Course Syllabus

 

Photos by Sanne Vils Axelsen

Course Description

How can you use photography to tell a story or express an opinion on a subject matter that is important to you. This is what you discover in this course as you engage with the medium of photography and build your own visual narrative on a chosen topic.

You are challenged to discover the places you inhabit and engage with locals as you create photographs that convey what is important to you. With a combination of in class critiques and a survey of the history and theory of photography you are encouraged to develop a photographic approach and visual language that support your ideas. This journey eventually leads you to presenting your work as a photobook.

Your creativity, courage and curiosity are mandatory in this class. You will be challenged.

 

Course Format

We consider the cohort our Artist Collective. It is important that this collective is a creative space, where we engage in each other’s development and where all feel safe to voice our opinion, take chances and allow ourselves to make mistakes for the purpose of learning. We will critique each other’s photographs honestly and constructively. This builds your ability to look critically on both others and your own work and strengthens both your analytical and photographic skills.

The course uses hands-on approaches to learning with creative photographic assignments throughout the semester. 

We will create photographs from the first day of class to begin the discovery of the photographic tools. Throughout the semester we continue discovering the photographic toolbox and approaches to telling stories. 

During class activities and assignments we explore historical and contemporary photographs and photographic projects. This will help you gain a deeper understanding of the medium and its cultural impact and implications.

 

Learning Objectives

By the end of this course, you will:

• Gain a deeper understanding of the cultural impact of the medium of photography.
• Have experience in the process of visually telling a story or expressing a stance as you create your own photography project.
• Develop a language of photographic critique – both of your own work and of others.
• Be able to thoughtfully describe the meaning of a photograph and critically reflect on how it exist.
• Develop a new sensitivity to looking at the world and use photography creatively to convey the experience.
• Have experience with and understanding of the the photographic tools used to convey meaning, in terms of technique, form and content.

To participate in the class students are expected to:

• Do the work
• Be organized! Keep track of deadlines.
• Prepare for every class!  Follow instructions for each session in the Canvas Calendar.
• Bring your notebook for every class and take good notes! You will need them for your project and assignments.
• Set aside dedicated time outside of class to create photographs for specific assignments on a continuous basis.
• Participate! Sharing your thoughts and ideas in class is one of the best tools for developing your analytical skills.
• Be present. Cell phones and laptops are to be shut off or silenced during class and placed in your bag. Not on the table.
• Challenge yourself.

 Practical requirements

• Students are expected to bring their own camera. You are encouraged to bring a camera where you can manipulate shutter speed, aperture and ISO. The class offers an opportunity to work deliberately with the camera and deepen your exploration of photographic camera techniques. A phone camera can be used as well, as the course focus more on creativity and storytelling than technical details. Generally you will develop an understanding of the possibilities of the camera you have.

  For those without a personal DSLR and who are interested in exploring the possibilities of that, DIS offers a limited number of loaner cameras that can be checked out for shorter periods (up to 14 days). These can however at times be in high demand.

Grade Components:

• Development and Participation during the semester: 30%
• Assignment, Photographic Toolbox: 10%
• Presentation 15 %
• Assignment, Photographic Group Project: 15 %
• Final Project, Artist Statement and Reflection paper: 30%

 

About grades.

I know that grades are important to you. Try not to let your focus on grades stand in your way from being creative and taking chances – for the sake of learning. 

Much of the evaluation focuses on the effort invested into learning about photography and in creating work. I value hard work, creativity and a willingness to push yourself more than perfection.

Students comes to this class with different backgrounds and levels of experience in photography. Whether you're just starting out or are an experienced photographer, the goal is the same: to develop and learn. To achieve that—and to earn a strong grade — I expect you to work hard and not be afraid to make mistakes or experiment. That’s where real growth happens. Let your guard down, be honest about your process, and share your thoughts and experiences in the class.

 

Course Instructor
Sanne Vils Axelsen holds a MFA in photography from University of Hartford (2016) and a B.A. in Photojournalism from The Danish School of Media and Journalism (2010). Recipient of a Cultural exchange Scholarship for studies at FAMU in Prague (2009). BA in Cultural Geography from University of Copenhagen. Has worked as a freelance photographer since 2010. With DIS since 2015.

 
Important Course Requirements
Attendance at all class sessions is mandatory. If a student has two unexcused absences, I am required to inform Academic Support.

In order to be eligible for a passing grade in the class, all work must be submitted.

The use of distracting devices (smartphones, laptops, smartwatches etc.) is prohibited during class. These must be silenced and kept out of sight. You are allowed to use these only when needed for specific class activities.

If you have difficulty with an assignment, please consult me before deadline. This doesn't mean that you will get a pass. But you will get support to solve the issue.

Readings

• Shore, Stephen. "The Nature of Photographs", Phaidon, 2010.
• Gerry Badger. A tale of two portraits from The pleasures of good photographs. Aperture. 2010
• Roland Barthes, selection from Camera Lucida: Reflections on Photography. Hill and Wang. 1981.
• Gerry Badger. Face to face from The Genius of Photography. Quadrille Publishing Ltd. 2007.
• Charlotte Cotton. Chapter 5: Intimate Life. In The Photograph as Contemporary Art. Thames & Hudson. 2004.
• Henri Cartier-Bresson. The Decisive Moment from The Mind’s Eye. Aperture. 1999.
• Susan Sontag. Regarding the pain of others. Farrar, Straus and Giroux. 2003.
• Susan Sontag. In Platos Cave from On photography. Farrar, Straus and Giroux. 1977.