Avedon, Richard, Borrowed Dogs. Richard Avedon s Portraits. New York: MOMA Press, ISBN: ; Cost: To Be Determined.

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1 Course Title: Picturing Barcelona: Introduction to Photography Course Code: BARC ARSP 113 Subject: Photography Credits: 3 Semester/Term: Semester J-Term Summer Course Description: Course Requirements: The course offers students a solid foundation in one of the most diffused media of the contemporary world: photography. Barcelona is an ideal city for photographic imagery, being a continuous pageantry of works of art situated within a diverse and dynamic architecture and unforgettable Modernist architecture. Students will be immersed in this world of imagery by walking in the Barcelona landscape, including urban sights and historical monuments. Using the local environment, students will experience a new culture through the medium of photography and its processes. The focus will be on practical shooting techniques, professional portfolio presentation and creative thinking. Documentary Photography is a practice of measured reflection, a series of photographs that reflect time spent in a place, and an analysis of place and culture. The course will give students an academic insight into some of the historical and contemporary dialogues and approaches of documentary photography that follow continental vernaculars- for example; the objectivity and new objectivity movements in Europe and their corresponding influence on American photography, and American perspectives, including the reading of the photographic document as a witness of change and transformation based on cultural definition and revision of historical events. Required Reading: Digital access and/or copies will be provided at no cost to students. Avedon, Richard, Borrowed Dogs. Richard Avedon s Portraits. New York: MOMA Press, ISBN: ; Cost: To Be Determined. Dandis, Danis A. Signs and Symbols. Contact: Human Communications and Its History, edited by Raymond Williams. London: Thames and Hudson, ISBN: ; Cost: To Be Determined. Godeau, Abigail Solomon. Who is Speaking Thus? Photography at the Dock. Minneapolis: University of Minnesota Press, ISBN: ; Cost: To Be Determined. Arcadia University The College of Global Studies 1

2 Goldin, Nan. The Ballad of Sexual Dependency, New York: Aperture, ISBN: ; Cost: To Be Determined. Horenstein, Henry. Colour Photography, A Working Manual. New York: Little, Brown, ISBN: ; Cost: To Be Determined. Jay, Martin. Scopic Regimes of Modernity. Modernity and Identity. Tash, Scott, and Jonathan Friedman, editors. Oxford: Blackwells, ISBN: ; Cost: To Be Determined. Langford, Michael. Basic Photography, Light: How Images Form, 7th edition. Oxford: Focal Press. ISBN: ; Cost: To Be Determined. Phillips, Christopher. The Judgment Seat of Photography, pages 15-47, in The Contest of Meaning, edited by Richard Bolton. Cambridge: MIT Press, ISBN: ; Cost: To Be Determined. Further Reading: Sontag, Susan. On Photography. New York: Picador, ISBN: ; Cost: To Be Determined. Langford, Michael. Basic Photography. Oxford: Focal Press, ISBN: ; Cost: To Be Determined. Weiermair, Peter. Photo Text - Text Photo: The Synthesis of Photography and Text in Contemporary Art. Edited by Andreas Hapkemeyer. Zurich: Edition Stemmle, ISBN: ; Cost: To Be Determined. Hass, Ernst. The Creation. New York: Penguin, ISBN: ; Cost: To Be Determined. Kobré, Ken. Photojournalism: The Professionals Approach. Oxford: Focal Press, ISBN: ; Cost: To Be Determined. Falk, David R. Seeing the Light: Optics in Nature, Photography, Color, Vision, and Holography. New York: Harper and Row, ISBN: ; Cost: To Be Arcadia University The College of Global Studies 2

