PHOT 267
© Ken Light, Dorothea Lange, Larry Clark, Lauren Greenfield, Eugene Richards, Lewis Hine and Susan Meiselas (clockwise from top left)
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PHOT 267 | Documentary Photography examines the practice of documentary photography from both historical and contemporary contexts as a jumping off point for students to conceptualize, photograph and develop presentation strategies of a semester-long project that considers the photographer as a witness of the real world. Critical issues such as defining what documentary photography is, content and ethics, the role and function of documentary photography, project funding and the possibilities of contemporary documentary photographic practice will be discussed in guiding students with their own process. We’ll discuss the use of various cameras and materials as well as explore various presentation strategies, including exhibitions (gallery and site-specific), books, the web and multimedia techniques. Both analog and digital cameras can be used with black & white and/or color materials in the darkroom and/or digital lab.
Catalog Description
An advanced course that examines the nature and practice of documentary photography and the extended photographic project. Primary focus of the course is to work with the instructor on the development of a personal photographic vision within the framework of a documentary project for the entire semester, including the exploration and discussion of conceptual, thematic and visual strategies in developing and approaching a long-term project, image editing and sequencing, the use of text and presentation considerations. Discussion and practice with analog and digital materials and processes to investigate photography as a creative interpretation of reality.
Prerequisite: “C” or “CR” grade or higher in PHOT 167 – Lens Culture in the Public Eye, an equivalent course or prior approval of instructor
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Student Learning Outcomes (SLO)
Demonstrate the ability to recognize and recall the critical issues and visual strategies of camera lens culture within the context of documentary photographic practice.
Create an extended series of photographs of creative expression that demonstrates the purposeful use of the critical issues and visual strategies of camera lens culture as a visual document within the framework of a long-term documentary project, including conceptual development and execution, image editing and sequencing, the use of text and various presentation strategies.
Demonstrate advanced application of photographic tools, materials and processes, including camera controls, image exposure and processing strategies, and photographic printing techniques.
Demonstrate advanced application of proper laboratory practices necessary for making and presenting photographic images of optimum technical quality, craft and professional standards.
Demonstrate application of critical thinking practices in describing, interpreting and evaluating the use of photography as a means of effective creative expression and communication of personal vision within the contexts of society and culture.
Assessment Activity: Performance Project and Reflective Self-Assessment Essay
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Text for Critical Issues Responses
Throughout the semester, students will participate in discussions on various aspects of documentary photography from both historical and contemporary contexts. Many of the discussions will be based on various readings from the course website, handouts and/or books, including the required text, Witness in Our Time : Working Lives of Documentary Photographers, which is available from Amazon. Students will be asked to complete written responses for some of the discussions.
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Course Information and Links for PHOT 267 | Documentary Photography
Click on link to locate information regarding assignments
Scroll down page for detailed semester calendar
Assignments are subject to change and/or modification during the semester
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Critical Issues Responses
Defining Documentary Photography – At Least For Now
#1 - (Re)Defining Documentary Photography – Then and Now
Fact and Fiction – Some Questions on Documentary Photography
#2 – Witness in Our Time – Working Lives of Documentary Photographers #1
#3 – Witness in Our Time – Working Lives of Documentary Photographers #2
#4 – Witness in Our Time – Working Lives of Documentary Photographers #3
#5 – Witness in Our Time – Sebastiao Salgado – Workers and Good Intentions by Ingrid Sischy
#6 – Sights and Sounds – The Multimedia Experience
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Project and Presentation Assignments
#2 – An Imagined Reality
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Final Project
The Documentary Photography Project
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Spring 2010 Calendar
Mondays and Wednesdays – 7:00 to 9:50 pm
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Assignment Due Dates
PHOT 167 | RED
PHOT 267 | BLUE
PHOT 167 (Independent) | ORANGE
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1 | 25 – Monday
Introduction to course, discussion of syllabus, course expectations and use of course website
Discussion on Lens Culture in the Public Eye, Documentary Photographic Practice and Developing A Personal Vision
1 | 27 – Wednesday
Review Discussion of Photographic Seeing, including Beyond The Surface | Thinking About Photographs (Discussions) and Seeing Photographs (Discussions)
Review Discussion of the Digital Photography Workflow from Image Capturing, Image Editing and Optimization to Output (Lecture Materials), including the following:
Digital Image Capture | Input – Principles of Scanning and Digital Cameras
Digital Image Workflow, Processing and Management
Developing A Working Process (Discussions)
Adobe Photoshop and Image Optimization
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Presentation | Discussion on The Camera I (Shooting Assignment)
Presentation | Discussion on Proof of Existence (Shooting Assignment)
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Presentation | Discussion on Why People Photograph (Shooting Assignment)
Presentation | Discussion on An Imagined Reality (Project Shooting Assignment)
Presentation | Discussion on In Sight – Developing A Personal Photographic Vision and The Photographic Portfolio (Project Shooting Assignments)
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2 | 1 – Monday
Follow-up Discussion on analog and digital photography applications and processes
Critical Issues Response #1 due before class | Are You Looking For Great Photos?
Presentation | Discussion of Flickr and PHOT 167 Flickr website
Darkroom (Film Processing Only) and Digital Lab
2 | 3 – Wednesday
Critical Issues Response #1 due before class | (Re)Defining Documentary Photography – Then and Now
Darkroom (Film Processing Only) and Digital Labs
2 | 5 – Friday
Census Day – Last Day to Drop without a “W” appearing on Academic Record
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2 | 8 – Monday
Critical Issues Response #2 due before class | “But Mom, I Want to Play in the Middle of the Street”
Critical Issues Discussion | Fact and Fiction – Some Questions on Documentary Photography
Presentation | Discussion on Pavement (Shooting Assignment)
Darkroom and Digital Labs
2 | 10 – Wednesday
Critique of Shooting Assignments | The Camera I and Proof of Existence
Critique of Shooting Assignment | Why People Photograph
Critique of Shooting Assignment | Why People Photograph
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2 | 15 – Monday
No Class | School Holiday (President’s Day)
2 | 17 – Wednesday
Critical Issues Response #3 due before class | “Why Did You Have Your Camera With You?”
