The aim of this course is to deconstruct the role of the still image in media and society, and compare the relative photographic vernacular of the USA and Europe. Photographs surround us, and inspire us, and become our memories and our present. We exchange them, go see them in galleries, see them on the news, and in magazines. Photography transcends language, and is universal in its ability to communicate. It defines our present situation, our history, and makes our experiences come alive. This course will look at the mechanics of making images, of how images are used in galleries, magazines, advertising, propaganda, and the ethics and dynamics of making and seeing. We will study the influence of the still image on popular culture, through fine art, fashion, reportage, and the movies. Students will make images and projects to deconstruct the theoretical process through practical experience, to present, and share their work. Students will gain further knowledge of the basics about shooting color and black and white images with traditional SLR and digital cameras.
The course is divided into four sections, with the three later sections providing practical and theoretical evaluations through project based continuous assessment.
Section One (lectures 1-5) deals with the camera, and technical themes such as reading the image, making better images with further understanding of the principles of photography, and digital photo manipulation.
Section Two (lectures 6-12) deals with the image in the fine art world. Students are expected to produce a photographic document, and write a critique of a photographic work they have seen and studied.
Section Three (lectures 13-19) deals with photojournalism, and the evolution of the photographic essay, photojournalism’s challenge in the new media climate, and the ethics of covering a news event. Students will be required to produce a photographic essay with complimentary text about an issue or story in Barcelona.
Section Four (lectures 20-24) deals with multi-media, film and the still image, and the relationship between words and pictures. A critique of a project, or installation, plus a multimedia project will be made by the students for this section.
(3 credits).
Additional student cost:
Expenses to Note: Film developing, portfolio materials, site visits.
Attendance policy:
Attendance is mandatory for all IES classes, including field studies. Any exams, tests, presentations, or other work missed due to student absences can only be rescheduled in cases of documented medical or family emergencies. If a student misses more than three classes in any course half a letter grade will be deducted from the final grade for every additional absence. Seven absences in any course will result in a failing grade.
Learning outcomes:
By the end of the course, the students will be able to:
Trace, critically analyze and explain the role of photography in history, and contemporary society, with reference to fine art, photojournalism and multi media.
Differentiate the US visual landscape and the relationship between the image and society in the USA to the European visual landscape and the relationship between the image and society in Western Europe.
Critically evaluate images based on ethical criteria.
Use their camera correctly, and with confidence, having produced three black and white or color photo projects that reveal their personal vision.
Demonstrate their understanding of the meaning and use of the photographic image in society and the media.
Method of presentation:
LANGUAGE OF PRESENTATION: English
Field study:
CCCB Contemporary Culture Center of Barcelona
City walking tours with camera
Contemporary Fine Art Gallery tours
Required work and form of assessment:
Photo Project 1 15%
Photo Project 2 15%
Photo Project 3 15%
Research Paper 1 15%
Research Paper 2 15%
Research Paper 3 15%
Class Participation 10%
Written Assessments 1, 2 and 3 (15% each paper): These 1500-word papers, to be handed in on the due dates mentioned in the syllabus, must be related to the course contents and are always subject to approval by the instructor. Three obligatory evaluation sessions will be offered during the course to monitor progress of both the written assignments and the projects. Following academic practice, all sources should be cited and a full bibliography should be included. Papers follow each section. The first paper should treat the theme of fine art photography by submitting a critique of an exhibition, book, document or body of work encountered during the class or field trip. The second paper should treat the theme of photojournalism by being a journalistic piece that compliments your photojournalism photo project. The third paper should treat the theme of multi-media and photography, either to complement your project, or in the form of a critique of another subject, be it a website, exhibition or installation. Students can choose what to write about, but no biographies will be accepted. Students will be graded based on the clarity of their ideas, how they are defended and presented, and the recycling of the critical lexis regarding photography presented and developed during the course modules.
