DOCSLIB.ORG

There Is Only You and Your Camera. the Limitations in Your Photography Are in Yourself, for What We See Is What We Are.” Ernst Haas

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
There Is Only You and Your Camera. the Limitations in Your Photography Are in Yourself, for What We See Is What We Are.” Ernst Haas South Portland, Maine 04106 Title: Documentary Photography Catalog Number: ARTH 135 01 South Portland Campus Tech Building 101 Friday 9 -11:45 | Fall 2016 Credit Hours: 3 Total Contact Hours: 45 Instructor: Christian Farnsworth MS MFA email *: [email protected] *All e-mail to instructor SHOULD have your name, course code and subject in the Subject Line “There is only you and your camera. The limitations in your photography are in yourself, for what we see is what we are.” Ernst Haas Course Syllabus Course Description From the faded black and white photographs of the Civil War battlefield to the digital images on online newspapers and magazines, the stillness of a photograph remains a powerful influence on how we view the world. In this course we will focus on documentary photography, examining the works of photographers who have mastered this fine art of visual storytelling. Through readings, films, slide shows, and fieldwork, you will gain a better understanding of the medium. We will explore and emulate different areas of social documentary, photo essays, photojournalism, and visual narrative. This class also invites you to question the context, purpose, and point of view of photographs. In addition, this is a hands-on photography class is open to students of varying skills. Photographic processes both film and digital will be discussed, but shooting assignments will require a digital camera. You will learn digital image editing and work on a semester- long photo-documentary project: a photo essay of a chosen subject in the community. ARTH 135 Fall 2016 Course Objectives • Understand the various genres of documentary photography • Demonstrate an understanding of the readings • Communicate theories of photo-criticism • Develop a documentary photography proposal • Complete a photo-documentary of personal interest • Gain a better understanding of the professional world of photojournalism Course Requirements • Complete all in-class and homework assignments and demonstrate comprehension in class discussion • Produce projects for critique deadlines; submit all completed projects for final critique • Have access to a camera & computer for posting photo assignments. • Complete a series of photography assignments • Complete required readings and demonstrate comprehension during in class discussions • Actively participate in studio work, projects discussions and critique • Spend at least 3 hours per week on assignments outside of class. • Deliver a paper and presentation on a documentary photographer • Submit a portfolio of all exercises, studies and projects produced during the semester for mid-term and final review. Topics covered in class: Theoretical What Is Documentary ? Styles of Documentary Ethical Considerations Selecting a documentary topic The Documentary Proposal Street Photography Photojournalism Photographic Camera Basics Composition & Photographic Elements Digital Image Workflow Image Editing Sequencing Photographs Creating a Portfolio ARTH 135 Fall 2016 Materials Notebook, Digital Camera (with manual Shutter and Aperture capability, preferred), memory cards. External storage drive -AT LEAST 8 GB REQUIRED TEXTS: In addition to Witness in our Time, photocopied and online readings will be posted on RESERVE in the library. • Light, Ken; Witness in Our Time, 2nd ed. • Sontag, Susan; Regarding the Pain of Others • PACKET: Selected articles, chapters, references & assignments o NOTEà Students are responsible for all assigned readings in preparation for subsequent topics/conversations. Recommended Readings o Clarke, Graham; The Photograph o Sontag, Susan; On Photography o Strauss, David Levi; Between the Eyes o Wells, Liz; Photography: A Critical Introduction o Westerbeck, Colin; Bystander: A History of Street Photography There are two kinds of photographers: those