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EFTI, MODOS DE MIRAR International Master in Contemporary Photography and Project Management

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EFTI, MODOS DE MIRAR International Master in Contemporary Photography and Project Management International Master in Contemporary Photography and Project Management EFTI, MODOS DE MIRAR International Master in Contemporary Photography and Project Management Foto de portada: Bego Antón / Profesora de EFTI CHARACTERISTICS AND DURATION OF MASTER 6 LANGUAGE AND PROCESS 7 PHOTOGRAPHIC ANALYSIS AND KNOWLEDGE 10 — 13 THE CREATIVE PROCESS 14 — 17 ín LIGHT AS A NARRATIVE ELEMENT AND TECHNICAL PROCESSES 18 — 20 IMPORTANT THEMES ON CONTEMPORARY PHOTOGRAPHY 25 — 28 TRANSVERSAL DISCOURSE ON dex CONTEMPORARY IMAGERY 30 — 31 FINAL PROJECT 34 — 37 MEETINGS, MENTORING, VIEWINGS AND WORKSHOPS 40 — 43 FACILITIES AND EQUIPMENT Fragmentos de fotografías: Lottie Davies, Angélica Dass y Ricardo Cases Dass y Ricardo Davies, Angélica Lottie de fotografías: Fragmentos 44 — 46 Photography as a necessary adventure. Where does photography currently stand? The very definition of the word photographer has changed significantly in the last two or three decades. Nowadays the technical aspect of photography is much more accessible, there are more means that are more affordable and image postproduction is available to everyone. Everyone is taking photos. Photographers are no longer revered as the great masters of photographic technique. This title no longer applies. And yet on a daily basis more and more people find an inherent need to understand what it is that compels them and enchants them about the fascinating subject that is photography. The International Master in Contemporary Photography and Project Management is designed for those yearning to be a part of the future of photography and for those committed to embark on this necessary adventure. And so we will guide and encourage these aspiring adventurers to live out their dreams, impulses, and emotions uninhibitedly, so that they can find a self-identifying creative space. A space from which images and projects emerge that reveal an individual voice. And with this voice share their inner thoughts, feelings, qualms and perspectives on life and those around them. Ultimately, to debate and form ideas within a contemporary and current disPhotographycourse on the issues of our times, and on the essence of humankind. A great adventure awaits. David Schäfer / Profesor de EFTI INTERNATIONAL MASTER IN CONTEMPORARY 6 — 7 PHOTOGRAPHY AND PROJECT MANAGEMENT Duration: 15 months approximately LANGUAGE AND 674 contact hours. PROCESS 3 to 5 classes are held a week from Monday to Friday depending on the Technology related to photography, We will also propose various various workshops. both in the capture of a shot and workshops to create moments of its postproduction has helped the introspection and personal soul- Because of their characteristics some language of photography evolve searching. In this way students will classes may vary in length or date. in ways that only two decades take steps towards the exciting and ago were unimaginable. From our all the while terrifying territory The different Master groups may combine point of view, this has opened up of emotional compromise from for certain theory classes and screenings. a wide range of new photographic which some of the most renowned expressions demonstrating photographers draw their ideas Maximum of 18 students per group. the never-ending possibilities from. Finally we will give students photographers now have at their the fundamental tools needed to disposal. produce images labelled with the excellence of experience: a refined technique in lighting, Today more than ever, the in photo capture and in digital contemporary photographer must postproduction. find a compromise with the past in order to form a present point of view and seize the future. This may sound exaggerated but the truth is that if one is not conscious of where they come from and where they are, achieving interesting work in this exciting world of photography will become a difficult task. In this unit we engage in the history of photography and we give students the tools that will help them learn and understand images thoroughly. Ciuco Gutiérrez / Profesor de EFTI EFTI, ways of looking INTERNATIONAL MASTER IN CONTEMPORARY 10 — 11 PHOTOGRAPHY AND PROJECT MANAGEMENT HISTORY OF PHOTOGRAPHY I, II, III, HISTORY OF PHOTOGRAPHY IX, X no filter whatsoever. This is a reality PHOTOGRAPHIC IV, and V. From the beginning of the ANALYSIS AND 1970s. and XI. New Photographic Practices from which a photographer cannot Jesús Micó (Art critic and Plastic (2000 – 2014) escape. So much information can KNOWLEDGE Artist) 20 hours Jon Uriarte (Photographer) 8 hours seem suffocating and paralyzing. Democratization of Photography. Latest trends in contemporary During this class we