FOUNDATIONS OF PHOTOJOURNALISM 180.3

Transcription

1 FOUNDATIONS OF PHOTOJOURNALISM Stop, [Levinas] seems to be saying to the man hurrying along in the rushing crowd. There beside you is another person. Meet him. This sort of encounter is the greatest event, the most vital experience of all. RYSZARD KAPUSCINKSI

2 PROFESSOR: PHYLLIS B. DOONEY E: P: OFFICE HOURS T/TH: 2:30-3:30 Please contact me to setup a time and place to meet, ideally within the above office hours. I m happy to do it. REQUIRED TEXTS Photojournalism: A Professional s Approach by Ken Kobre, 7th Edition The Other by Ryszard Kapuściński NOTES This syllabus is flexible. Be prepared for change. Show up for each other. Be on time. Please turn off and put away phones. Please use laptops and class computers for in-class exercises only. Photo Ed Kashi/VII Photo

3 COURSE OBJECTIVES 1. Learn how to effectively use your 35mm cameras. 2. Understand what makes a good photograph in terms of (1) content; (2) composition/aesthetics; (3) technical quality. 3. Acquire and develop the intellectual, technical and analytical skills of visual journalism communication. 4. To help you understand the essential contribution of the idea to the photograph the critical element that separates the picture taker from the picture maker. REQUIRED EQUIPMENT + MATERIALS A 35mm Single Lens Reflex (SLR) digital camera that allows you to manually set the f/stops and shutter speeds. A lens (a 35mm is a common photojournalist s lens and a 50mm lens is a standard lens). Portable/external hard drive to archive your photography. At least 1 camera data card, at least 16 GB (these are not available from Equipment Room). NOTE: The Equipment Room has some equipment available for checkout (Canon Rebel Kits) and uses Connect2 for checkout.

4 PHOTOGRAPHY ASSIGNMENTS All assignments are due at the beginning of class on their due date. You must upload your edit (JPGs) before class begins and must be present with your edit in class to receive a grade. Any assignments turned in after that will receive a grade of 0. This will be strictly enforced with no exceptions. If you must miss a class (for legitimate excuses cleared by me first) you must turn in your assignment the day it is due to receive a grade. The first month of class is designed to get you comfortable with your camera and explore technique. There are 4 shooting assignments, due each Tuesday. Experiment. Play. Fail. Think of these as exercises there is no such thing as failure if you demonstrate that you spent time on them and tried different approaches. Edits are expected to be approx. 10 images. During the second month of classes we will be working towards more intentional photographic assignment stories. There are 3 shooting assignments that you will have 2 weeks to execute. I encourage you to maintain the mindset of experimentation from month 1, however, these edits are expected to contain more thoughtful and polished images. Edits are expected to be approx images. The remaining assigned photography for the class will be reserved for you to shoot your final project. This stage begins on Oct 24 from there on out, you will be shooting for your project regularly and expected to bring in work (photographs and pitches) to show on Final Project Status Report days. RE: Editing. Editing is a critical part of the photography process. Take the time to sit with your images and pick your selects to bring to class. Of course, shoot a significant amount more than your actual edit. RE: Captions. Captions are a critical part of the photography process. This begins in the field take notes while you are shooting. Do not rely on memory. Refer to this page for caption protocols (AP Style): Each assignment will be discussed in class and critiqued. When feasible, practical demonstrations will be performed to guide you along the way. Important no photographs taken before the semester begins will be accepted. You must shoot the assignments during the 1-2 week that is allocated before the due date. Also, this is a documentary photography class. That means except for still lifes and portraits you may not set up pictures; no posing subjects; no photo manipulation, in any images.

5 WRITTEN ASSIGNMENTS Any written assignments are due at the beginning of class on their due date. Please print out your assignment, bring the hard copy to class and turn it in to me at the end of class in order to receive a grade. This includes what I call essays, response summaries, pitches or ideas in the syllabus. When I give a word count, it is an approximation within 50 words. ATTENDANCE + CLASS POLICY While in class, all cell phones need to be silenced (vibrate does not count as silent) and put away. All class computer screens must be on sleep mode unless we are working on them. Laptops must stay in your book bags; note taking must be done with paper and pen. A critical aspect of photojournalism is learning how to focus and listen and we will practice this kind of attentiveness and respect in class. Screens are like second hand smoke; they are not simply distracting to you, they disturb those around you. This class policy is not flexible and will affect your grade. Photo Leonard Freed

