Photography II

Code:

F502

Acronym:

F 2

Keywords
Classification	Keyword
OFICIAL	Communication Design

Instance: 2015/2016 - 1S

Active?	Yes
Web Page:	http://esquerdadireitaesquerda.wordpress.com
Responsible unit:	Design
Course/CS Responsible:	Communication Design

Cycles of Study/Courses

Acronym	No. of Students	Study Plan	Curricular Years	Credits UCN	Credits ECTS	Contact hours	Total Time
DC	24	Licenciatura em Design de Comunicação	3	-	4,5	64	121,5
			4

Teaching language

Portuguese

Objectives

The aim of Fotografia 2 is to conceive and produce an individual, original, photographic project, in straight relation with the development of technical knowledge previously acquired at Fotografia 1.

It is encouraged an autonomous and critical thought towards the technical and conceptual development of the project, capable of recognizing the specificity of the media, but also to understand and test it’s obvious nature of disciplinary intermedia.

The subject of the project, and correspondent research, is defined by the student and presented in class in the beginning of the semester.

Learning outcomes and competences

Competências a desenvolver: 
— Desenvolver conceptualmente o tema proposto explorando a especificidade do meio fotográfico; 
— Escolher e adequar metodologias de projecto e respectiva calendarização das diferentes etapas de produção. 
— Aplicação da gramática visual no desenvolvimento e concepção da projecto. 
— Ensaio de diferentes formatos de apresentação e disposição da imagem fotográfica: exposição, publicação em papel e online. 
— Domínio de competências técnicas previamente introduzidas em Fotografia I.

Working method

Presencial

Program

I. RECORD

1. Medium and Large format cameras: handling, screen, tilting and compensation movements of shape and perspective.

2. Medium and large format black and white film: handling and developing.

3. Lighting techniques in studio and outside: direction and overlap different sources of light.

 II. EDITING

1. Photographic exhibition project: sequence, selection, scale and photographic print.

2. Photobook project: photomechanical print, selection, sequence, folding, binding, mockup.

III. PROJECT

1. Discussion of project methodologies, scheduling and production of a photographic portfolio.

2. Research, document and publish (online) the process and development of exercises and project.

Mandatory literature

Weaver Mike 340; History of photography. ISBN: 0308-7298
Parr Martin; The^Photobook. ISBN: 0-7148-4285-0
Sena António; História da imagem fotográfica em Portugal. ISBN: 972-0-06265-7

Complementary Bibliography

BATE David; Photography.The Key Concepts, Berg, 2009
Berger John 070; Modos de ver
Goldberg Vicki 340; Photography in print. ISBN: 978-0-8263-1091-0

Teaching methods and learning activities

São abordados distintos modelos de desenvolvimento e produção fotográfica que objectivam e enquadram a fotografia numa perspectiva autoral, histórica, teórica e prática.

As aulas expositivas permitem conhecer e debater a conceptualização, metodologias e o respectivo percurso individual na obra de fotógrafos contemporâneos.

A aprendizagem técnica é realizada sequencialmente, através de módulos práticos de trabalho no exterior, em laboratório e em estúdio, acompanhados por aulas expositivas.

Os projectos fotográficos realizados são apresentados no final do semestre num formato expositivo e/ou editorial, para ensaiar e conferir uma dimensão pública à proposta.

Todo o processo de trabalho é registado, organizado e publicado numa plataforma online, preferencialmente tumblr.

É igualmente apresentado um ciclo de cinema em aula sobre “Projecto fotográfico: génese e método”, que permite conhecer e debater a conceptualização, metodologias e o respectivo percurso individual na obra de alguns fotógrafos.
Filmografia seleccionada por ordem de publicação:
Por aqui quase nunca ninguém passa — José Neves, 1999; What Remains, the life and Work of Sally Mann — Steven Cantor, 2005; William Eggleston in the Real World — Michael Almereyda, 2006; Pintura Habitada — Joana Ascensão, 2006; Manufactured Landscapes — Edward Burtynsky, 2006; Iddu, l'atelier de Jean-Michel Fauquet — Henri Collomer, 2008; An American Journey: In Robert Frank's Footsteps — Philippe Séclier, 2009; How to make a book with Steidl — Gereon Wetzel and Joerg Adolph, 2010; The Woodmans — Scott Willis, 2010.

Evaluation Type

Distributed evaluation without final exam

Assessment Components

Designation	Weight (%)
Participação presencial	10,00
Trabalho de campo	50,00
Trabalho laboratorial	40,00
Total:	100,00

Amount of time allocated to each course unit

Designation	Time (hours)
Elaboração de projeto	70,00
Trabalho laboratorial	30,00
Total:	100,00

Calculation formula of final grade

 

The evaluation is systematic and made on the analysis of individual and group proposals presented in complement to the technological practice taught in classes.

The following factors are considered for the evaluation:

1.Acquisition, articulation and application of concepts.

2.Scientific and technological curiosity.

3.Using an appropriate conceptual and technical language.

4.Meeting deadlines in submitting proposals.

5.Attendance.

 

During the semester are developed 3 exercises. The percentage for the final evaluation is: Proposal 1 — 20% [4/ 20 values]

Proposal 2 — 20% [4/ 20 values]

Proposal 3 — 60% [12/ 20 values].

Examinations or Special Assignments

Do not apply

Internship work/project

Do not apply

Special assessment (TE, DA, ...)

Do not apply

Classification improvement

Do not apply

Observations

Robert Adams (2004), Beauty in  photography: essays in defence of tradicional values. Aperture

Mike Brodie (2013), A period of Juvenile Prosperity. Twin Palm Publishers.

Gérard Castello-Lopes (2004), Reflexões sobre a escala, Assírio & Alvim.

William Eggleston (1977), William Eggleston’s Guide. (MoMA, 2004)

William M. Ivins Jr. (1969) Prints and Visual Communication,

Horacio Hernandez (1999), Fotografia pública, 1919-1939. Museo Nacional Del Prado.

Nathan Lyons (1967), Photographers on Photography. Prentice Hall.

Alessandra Mauro (2014), Photoshow. Landmark Exhibitions that Defined the History of Photography. Thames& Hudson.

Stephen McLaren (2014), Photographer’s Sketchbooks, Thames and Hudson.

Laszlo Moholy-Nagy (1925), Malerei, Fotografie, Film (Mit Press, 1969)

Beaumont Newhall (1982), The History of Photography, MoMA.

Beaumont Newhall (1980) Photography: essays and images. MoMA.

Victor Palla e Costa Martins (1958/59), Lisboa, cidade triste e alegre, Circulo do Livro.

António Sena (1998), História da Imagem Fotográfica em Portugal, 1839-1997, Porto Editora.

Stephen Shore (2007), The Nature of Photography, Phaidon Press.

Carlos Spottorno (2013), The Pigs. RM Verlag.

GeorgeSteidl (2007), How to make a book with steidl. Steidl.

Larry Sultan, Mike Mandel (1977), Evidence, Distributed Art Publishers.

William H. F. Talbot (1844), The Pencil of Nature. (Da capo press, 1969)