who compose pictures and those who take them. The former work in studios. For the latter, the studio is the world.... For them, the ordinary doesn't exist: every thing in life is a source of nourishment. – Ernst Haas Documentary Photography ARTH 135 Fall 2016 COURSE OUTLINE subject to change 9/02 WEEK 1: INTRODUCTION Intro: Syllabus; course objectives; textbooks & packet. Concepts: History and Influence of Documentary; Photojournalism vs. Doc Photo Assignments: READ and NOTE -> PACKET: p.3 / A. Kratochvil Photojournalism & Documentary; Pp.29-49 / G. Clark Documentary Photography; TEXT / Witness in our Time, Pp. 1-36; Intro & Mieth and Rosenblum; Begin repetitive subject shoot, “Week to Week”. Bio/ e-mail instructor by Monday 9/5 noon; Bring camera, manual & accessories to class #2. 9/09 WEEK 2: Historical Roots continued; The Language of Photography Concepts: The Camera: Depths of Field; Aperture and Shutter ->> Task: Continue historical trace; Demo DOF & Motion; Choose Noteworthy Photographer <<->> Note: Presentations due Week 8 & Noteworthy 10 Research due Week 5. Assignments: Photo Shoot #1A & 1B: Depth of Field; Motion due Week 3; READ and NOTE -> PACKET: Pp. 13-15 / Answers.com, Documentary Photography, History; Pp. 27-28 / H. Durer, On Documentary Photography. “E-Journal #1” (2 topics) à RE Text/Witness, focus on p.15 Mieth, & p.24 Rosenblum. (journal of assigned readings; use template questions in Packet II, p.17: e-mailed and due by class Week 3); Week to Week. 9/16 WEEK 3: Imac: Adobe PhotoShop and Bridge; Editing Images Concepts: The Camera -> / Intro to Bridge/PhotoShop Task: Download and Edit Photo Shoot #1A; Consult re Semester Project / Choose topic ! Assignments: Shoot #3 POV; “E-Journal #2” (3 topics) à1. RE Packet II p. 24-38 focus on article “Kill Team”; RE Witness: focus on 2. Eugene Richards p.90 & 3. Sebastiao Salgado p.108 – emailed & due by class Week 4). “Noteworthy 10”: e-mailed and due by 9 am Friday 9/30, Week 5; Week to Week. DUE: Photo Shoot #1A & Shoot #2 (1B) w/ labtime; E-Journal #1. 9/23 WEEK 4: ETHICS, CENSORSHIP and the POWER of the IMAGE; Street Photography and the Animated Landscape Concepts: The impact of photography - How do we see ? ; Consult Project – Get started !; Tasks: Topic Discussion; Abu Ghraib; Kill Team; D. L. Strauss, Kevin Carter, A. Jaar; Shoot #2 post-production & due….. Concepts: Approaching Subjects, Making Contact, Decisive Moment, Witnessing Tasks: Discussion: Pushing the envelope; shooting from the hip; Intro Shoot #4/ Scale; Start Projects (shoot highest image quality) Assignments: Draft proposal –>> Semester Documentary Project <<-e-mailed/due by 5pm Thurs 9/29 Week 5; Shoot #4/ Scale; “E-REVIEW #1”: (critiquing [3] online Photo-Essays; use template questions Packet II, p.22; e-mailed and due by class Week 6). Week to Week. DUE: Photo Shoot #3/POV w/ labtime; E-Journal #2Field Trip – Next Meeting: Time/Place__ ARTH 135 Fall 2016 “The first question must always be: Who is using this photograph, and to what end?” David Levi Strauss COURSE OUTLINE 9/30 WEEK 5 FIELD TRIP and THE Long-Term DOCUMENTARY PROJECT Concepts: Field Shoot; Discussion of Final Project ideas /proposals; MeCA Library research Task: Field Trip/Shoot #5; MeCA Research for presentations: TBA __ BRING Gear to shoot outdoors Assignments: READINGS and NOTE: PACKET: p.75-91/ B. Newhall Documentary Photography; Project Proposal (final- hard copy due next class); “E-Journal #3” (3 topics) à RE Text/Witness, focus on p.99 S.Meiselas, p.132 D.Ferrato & p.172 P.Howe, (template questions in Packet II, p.17: e-mailed and due by class Week 7); Week to Week; Semester Projects (week 2) ! DUE: Noteworthy 10; Draft Proposal (semester project) (ß emails due the day before class). 10/07 WEEK 6: Documentary images; Post-production / Photoshop Task: Photo Shoot # 4 & 5 / Lab ->> download, edit and archive Concepts: Photographing with all your ideals… Assignment: Mid-Term -> Take Home Essays; DUE Week 8; Semester Projects well underway (week 4)!! Week to Week; READINGS and NOTES: TBA _____________________. DUE: Shoot #4/Scale and Shoot #5/field – w/lab time; Semester PROJECT PROPOSAL (turn in hard-copy); E-Journal #3; E-Review #2. DUE: E-Review #1 (e-mail). 