Register Now for Spring Photography & Imaging Courses

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Spring 2016 Photography & Imaging courses are still open for registration!

The following courses are great options for students (both majors and non-majors) and are still open for registration!

  • Photo 2: for Non-Majors – Digital for Analog (PHTI-UT.1002.001)
  • Photography and Witnessing (PHTI-UT. 1120.002)
  • Pictures and Platforms (PHTI-UT.1250.001)
  • History of New Media (PHTI-UT. 1120.005)
  • Design Boot Camp (PHTI-UT 1020.001)
  • Emerging Media Studio: Spaceship Earth (PHTI-UT 1030.002)
  • Advanced Photoshop [2-credit] (PHTI-UT 1260.001)
  • Time Travelers (PHTI-UT 0003.002)
  • Latin American Photography (PHTI-UT 1120.006)

Course descriptions are available below.

Note: These courses are offered by the Department of Photography & Imaging at NYU Tisch. Interested Non-Majors, please fill out the P&I Non-Majors Course Request Form. Pre-requisites listed on Albert are directed towards department majors. Non-majors should list comparable experience in the notes section of the Non-Majors Course Request Form.

Photo 2 for Non-Majors
[4 credits]

Tues. 9:30 – 1:15 pm
Prerequisite: Photography I or permission from the Department.

This course is recommended for transfer students and non-majors. This course expands upon the principles and tools of Photography I. Students will start out continuing to refine analog skills through a series of short technical assignments. Students will work on exercises with on-camera flash, medium format camera, and tungsten lighting to further their technical skills. At the heart of the class is the development of two long-term projects in which students can hone their creative vision. Weekly critiques of students’ projects will include discussions on content, aesthetics, editing, and technique. Class time will also be spent on slide presentations of historical and contemporary photography, technical lectures, and lab demonstrations. While students will predominantly be working in analog, digital photography will be introduced. Topics to be covered include the use of a digital SLR, the basics of Adobe Photoshop, and film scanning. Students are required to have a film camera with a light meter and manual functions in addition to film and photographic paper to execute their assignments. A lab fee is charged for this course.

Pictures and Platforms
[4 credits]

Fri. 2:00 – 5:45pm
Prerequisites: Social and Aesthetic History of Photography

How do online platforms affect the meaning and function of photograph, and shape photographic culture in general? This seminar explores the practice of publishing the photograph to online platforms from a theoretical and historical perspective. It will approach this topic by revisiting key texts that shaped the cybernetic tradition and exploring the work of contemporary internet theorists such as Tiziana Terranova and Alexander Galloway. Students will use concepts from the readings to consider the dynamics of social control, emotional labor, and personal expression in shaping the image culture of contemporary platforms such as Facebook and Instagram. Specific examples will be drawn from the work of contemporary artists, including figures from the MoMA exhibition “Ocean of Images: New Photography 2015.” Coursework will consist of readings, lecture, and discussion, a class blog, and a final research paper.

Design Boot Camp
[4 credits]

Thurs. 9:30 – 1:15pm
Prerequisite: Photography & Imaging: Multimedia or permission by the Department. 

This is an intense design class for the crossover creature who yearns to design their own exhibit, create a street poster, develop an ad campaign, design titles for a film, invent a visual identity for a musical score, etc. This will be a hands-on process-driven class that will push you to imagine, create, and produce. Students must know InDesign.

Advanced Photoshop
[2 credits]

Fri. 9:30 – 1:15pm
Offered Spring only. Prerequisite: Photography & Imaging III.

Through demonstrations and hands-on instruction, students will learn how to further control and expand their use of Photoshop – emphasis will be on photographic concerns, of tonality and color control as well as exploring the creative potential of constructing images from photographic source material and graphic design principals. A brief review of basic concepts and file formats and a discussion of workflow including the integration of the enhanced Adobe Bridge will start the semester. We will review color correction and various selection refinements. Layering and layer masks will be extensively examined and we will touch on collage methods. We will also look at automating routine actions to streamline your workflow. A thorough review of camera RAW image processing for greater control and retention of highlights and shadow detail will also be included. This course requires a nonrefundable lab fee.

Time Travelers
[4 credits]

Wed. 9:30 – 1:15pm
Prerequisite: Photography & Imaging Digital and Analog 

This studio course introduces conceptual methods and practical techniques for working with elements of time and duration alongside visual images and sound. Through sequence, moving image and montage, we will combine visual practices across photography, the web, networked media, sound, video and responsive devices. Our focus for the semester is to understand time-based media as relational communication that adapts to the changing nature of society, technology, access and infrastructure. We will take advantage of hi-tech and low-tech, the anachronistic and the new. We will look at artists and media makers whose creative deployment of electronic media explores not just the medium itself, but questions how our subjectivities and relationships change as technology evolves—revisiting the past and projecting into the future. We will inspire each other with presentations on individual artists alongside discussions of critical readings and fictions. Through risk-taking and working together, we will think not just as users, but as innovators of new platforms and forms of creativity.

