Atelier - Studio Specific Photography 7

Course unit code:

307EAS7

Course unit title:

Mode of delivery:

zápočet

Range:

26/S

Type of course unit:

compulsory subject

Level of course unit:

Year of study

2nd year

Semester when the course unit is delivered

zimní

Number of ECTS credits allocated:

Garant předmětu:

Štěpán GRYGAR, Viktor KOLÁŘ, Rudolf PREKOP, Robert PORTEL

Name of lecturer(s):

Štěpán GRYGAR, Viktor KOLÁŘ, Rudolf PREKOP, Robert PORTEL

Study Objectives:

The objective of the Studio of Creative Photography is to support and further develop the individual creative skills of the students as much as possible. Emphasis is put on conceptual work and creativity.

Course Description:

Importance is placed on maintaining a critical distance from one's own work, which results in its classification within a wider context. The Studio includes theoretical seminars, consultations on the final exhibition, bachelor and master's series. Each year one theme is specified for the fourth- and fifth-year student assignments. The assignment is compulsory for fourth-year students.

STUDIO OF DOCUMENTARY PHOTOGRAPHY

/ 307EST 1,3, 5 /

Name of the Lecturer: Viktor Kolář prof.

Contact: viktor@viktorkolar.com , phone: 596 126 536

Consultations: Hartvigovský Palác, Tuesday /odd week/ 9:00-11:30

Time and Place:

Hartvigovský Palace Tuesday odd week 13:10-16:25 TR 328

Course outline:

Who is, we may ask, the ?documentary photographer? today, creating convincing personal images? After all he is either the one practicing ?empathy? toward people or merely observing them from afar as a ?bystander?. Both ways are equally efficient we may say. Or he/she is the one who understands working within ?spiritual? dimension that becomes the inner part of his/her pictures. Why is public space accessible to all practicing documentary photographers? So they visually communicate their ideas, visions with other segments of society in free manner .

Where does our creativity end and where starts a psychic illness? Why Zykmunt Bauman and his book ?Liquid modernity? does not leave us still and passive? What does ZEN have important to offer us documentary photographers? Aigu? Zen in the Art of Archery? Are manic shyness and desire for anonymity the traits of a street photographer in general? Where does the inspiration come from, what does the altered state of mind have to do with our photography?

Why?Synchronicity?, ?interconnectedness?? Is there any connection between the scientific and artistic? Initiation religious and artistic. Problems with ?identity? in today?s world. Our openness as a gate to other people of this world. Me and my life with documentary photography.Personal rhythm and looking for one´s voice, photographing as a constant matter of choice.

To obtain class-ticket from finished winter semester the student has to present a work in progress!

List of assignments ? (select one from the three/)

Theme 1: ?His/her/their? story /documentary project/

Visual narrative about looking for one?s path, a road we usually call a ?road of life?. Discovering such a road and then keep walking on it seems to be more important than anything else. Before we step on such a road we face various problems as for instance: drug culture, participation in extreme political movements, religious sects, etc. next to personal failures, suffering from mental disorders, unemployment, abuse in childhood, homelessness, will make such a search more problematic. Almost each person in my neighbourhood can tell a different story?It is also about children who were abandoned by their parents and what became of them in the course of life?

The creative outcome: 15-20 bw or color images of cca 24x30cm

Deadline: June 2012

Theme 2: ?Elderly people? /documentary project/

It can be considered as subject of great importance.The number of elderly people is growing, at the same time they feel cut off from the real world around them?many of them stand up to become active /senior age universities etc./We see people who suffer from all kind of dementia/Alzheimer disease!/ and still they try to retain dissent life.There are people around them who are of great help. Trace down how old people around you live and make strong series of photographs

The creative outcome: 15-20 bw or colour pictures 24x30cm

Deadline: June 2012

Theme 3: ?Consumerism as a lifestyle? /documentary project/

Western model of consumerism can be blamed as responsible for defeat of communist ideology and further fall of communism in Czech Republic. The mode of consuming that comes after as a leading factor in shaping people?s lifes today. Purchasing products, using many level services in huge shopping centres as Tesco, Kaufland, Ikea, etc.are leading them to spend more time there. For some people consumption is becoming an obsession with all side effects. It becomes a drug after all and must be medically cured. People buy things they do not need, spend money they did not earn. They also try to buy new identities on the market. Record on your film all possible manifestations of such lifestyle from your point of view.

The creative outcome: 15-20 bw or color images cca 24x30cm

Deadline: June 2012

Mode of delivery:

1. STUDIO OF STUDIO PHOTOGRAPHY

Graded credit: granted on the basis of submission of all prescribed assignments and evaluation of submitted photographs. The basic pre-requisites for grading are the student?s participation within at least 60% of the lectures, participation in posted mandatory joint consultations specified in the beginning of the course, as well as the submission of agreed on photographs in digital form ? resolution 300 dpi with the length of the longer side of the format being 250mm.