10/14 WEEK 7: TBA 10/21 WEEK 8: Presentations Due_ Assignment: READINGS and NOTE: PACKET p.51-74/ Curtis, Making Sense of Documentary Photography; Packet II p. 15-16/ Street Photography Tips; Sontag, Chapters 1 & 2. “E- REVIEW #2”: (online Photo-Essays; template questions Packet II, p.22; e-mailed and due by class Week 8); Shoot #5 / Street: due week 10; Semester Projects: REFINE; Work Prints due Week 10. Week to Week DUE: Noteworthy Presentations (turn in labeled folders at 9 am with presentation, notes and urls/doc for websites/multimedia); MID-TERM (hard copy). Field Trip – Next Meeting ->> 10/28 WEEK 9: FIELD TRIP ->> TBA Concepts/Task: Street Photography Portland; BRING Gear to shoot outdoors / 2+ hours Assignment: Semester Projects (week 6); Sontag Ch. 3, 4; Week to Week; Field Time / Place ________________________________________________________. ARTH 135 Fall 2016 COURSE OUTLINE 11/04 WEEK 10 Tasks: Post-Production 1. Shoot #6 / Street; 2. Week to Week compositions. Assignment: E-Review #3 (questions Packet II, p.22; e-mailed and due by class Week 12); DUE: Shoot #6 / Street – w/lab time (top 5 shots); Work Prints (4x6”/project) due Week 12 / bring Semester Project/Printing Top Choices; 11/11 WEEK 11: Holiday 11/18 WEEK 12: Lab Time – Work Prints and Project Consult; Organizing and Printing Final Photo Series Concepts: Work Prints; How can/do images narrate a story ? Sequence - Rhythm and Flow. Task: Critiquing / refining / sequencing; Consulting with peers and instructor; First Printing for Portfolio (Top choice/s – in class; BRING projects !). Assignments: 2 weeks to Final Project Critiques; Organize remaining project needs and shooting targets; Choose top few choices to Print; Prep all Project to Print next class. DUE: E-Review #3 (questions Packet II, p.22; e-mailed). 11/25 WEEK 13: Holiday 12/02 WEEK 14: Last Prep and Print Day / Lab Time Concepts: Final selections, prep and print Semester Project Portfolio Task: LAST PRINTING of SEMESTER PROJECTS; large files / TIFs (Labtime) Assignments: Semester Projects Due Week 15 by 9 am. Critiques start early – all will Critique next class !; Determine final project needs (last shooting and printing options).
Load more

Recommended publications
  • Rethinking Documentary Photography
    RETHINKING DOCUMENTARY PHOTOGRAPHY: DOCUMENTARY AND POLITICS IN TIMES OF RIOTS AND UPRISINGS —————————————————— A Thesis Presented to The Honors Tutorial College Ohio University —————————————————— In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the degree of Bachelor of Arts in Art History —————————————————— by Jack Opal May 2013 Introduction I would like to think about documentary photography. In particular, I would like to rethink the limits of documentary photography for the contemporary. Documentary, traditionally, concerns itself with the (re)presentation of factual information, constitutes a record.1 For decades, documentary – and especially social documentary – has been under siege; its ability to capture and convey and adequately represent “truth” thrown into question, victim to the aestheticization of the objects, fading trust in their authors, and technological development. So much so that the past three decades have prompted photographer, documentarian, and art historian Martha Rosler to question first its utility, then its role, and finally its future in society. All of this has opened up the possibility and perhaps the need to reconsider the conditions and purpose of documentary practice, and to consider the ways in which it has been impacted by recent technological and historical developments. The invention of the internet and the refinement of the (video) camera into ever more portable devices and finally into the smartphone, and the rise to ubiquity within society of these inventions, signifies a major shift in documentary. So, too, have certain events of the past two decades – namely, the beating of Rodney King (and the circulation of the video of that event) and the development and adoption of the occupation as a major tactic within the political left.