Photo Projects 1, 2 and 3 (15% each project): These photo projects are to be presented to the class and the tutor on the designated evaluation days. They are to be of subjects of your own choosing based on the module of the course. The first photo project should treat the idea of making a fine art document, the second project a work of photojournalism, and the third project can involve multi-media, or be of any style of presentation as long as it can be justified to suit the subject of the work. Projects should typically consist of 10-12 pictures. Individual feedback from the tutor takes place in the scheduled sessions.
General grading criteria:
A: excellent
Indicates work of a very high character. This grade is reserved for work that shows inspiration, demonstrating significant insight developed to its fullest extent and presented with exquisite craftsmanship. Strongly exceeding requirements of assignments. Growing level of improvement. Strong positive attitude toward the work.
B: Good, above average
Indicates work that is definitely above average. This level of work shows thorough exploration and development, and is well presented with good craftsmanship, but it may not rise to the highest level of excellence. Improvement showing marks of progress. Work is accurate and complete. Positive attitude towards the work.
C: Average
Indicates work of average or medium character. Mediocre or conservative performance, satisfying all requirements of assignments with a neutral and ordinary level of initiative and attitude.
D/F: Fail
Indicates that the student knows so little of the subject that his/her work cannot be accepted. Work in this category may be unfinished, unimaginative, undeveloped or poorly executed, and shows minimal understanding of issues. Level of initiative, attitude and improvement non-existent.
REQUIRED MATERIALS: 35 mm film camera or digital camera of 5 Megapixels or more.
content:
Session 1: Introduction.
Syllabus, the course and the defining concepts General overview of course framework and bibliography.
Session 2: Lecture: Theories of Vision.
From the Ancient Greeks, to Lacan – we have studied and interpreted the image through theories of vision based on our human perspective. How do we read images, how is it to be observed, to be the observer, and how does this alter the relationship between seeing and seen?
Jay, Martin, Scopic Regimes of Modernity, in Modernity and Identity, Scott Lash, Jonathan Friedman eds, Blackwells, Oxford, 1992. Pages 178-191.
Session 3: Cameras. A practical session where the functions of the camera are explained and students are shown how to make the most of their imaging devices.
Bring Cameras to this class!!
Horenstein, Henry, Colour Photography, a working manual, Little Brown, 1995. Pages 25-69
Session 4: Colour Theory, and Photoshop.
Digital editing techniques are explained in this class, how to maximize the image thorough simple post- production techniques. We look at colour theory and how light and our eyes function.
Theories of design are presented and explained, with practical exercises in understanding our personal preferences when it comes to making and analyzing composition.
What is a document? What are the criteria that make a document successful? We look at the role of the documentary, its meaning and role in the media, and we define contemporary documentary photographic practice in terms of the New Objectivity movement in Europe, and the revisionist model of the USA.
Godeau, Abigail Solomon, Who is speaking thus? From Photography at the death, 1991. Pages 169-302
Session 7:
BRING CAMERAS FOR WALKING WITH CAMERA PRACTICAL
Phillips, Christopher, The Judgment Seat of Photography, Pages 15-47, in The Contest of Meaning, Richard Bolton, ed, MIT Press, 1992. Pages 15-47.
Session 8:
Landscape and Morality.
Revisionism or objectivism, two seemingly opposed starting points for taking landscape photographs, the former, pertaining to a world view as seen by a relatively new culture, the USA, and the later, from old world Europe. This class explores, compares and contrasts the dynamic and morality behind the motives and implications of landscape photography.
William Egglestone’s Guide, Introduction by John Szarkowski. Pages 5-14
Session 9: The Portrait as Memory.
How reliable is our memory? Can we confide and trust in a photograph to preserve ‘the truth’ or is this a relative term based on the viewer? This class discusses the issues of portrait photography, the reasons why we take portraits and the possibility that its meanings are not fixed, but transient.
Avedon, Richard, Borrowed Dogs, From Richard Avedon’s Portraits, MOMA, 2002.
