This course introduces the fundamental techniques and aesthetic vision of photography, from traditional analogue roots to contemporary digital skills. Students learn to operate SLR-style cameras for proper exposure, using both film and digital capture methods, and learn appropriate workflows to transform film negatives into fine-prints in a traditional darkroom, as well as to edit and output archival inkjet prints in our digital print studio. The course includes demonstrations, lab work, readings, field assignments, and critiques. Students may work with their own cameras or check-out cameras through the department.
This course introduces the fundamentals of photographic practice. Emphasis is placed on the exposure, development of black and white film, and the silver print as well as the aesthetics of photographic vision. The format includes class demonstrations, lab work, field assignments and critiques.
An introductory level course that explores the conceptual and practical principles of digital photography through lectures, readings, hands-on assignments, and field trips. Discussion topics focus on camera operation, file formats, the impact of digital technology on contemporary photographic practice, as well as the aesthetic and ethical issues surrounding it. Adobe Lightroom, Photoshop, and other software applications are used to explore creative and experimental possibilities for processing and manipulating photographs. Studio work emphasizes printed, still imagery, but students are encouraged to devise new uses for their digital materials. Introduction to input and output peripherals will include digital cameras, scanners, and printers.
The photographic medium has a long history with observational truth, but in the 21st century, this is counterbalanced against the technological speed and potency of constructed and composited images. In this course, students will look at the deep history of photographic manipulation while creating new narrative imagery using advanced digital compositing, studio lighting, and special optical techniques. The course will also consider the role of composite imagery in art, editorial and advertising, illuminating the functions of photo-based illustrations in contemporary society.Prerequisite: PH 201, or permission of instructor
This course is an introduction to Photojournalism, in its many contemporary forms. We will explore street photography, news reporting, editorial assignments, long-form visual essays, and creating content for digital media; including commissioned and self-directed projects. Attention will be paid to the complex relationship between creative expression and objectivity in documentation. Journalistic standards and ethical responsibilities to both subjects and viewers will be core themes for discussion. Topics will also include working with video; narrative storytelling; collaboration with writers and editors; and relevant professional practices. Students will learn through regular assignments, editing, and critiques; as well as readings, independent research, and conversations with visiting professionals.Prerequisite: PH 201, FILM 200, or permission of instructor
This course expands the student’s knowledge of black and white film photography and explores the photographers reach beyond the darkroom. What opportunities become available that do not exist in the approach and qualities of digital imagery? How will you employ light, chemistry and the emulsion in your practice? We will work with small, medium, and large format cameras towards greater control of the negative and fine silver print, and also explore the extended image and camera-less photography. Class time will consist of lectures, demonstrations, work days, individual and deep emphasis on group critiques. As you move forward in the course, it is of paramount importance that your ideas and personal vision take center stage.Prerequisite: PH 201
This course focuses on developing an awareness of light and learning to translate that observation into photographs made with artificial light sources. Working both in an indoor studio environment and on location, students learn how to manipulate lighting using photographic strobe and the multitude of related equipment they may encounter in a professional photography studio, while practicing the etiquette, professionalism and teamwork expected in these real world settings.Prerequisite: PH 201
This studio class explores the long tradition of the view camera in photography. The course emphasizes fundamental techniques of 4 x 5" and 8 x 10" cameras as they apply to landscape, architectural and portrait photography. Students learn to print from large format negatives in the darkroom and digital labs. Cameras are provided.Prerequisite: PH 332
This course immerses students in ideas and practices that consider the landscape and how humans inhabit it. Students will explore their engagement with the earth in a multitude of ways, including physical, social, political, conceptual, and aesthetic, before turning their attention to photography’s role as a tool for environmental and social justice.