    [Show full text]
  • The Field of Social Documentary Photography Appears As an Area Of
    PHOTOGRAPHY: METAMORPHOSIS OF REALITY Rochelle Kolodny The field of social documentary photography appears as an area of interest to social scientists owing to its subject matter as well as to the particular issues it poses within the broad context of the relationship of art and reality (Kolodny 1974). Social documentary photography takes cultural reality as its subject-be it a spe- cific community such as Bruce Davidson's East 100th Street, or a generalized com- munity such as The Family of Man. The metamorphosis of existential reality into an aesthetic medium is not unique to photography; it appears, however, that photography's particular qualities, both ontological and phenomenological, create a special kind of metamorphosis. That photographs bear an uncanny likeness to the world of every- day reality has been noted since the inception of the medium. That the air of 'fact- uality', of 'truthful' representation are part of the photographic mystique likewise has been a doainating feature in commentary. On viewing the images made by Matthew Brady at the Battle of Antietam, Oliver Wendell Holmes wrote in 1863: Let him who wishes to know what war is ...look at this series of illus- trations ...It was so nearly like visiting the battlefield to look over these views, that all the emotioqs excited by the actual sight of the stained and sordid scene, strewed with rags and wrecks, came back to us, and we buried them in the recesses of our cabinet as we would have buried the mutilated remains of the dead they too vividly represented. (quoted in Taft:235-235) This kindred relationship to the world of experience cannot be overlooked in under- standing photography.
    [Show full text]
  • Photography 1
    Photography 1 Photography PHOTOGRAPHY AA or AS Degree Positions for which students of photography are qualified are Contact Information professional photographer, commercial photographer, advertising and photographic journalism. Students must fulfill the following major Division requirements with grades of “C” or better, complete a minimum of 60 Liberal Arts degree-applicable semester units (12 of which must be completed at Dean Sierra College) with a grade point average of at least 2.0 and complete Anne Fleischmann (Interim) one of the following three general education patterns: Associate Deans • Sierra College Associate Degree Requirements (http:// Susan Lucyga, Lynn Medeiros (Interim) catalog.sierracollege.edu/archive/2016-2017/student-resources/ general-education/associate-degree-requirements) ; Division Office • California State University General Education Breadth (http:// W 107, Rocklin Campus catalog.sierracollege.edu/archive/2016-2017/student-resources/ general-education/california-state-university-general-education- Overview breadth-requirements) pattern; Photography is offered as a creative means of visual expression with • Intersegmental General Education Transfer Curriculum (IGETC) artistic and commercial application. Opportunities for experimental (http://catalog.sierracollege.edu/archive/2016-2017/student- and applied aspects are provided from the beginning through advanced resources/general-education/intersegmental-general-education- levels. A serious effort is made to structure offerings so that students transfer-curriculum-igetc) . can attain individual goals in the field of Photography. Photographic skills complement other diverse fields such as science, environmental Required Courses studies, law enforcement, teaching, anthropology, art and real estate. PHOT 0010 History and Aesthetics of Photography 3 This complementary aspect is also stressed in the program. (also ARHI 0134) PHOT 0060A Elementary Photography 3 TRANSFER MAJOR REQUIREMENTS in Photography are available in the PHOT 0060B Intermediate Photography 3 Counseling Center.
    [Show full text]
  • A Curriculum Guide
    FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE This page is an excerpt from Focus on Photography: A Curriculum Guide Written by Cynthia Way for the International Center of Photography © 2006 International Center of Photography All rights reserved. Published by the International Center of Photography, New York. Printed in the United States of America. Please credit the International Center of Photography on all reproductions. This project has been made possible with generous support from Andrew and Marina Lewin, the GE Fund, and public funds from the New York City Department of Cultural Affairs Cultural Challenge Program. FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE PART IV Resources FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE This section is an excerpt from Focus on Photography: A Curriculum Guide Written by Cynthia Way for the International Center of Photography © 2006 International Center of Photography All rights reserved. Published by the International Center of Photography, New York. Printed in the United States of America. Please credit the International Center of Photography on all reproductions. This project has been made possible with generous support from Andrew and Marina Lewin, the GE Fund, and public funds from the New York City Department of Cultural Affairs Cultural Challenge Program. FOCUS ON PHOTOGRAPHY: A CURRICULUM GUIDE Focus Lesson Plans Fand Actvities INDEX TO FOCUS LINKS Focus Links Lesson Plans Focus Link 1 LESSON 1: Introductory Polaroid Exercises Focus Link 2 LESSON 2: Camera as a Tool Focus Link 3 LESSON 3: Photographic Field