Photography and Witnessing
[4 credits]

Wed. 2:00 – 5:00 pm
Prerequisites: Social and Aesthetic History of Photography

What does it take to be a witness? What are the ethical, political, cultural, legal and personal stakes in witnessing? Can photography and other media turn us into witnesses, or do we have to witness events personally for our testimony to be valid? What is the difference between documenting and witnessing an event? What is the difference between rendering an account and giving testimony? What role has photography played in the formation of our contemporary understanding of witnessing, and how does contemporary photography bear witness? Witnessing is a critical concept in religion, law and science that has received renewed attention in recent years in the fields of art, photography, literature and cultural studies as well. The course will examine foundational texts on the notion of witnessing to arrive at a working definition that distinguishes witnessing from documentation. A parallel focus will be on photography’s particular function as witness, and on the changing nature of both the medium and the needs for historical witnessing in our time.

History of New Media
[4 credits]

Thurs. 2:00 – 5:45pm
Prerequisites: Social and Aesthetic History of Photography

This semester course centers on the citation of photographic languages within contemporary art. It draws a distinction between the way in which photography is used as a material in contemporary art (the area that this course focuses on) and the late 20th century idea of photography as a validated discipline within the realms of contemporary art. The course looks at the artistic practices of young artists who are proposing the scope of ‘photographicness’ in contemporary art including Kate Steciw, Marie Angeletti, Carter Mull, Daniel Shea, Hannah Whitaker, Anne de Vries, Eileen Quinlan, Erin Shireff, John Houck, and Matt Keegan. The class also analyses the work and writing of artists including Lucas Blalock, Jason Evans and Artie Vierkant who are eloquently presenting the motivations and aspirations of this new wave of contemporary art photography. The classes will be structured to include regular presentations and thorough analysis of weekly reading by all the participants. There will also be workshops on writing and communicating your ideas and the aspects of contemporary photography that interest you most. The class has one written requirement, which you are expected to work on throughout the semester that situates your photographic practice within current ideas about photography.

Emerging Media Studio: Spaceship Earth
[4 credits]

Tues. 9:30 – 1:15pm
Prerequisite: Photography & Imaging: Analog and Digital or permission by the Department. Course repeatable for credit

Planet Earth will be the site of our work as we explore interdisciplinary methods of imaging, mapping, modeling and performing with urban and planetary landscapes. Remote sensing extends the possibilities of the body across territories, time and space in order “to be in two places at once.” We will learn hybrid techniques of photography and spatial practice alongside the use of remote sensing, 3D-topographical models, data infrastructure, and architectural mapping to create inventive artworks and performances. These may take the form of video, virtual reality environments, site-based performance, or photographic documentation. We will discuss ideas drawn from theoretical readings and examples from artists working with land art, spatial practice and performance, alongside forensic mapping, urban planning and environmental science. Together we will develop individual and group projects that investigate space, landscape and social dynamics within them.

Latin American Photography
[4 credits]

Thurs. 6:00 – 9:00pm
Prerequisites: Social and Aesthetic History of Photography

This course examines the history of Latin American photography, from the early photographic productions of the nineteenth century to the contemporary conceptual tendencies.  We begin with photographers’ representations of the local landscape and its inhabitants, we continue with the establishment of the first photographic studios, and we follow with the advent of modernist trends, such as surrealism and abstraction. We approach the strong documentary practice in the region that swings from registering the everyday life and autochthonous rituals, to chronicling political upheavals—as exemplified in the Mexican and Cuban revolutions—, to cataloguing the “disappeared” under the military juntas of Argentina and Chile. We also explore the treatment of labor in 1970s Cuban and Brazilian photo essays, the incorporation of postmodern concepts by Latin American photographers in the 1990s, and the photographic representations of narco-culture in Colombia and Mexico. We discuss critical problems such as: realism, indigenism, social commentary, propaganda, nationalism, violence, and ethics. Some protagonists of this story: Martín Chambi, Manuel Alvarez Bravo, Graciela Iturbide, Sebastião Salgado, Alberto Korda, Mario Cravo Neto, Sara Facio, Luis González Palma, Marta María Pérez, and Vik Muniz.

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