6 ATTENDANCE + CLASS POLICY (cont.) The field of journalism is going to require more of your mind, body and spirit than you can even fathom at this point. Think of yourself as an athlete-in-training and be prepared to work with endurance, focus and commitment. If you bring your grit we will have loads of fun and go through a breathtaking journey together. It is critical that you attend every class. You cannot miss a class in order to shoot an assignment. You must be in class to present your work for critique; turning in an assignment on the server alone does not count. Part of your grade evaluation will include participation. This includes discussions during critique and on any reading materials. We need each other. You will be allowed 1 un-excused absence; after that 1 percentage point will be deducted from your FINAL GRADE. If your semester average is 91% and you miss 3 classes, your final average would be 89% and so forth. The exception to this will be a serious medical condition. BEGIN ANYWHERE JOHN CAGE

7 CLASS SCHEDULE (subject to change) TUESDAYS: Critique + Demo/Workshop THURSDAYS: Lecture + Discussion WEEK 1 T: Aug 21 Introductions, review syllabus, basic camera mechanics (bring your equipment to class). Th: Aug 23 Lecture: F-Stop, Shutter Speed, ISO, Menu Settings DUE: Black + White Photography by Henry Horenstein. WEEK 2 T: Aug 28 Demo/Workshop: The Digital Workflow, From Camera to Computer DUE: Shoot a day in your own life (morning through night) utilizing the following different camera settings: Shutter Speeds 1, 1/30, 1/250, and 1/1000 and F-Stops 2.8 (or 4), 11 and 22, with everything at ISO 400. Play with depth of field and blur/motion. Shoot indoors and outdoors. Bring an edit of 7-10 (with the varied specified camera settings) on an external hard drive or on your SD/CF card. It is OK to shoot in JPG mode for this. NOTE: This is the last time you will shoot JPGs or arrive to class with your images on your camera s data card. From here on out you will be shooting RAW images, in Adobe RGB, and bringing in your edit (JPGs converted from the original RAWs) to class on a thumb drive or external hard drive. Th : Aug 30 Lecture: Light DUE: Photojournalism: A Professional s Approach by Ken Kobre (Chapters 1-4). WEEK 3 T: Sept 4 DUE: Shoot for an edit of approx. 10 images that capture a range of lighting situations. For example, backlit, frontal lighting, side lighting, low light, found artificial light, etc. Th: Sept 6 Lecture: Composition, Layers and The Decisive Moment DUE: Find an issue of a local newspaper (past or present) and pick out 1-2 stories. Write about the images that were selected to accompany the prose in an essay of 400 words. Describe how the images fail or succeed in your estimation and why. Assess the images power and technique.

8 WEEK 4 T: Sept 11 DUE: Shoot street photographs for composition and layers. Fill up the frame with static and moving parts. Look for The Decisive Moment in your images. Capture a variety of focal points. Bring in an edit of approx. 10 images. Th: Sept 13 Lecture: The Portrait DUE: Photojournalism: A Professional s Approach by Ken Kobre (Chapter 5), Notes from the Margin of Spoiled Identity The Art of Diane Arbus (1988) by Gary Badger: WEEK 5 T: Sept 18 DUE: Shoot the same (1) subject in a variety of portrait styles. Try different distances-to-subject. Try different locations. Try vérité and setup poses. Bring in an edit of approx. 10 images. Th: Sept 20 Lecture: Artificial Lighting DUE: Photojournalism: A Professional s Approach by Ken Kobre (Chapters 8-9) WEEK 6 T: Sept 25 Lecture: Assignment Work by visiting artist, Jeremy Lange DUE: Research an event in the area, a sporting event for example, write a short pitch (100 words) on your plans/ideas to shoot it ( Local Event Assignment ). The event must take place before Oct 2 when the images are due. Th: Sept 27 DUE: Photojournalism: A Professional s Approach by Ken Kobre (Chapters ) WEEK 7 T: Oct 2 DUE: Local Event Assignment Th: Oct 4 Lecture: Sound + Words DUE: Go to Sohp.org >> oral histories >> search the interview database. Pick an oral history to listen to, write a response summary and short pitch (250 words) on your plans/ideas to shoot it for an Oct 9 deadline.

