Studio of Classic Photography 9
| Code | Completion | Credits | Range | Language Instruction | Semester |
|---|---|---|---|---|---|
| 307EAC9 | exam | 4 | 24 hours (45 min) of instruction per semester, 82 to 102 hours of self-study | English | winter |
Subject guarantor
Name of lecturer(s)
Contents
The classical photography studio focuses on technological procedures and processes in the generation of photography. The content arises from the assumption that the student must master particular technical tasks which open a path to the realization of one's artistic intentions. Procedures are analysed with students which lead to priorly established goals. Part of instruction is a comparison of various technology and their limitations which often may become the single bearer of implementation of the selected intent.
The studio is devoted to working with classic analog photography from cinematic film to large-format photography. Students have the opportunity to work with negatives up to 30x40cm and to subsequently produce on color paper in meter dimensions.
Part of the studio is a workshop focused on historical photography techniques such as flexography, cyanotype, bromoil print or working with gelatine and its transfer to non-standard materials. A unique original, where the bearer of the positive image is the negative, is photography.
The studio is dedicated to technological innovations, research and evaluation of the potential of digital photography and other technologies which take part in the recording of an optical image. Part of the studio are new light sources, managing aerial photography using drones, or acquiring extremely high-quality shots using various robotic devices.
Investigation of the potential for realizing one's creative intentions in relation to the selected technology is, among others, in studio discussions.
Learning outcomes
The classical photography studio focuses on technological procedures and processes in the generation of photography. The content arises from the assumption that the student must master particular technical tasks which open a path to the realization of one's artistic intentions. Procedures are analysed with students which lead to priorly established goals. Part of instruction is a comparison of various technology and their limitations which often may become the single bearer of implementation of the selected intent.
Prerequisites and other requirements
The Ephemeral in Photography
„All photographs are memento mori. To take a photograph is to participate in another person’s (or thing’s) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time’s relentless melt.“
(Susan Sontag: On Photography)
Nature, material things as well as human life, basically everything that surrounds us, are the subject to development, extinction and transformation. The only thing that is undoubtedly permanent, is change. Not only the visible world around us but also our mind is subject to transience. It is constantly transformed by storing deposits of new thoughts and experiences, and as a result, our memories are constantly changing.
No other medium reflects the ubiquitous change as clearly as photography. It reveals how everything around us falls victim to time and outside conditions. It has the ability to capture processes of appearance, disappearance, degradation, and destruction. To imprint a phenomenon or an event on photographic film is to give them importance and immortality without which they would otherwise cease to exist.
The ephemeral in photography, the theme of the studio assignment in winter term 2021/22, intentionally affords a multiplicity of layers and interpretations. You can use the areas listed below as sources of inspiration:
- ravages of time: matching historical material with analogical images from the present (people, buildings, places)
- temporality: record of the degradation of things (sequence, time-lapse series)
- transience as changes in illumination of objects and places in the course of a day
- transformation: changes in nature effected by natural energy (wind, drought, pests, etc.)
- transience as mortality: vanitas, memento mori, death mask
- impact of time on the medium of photography: degradation of photographic material due to expiration, external environment, and controlled interventions
- reconstruction of time and memories
- photography of movement and fleeting moments, recording of a course of events, arbitrary vs. decisive moment
- transience expressed through the use of formal and technological tricks and processes (dissolving of motives, soft optics, fog, smoke, multi-exposures)
Your work is not limited by choice of genre or technical approach. You have the opportunity to choose or discover a creative approach that suits you best, both in terms of expression and execution. The resulting work must be anchored in the medium of photography and must consist of at least six individual photographic images.
Embark on a journey of exploring the ephemeral and try to immortalize it with your photographic work!
Literature
Scheufler, Mikš, Růžek, Spevák, Stýblo, Jiráček, Opočenský. Technické základy fotografie 2002
Jan Pohrybný: Kreativní světlo ve fotografii 2011
Kelby Scot: Digitální fotografie 1-4
Alberro, Alexander - Norvell, Patricia (ed.): Recording Conceptual Art, Berkeley,
Los Angeles a London: University of California Press, 2001
Alberro, Alexander, Sabeth Buchmann: Art After ConceptualArt, MIT Press,
Cambridge and London, 2006
Fried Michael: Why Photography Matters as Art as Never Before, Yale University
Press, New Haven 2008
Bourriaud, Nicolas: Postprodukce, Praha: Tranzit, 2004
Bourriaud, Nicolas: Relational Aesthetics, Dijon: Les presses du réel, 2002
Cotton Charlotte: The Photography as Contemporary Art, London, Thames
Hudson, 2004
Císař, Karel (ed): Co je to fotografie? Herrmann a synové, Praha 2004
Foster, Hal (ed): Postmodern Culture, London: Pluto Press, 1990
Foster, Hal; Krauss, Rosalind; Bois, Yves-Alain; Buchloh, Benjamin H.D.: Art
since 1900, London: Thames & Hudson, 2004
Michel Frizot: Nouvelle Histoire de la Photographie, Larousse-Bordas, Paris,
1996
Grygar Štěpán, Konceptuální umění a fotografie, Praha, AMU, 2004
Petříček Miroslav: Myšlení obrazem, Herrmann a synové, Praha 2009
Silverio, Robert: Postmoderní fotografie, Praha: AMU, 2007
Liz Wells. The Photography Reader, Routledge, London, 2003
Wall, Jeff: Selected Essays and Interviews, New York: The Museum of Modern
Art, 2007
Evaluation methods and criteria
Students may be graded based on attendance 80% and participation in group excursions. Each exercise will be graded according to the criteria given.
Note
none
Schedule for winter semester 2022/2023:
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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
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| Date | Day | Time | Tutor | Location | Notes | No. of paralel |
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| Tue | 09:00–21:25 | Martin STECKER | Room No. 112 Lažanský palác |
hybrid teaching | lecture parallel1 |
Schedule for summer semester 2022/2023:
The schedule has not yet been prepared
The subject is a part of the following study plans
- Photography EN - Master-1920 (required optional subject)