Goldin, Nan, The Ballad of Sexual Dependency, Aperture, New York, 1986.
Session 10: Truth or Fiction, does it matter? In documentary practice, the document is seen as a having been legitimized, just by the fact it is there. Can we trust this assumption?
Dandis, Danis A, Signs and Symbols, in, Contact: Human Communications and it’s History, Williams, R, Thames and Hudson, London, 1981.
Session 11:
Field Excursion 1- Gallery tour 1.
Visit to a contemporary fine art gallery in Barcelona to review and study work relating to the themes discussed and presented in the Fine Art module.
Galería Kowasa, Calle Mallorca 42, Barcelona
Session 12: Tutorial One- evaluation of project 1.
Students present their work to the class and receive guided feedback from both the tutor and the rest of the class.
Hand in first written assignment
Session 13:
Photography of History.
We remember our history through images. Name an event in recent times, and we can see an image, either taken as a photograph, or as a still from news footage. We look at the role of photojournalism in History, and how that is changing due to new technologies.
Schuber, Irme, The Eye of solidarity, ICP New York, 2007, Pages 9-37.
Session 14: The Photo Essay.
Photographing stories in the traditional form of a photo essay requires an understanding of the visual vocabulary necessary to illustrate a series of events in sequence. This class deconstructs this visual vocabulary and analyses the challenges this traditional format faces in the emerging presentation technologies.
Photojournalism is facing a crisis again, this time from the web and the impact the web has had on traditional markets and avenues of mass communications. How is it responding?
Session 18: Field excursion 2- Gallery tour 2. Visit to a contemporary photojournalism gallery in Barcelona to review and study work relating to the themes discussed and presented in the Photojournalism module.
Gallery Fotocolectania, Gracia, Barcelona.
Session 19: Tutorial Two- evaluation of project 2.
Students present their work to the class and receive guided feedback from both the tutor and the rest of the class.
Hand in second written assignment.
Session 20:
Time: relative values in a fraction of a second
Time, as a constant, or Time as relative - how does the passage of Time influence our reading of images, and understanding of the medium of photography? Khan, Idris, Traces, Next Level, Issue 6, Brighton, UK, 2006, Pages 41-45
Abbott, Bernice, Eugene Atget, From Photography: Essays and Images, Newhall, Beaumont ed, MOMA, 1980. Pages 234-237.
Muybridge’s Motion Pictures: News Accounts, From Photography: Essays and Images, Newhall, Beaumont, ed, MOMA, 1980. Pages 140-145.
Session 21: Words and pictures: a third level of meaning.
The combination of words and images, through the humble caption, to the more advanced styles of propaganda, provoke a challenge to the viewer, sometimes a contradiction, sometimes reinforcement. This class analyses the relationship between the image and the word through History. Siemmons, Rod, Between language and perception, EXIT 16, Writing Pictures, Madrid, 2009.
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, 2001. Pages 30-48.
Session 22: Film and the still image.
The concept of the movie requires the viewer and the actor to suspend their belief, to allow the silver screen to act like a barrier between them, and create a fantasy world. The actors never look at the camera, as this would break this convention, whereas in Photography, the look toward the camera is encouraged. This class looks at these conventions and how they are broken, and the interesting results that challenge the conventions of both media. Dufour, Diane and Toubaine , Serge, The Image to Come, Steidl, 2007.
Session 23: Field excursion 3 - Gallery tour 3.
Visit to a contemporary fine art gallery in Barcelona to review and study work relating to the themes discussed and presented in the Multi Media module.
CCCB, Barcelona.
Session 24: Tutorial Three - evaluation of project 3.
Students present their work to the class and receive guided feedback from both the tutor and the rest of the class.
Hand in third written assignment.
Required readings:
Avedon, Richard, Borrowed Dogs, From Richard Avedon’s Portraits, MOMA, 2002.
Dandis, Danis A, Signs and Symbols, in, Contact: Human Communications and it’s History, Williams, R, Thames and Hudson, London, 1981.
