winogrand used the term "photographic problem" to explain his practice: "I photograph to find out what something will look like photographed." Other photographers are driven by other formal, ethical, and epistemological problems. What can photography make visible? What does it mean for a narrative to be imposed onto a subject? What responsibilities are involved in making and looking at images? This course takes an expanded view on problems in and problems of photography and asks how problems drive practice. Students will work towards identifying their own photographic problems through exercises, critiques, writing prompts, and a final photographic project. Students will interrogate their relationship with making and reading photographs, regardless of their previous experience or skill level.

Class meets in MM 107.

62-276   Photography and the Ephemeral

  MW 8:00am-10:50am   Bryan Martello ( )

Photography and the Ephemeral is an interdisciplinary photography course designed for students of various disciplines interested in exploring the relationship between images and the ephemeral: things that last only a short moment in time. Throughout the semester students will explore different themes and ways to approach ephemeral imagery such as; still lifes, installations, performances for the camera, and the short-lived nature of images both physical and digital. Participants explore these themes through weekly presentations, discussions, assignments, and critiques.

Class meets in MM B14.

62-326   Photo Narrative

  F 8:00am-10:50am   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.

Class meets in TBA.

62-360   Photographers and Photography Since WWII

  M 7:00pm-9:50pm   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 PH A19C.

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 form available in MM B-18. 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.