2. STUDIO OF DOCUMENTARY PHOTOGRAPHY

The student?s assignments will be evaluated by supervising teacher /V.K./, also the personal attendance of the seminars and workshops /hours of attendance set by the Department/, individual engagement will contribute as well to final grading.

3. STUDIO OF CREATIVE PHOTOGRAPHY

4. STUDIO OF OUTDOOR PHOTOGRAPHY

Graded credit: granted on the basis of submission of all prescribed assignments and evaluation of submitted photographs. The basic pre-requisites for grading are the student?s participation within at least 60% of the lectures, participation in posted mandatory joint consultations specified in the beginning of the course. A condition for assessment is the handing-in of all photographs in digital form in TIF format with a resolution of 300 dpi and the longer side of each photograph being 250 mm.

Prerequisites and co-requisites:

Completion of levels 1-6

Recommended optional programme components

Course contents:

1. STUDIO OF STUDIO PHOTOGRAPHY

Supervised by: Mgr. Rudo Prekop

Contact: 737 609 562, rudoprekop@hotmail.com

The Studio includes lectures, seminars, consultations of final exhibition, bachelor, and master series.

Assignments: (assignments 4P1, 5P1)

Part of the Studio is one mandatory assignment for:

3rd year students: FIGURE - ENVIRONMENT - PROPS, collection of 8 and more photos

4th year students: MAN - publication or its mutation, minimum 15 photos.

5th year students: PROBLEM - arbitrary form of execution.

Time schedule: Prior to the beginning of the photographic work, student explains his or her intention to the pedagogue and once agreed on within a mutual dialogue, implements the assignment.

Deadline for submission: by the end of the summer semester - second half of May.

Every year, three personalities from the area of photography, but also graphic design, are invited as lecturers within the Studio, based on the selection of the supervising pedagogue. These workshops are either one or two semesters long and take place in frequency according to the time schedule specified by the given lecturer. The purpose of this arrangement is the time-limited confrontation of students with a wide spectrum of individual personalities, who provide all the participating students with their creative and real-life experience, their opinions, attitudes, and spirit.

2. STUDIO OF DOCUMENTARY PHOTOGRAPHY

Name of the lecturer: prof. Viktor Kolář

Contact: viktor.kolar@cbox.cz , phone: 596 126 536

List of assignments ? 4th year (choice between the two)

Theme 1: ?His/her/their? story /documentary project/

The creative outcome: 15-20 bw or color images of cca 24x30cm

Deadline: June 2008

Theme 2: ?Consumerism as a lifestyle? /documentary project/

The creative outcome: 15-20 bw or color images cca 24x30cm

Deadline: June 2008

3. STUDIO OF CREATIVE PHOTOGRAPHY

Name of the Lecturer: Štěpán Grygar

Contact: 732 661 938, grygar@famu.cz

Course Description:

I give the importance to critical distance from one?s own work that results in its classification within a wider context. The Studio consists of theoretical seminars, consultations of final exhibition, bachelor, and master series.

Assignment: (4P1, 5P1)

Description: This mandatory assignment is practical and students have to submit at least eight photographs. Emphasis is put on the ability to come up with an innovative solution to the given assignment. Conceptual work is recommended. A written explanation must be handed in prior to starting with the assignment.

Assignment: To create a series of at least eight photographs asan individual interpretation of specific theme (not mere illustration). The theme will be announced in the beginning of semester.

Time schedule: WS: Brief, written explanation by the end of November. The series must be in a shape of work in progress by the end of the winter semester.

SS: The final output (eight photographs) has to be submitted by the end of the summer semester.

4. STUDIO OF OUTDOOR PHOTOGRAPHY

Name of Lecturer: Bohumír Prokůpek

Contact (Cell phone): +420 602 277 375 , prokupekb@chello.cz

Method of Study:

The theoretical part of the seminar will provide students with an orientation on the specifics of open air photography; they will obtain academic knowledge about the cultural and social implications of the course through lectures and picture projection sessions, and prepare to take personal approaches to projects. As the outcrop of the seminar students ought to be able to choose the topics of their theses, find cultural, material and other associations of their endeavour, and formulate them and their approach to handling their chosen topics.

The assignment has two parts ? obligatory and optional. The obligatory part entails presentation of a project whose focus is a symbol. Students should prove their creative and technical skills and abilities geared towards a quality representation of their topics using classic photographic approaches. A brief written explication is required before students are to commence work on their projects.

The optional part requires a remarkably personal expression of the chosen topic that will have to do with the outer environment, its reflection, associate inner personal feelings, etc. Evaluation is based chiefly on the student?s focused effort to arrive at a personal expression. There are no decreed methods of implementation and students can individually determine the scope and intent of the optional part. A brief written explication is required before students are to commence work on their projects.

The practical part will comprise group brainstorming sessions over the photographs in the making. These group tutorials are compulsory and dates will be announced after the start of the course.