3 Determined. Newhall, Beaumont, editor. Photography: Essays and Images. New York: MOMA Press, ISBN: ; Cost: To Be Determined. Allard, William Albert. The Photographic Essay. New York: Little, Brown, ISBN: ; Cost: To Be Determined. Zakia, Richard D., and Leslie Stroebel, editors. The Focal Encyclopedia of Photography. Oxford: Focal Press, ISBN: ; Cost: To Be Determined. Mondejar, Publio Lopez. 150 Years of Photography in Spain. Barcelona: Lunwerg Editores, ISBN: ; Cost: To Be Determined. Assignments Course Requirements Percentages 1. Written Assignments: Photo Paper 1 20% 2. Written Assignments: Photo Paper 2 25% 3. Mid-term Folio 20% 4. Final Folio 25 % 5. Participation & Class Discussion (includes class debate) 10% Total 100% -EQUIPMENT This course is about the image, not so much about cameras. We all have cameras with us every day when we carry our phones, so this course will teach you to use the camera phone better, as well as cater for those who want to use more advanced cameras like DSLRs or point and shoot cameras. If you have an iphone or similar device, try to download an app that gives you more control over exposurewe can do that in class when you arrive as the apps change all the time. Arcadia University The College of Global Studies 3

4 -READING ASSIGNMENTS The reading assignments will be given before class. These will be on theoretical and philosophical issues about photography, and related to the following class. Students need to read the assignments to participate in the class debate and discussions. -PHOTOGRAPHIC & WRITTEN ASSIGNMENTS Assignments are due at the beginning of class on the day scheduled for the critique. Failing to shoot the required number of pictures will adversely affect your overall grade. Failing to complete the written assignments on time will adversely affect your overall grade. -FINAL PROJECT The course culminates with the student presenting a final portfolio with 12 printed and well-presented images. Important attention will be given to the images as part of a photographic series, rather than as just stand-alone images. Final prints could be presented in either black and white or color. The portfolio will be accompanied by a written artist statement about the work presented. These projects will be presented at the Student Art Show at the end of semester. -EMBEDDED EXCURSION Spain, and in particular Catalonia is undergoing an existential identity crisis, based on an idea of place, and time, involving history, and the visual dynamics and the economics of human geography. The Place workshop will take students on a road trip through Catalonia, away from the international city of Barcelona, and into the hinterland, to the ordinary other and together with a structured visual approach based on theoretical analysis of local and global aspects of human geography and photography as a commodity and cultural signifier, we will creatively reconstruct the places visited into a photographic document functioning as individual and group interpretation of evolving political and geographic dynamics. Learning Outcomes and/or Expected Student Competencies and Assessment Measures: On completion of the course, students should be able to: Learning Outcomes Develop an understanding of their own photographic language, and acquire a more critical eye in evaluating and reading the Course Requirements used to assess outcomes Ongoing personal tutorial Photographic Assignments Class Participation & Discussion (including class debate) Arcadia University The College of Global Studies 4

5 Course Outline: photographic image. Gain insight into the place and use of photographic images in the media and society, and how these images are created and presented. Gain a framework for creative skills, and an understanding of the visual language to successfully realize their ideas through the medium of photography. Gain technical skills on the correct use and operation of cameras, control and manipulation of the image through the post image making process to a high standard for display and evaluation. Session Session 1 Topic Course Introduction Light and the photographic image Class Participation & Discussion (including class debate) Written Assignments Mid-term and Final Folios Photographic Assignments Tutorials with Photoshop Mid-term and Final Folios Session 2 Session 3 Session 4 Langford, Michael, Basic Photography, Light: How Images Form, 7th edition, Focal Press, UK Cameras Explained, bring cameras to this class. Horenstein, Henry, Colour Photography, a working manual, Little Brown, Pages Composition Explained and discovered, bring cameras to this class. Langford, Michael, Basic Photography, Light: How Images Form, 7th edition, Focal Press, UK. Pages Tutorial 1: individual student presentation of two first shoots on cameras and composition. Making Documents, successful strategies. Jay, Martin, Scopic Regimes of Modernity, Arcadia University The College of Global Studies 5