9 WEEK 8 T: Oct 9 DUE: Oral History Response Images Th: Oct 11 Lecture: Editing + Sequencing DUE: The Photobook Review: Sequencing the Photobook by Gerry Badger and Tate Shaw WEEK 9 T: Oct 16 DUE: Go to >> fsawr/fsawr.html#shooting >> shooting scripts and read over the various shooting scripts. Begin concepting and researching for your final project. Write down 3 ideas (100 words each) for your project and bring to class. Th: Oct 18 >> NO CLASS (Fall Break) WEEK 10 T: Oct 23 DUE: Midterm Elections Assignment Images Th: Oct 25 Lecture: Intro to the Picture Story DUE: Photojournalism: A Professional s Approach by Ken Kobre (Chapter 11), Ways of Seeing: The Contemporary Photo Essay by Phil Bicker (Parts 1-5): WEEK 11 T: Oct 30 DUE: Final Project Status Report. Bring in an edit of images you have taken for your project. Th: Nov 1 Lecture: TBD DUE: Photojournalism: A Professional s Approach by Ken Kobre (Chapter 17). Write a more comprehensive pitch (250 words) that reflects your project at this point. WEEK 12 T: Nov 6 Screening: Hondros by Greg Campbell Th: Nov 8 Lecture: Aging in America by visiting artist, Ed Kashi DUE: Review Ed Kashi s work online, prepare questions. Photojournalism: A Professional s Approach by Ken Kobre (Chapter 15).

10 WEEK 13 T: Nov 13 DUE: Final Project Status Report. Bring in an edit of sequenced images you have taken for your project. Th: Nov 15 Lecture: Ethics DUE: The Other by Ryszard Kapuściński. WEEK 14 T: Nov 20 DUE: Seek out a local photography exhibition or a local archive. Prepare a 10 min talk and slideshow on your findings and assessment of the artist s work on display (or archived). DUE: Final Project Status Report. Bring in an edit of sequenced images you have taken for your project. Write a more comprehensive pitch (400 words) that reflects your project at this point. WEEK 16 T: Dec 4 >> Final Class TBD FINAL EXAM TH: Dec 13, 4PM DUE: Final Presentations. Final project essay (800 words). Th: Nov 22 >> NO CLASS (Thanksgiving) WEEK 15 T: Nov 27 DUE: Continuation of previous class. Th: Nov 29 Lecture: TBD

11 GRADING RUBRIC Your final grade will be determined out of a 1000 point scale: PHOTO 4 Exercises: 40 3 Assignments: Final Project: 400 WRITING Local Paper Story Assessment (400 words): 40 Oral History Response (250 words): 25 Local Assignment Pitch (100 words): 10 3 Ideas for Final Project (300 words): 10 More Comprehensive Pitch (250 words): 10 More comprehensive Pitch (400 words): 25 Final Essay (800 words): 100 PRESENTATIONS Exhibition/Archive (10 min): 40 Final Project (10 min): 50 PARTICIPATION: 100 THE SHORTEST DISTANCE BETWEEN TWO PEOPLE IS A GOOD STORY. PAUL BAILEY

12 Photo Jonas Bendiksen

13 CRITIQUES Our goal: to discover what makes a good picture, to draw attention to the strengths and weaknesses in your edit, and to prepare you to go out and make images that communicate more powerfully the next time. Critiques are essential to growth. Be honest, thoughtful and constructive. When receiving a critique of your work, appreciate it you want feedback in order to grow. Don t be so connected to your work that you lose sight of how it could be better. We are each others best critics and supporters. We will all experience the arc of not-sogreat results along with highlight moments. PHOTONIGHTS PhotoNight is a monthly speaker series that is held usually on the last Tuesday of every month. Presentations are from 7:30 pm 9pm. Attendance at PhotoNight is considered part of the class and is mandatory and will be recorded. Attendance will count according to the guidelines above. HONOR CODE Students will operate within the requirements of the honor code. All work must be your own, must be done specifically for this class, and should be done with the high level of honesty and integrity that this University demands. ACEJMC The School of Journalism and Mass Communication s accrediting body outlines a number of values you should be aware of and competencies you should be able to demonstrate by the time you graduate from our program. Learn more here: No single course could possibly give you all of these values and competencies; but collectively, our classes are designed to build your abilities in each of these areas. In this class, we will address a number of the values and competencies, with special emphasis on points 5-10 and 12, under Professional values and competencies in the link above.