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Course Criteria
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4.00 Credits
View cameras, the first cameras, were the primary photographic tools for the first half of photography's history. They offer unsurpassed clarity, tonality, and image control. Operation of the view camera and advanced darkroom techniques are demonstrated as the class explores the expressive potential of the conscious use of the camera's precise control of the image. Students are supplied with 4" x 5" camera outfits. Prerequisite: Photography 105. Admission by portfolio.
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4.00 Credits
An introduction to the problem of rethinking photographic picture making through the medium of color photography. Technical areas explored include transparencies, color negatives, and type-C prints. Admission by portfolio.
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4.00 Credits
Photography was one of the first areas of artistic production in which the United States achieved international predominance. This course examines American photographs in the context of the history, art, and literature of the 19th and 20th centuries. Topics include the daguerreotype's resonance with transcendental philosophy; the indelible photographic images of the Civil War; photography and the rise of American consumer culture; the progressive movement and photographic "muckraking"; photography'place in Stieglitz's literary/artistic circle; and photography and American postwar social alienation.
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4.00 Credits
In many ways, photography is considered to be the medium that most perfectly represents the aims and principles of modernism. This seminar considers European and American photography in its "high modernist" era (1900-1940) as medium shaped by the key texts and events of modernism, such as the writings of Bergson, Freud, and Marx, and by World War I. The course investigates some of the lesser-known figures in photography in addition to the monoliths of the era, including Moholy-Nagy and Stieglitz. Prerequisite: Photography 101.
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4.00 Credits
Human Rights, STS In the decades afterWorldWar II, the social and artistic roles of photography changed in many ways. The 1950s saw the dominance of magazine photography in Life and Look and witnessed the birth of a more personal photographic culture, exemplified by Robert Frank's The Americans. In the 1960s and 1970s, photographers such as Diane Arbus, Lee Friedlander, and Garry Winogrand created a new poetry of contemporary life from moments gathered on streets and in homes. The following decade saw artists such as Sherrie Levine, Richard Prince, Cindy Sherman, and Laurie Simmons appropriate mass-media images to create ironic commentaries on consumer culture. This turbulent period in photography is the focus of this seminar. Prerequisite: Photography 113.
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4.00 Credits
To prepare the student for ongoing independent work, this course emphasizes the exploration of visual problems through asking good questions of oneself and one's work, seeing how other photographers and artists in other media have dealt with such questions, and "answering" the questionsthrough individual projects. Prerequisites: Photography 201 and 203.
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4.00 Credits
An introduction to the use of Adobe Photoshop for image processing. The class first studies techniques for color management, scanning, image processing, and outputting. Students then pursue individual projects, which are critiqued in class. Permission of the instructor required.
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4.00 Credits
This course, for students with a basic understanding of Adobe Photoshop, explores digital photography from a technical and a theoretical perspective. In addition to learning various digital imaging techniques, students examine critically the ways in which digital imaging affects the creation and viewing of photographs. Issues central to photography in the digital era are considered, including the relationship of digital photography to traditional analog photography; the degree to which faith in the veracity of the photographic image has been altered by the seamless editing capabilities of digital photography; effects on authorship, ownership, and copyright protection; and utilization of the interactive arenas of multimedia and the Internet. Prerequisite: Photography 305 or permission of the instructor.
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4.00 Credits
Integrated Arts In this study of photography as a material or tool in art making, the emphasis is placed on developing ideas and using simple, direct photographic means to express them. Students create a body of work with snapshots, slides, laser Xeroxes, Polaroids, photocollage, and other basic forms. Slide presentations examine the work of artists such as Vija Celmins, Susan Hiller, Hannah Hoch, Anselm Kiefer, Sigmar Polke, Gerhard Richter, Ed Ruscha, Kiki Smith, Andy Warhol, David Wojnarowicz, and many others. Visits are made to New York galleries and museums to consider the prevalence of photographicbased work in contemporary art practice. The course does not involve darkroom instruction; facilities are available on a limited basis to students with prior experience. Admission by interview and portfolio.
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4.00 Credits
See Photography 343 for full course description.
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