This seminar course surveys contemporary fine art photography from 1950 to the present. Course material is organized thematically around ideas of changing imaging technologies, mapping, surveillance, voyeurism, identity and culture, social justice, community engagement, participatory culture, self-referential media, and other pertinent topics. Students will respond to slide lectures with research presentations, written responses, group discussions, and visual projects for deeper analysis of the state of the medium and the possible futures it suggests. Students are strongly encouraged to take this course during their sophomore year.Prerequisite: PH 201
This course emphasizes the use of photography as a communication tool for the visual investigation of the human experience. Through the use of the camera, students develop the skills to be effective storytellers as a means of understanding people in relation to each other, to their environments, and to society. Course discussions address the development of a personal and conscientious style, photographic honesty, the elements of editing and the possibility to generate empathy and/or social change. Guest lectures and occasional field trips to view documentary exhibitions allow for additional exploration within the field. Each student will participate in a community outreach project.
Students photograph, research, and investigate documentary subjects of their own choice to engage in the problems of photographic production and seeing. They analyze and discuss the work of a diverse group of photographic artists, starting with Walker Evans, Dorothea Lange and the Farm Security Administration to contemporary photographers such as Doug Dubois, LaToya Ruby Frazier, Gregory Halpern, Deana Lawson, Sally Mann, and Zoe Strauss. Documentary, photojournalism, and ethics will be examined. Students may work digitally, with film, or a combination of the two.Prerequisite: PH 201
While photographing disappearing Paris, Eugène Atget referred to himself not as a photographer, but as an archivist. The photograph holds an entangled relationship with collecting, and from the 1960’s onwards the artist-as-archivist phenomenon has accelerated. The creation and mining of institutional and personal collections of images, documents and objects has fueled the creativity of artists such as Boltanski, Calle, Richter, Warhol and Wilson. Advanced level photo students will explore local archives and museums to create work inspired by their holdings. Through their personal vision students will be encouraged to interpret, re-invent, define and examine the meaning of collecting.
Binding photographs and text together is a highly conceptual and hands-on act. The sequence of imagery, as well as the physical form of how they are contained is crucial to the final perception of the work. This course introduces students to a variety of handmade book structures that are integrated with digital printing methods and thoughtful design in order to create unique, and often experimental, photographic books.Prerequisite: PH 201
From photography’s inception to the present moment, the body has captivated, repelled, and engaged us. From the rarified to the sensual, the erotic to the embattled, the body in photography continues to intrigue. This course is designed to keep the human form at its center, with all openness to explore the many tributaries that flow from this subject. Students are encouraged to think broadly about the figure, and to consider how the long tradition of photographing the nude has shifted in the 21st century. Students respond to specific assignments, readings, and exhibitions. The latter part of the semester consists of a self-initiated project and the production of a portfolio of work based on a personal interpretation of issues surrounding the human figure in photography.Prerequisite: PH 332, or permission of instructor
A critical seminar expanding the conceptual and material use of digital tools for artistic practices. Students will build workflow fluency between Adobe Lightroom and Adobe Photoshop, develop color management competency, and refine compositing skills. The course will emphasize digital output on a variety of materials and substrates, exploring expressive properties of physical media through fine art inkjet prints, experimental inkjet media, and artist book forms.Prerequisite: PH 201
This course explores pre- and post-graduation strategies and professional skills for photographers. Discussions will include setting goals, time management, ethics, web presence, social media skills, grants and fellowships, artist residencies, networking and conferences, applying to internships and jobs, portfolio review events, and exhibiting in galleries, museums, and alternative spaces. We will discuss freelance business skills, such as quoting jobs, negotiating, copyright, licensing, pricing structures, invoicing, and tax responsibilities. The course includes lectures, practical exercises, packet-building, guest speakers, field trips, and attendance at Career Development workshops. In addition to other coursework, each student will complete a branded website and submit applications for external opportunities.Juniors and Seniors only