Discussion of Developing A Working Process (Discussions)
Darkroom and Digital Labs
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2 | 22 – Monday
Presentation | Discussion on Undercover (Shooting Assignment)
Critical Issues Response #2 due before class | Witness in Our Time – Working Lives of Documentary Photographers #1
Darkroom and Digital Labs
2 | 24 – Wednesday
Darkroom and Digital Labs
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3 | 1 – Monday
Critical Issues Response #4 due before class | Thirty-Five Years Later
Darkroom and Digital Labs
3 | 3 – Wednesday
Critique of Shooting Assignment | Pavement
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3 | 8 – Monday
Critical Issues Response #3 due before class | Witness in Our Time – Working Lives of Documentary Photographers #2
Viewing | Discussion of War Photographer
Presentation | Discussion on Making Sense (Shooting Assignment)
Presentation | Discussion on Sense and Sensibilities (Project Shooting Assignment)
Presentation | Discussion on The Road Ahead (Project Shooting Assignment)
Darkroom and Digital Labs
3 | 10 – Wednesday
Critical Issues Response #5 due before class | Between Intentions and Purpose
Critique of Project Shooting Assignment | An Imagined Reality
Darkroom and Digital Labs
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3 | 15 – Monday
Critique of Project Shooting Assignment | An Imagined Reality
Darkroom and Digital Labs
3 | 17 – Wednesday
Critique of Shooting Assignment | Undercover
Critique of Project Shooting Assignment | In Sight – Developing A Personal Photographic Vision
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3 | 22 – Monday
Discussion on Critical Issues Presentation | Something Better, Or At Least Something Different
Viewing | Discussion of Thin
Darkroom and Digital Labs
3 | 24 – Wednesday
Critical Issues Response #6 due before class | Thin
Critical Issues Response #4 due before class | Witness in Our Time – Working Lives of Documentary Photographers #3
Presentation | Discussion on N O I S E (Final Project Assignment)
Presentation | Discussion on The Documentary Photography Project (Final Project Assignment)
Darkroom and Digital Labs
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3 | 29 – Monday
No Class | School Holiday (Spring Recess)
3 | 31 – Wednesday
No Class | School Holiday (Spring Recess)
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4 | 5 – Monday
Darkroom and Digital Labs
4 | 7 – Wednesday
Critical Issues Response #5 due before class | Witness in Our Time – Sebastiao Salgado – Workers and Good Intentions by Ingrid Sischy
Critical Issues Discussion | In the Wake of Photographs
Darkroom and Digital Labs
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4 | 12 – Monday
Darkroom and Digital Labs
4 | 14 – Wednesday
Critique of Shooting Assignment | Making Sense
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4 | 19 – Monday
Critique of Project Shooting Assignment | Sense and Sensibilities
Darkroom and Digital Labs
4 | 21 – Wednesday
Critique of Project Shooting Assignment | Sense and Sensibilities
Critique of Project Shooting Assignment | The Road Ahead
Darkroom and Digital Labs
4 | 23 – Friday
Last Day to Drop with a “W” appearing on Academic Record
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4 | 26 – Monday
Critical Issues Response #6 due before class | Sights and Sounds – The Multimedia Experience
Darkroom and Digital Labs
4 | 28 – Wednesday
Critical Issues Presentation | Something Better, Or At Least Something Different
Darkroom and Digital Labs
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5 | 3 – Monday
Critique of Final Project (Initial Work) | N O I S E
5 | 5 – Wednesday
Darkroom and Digital Labs
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5 | 10 – Monday
Viewing | Discussion of City of God
Darkroom and Digital Labs
5 | 12 – Wednesday
Critical Issues Response #7 due before lass | Lens Culture in Your View
Darkroom and Digital Labs
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5 | 17 – Monday
Final Project Presentation | The Documentary Photography Project
Final Project Presentation | The Photographic Portfolio
5 | 19 – Wednesday
Final Project Presentation | The Documentary Photography Project
Final Project Presentation | The Photographic Portfolio
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5 | 24 – Monday
Scheduled from 8:00 – 10:00 pm
Presentation of Final Project | N O I S E
Final Project Presentation | The Documentary Photography Project
Final Project Presentation | The Photographic Portfolio
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Curriculum Evaluation
Your final grade will be determined by a culmination of points earned based on your performance with the below listed curriculum assignments. Questions regarding curriculum assignment grades and/or the final grade must be brought to the attention of the instructor. To provide equitable instruction for all students while during class hours, please ask questions regarding your grade during instructor office hours or after class.
Participation and In-class Lab Practice ………………..150………(30 class sessions @ 5 pts each : 1 | 27 – 5 | 19)
Critical Issues Response #1 ……………………………..30
Critical Issues Response #2 ……………………………..30
Critical Issues Response #3 ……………………………..30
Critical Issues Response #4………………………………30
Critical Issues Response #5………………………………30
Critical Issues Response #6………………………………30
Shooting Assignment #1…………………………………..60
Shooting Assignment #2…………………………………100
Shooting Assignment #3…………………………………100
Final Project……………………………………………….300
……………………………………………………………..890
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Final Grading
Your overall final grading based on points earned will be representative as follows:
A ………..890 – 797
B ………..796 – 708
C ………..707 – 619
D ………..618 – 530
F ………..529 – 0
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