    [Show full text]
  • Graphic Materials: Rules for Describing Original Items and Historical Collections
    GRAPHIC MATERIALS Rules for Describing Original Items and Historical Collections compiled by Elisabeth W. Betz Library of Congress, Washington, D.C., 1982 WordPerfect version 6/7/8 (July 2000; with MARC21 tagging added March 2002) With cumulated updates: 1982-1996 and List of areas to update for second edition: 1997-2000 Cover illustration: "Sculptor. Der Formschneider." Woodcut by Jost Amman in Hartmann Schopper's Panoplia, omnium illiberalium mechanicarum aut sedentariarum artium genera continens, printed at Frankfurt am Main by S. Feyerabent, 1568. Rosenwald Collection, Rare Book and Special Collections Division. (Neg. no. LC-USZ62-44613) TABLE OF CONTENTS Graphic Materials (1996-1997 Updates)...................p. i Issues to consider for second edition (1997-2000).......p. iii Preface.................................................p. 1 Introduction............................................p. 3 0. General Rules........................................p. 8 0A. Scope.............................................p. 8 0B. Sources of information............................p. 9 0C. Punctuation.......................................p. 10 0D. Levels of description.............................p. 12 0E. Language and script of the description............p. 13 0F. Inaccuracies......................................p. 14 0G. Accents and other diacritical marks (including capitalization)..................................p. 14 0H. Abbreviations, initials, etc......................p. 14 0J. Interpolations....................................p. 15 1.
    [Show full text]
  • Photography and Britishness
    international conference Photography and Britishness November 4–5, 2016 Yale Center for British Art, New Haven, CT This conference is co-organized by the Yale Center for British Art, New Haven; the Paul Mellon Centre for Studies in British Art, London; and The Huntington Library, Art Collections, and Botanical Gardens, San Marino friday, november 4, 2016 The leveling aesthetic of photography—its capacity to draw heterogeneous peoples into what Christopher Pinney has termed a “common epistemological space”—meant that it could serve as a visual register for the elusive conn- session 1 | 11 am–12:30 pm ective tissue of imperial subjecthood, effectively reifying a useful political abstraction. Yet, as much as British sovereign authority could be embodied Imperial Britishness by this visual logic, British identity could simultaneously be dissolved by the homogenizing grammar of the medium. This paper therefore examines how colonials grappled with photography’s technical and formal possibilities in chair Martina Droth, Yale Center for British Art ways that attempted to forge a viable imperial polity while preserving a sense martina droth is Deputy Director of Research and Curator of Sculpture of privileged Britishness. Looking in particular at the palliative, diplomatic role at the Yale Center for British Art, and co-editor of British Art Studies, an played by the photographic portraiture of Dr. John Nicholas Tresidder in the open-access online journal jointly published by Center and the Paul Mellon immediate aftermath of the Indian Rebellion (1857–58), this paper assesses Centre for Studies in British Art. Her work as an art historian and curator how the new visual technology inflected imperial Britishness in complex and focuses on sculpture and questions about interdisciplinary approaches to unpredictable ways.
    [Show full text]
  • Behind the Lens: Photography in the Pikes Peak Region
    Behind the Lens: Photography in the Pikes Peak Region During the nineteenth century rapid advances in photography and the development of the west went hand in hand. As the science and practice of photography grew more efficient and less expensive, Americans who might never travel west of the Mississippi River could view an astounding array of breathtaking images of mountains, canyons, and vast open spaces from the comfort of their homes. Photographs of the seemingly endless landscape and natural resources helped spur western emigration and finance railroads, town companies and businesses. It also changed the way Americans remembered themselves. Historian Martha Sandweiss notes that for Americans moving west, “photographs provided a way for these immigrants to maintain visual ties to the families and places they had left behind.” Since 1839 when the invention of the first “permanent photograph” was announced, photography has been a rapidly and dynamically evolving mix of the scientific and artistic. The inventors of photography are generally considered to be Joseph Nie’pce, Jacques Louis Mande’ Daguerre, and William Henry Fox Talbot, all of whom were both artists and chemists. The chemical and material processes of photography have dictated how the medium would be used and by whom. The stylistic and artistic conventions of photography have also evolved over the course of the past 175 years according to the tastes of both the producers and consumers of images. The varied ways people use photography: as memento of family and friends, container of personal memory, instrument of scientific inquiry, entertainment, documentation and evidence, promotion, tool of surveillance or an object of art – changes over time according to society’s needs and desires.