Godeau, Abigail Solomon, Who is speaking thus? From Photography at the death, 1991.
Goldin, Nan, The Ballad of Sexual Dependency, Aperture, New York, 1986.
Horenstein, Henry, Colour Photography, a working manual, Little Brown, 1995. Pg. 25-69
Jay, Martin, Scopic Regimes of Modernity, in Modernity and Identity, Scott Lash, Jonathan Friedman eds, Blackwells, Oxford, 1992. Pg. 178-191
Khan, Idris, Traces, Next Level, Issue 6, Brighton, UK, 2006. Pg. 41-45
Abbott, Bernice, Eugene Atget, From Photography: Essays and Images, Newhall, Beaumont ed, MOMA, 1980.
Muybridge’s Motion Pictures: News Accounts, From Photography: Essays and Images, Newhall, Beaumont, ed, MOMA, 1980.
Siemmons, Rod, Between language and perception, EXIT 16, Writing Pictures, Madrid, 2009. Pg. 30-48
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, 2001.
Dufour, Diane and Toubaine , Serge, The Image to Come, Steidl, 2007
Szarkowski, John, Introduction to William Egglestone’s Guide, Photographs by William Eggleston, MOMA, 2007. Pg. 5-14
The aim of this course is to deconstruct the role of the still image in media and society, and compare the relative photographic vernacular of the USA and Europe. Photographs surround us, and inspire us, and become our memories and our present. We exchange them, go see them in galleries, see them on the news, and in magazines. Photography transcends language, and is universal in its ability to communicate. It defines our present situation, our history, and makes our experiences come alive. This course will look at the mechanics of making images, of how images are used in galleries, magazines, advertising, propaganda, and the ethics and dynamics of making and seeing. We will study the influence of the still image on popular culture, through fine art, fashion, reportage, and the movies. Students will make images and projects to deconstruct the theoretical process through practical experience, to present, and share their work. Students will gain further knowledge of the basics about shooting color and black and white images with traditional SLR and digital cameras.
The course is divided into four sections, with the three later sections providing practical and theoretical evaluations through project based continuous assessment.
Section One (lectures 1-5) deals with the camera, and technical themes such as reading the image, making better images with further understanding of the principles of photography, and digital photo manipulation.
Section Two (lectures 6-12) deals with the image in the fine art world. Students are expected to produce a photographic document, and write a critique of a photographic work they have seen and studied.
Section Three (lectures 13-19) deals with photojournalism, and the evolution of the photographic essay, photojournalism’s challenge in the new media climate, and the ethics of covering a news event. Students will be required to produce a photographic essay with complimentary text about an issue or story in Barcelona.
Section Four (lectures 20-24) deals with multi-media, film and the still image, and the relationship between words and pictures. A critique of a project, or installation, plus a multimedia project will be made by the students for this section.
(3 credits).
Expenses to Note: Film developing, portfolio materials, site visits.
Attendance is mandatory for all IES classes, including field studies. Any exams, tests, presentations, or other work missed due to student absences can only be rescheduled in cases of documented medical or family emergencies. If a student misses more than three classes in any course half a letter grade will be deducted from the final grade for every additional absence. Seven absences in any course will result in a failing grade.
