Veidlapa Nr. M-3 (8)
Study Course Description
Photography as Communication
Course Code
KSK_087
Branch of Science
Media and communications
ECTS
3.00
Target Audience
Communication Science; Information and Communication Science
LQF
Level 6
Study Type And Form
Full-Time; Part-Time
Study Course Implementer
Course Supervisor
Alnis Stakle
Structure Unit Manager
Ieva Puzo
Structural Unit
Faculty of Social Sciences
Contacts
Dzirciema street 16, Rīga, szf@rsu.lv
About Study Course
Objective
To promote the upgrade of students’ professional competence, which is characterised by the ability to autonomously evaluate, critically discuss and construct messages based on the tradition of the medium of photograph, being aware of historical development and contemporary diversity of photography. Students should learn, evaluate and confirm their knowledge about the constructed nature of messages based on the medium of photography and regularities of their use. Students should certify their understanding of the medium of photography as a part of communication in society, analytically describing and creatively constructing information, problems and creative solutions in photography. Students should professionally implement their project in photography based on communicative aspects of the medium of photography.
Preliminary Knowledge
Not required.
Learning Outcomes
Knowledge
1.Will name and characterise the main stages and drivers of the development of photography. Will describe theoretical approaches and the main authors of photography. Will describe the impact of photography on society. Will explain communicative properties of photography.
Skills
1.Will be able to recognise main paradigms and types of messages of photography. Will be able to evaluate a message of photography.
Competences
1.Will be able to critically analyse the messages and aesthetic qualities encoded in the photography language. Will be able to interpret regularities in photography communication. Will be able to autonomously lead and produce a creative photo story for the needs of photo journalism and business.
Assessment
Individual work
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Title
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% from total grade
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Grade
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|---|---|---|
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1.
Individual work |
-
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-
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During the semester the student reads recommended readings and internet sources. Students should share the existing and obtained knowledge among themselves during lectures, during discussions outside lectures, thus developing their own and joint knowledge about the medium of photography. Students should read at least 300 pages of text from required readings.
In order to evaluate the quality of the study course as a whole, the student must fill out the study course evaluation questionnaire on the Student Portal.
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Examination
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Title
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% from total grade
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Grade
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|---|---|---|
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1.
Examination |
-
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10 points
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All practical assignments and successful participation in seminars are required. One documentary photo story must be created within the course. Evaluation criteria for photo series Concept and artistic idea – 40% The works are characterized by genuine engagement with the task, rather than adapting existing material to it. Visual decisions are deliberate and consistent with the declared idea. Is the work based on a precise idea? Is this idea related to the images? Does the work have originality/novelty in relation to the most obvious solution to the topic? Is there more to the work than an illustration of the topic? Visual language, technical mastery, selection and presentation of images – 30% Conscious management of framing, light, color,, scenography, frame edges, scale and distance. Exposure and focus control appropriate to the idea, post-processing of files. Are the visual decisions deliberate and consistent with the declared idea? Work process, critical self-reflection and participation - 30% Visual exploration of the chosen topic and written reflection on the idea. References to the history of photography and contemporary practice in Latvia and/or the world are indicated. Taking risks by experimenting and choosing personal and unconventional approaches. Ability to recognize one's mistakes. Ability to understand the relationship of one's work to the work of other artists/photographers and course mates. Contribution to seminars. |
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Study Course Theme Plan
FULL-TIME
Part 1
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Lecture
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Modality
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Location
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Contact hours
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|---|---|---|
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Off site
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Auditorium
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2
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Topics
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Introduction to course content. Photography and photo journalism: origin and definitions.
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-
Lecture
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Modality
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Location
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Contact hours
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|---|---|---|
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Off site
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Auditorium
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2
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Topics
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Development and boom of photography.
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-
Lecture
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Modality
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Location
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Contact hours
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|---|---|---|
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Off site
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Auditorium
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2
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Topics
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Development and boom of photography.