6 in Modernity and Identity, Scott Lash, Jonathan Friedman eds, Blackwells, Oxford, Pages Godeau, Abigail Solomon, Who is speaking thus? From Photography at the death, Pages Session 5 Gallery Visit 1 Session 6 Phillips, Christopher, The Judgment Seat of Photography, Pages 15-47, in The Contest of Meaning, Richard Bolton, ed, MIT Press, Pages Portraits, who is in control? Richard Avedon film part 1 Avedon, Richard, Borrowed Dogs, From Richard Avedon s Portraits, MOMA, Goldin, Nan, The Ballad of Sexual Dependency, Aperture, New York, Session 7 Richard Avedon film part 2 Portraits practical, bring your cameras to this class. Session 8 Cultural Distinctions of the image- the semiotics of the continental divide. Session 9 Session 10 Session 11 Reading assignment 8: Reading pack 8 Styles of Photography. Landscape and photography, why we do it. Bring your cameras to this class. William Egglestone s Guide, Introduction by John Szarkowski. Pages 5-14 Photography of History, the image as evidence and proof. Schuber, Irme, The Eye of solidarity, ICP New York, 2007, Pages Mid term individual thesis tutorial for photo project and paper. Arcadia University The College of Global Studies 6

7 Session 12 Session 13 Session 14 Session 15 Session 16 Session 17 Session 18 Mid term individual thesis presentation. Truth or Fiction? Would we, should we, believe what we see? Dandis, Danis A, Signs and Symbols, in, Contact: Human Communications and its History, Williams, R, Thames and Hudson, London, Further camera review, retouching, general digital processing and image management techniques. Bring your cameras and computers to this class. My Work, an artist talks about their work. News, Features and Photojournalism. Kobré, Kenneth, Photojournalism, the Professionals Approach, 6th ed, General News, Pages 48-64, Focal Press, 2008, Pages The Photo Essay, the formula and marketing of the image in print. Ethics of the Image- would you shoot if...? Kobré, Kenneth, Photojournalism, the Professionals Approach, 6th ed, Photo Story, Pages , Focal Press, 2008, Pages Kobré, Kenneth, Photojournalism, the Professionals Approach, 6th ed, Ethics, Pages , Focal Press, 2008, Pages Multi Media, contemporary technical responses to post industrial image dissemination. Kobré, Kenneth, Photojournalism, the Professionals Approach, 6th ed, MultiMedia, Pages , Focal Press, 2008, Pages Arcadia University The College of Global Studies 7

8 Session 19 Session 20 Session 21 Session 22 Session 23 Time and the Image. Simultaneous reality in a frozen moment. Khan, Idris, Traces, Next Level, Issue 6, Brighton, UK, 2006, Pages Abbott, Bernice, Eugene Atget, From Photography: Essays and Images, Newhall, Beaumont ed, MOMA, Pages Muybridge s Motion Pictures: News Accounts, From Photography: Essays and Images, Newhall, Beaumont, ed, MOMA, Pages Words and Pictures, the graphic combination. Siemmons, Rod, Between language and perception, EXIT 16, Writing Pictures, Madrid, Hapkemeyer, Andreas, Image and word, Photo and Text, From photo text text photo, The synthesis of Photography and text in Contemporary Art, Hapkemeyer, Andreas, ed, Stemmle, Pages Individual thesis tutorial for final photo project and paper. Final individual thesis tutorial for photo project and paper. Art show Other Policies: Expectations Professional behavior is expected of all students. This includes preparation for classes, on-time attendance at classes, attendance at all group sessions and appropriate participation in the form of attentiveness and contributions to the course. Respect for the academic process is the major guiding principle for professional behavior and extends to all communications, including . Attendance/Participation Prompt attendance, full preparation, and active participation in class discussions are expected from every student in every class session. Arcadia University The College of Global Studies 8

9 Course Policies For communications, students must use their Arcadia University account. Students are responsible for any information provided by or through Intranet postings. Plagiarism Representation of another s work or ideas as one s own in academic submissions is plagiarism, and is cause for disciplinary action. Cheating is actual or attempted use of resources not authorized by the instructor(s) for academic submissions. Students caught cheating in this course will receive a failing grade. Fabrication is the falsification or creation of data, research or resources to support academic submissions, and cause for disciplinary action. Late or Missed Assignments Will not be accepted for grading. Prerequisites: Students with Disabilities Persons with documented disabilities requiring accommodations to meet the expectations of this course should disclose this information while enrolling into the program, and before leaving the United States so that appropriate arrangements can be made. None Arcadia University The College of Global Studies 9