By the end of the course, the students will be able to:
LANGUAGE OF PRESENTATION: English
CCCB Contemporary Culture Center of Barcelona
City walking tours with camera
Contemporary Fine Art Gallery tours
Photo Project 1 15%
Photo Project 2 15%
Photo Project 3 15%
Research Paper 1 15%
Research Paper 2 15%
Research Paper 3 15%
Class Participation 10%
Written Assessments 1, 2 and 3 (15% each paper): These 1500-word papers, to be handed in on the due dates mentioned in the syllabus, must be related to the course contents and are always subject to approval by the instructor. Three obligatory evaluation sessions will be offered during the course to monitor progress of both the written assignments and the projects. Following academic practice, all sources should be cited and a full bibliography should be included. Papers follow each section. The first paper should treat the theme of fine art photography by submitting a critique of an exhibition, book, document or body of work encountered during the class or field trip. The second paper should treat the theme of photojournalism by being a journalistic piece that compliments your photojournalism photo project. The third paper should treat the theme of multi-media and photography, either to complement your project, or in the form of a critique of another subject, be it a website, exhibition or installation. Students can choose what to write about, but no biographies will be accepted. Students will be graded based on the clarity of their ideas, how they are defended and presented, and the recycling of the critical lexis regarding photography presented and developed during the course modules.
Photo Projects 1, 2 and 3 (15% each project): These photo projects are to be presented to the class and the tutor on the designated evaluation days. They are to be of subjects of your own choosing based on the module of the course. The first photo project should treat the idea of making a fine art document, the second project a work of photojournalism, and the third project can involve multi-media, or be of any style of presentation as long as it can be justified to suit the subject of the work. Projects should typically consist of 10-12 pictures. Individual feedback from the tutor takes place in the scheduled sessions.
General grading criteria:
A: excellent
Indicates work of a very high character. This grade is reserved for work that shows inspiration, demonstrating significant insight developed to its fullest extent and presented with exquisite craftsmanship. Strongly exceeding requirements of assignments. Growing level of improvement. Strong positive attitude toward the work.
B: Good, above average
Indicates work that is definitely above average. This level of work shows thorough exploration and development, and is well presented with good craftsmanship, but it may not rise to the highest level of excellence. Improvement showing marks of progress. Work is accurate and complete. Positive attitude towards the work.
C: Average
Indicates work of average or medium character. Mediocre or conservative performance, satisfying all requirements of assignments with a neutral and ordinary level of initiative and attitude.
D/F: Fail
Indicates that the student knows so little of the subject that his/her work cannot be accepted. Work in this category may be unfinished, unimaginative, undeveloped or poorly executed, and shows minimal understanding of issues. Level of initiative, attitude and improvement non-existent.
REQUIRED MATERIALS: 35 mm film camera or digital camera of 5 Megapixels or more.
Session 1: Introduction.
Syllabus, the course and the defining concepts General overview of course framework and bibliography.
Session 2: Lecture: Theories of Vision.
From the Ancient Greeks, to Lacan – we have studied and interpreted the image through theories of vision based on our human perspective. How do we read images, how is it to be observed, to be the observer, and how does this alter the relationship between seeing and seen?
Jay, Martin, Scopic Regimes of Modernity, in Modernity and Identity, Scott Lash, Jonathan Friedman eds, Blackwells, Oxford, 1992. Pages 178-191.
Session 3: Cameras. A practical session where the functions of the camera are explained and students are shown how to make the most of their imaging devices.
Bring Cameras to this class!!
Horenstein, Henry, Colour Photography, a working manual, Little Brown, 1995. Pages 25-69
Session 4: Colour Theory, and Photoshop.
Digital editing techniques are explained in this class, how to maximize the image thorough simple post- production techniques. We look at colour theory and how light and our eyes function.
Langford, Michael, Basic Photography, Light: How Images Form, 7th edition, Focal Press, UK. 24-36.
Session 5:
Composition and Design.
Theories of design are presented and explained, with practical exercises in understanding our personal preferences when it comes to making and analyzing composition.
Langford, Michael, Basic Photography, Light: How Images Form, 7th edition, Focal Press, UK. Pages 128-148.
Session 6:
Making Documents.
What is a document? What are the criteria that make a document successful? We look at the role of the documentary, its meaning and role in the media, and we define contemporary documentary photographic practice in terms of the New Objectivity movement in Europe, and the revisionist model of the USA.