will analyse this International Pictorialism from the photography in the last decade. situation and we will do an exercise in end of XIX century. The process of order to encourage students to make modernizing photography in America OTHER PHOTOGRAPHS. OTHERS selective decisions and to analyse the (up to World War II). History of avant- WORLDS I and II information found, with the objective garde photography in the inter-war José Otero (Photographer) 6 hours of strengthening their point of view. period. Analysis of contemporary photography in Asia, Africa and Latin America. READINGS AIMED TO CLEARING OUR The combination of art and VISION I, II, III, IV, V, VI, VII and VIII. photography and the arrival of VISUAL ANALYSIS I, II, III and IV. María Santoyo (Cultural Consultant) technology as an artistic tool. The Photographic Semantics. 17 hours process of modernizing photography Beatriz M. Barrio and Juan Valbuena Creativity is not an innate gift, an in Europe (up to World War II). (Photograhers) inexhaustible source or a self-sustai- The historical avant-garde in the 15 hours ning talent. It survives thanks to light, inter-war period. The end of the avant- The photographic work of various water and a little bit of fertilizer or, in garde. authors will be analysed in a other words, curiosity, critical thinking comparative format with the intention and effort. Reading is fundamental, World War II and its effect on of distinguishing different visual and reading images of course, but also photography towards the end of the semantic resources, which have been texts. Luckily, the restlessness of century. Origins of contemporary used to tell their stories along with various generations of critics, philoso- photography. their visual proposals. phers, writers and creators has left us a source – inexhaustible indeed – of in- HISTORY OF PHOTOGRAPHY VI, The intention is that the student formation, inspira¬tion and thoughts, VII and VIII. Transformations and acquires visual training and on which we can shape our criteria. hybridizations (1970 to the year analytical skills to be able to develop Without criteria there can’t be a vision 2000) their work in a more precise and and without a vision, our images Francisco Carpio (Art Exhibition contemporary way. would lack quality and relevance, and Commissioner and Art Critic) would get lost in a digital ocean. After 12 hours VISUAL STORMING I and II all, what is a photographer if not the The last three decades of the Beatriz M. Barrio (Fine Arts BA and producer of lasting images? XX century have represented a Photographer) 6 hours fundamental period of development Never before in the history of humanity During this course we will dedicate of the photographic language and have people had access to so much some sessions to reading, commenting has witnessed a substantial change information. The Internet offers us and discussing a selection of theory, in the thought and discourse of everything and more with literary and poetry texts, which contemporary photographers. deal not only with images and Fotografía página anterior: La Senda y la Trama, 2015 Javier Vallhonrat / Profesor de EFTI 6 — 7 photography, but also with basic photography. Photography as a concepts that matter to any creator different way of seeing and concerned with their surroundings. representing images. Interaction between photography Sessions start with the main writings and art movements. about photography seen as a way of Active analysis and critical image representation. We will also analyse commentaries on works of art the dichotomy between fact and (M.N.C.A Reina Sofia). fiction. We will discuss different Tools for interpreting artistic images. texts dealing with four essential Meaning and symbol: concepts. principles: Time, Space, Me and the Iconography and Iconology. Method Other. These are some categories of analysis and image interpretation. that in turn include recurring themes Cultural identification of the symbol: in contemporary creation. Time connection between the symbolic idea (Memory, Legacy, Evolution, History, and its artistic representation. Sources Transformation) Me (Identity, used to analyse image contents. Gender, Transformation, Stance, How to decipher the meaning of an Spirituality) Space (Territory, Border, image. (Visit to the Prado Museum) Structures, Landscape, Atmosphere) the Other (Connection, Systems, THE PHOTOGRAPHIC MEDIUM I, II Power, Denunciation, Absence) and III. our starting point, the students Eduardo Momeñe ((Photographer) will more easily understand the THEY ARE AS WE PRESENT THEM 9 hours medium that they work with. If they José Latova (Photographer) 3 hours We will speak about the evolution desire to know more on the history Analysis of change in the interpretation of the photographic medium during of photography, they will have a of environmental reality, through the its almost 2 century long
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