    [Show full text]
  • ARTH-135-01 Farnsworth
    South Portland, Maine 04106 Title: Documentary Photography Catalog Number: ARTH 135 01 South Portland Campus Tech Building 101 Friday 9 -12:55 | Summer 2015 Credit Hours: 3 Total Contact Hours: 45 Instructor: Christian Farnsworth MS MFA email *: [email protected] *All e-mail to instructor SHOULD have your name, course name and subject in the Subject Line “There is only you and your camera. The limitations in your photography are in yourself, for what we see is what we are.” Ernst Haas Course Syllabus Course Description From the faded black and white photographs of the Civil War battlefield to the digital images on online newspapers and magazines, the stillness of a photograph remains a powerful influence on how we view the world. In this course we will focus on documentary photography, examining the works of photographers who have mastered this fine art of visual storytelling. Through readings, films, slide shows, and fieldwork, you will gain a better understanding of the medium. We will explore and emulate different areas of social documentary, photo essays, photojournalism, and visual narrative. This class also invites you to question the context, purpose, and point of view of photographs. In addition, this is a hands-on photography class is open to students of varying skills. Photographic processes both film and digital will be discussed, but shooting assignments will require a digital camera. You will learn digital image editing and work on a semester- long photo-documentary project: a photo essay of a chosen subject in the community.
    [Show full text]
  • SEMESTER at SEA COURSE SYLLABUS University of Virginia, Academic Sponsor
    Prof. Erika Gentry ARTS 1559-101 SEMESTER AT SEA COURSE SYLLABUS University of Virginia, Academic Sponsor Voyage: Spring 2016 Discipline: Studio Arts ARTS 1559-501&502: Documentary Photography Division: Lower Division Instructor: Erika Gentry Email: Office Hours: TBA COURSE DESCRIPTION In this course students will begin to use photography as a means of documentation and cultural investigation. Assignments are designed to help students understand the visual language of documentary photography. Students will make photographs during this trip and will use Adobe Lightroom 6.0 to edit and adjust them. The desired goal of this course is to give students a working knowledge of the materials and methods of the medium, including an understanding of basic camera settings, exposure choices, file management organization, post-production processes and delivery modes for documentary photography. Course projects are designed to engage students with core concepts intrinsic to photography and photographic language. Students will use time on board to download, edit, and color correct photos. Readings and discussions are aimed at helping students get a better understanding of the history and practitioners of documentary photography. Students will use time on board to download, organize, edit, and develop images to ready them for digital delivery and display. Over the course of the journey students will make and edit images that document through their own lens different cultures, places and people. COURSE OBJECTIVES Upon completion of the course, the student will be able to: Select appropriate camera settings to achieve proper exposure Measure light using in-camera and handheld meters Estimate depth of field and motion based on creative intent and camera settings Manage image transfer and storage Edit and showcase images using basic panels and modules in Adobe Lightroom 6.0 Define photojournalism and documentary photography, their history and current trends in development and dissemination of a photo essay.
    [Show full text]
  • In Defence of Social Documentary Photography Jon Soske
    In Defence of Social Documentary Photography Jon Soske It’s an art world cliché. During the final decade of the anti-apartheid struggle, photographers allegedly embraced a social documentary mode that subordinated the image to the propagandistic needs of the moment, embraced naïve literalism over aesthetic experimentation, and reduced the complexities of interior experience to the mute fact of African suffering. Content merely to record spectacular instances of repression or deprivation, documentary photography, the paradigmatic form of ‘struggle art’, ironically codified a one- dimensional and thus dehumanising image of black life: it peddled in legibility, easy hits for an overseas market, the fungible stereotype. Political reportage straight-jacketed the artist. Realism trumped self-reflection. High politics eclipsed 1the importance of everyday life. Engagement suffocated the pleasures of form and play. The medium itself, one renowned curator informs us, became ‘myopic’. So the story goes. Perhaps it should2 be added that historical research into the 1 photography of the apartheid period, and especially the 1980s, has just recently gained significant momentum. We are only beginning to have a fuller picture Okwui Enwezor, ‘Photography after the End of Documentary Re- of the archive of widely-recognised figures like Ernest Cole, Jürgen Schadeberg, alism: Zwelethu Mthethwa’s Color Photographs’ in Zweletho Mthethwa Alf Khumalo and Santu Mofokeng; dozens of other significant photographers, (New2 York: Aperture, 2010), p. 101 many of them from black communities, await sustained critical attention. A new body of work significantly Perhaps we should also note that this critique largely focuses on news or agency qualifying the current picture of photography during the 1980s is photographers whose images circulated in the liberal and international press.
