GISDepartment of Global and Interdisciplinary Studies

The advent of digital photography and the present ubiquity of high speed internet and camera phones has sent most of us into a frenzy of image production and consumption. We simply recognize when a particular picture or video “hits the spot”, but how is that effect achieved? Is everyone a photographer now? Are our memes real art?
This course invites participants to answer those questions through a practice-based inquiry into image making in both "documentary" and "artistic" modalities.

What special conditions make an image get closer to being seen as "art" or at least "artistic"? Is the way we document our daily life on social media the same as a "real" documentary? How often do you look at the images you post online afterwards, and have you ever printed them?
This course aims to foster a critical eye towards camera use and the imagery it generates. Among other topics, it will explore basic techniques in image making which the participants will experience practically during the semester, including camera operation (full manual operation) and the basic handling of subjects and locations (lighting, composition, editing) gaining insight into what documentary or art photography is/isn’t. Students will learn the basics of 'making' photographs and gain practical experience in working with real-life subjects. Drawing upon these experiences, students will prepare a final project based on a theme and methodology to be decided in class.

Will be able to gain “DP 1”, “DP 2”, “DP 3”, and “DP 4”.

英語 / English

This course uses a practice-based learning approach centered around the production of still photography with some video. Workshops, assignments and supporting lectures are employed to develop students’ basic understanding of image making using examples from many eras and contexts. Students create an Instagram account for the course and post one photograph daily in response to a weekly class project. Final submission comprises a project portfolio, a written project statement, and evidence of participation (i.e., weekly assignments, class discussion).

あり / Yes

なし / No

授業形態/methods of teaching：対面/face to face

※各回の授業形態は予定です。教員の指示に従ってください。

1[オンライン/online]：Introduction

Introducing the course and expectations

2[対面/face to face]：What Can your Camera Really Do?

Learning about sensors, compression, and manual camera settings.

3[対面/face to face]：Lighting, Lenses and Beautification.

Seeing how lighting, composition and art direction sculpt scenes and subjects and the effects of lenses.

4[対面/face to face]：Photography and Film as Documents

Discussing early instances of photography as a documentary medium and a source of legal evidence.

5[対面/face to face]：The Genesis and Afterlife of Images

Exploring photography’s relationship with appropriation, influence and iconography and symbolic frameworks

6[対面/face to face]：Is the Document the Work Itself? Images as Things.

Discussing the relationships between documentary photography and art and the physical qualitites of photo prints and book art

7[対面/face to face]：Past & Contemporary Documentary Photographers

Discussing the evolution of the themes and methods of documentary photography through key practitioners.

8[対面/face to face]：Past & Contemporary
Art Photographers

Discussing the evolution of the themes and methods of fine art photography through key practitioners.

9[対面/face to face]：Project Proposals

Discussing and preparing project proposals. First Presentation.

10[対面/face to face]：The Logic of Images

Exploring and developing strategies for addressing a theme throughout multiple images across time.

11[対面/face to face]：Editing is Key

Discovering the power of editing as a second moment of creation where we recognize (or falsify) patterns, narratives and motivations.

12[対面/face to face]：Peer Review: The Gaze of Others

Assembling and reviewing of project drafts with peer groups.

13[対面/face to face]：Final Project Review and Submission

Reviewing final portfolios and technical challenges prior to submission.

14[対面/face to face]：Final Presentation and Wrap-up

Final students' presentation on their projects and feedback session.

Students must regularly take photographs and or videos, and concentrate on organizing them coherently in groups. Every week students are expected to participate in a camera-based assignment, which will be discussed in class. In order to track progress, students are expected to create a new Instagram account and post a single image taken daily (7 days x 12 weeks = 84 images). They are also expected to use the photobook resource in the library and do assigned readings. Preparatory study and review time for this class are about 2 hours each.

No textbook will be used. Handouts and reading materials will be distributed in class.

Barthes, Roland (1993) Camera Lucida: Reflections on Photography, Vintage Classics.
Batchen, Geoffrey (2011) Photography Degree Zero: Reflections on Roland Barthes's Camera Lucida, MIT Press.
Berger, John (2013) Understanding a Photograph, Penguin Books.
Fontcuberta, Joan (2014) Pandora's Camera, Mack.
Gibson, David (2014) The Street Photographer’s Manual, Thames & Hudson.
Heng, Terence (2016) Visual Methods in the Field: Photography for the Social Sciences, Routledge.
Lubben, Kristen (2014) Magnum Contact Sheets, Thames & Hudson.
Meyerowitz, Joel and Westerbeck, Colin (2017) Bystander: A History of Street Photography, Lawrence King.
Sontag, Susan (1977/2008) On Photography, Penguin Classics.
Krivine, Andrew (2020) Too Fast to Live Too Young to Die: Punk & Post Punk Graphics 1976-1986, Pavilion.


Additional references will be provided by the instructor in class.

Participation: this applies to daily posts (or multiple image posts for a project) to Instagram for weekly photo projects (minimum of 84 images total for projects). More than 2 unexcused absences will result in failure of this course.

Main Project: Each student must produce a portfolio (booklet) of 8-12 images selected from photographs made of one subject (or theme) during the course. Students are free to choose their subject but it must be discussed with the instructor and peers. A written project statement will be required. A template for the portfolio will be provided but students' proposals about using other templates or presenting video (or alternative printed formats) will be considered by the instructor on a case by case basis.

Presentation: each student must make short presentations (3-5 minutes) when they settle the plan for the project and when they conclude it. Additional casual presentations connected to assignments may be requested.

The final grade is based on: Participation 30%, Class Presentations 20%, Main Project 50%.

Changes have been made to help students to produce photographs of a higher conceptual and practical skill as well as design and present their projects.

Students will need a laptop, a camera (mobile-phone cameras are the minimum) and general stationary (e.g. pen, pencil, glue, tape, paperclips). Please note that the use of a smartphone camera is acceptable for this course. However, if you have regular access to a better camera, please bring it and the instructor will show you how to use it. For several of the assignments you will need to print out your images as contact sheets and booklets. Convenience store laser prints are acceptable.

Students are expected to come to class on time, participate and show interest in class topics, and develop enthusiasm about the subject of their projects.

The instructor is a practicing artist and filmmaker whose work across disciplines (visual arts, music, installations, film and photography) has been shown at venues, publications and exhibitions around the world.

None.