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-
Lecture
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Modality
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Location
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Contact hours
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|---|---|---|
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Off site
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Auditorium
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2
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Topics
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Subject as an object: photography and human body (practical home assignment on the portrayal of the human body).
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-
Lecture
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Modality
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Location
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Contact hours
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|---|---|---|
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Off site
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Study room
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2
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Topics
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Subject as an object: photography and human body (practical home assignment on the portrayal of the human body).
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-
Class/Seminar
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Modality
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Location
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Contact hours
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|---|---|---|
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On site
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Auditorium
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2
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Topics
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Discussion and planning of the creation of a series of photographs based on the tradition of documentary photography (all home assignments should be included in the student’s professional blog).
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-
Lecture
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Modality
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Location
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Contact hours
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|---|---|---|
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Off site
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Auditorium
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2
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Topics
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Transformation of media photography in the age of digital display.
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-
Lecture
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Modality
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Location
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Contact hours
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|---|---|---|
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Off site
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Study room
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2
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Topics
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Transformation of media photography in the age of digital display.
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-
Class/Seminar
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Modality
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Location
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Contact hours
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|---|---|---|
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On site
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Auditorium
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2
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Topics
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Assessment of the home assignment based on the tradition of documentary photography
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-
Lecture
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Modality
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Location
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Contact hours
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|---|---|---|
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Off site
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Auditorium
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2
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Topics
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Photography in contemporary art.
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Lecture
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Modality
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Location
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Contact hours
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|---|---|---|
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Off site
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Auditorium
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2
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Topics
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Photographer’s “survival kit” – links between commercial, documentary and art photography and a photographer as a provider of services nowadays
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-
Class/Seminar
|
Modality
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Location
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Contact hours
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|---|---|---|
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On site
|
Auditorium
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2
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Topics
|
Discussion on practical home assignment (the portrayal of the human body).
|
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
Off site
|
Auditorium
|
2
|
Topics
|
Photographer’s “survival kit” – links between commercial, documentary and art photography and a photographer as a provider of services nowadays
|
-
Class/Seminar
|
Modality
|
Location
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Contact hours
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|---|---|---|
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On site
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Auditorium
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2
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Topics
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Discussion on views of S. Sontag, L. Manovich and A. Cramerotti.
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-
Class/Seminar
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Modality
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Location
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Contact hours
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|---|---|---|
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On site
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Study room
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2
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Topics
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Discussion on views of S. Sontag, L. Manovich and A. Cramerotti.
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Total ECTS (Creditpoints):
3.00
Contact hours:
30 Academic Hours
Final Examination:
Exam (Written)
PART-TIME
Part 1
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Introduction to course content. Photography and photo journalism: origin and definitions.
|
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Development and boom of photography.
|
-
Class/Seminar
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Discussion and planning of the creation of a series of photographs based on the tradition of documentary photography (all home assignments should be included in the student’s professional blog).
|
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Subject as an object: photography and human body (practical home assignment on the portrayal of the human body).
|
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Photography in contemporary art.
|
-
Class/Seminar
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Discussion on practical home assignment (the portrayal of the human body).
|
-
Lecture
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Photographer’s “survival kit” – links between commercial, documentary and art photography and a photographer as a provider of services nowadays
|
-
Class/Seminar
|
Modality
|
Location
|
Contact hours
|
|---|---|---|
|
On site
|
Auditorium
|
2
|
Topics
|
Discussion on views of S. Sontag, L. Manovich and A. Cramerotti.
|
Total ECTS (Creditpoints):
3.00
Contact hours:
16 Academic Hours
Final Examination:
Exam (Written)
Bibliography
Required Reading
1.
Badger, G. (2000). The Art that Hides Itself - Notes on Photographys Quiet Genius in How You Look At It. (pp. 61 – 81) NY: D.A.P., Inc.
2.
Barett, T. (1990). Criticizing Photographs: an introduction to understading images. California. Mayfield Pubishing Company.