    [Show full text]
  • JTC 430 – Advanced Digital Documentary Photography Spring 2016 – Meets Tuesday & Thursday 11:00 A.M.-12:50 P.M
    JTC 430 – Advanced Digital Documentary Photography Spring 2016 – meets Tuesday & Thursday 11:00 a.m.-12:50 p.m. in Clark C-235 ____________________________________________________________________ Instructor -- Dr. Pete Seel, Department of Journalism & Media Communication office - Clark C-205 491-2030 e-mail -- [email protected] Course Description This is a hands-on course in the conceptualization, production, and editing of photographic documentaries for publication in hard copy and online. Each student will produce two short-form and one long-form photographic projects during the term. A key occupational focus for this field is magazine photography. Course content will analyze conceptual, photographic, and editing criteria for creative non- fiction still photo documentation of people, places, and themes. Multiple course lab sessions will be dedicated to advanced lighting techniques using diffused natural daylight, LED instruments, and multiple electronic strobe heads. The class will consist of a one-hour lecture twice a week followed by a hands-on lab session. Students should be prepared to show new photographic work each week for instructor and peer-review purposes as part of a formal critique process. Students will also be expected to critique the work of fellow students and experienced professionals in an intelligent and thoughtful way as part of learning to be a skilled documentary photographer. Course Objectives At the completion of this course the student will be able to: 1) Shoot short and long-form documentary stories. 2) Create storyboards to assist in the pre-visualization of story concepts and images. 3) Describe how documentary production differs from news and advertising photography. 4) Define the steps involved in building rapport with documentary subjects.
    [Show full text]
  • The Jacob Collection the Property of an Important Swiss Collector to Be Sold Without Reserve New Bond Street, London | 29 July 2020
    The Jacob Collection The Property of an Important Swiss Collector To be sold Without Reserve New Bond Street, London | 29 July 2020 The Jacob Collection The Property of an Important Swiss Collector To be sold without reserve New Bond Street, London | Wednesday 29 July, 2020 at 10am VIEWING GUIDE TO SYMBOLS USED ENQUIRIES PLEASE NOTE THAT ANY Sunday 26 July IN THIS CATLAOGUE Decorative Arts, including REFERENCE IN THIS 11am to 3pm Furniture, Works of Art, CATALOGUE TO THE PHYSICAL Monday 27 July Ω VAT on imported items at the Carpets, Japanese Works of CONDITION OF ANY LOT IS 9am-4.30pm prevailing rate on Hammer Art, Silver, Clocks, Watches, FOR GENERAL GUIDANCE Tuesday 28 July Price and Buyer’s Premium Jewellery & Fine Art ONLY. INTENDING BIDDERS 9am-4.30pm MUST SATISFY THEMSELVES VAT on imported items at Charlie Thomas * +44 20 7468 8358 AS TO THE CONDITION OF a preferential rate of 5% on [email protected] ANY LOT AS SPECIFIED IN IMPORTANT NOTICE Hammer CLAUSE 14 OF THE NOTICE TO Please regularly check the Y Subject to CITES regulations Collectables, including BIDDERS CONTAINED AT THE webpage for this sale at when exporting these items Scientific Instruments, Cameras END OF THIS CATALOGUE. www.bonhams.com/26339 outside the EU, see clause & Toys for updates on any potential 13. Jon Baddeley Condition Reports are changes to the viewing times and TP Objects displayed with a +44 20 7393 3872 available online at measures that may have to be TP will be located at the [email protected] bonhams.com/26339 introduced to comply with any Cadogan Tate warehouse Government guidelines on social Books, Manuscripts & from Monday 10th August REGISTRATION distancing.
    [Show full text]