Godeau, Abigail Solomon, Who is speaking thus? From Photography at the death, 1991. Pages 169-302
Session 7:
BRING CAMERAS FOR WALKING WITH CAMERA PRACTICAL
Phillips, Christopher, The Judgment Seat of Photography, Pages 15-47, in The Contest of Meaning, Richard Bolton, ed, MIT Press, 1992. Pages 15-47.
Session 8:
Landscape and Morality.
Revisionism or objectivism, two seemingly opposed starting points for taking landscape photographs, the former, pertaining to a world view as seen by a relatively new culture, the USA, and the later, from old world Europe. This class explores, compares and contrasts the dynamic and morality behind the motives and implications of landscape photography.
William Egglestone’s Guide, Introduction by John Szarkowski. Pages 5-14
Session 9: The Portrait as Memory.
How reliable is our memory? Can we confide and trust in a photograph to preserve ‘the truth’ or is this a relative term based on the viewer? This class discusses the issues of portrait photography, the reasons why we take portraits and the possibility that its meanings are not fixed, but transient.
Avedon, Richard, Borrowed Dogs, From Richard Avedon’s Portraits, MOMA, 2002.
Goldin, Nan, The Ballad of Sexual Dependency, Aperture, New York, 1986.
Session 10: Truth or Fiction, does it matter? In documentary practice, the document is seen as a having been legitimized, just by the fact it is there. Can we trust this assumption?
Dandis, Danis A, Signs and Symbols, in, Contact: Human Communications and it’s History, Williams, R, Thames and Hudson, London, 1981.
Session 11:
Field Excursion 1- Gallery tour 1.
Visit to a contemporary fine art gallery in Barcelona to review and study work relating to the themes discussed and presented in the Fine Art module.
Galería Kowasa, Calle Mallorca 42, Barcelona
Session 12: Tutorial One- evaluation of project 1.
Students present their work to the class and receive guided feedback from both the tutor and the rest of the class.
Hand in first written assignment
Session 13:
Photography of History.
We remember our history through images. Name an event in recent times, and we can see an image, either taken as a photograph, or as a still from news footage. We look at the role of photojournalism in History, and how that is changing due to new technologies.
Schuber, Irme, The Eye of solidarity, ICP New York, 2007, Pages 9-37.
Session 14: The Photo Essay.
Photographing stories in the traditional form of a photo essay requires an understanding of the visual vocabulary necessary to illustrate a series of events in sequence. This class deconstructs this visual vocabulary and analyses the challenges this traditional format faces in the emerging presentation technologies.
Kobré, Kenneth, Photojournalism, the Professionals’ Approach, 6th ed, Photo Story, Pages 228-268, Focal Press, 2008, Pages 228-268.
Session 15: News, Magazines and the web.
We see images that reflect our world in various formats. In this class we look at the process involved in taking, selling and presenting a news event.
Kobré, Kenneth, Photojournalism, the Professionals’ Approach, 6th ed, General News, Pages 48-64, Focal Press, 2008, Pages 48-64.
Session 16: Ethics and the Law- would you shoot?
Based on real life situations, we debate the ethical implications of shooting a photograph, or intervening in an event.
Kobré, Kenneth, Photojournalism, the Professionals’ Approach, 6th ed, Ethics, Pages 352-390, Focal Press, 2008, Pages 352-390.
Session 17: Multi-media evolution.
Photojournalism is facing a crisis again, this time from the web and the impact the web has had on traditional markets and avenues of mass communications. How is it responding?
Kobré, Kenneth, Photojournalism, the Professionals’ Approach, 6th ed, MultiMedia, Pages 268-306, Focal Press, 2008, Pages 268-306.
Session 18: Field excursion 2- Gallery tour 2. Visit to a contemporary photojournalism gallery in Barcelona to review and study work relating to the themes discussed and presented in the Photojournalism module.
Gallery Fotocolectania, Gracia, Barcelona.
Session 19: Tutorial Two- evaluation of project 2.
Students present their work to the class and receive guided feedback from both the tutor and the rest of the class.
Hand in second written assignment.