3.
Bate, D. (2009). Photography: Key Concepts. Oxford & New York: Berg
4.
Benjamins, V. (2005). Iluminācijas. Riga: Laikmetīgās mākslas centrs.
5.
Doy, G. (2005). Picturing the self: Changing views of the subject in visual culture. London: I.B. Taurus & Co Ltd.
6.
Flusser, V (2005). Towards A Philosophy of Photography. London: Reaktion Books Ltd.
7.
Jeffrey, I. (1999). Revisions: An alternative history of photography. Bradford, England: National Museum of Photography, Film & Television.
8.
Liesbrock H. (2000). The Barely Visible Perspectives on Reality in Photography and Painting in How You Look At It. (pp. 39 - 59) NY: D.A.P.
9.
Roland, B. (1980). Mythologies, London: Paladin.
10.
Rolāns, B. (2006). Camera lucida. Piezīme par fotografiju. Rīga: Laikmetīgās mākslas centrs.
11.
Sonesson G. (2000). Post-photography and beyond: From mechanical reproduction to digital production. Lund University.
12.
Wells L. (ed) (2004). Photography: a critical introduction. London & New York. Routledge.
13.
Weski T. (2000). No Scrawling, Scratching, and Scribbling on the Plate in How You Look At It. (pp. 19 - 37) NY: D.A.P.
14.
Zontāga, S. (2008). Par fotogrāfiju. Riga: Laikmetīgās mākslas centrs.
Additional Reading
1.
Bodrijārs, Ž. (2000). Simulakri un simulācija. Rīga: Omnia Mea.
2.
Liotārs, F. (2008).Riga: Laikmetīgās mākslas centrs.
3.
Lury C. (1998). Proesthetic Culture: Photography, memory and identity. London: Routledge (pp. 134 - 183)
4.
Manovičs, L. (2006). Jauno mediju valoda. Rīga: Jauno mediju kultūras centrs RIXC. 5. 5. 5. McLuhan, M. (1964). Understanding media. New York: Signet Books.
5.
McLuhan, M. & Fiore, Q. (1967). The medium is the message. Singapore: HardWired.
6.
David L, S. (2020). Photography and Belief New York, New York: David Zwirner Books
7.
Mark Sealy Chadwell Heath (2022). Photography: race, rights and representation: Lawrence and Wishart Ltd.
8.
Mark Sealy (2019). Decolonising the Camera: photography in racial time, London: Lawrence & Wishart Ltd.
9.
Sunil Gupta (2022). We Were Here: sexuality, photography, and cultural difference, New York: Aperture Foundation.
Other Information Sources
1.
Dokumentālās filmas:
2.
American Photography: A Century of Images, 1999 Contacts I, II, III, 2005
3.
Dying to tell the Story, 1998
4.
Genius of photography 1-6, BBC
5.
Moment of Impact, 1999 Reporters, 1981
6.
The Impassioned Eye, 2003 War Photographer, 2001
7.
Mākslas filmas
8.
Blowup, 1966
9.
City of God, 2002
10.
Rear Window, 1954 Salvador, 1986
11.
The Killing Fields, 1984 The Public Eye, 1992
12.
Tiešsaistē pieejamie resursi
13.
A Search Into the Future of Photography
14.
American Suburb X
15.
Aperture
16.
Blind Spot
17.
BW Magazine
18.
CameraArts Magazin. DoubleTake www.doubletakemagazine.org
19.
European Photography. EYEMAZING www.eyemazing.com
20.
Foto-Video
21.
foto8e
22.
LensWork
23.
Kwartalnik Fotografia
24.
Next Level
25.
Private
26.
Source
27.
Editorial Photographers
28.
Fotokvartals
29.
Lens
30.
Magnum
31.
Photographer
32.
The Digital Journalist
33.
The Photographic Universe Conference. World Press Photo http://www.worldpressphoto.org
34.
Zone Zero.