Explore the inherent dimensionality of the photograph, from the physical presence of the print to the expanding relationship between photography and the sculptural form. The photograph, which purports to transmute reality into a fixed 2D realm, can distort, complicate, and tease constructed materials and environments (both physical and digital) to great effect. Similarly, the photograph can quickly become a 3D object with the act of folding a printed image in half. Through a series of assignments, aimed at establishing the technical and critical means by which to investigate what constitutes a photograph, students make work and pose questions that probe the ever-shifting boundaries of the Post-Internet image.Prerequisite: PH 201
It is said that a photograph wears the aspect of fact but says nothing. This ambiguity has not prevented photographs from being use to construct visual stories such as the classic picture essay. This course explores how editing and sequencing create relationships between images. The role of text and the use of allegory in contemporary photographic practice are also considered.Prerequisite: PH 201
This course will introduce the student to historical techniques in photography and consider how these approaches can augment contemporary vision. The student will explore the concept of light and time as they work with the properties of hand-coated emulsions. Students will work in digital and analogue spaces and develop a command of the cyanotype and van dyke processes with an introduction to palladium, cliche verre and lumens print. Working with camera-less and pinhole photography, as well as film and digital negative output, the student will gain a broader understanding of experimental possibilities of imagemaking.Prerequisite: PH 332
With faculty mentorship, students will formulate, propose, research, and pursue a body of personal photographic work. In doing so, each student will test and iterate new concepts, raise questions, decipher problems, and invent new possibilities in their artistic practice. Emphasis is placed on building a context for one’s practice and making informed choices in the presentation of visual output. Class time will consist of group discussions, research presentations, artist statement workshops, and critique. Final coursework will be prepared and exhibited the following semester in a group exhibition.Junior Photography majors only, or permission of instructor
Palladium printing is a 19th century photographic process that yields an archival print with a long and rich tonal range. In this course, students use large format negatives and an ultraviolet light source to produce a final image of pure palladium. With focus on making the appropriate negative, the subtleties of hand-coated emulsion and the importance of paper choice. Since this is a contact process, knowledge of large format will enhance your experience, although we will cover enlarging techniques for 35mm negatives as well.Prerequisite: PH 386, or permission of instructor
Since its inception, photography has been defined by its relationship to movement. This course will dive directly into the complex relationship between stillness and motion, and the creative possibilities that flourish in the tension between these states. Students will explore precedents in fine art and cinema, and learn to look and listen closely to the rhythms of daily life around them. Projects will probe a diverse range of subjects, media, and methods for depicting and manipulating time. Using varied digital cameras and software, students will experiment with sequencing, time lapse, slow motion, image mapping, sound, suspense, surprise, and minimalist narrative structures.Prerequisite: FF 140
The print is often the powerful final stage of a photographic work, where an artist's vision is presented to a viewer in what should be its ideal form. Digital printmaking is unfortunately regarded as a lifeless process of sending a file to a machine, while in reality it is a highly thoughtful and interactive process for the artist. This course engages students in the rigorous act of advanced printing and Photoshop methodology, teaching them to create highly refined prints on a range of paper and fabric media, while also exploring the enormous creative potential using experimental pigment transfer and manipulation techniques.Prerequisite: PH 363
The Stuart B. Cooper Endowed Chair in Photography is an annual appointment that brings a distinguished visitor to the department. This seminar course is built on themes in the current Endowed Chair’s practice and will use that exploration as a departure point for individual student projects related to those themes. Coursework will include thematic lectures, group discussions, individual and group critiques, and will culminate in a self-directed body of work by each student. A MICA faculty will choreograph the classroom experience, with regular engagement with the Endowed Chair. Registration priority is given to Photography Majors and Minors; non-majors are required to obtain faculty permission.
In addition to creating a major thesis project, students write an accompanying proposal and artist’s statement. Students research avenues of professional practice. Students meet with visiting artists and critics in preparation for final critique with an external reviewer and senior thesis coordinators.Prerequisite: PH 390 and Senior Photography majors only
This is the second half of a two semester series of studio class which is required of all photography majors. In addition to creating a major thesis project, students write an accompanying proposal and artist’s statement. Students research avenues of professional practice. Students meet with visiting artists and critics in preparation for final critique with an external reviewer and senior thesis coordinators.Prerequisite: PH 490