Session 20:
Time: relative values in a fraction of a second
Time, as a constant, or Time as relative - how does the passage of Time influence our reading of images, and understanding of the medium of photography? Khan, Idris, Traces, Next Level, Issue 6, Brighton, UK, 2006, Pages 41-45
Abbott, Bernice, Eugene Atget, From Photography: Essays and Images, Newhall, Beaumont ed, MOMA, 1980. Pages 234-237.
Muybridge’s Motion Pictures: News Accounts, From Photography: Essays and Images, Newhall, Beaumont, ed, MOMA, 1980. Pages 140-145.
Session 21: Words and pictures: a third level of meaning.
The combination of words and images, through the humble caption, to the more advanced styles of propaganda, provoke a challenge to the viewer, sometimes a contradiction, sometimes reinforcement. This class analyses the relationship between the image and the word through History. Siemmons, Rod, Between language and perception, EXIT 16, Writing Pictures, Madrid, 2009.
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, 2001. Pages 30-48.
Session 22: Film and the still image.
The concept of the movie requires the viewer and the actor to suspend their belief, to allow the silver screen to act like a barrier between them, and create a fantasy world. The actors never look at the camera, as this would break this convention, whereas in Photography, the look toward the camera is encouraged. This class looks at these conventions and how they are broken, and the interesting results that challenge the conventions of both media. Dufour, Diane and Toubaine , Serge, The Image to Come, Steidl, 2007.
Session 23: Field excursion 3 - Gallery tour 3.
Visit to a contemporary fine art gallery in Barcelona to review and study work relating to the themes discussed and presented in the Multi Media module.
CCCB, Barcelona.
Session 24: Tutorial Three - evaluation of project 3.
Students present their work to the class and receive guided feedback from both the tutor and the rest of the class.
Hand in third written assignment.
Avedon, Richard, Borrowed Dogs, From Richard Avedon’s Portraits, MOMA, 2002.
Dandis, Danis A, Signs and Symbols, in, Contact: Human Communications and it’s History, Williams, R, Thames and Hudson, London, 1981.
Godeau, Abigail Solomon, Who is speaking thus? From Photography at the death, 1991.
Goldin, Nan, The Ballad of Sexual Dependency, Aperture, New York, 1986.
Horenstein, Henry, Colour Photography, a working manual, Little Brown, 1995. Pg. 25-69
Jay, Martin, Scopic Regimes of Modernity, in Modernity and Identity, Scott Lash, Jonathan Friedman eds, Blackwells, Oxford, 1992. Pg. 178-191
Langford, Michael, Basic Photography, Light: How Images Form, 7th edition, Focal Press, UK. Pg. 24-36
Phillips, Christopher, The Judgment Seat of Photography, Pages 15-47, in The Contest of Meaning, Richard Bolton, ed, MIT Press, 1992.
Schuber, Irme, The Eye of solidarity, The photographer Gerda Taro and her work during the Spanish Civil war, From Gerda Taro, ICP, New York, 2008.
Kobré, Kenneth, Photojournalism, the Professionals’ Approach, 6th ed, Focal Press, 2008. Pg. 48-64, 352-390, 268-306
Khan, Idris, Traces, Next Level, Issue 6, Brighton, UK, 2006. Pg. 41-45
Abbott, Bernice, Eugene Atget, From Photography: Essays and Images, Newhall, Beaumont ed, MOMA, 1980.
Muybridge’s Motion Pictures: News Accounts, From Photography: Essays and Images, Newhall, Beaumont, ed, MOMA, 1980.
Siemmons, Rod, Between language and perception, EXIT 16, Writing Pictures, Madrid, 2009. Pg. 30-48
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, 2001.
Dufour, Diane and Toubaine , Serge, The Image to Come, Steidl, 2007
Szarkowski, John, Introduction to William Egglestone’s Guide, Photographs by William Eggleston, MOMA, 2007. Pg. 5-14