Assignments: (Exercises 4P1, 5P1)

a)Compulsory Part: at least four (4) technically accomplished, compositionally and pictorially convincing black and white photographs, size 30x40 cm. This project must be delivered by the end of the Winter Semester and its presentation is one of the conditions of granting a credit.

b)Compulsory Part: at least eight (8) technically accomplished, compositionally and pictorially convincing photographs whose format tallies with the assignment and has been agreed upon with the teacher. If classic photographs are not the end product, additional outputs will be required in the 30x40 cm format.

Study materials:

Archer, Michael. Art Since 1960, Thames & Hudson, London, 2002

Berger, John. Ways of Seeing, Penguin Books,London, 1972

Barthes, Roland: Camera lucida: reflections on photography, New York: Hill and Wang, 1981

Barthes, Roland: Criticim and Truth, London: Athlone, 1987

Barthes, Roland: Mythologies, London: J.Cape, 1972

Campany, David, Art and Photography, London, Phaidon 2003

Cotton Charlotte The Photography as Contemporary Art, London, Thames Hudson, 2004

Danto Arthur. The Philosophical Disenfranchisement of Art, Columbia University Press, NY, 1986

Frizot, Michel, Nouvelle Histoire de la Photographie, Larousse-Bordas, Paris, 1996

Flusser Vilem.

Towards a philosophy of photography, Reaktion, London 2000

Greenberg, Clement: Die Essenz der Moderne, Fundus, Dresden, 1997

Honnef, Klaus. Nichts als Kunst, Dumont, Koln, 1997

Lucie-Smith, Edward. Art Today, Phaidon, London, 1995

Mayo, Nuria Enquita - Johnston Pamela (ed.), Viktor Burgin, Barcelona: Fundació Antoni Tapies, 2001

Orvell, Miles. American Photography, Oxford University Press, London, 2003

Osborne Peter. Conceptual Art, Phaidon, London 2002

Reimschneider, Burkhard, Grosenick, Uta. Art at Turn of the Millenium, Taschen, Koln, 1999

Reimschneider, Burkhard, Grosenick, Uta. Art Now, Taschen 2002

Rusch Michael. New Media in Late 20th Century, Thames & Hudson, London 1999

Susan Sontag: On Photography, Farrar, Straus and Giroux, NY. 1977

Stiles, Kristine, Selz Peter. Theories and Documents of Contemporary Art, University of California Press, London,

Wall, Jeff. Scenarien im Bildraum der Wirklichkeit, Fundus, Dresden, 1997

Wells, Liz. The Photography Reader, Routledge, London, 2003

2. STUDIO OF DOCUMENTARY PHOTOGRAPHY

Viktor Kolář: „Seminar in documentary Photography“, AMU-FAMU 2000.

Eugen Herrigel: „Zen in The Art of Archery“.

Carla Gustav Jung: „Volumes“

Zykmunt Bauman: „Liquid modernity“

The other important titles for you will be mentioned during our seminars.

Planned learning activities and teaching methods

Assessment methods and criteria

1. STUDIO OF STUDIO PHOTOGRAPHY

2. STUDIO OF DOCUMENTARY PHOTOGRAPHY

3. STUDIO OF CREATIVE PHOTOGRAPHY

4. STUDIO OF OUTDOOR PHOTOGRAPHY

Graded credit: granted on the basis of submission of all prescribed assignments and evaluation of submitted photographs. The basic pre-requisites for grading are the student?s participation within at least 60% of the lectures, participation in posted mandatory joint consultations specified in the beginning of the course. A condition for assessment is the handing-in of all photographs in digital form in TIF format with a resolution of 300 dpi and the longer side of each photograph being 250 mm.

Language of instruction:

English

Work placement(s):

Pracovní stáž není u tohoto předmětu zavedena.

Course web page:

Note:

Schedule for winter semester 2011/2012:

	06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon
Tue	místnost TR 328 Učebna KF (Tržiště 20, Praha 1) KOLÁŘ V. 13:10–16:25 ODD WEEK (paralelka 1) místnost TR 304 Učebna KF (Tržiště 20, Praha 1) GRYGAR Š. 14:00–17:15 ODD WEEK (paralelka 2) místnost TR 312 Ateliér KF (Tržiště 20, Praha 1) PREKOP R. 14:00–17:15 ODD WEEK (paralelka 3) místnost TR 306 Počítačová pracovna KF (Tržiště 20, Praha 1) PORTEL R. 14:00–17:15 ODD WEEK (paralelka 4)
Fri
Thu
Fri

Den	Čas	Tutor	Místo	Č. paralelky
Tue	13:10–16:25	KOLÁŘ V.	Učebna KF Tržiště 20, Praha 1	paralelka 1
Tue	14:00–17:15	GRYGAR Š.	Učebna KF Tržiště 20, Praha 1	paralelka 2
Tue	14:00–17:15	PREKOP R.	Ateliér KF Tržiště 20, Praha 1	paralelka 3
Tue	14:00–17:15	PORTEL R.	Počítačová pracovna KF Tržiště 20, Praha 1	paralelka 4

Schedule for summer semester 2011/2012:

The schedule has not yet been prepared

The subject is a part of the following study plans:

Fotografie EN - magistr (qualification subject)