* ART 1836a, Black & White Photography Capturing Light  Eva O'Leary

An introductory course in black-and-white photography concentrating on the use of 35mm cameras. Topics include the lensless techniques of photograms and pinhole photography; fundamental printing procedures; and the principles of film exposure and development. Assignments encourage the variety of picture-forms that 35mm cameras can uniquely generate. Student work is discussed in regular critiques. Readings examine the invention of photography and the flâneur tradition of small-camera photography as exemplified in the work of artists such as Henri Cartier-Bresson, Helen Levitt, Robert Frank, and Garry Winogrand.  HU  RP
WF 1:30pm-3:25pm

* ART 1838a or b, Digital Photography Seeing in Color  Staff

The focus of this class is the digital making of still color photographs with particular emphasis on the potential meaning of images in an overly photo-saturated world. Through picture-making, students develop a personal visual syntax using color for effect, meaning, and psychology. Students produce original work using a required digital SLR camera. Introduction to a range of tools including color correction, layers, making selections, and fine inkjet printing. Assignments include regular critiques with active participation and a final project.  HU  RP
HTBA

* ART 2836a, Picturing at the Peabody  Lisa Kereszi

A photography course that is taught both in the School of Art and also in the classrooms and Imaging Studio of the Peabody Museum, making use of the museum’s collections for subject matter and inspiration. Students choose a specific subject, theme, or collection in the museum, research it, and investigate it photographically on site or in the studio to create an original body of work that directly relates to themes and objects found in the museum’s collections. Students work collaboratively to curate a semi-public exhibition in the Peabody Museum building of their photographic artwork to put on view, as well as an exhibit of actual objects chosen in the course of their photography project research. The course studies other artists’ archival exhibits and makes use of an existing exhibition of actual objects curated from the collections to learn the history of photography, as well as learn how an exhibition of archival material is researched, organized, and executed. Prerequisite: ART 1838 or permission of instructor.
TTh 9:25am-11:20am

* ART 2837b, Intermediate Black & White Photography Visual Voice  Lisa Kereszi

A class in black-and-white photography extending the concerns of ART 1836 in which students learn to define and refine their own particular photographic voice through regular critiques and exercises designed around the themes of memory, influence and the collecting impulse. Introduction to the use of loaned medium-format cameras. Specialized topics include long-exposure photography, the use of flash, and intermediate-level printing techniques, including an increase in scale. Survey of the rich tradition of photography and the production of specific artists such as Brassaï, Diane Arbus with regular exposure to contemporary new voices. Prerequisite: ART 1836 or 1838, or permission of the instructor.  HU  RP
MW 9:25am-11:20am

* ART 2839b, Photographic Storytelling  Tommy Kha

An introductory course that explores the various elements of photographic storytelling, artistic styles, and practices of successful visual narratives. Students focus on creating original bodies of work with digital cameras. Topics include camera handling techniques, photo editing, sequencing, and photographic literacy. Student work is critiqued throughout the term, culminating in a final project. Through a series of lectures, readings and films, students are introduced to influential works in the global canon of photographic history as well as issues and topics by a multitude of voices in contemporary photography and the documentary tradition. Prerequisites: ART 1836 or 1838, or permission of the instructor.
MW 1:30pm-3:25pm

* ART 3879b, Form For Content in Large Format  Benjamin Donaldson

A course for experienced photography students to become more deeply involved with the important technical and aesthetic aspects of the medium, including a concentrated study of operations and conceptual thinking required in the use of loaned analog view cameras, added lighting and advanced printing techniques. Scanning and archival printing of negatives are included. Student work is discussed in regular rigorous critiques. Review of significant historic photographic traditions is covered. Students are encouraged to employ any previous digital training although this class is black-and-white analog photography Prerequisite: ART 2837 or permission of instructor.  RP
TTh 9:25am-11:20am

* ART 4801a, Photography Project Seminar  John Pilson

A further exploration of the practice of photography through a sustained, singular project executed in a consistent manner over the course of the semester, either by analog or digital means. Student work is discussed in regular critiques, the artist statement is discussed, and lectures are framed around the aesthetic concerns that the students’ work provokes. Students are exposed to contemporary issues though visits to Yale’s collections and in lectures by guest artists, and are asked to consider their own work within a larger context. Students must work with the technical skills they have already gained in courses that are the pre-reqs, as this is not a skills-based class. Required of art majors concentrating in photography. Prerequisites: ART 1836 or 1838 and preferably, 2837, 3838 or 3879, or permission of the instructor. ART 1836 for those working in analog and, for those working digitally, ART 1838.  RP
M 1:30pm-5:30pm

ART 8112a, Practice and Production  Benjamin Donaldson

For first-year photography students. Structured to give students a comprehensive working knowledge of the digital workflow, this course addresses everything from capture to process to print. Students explore procedures in film scanning and raw image processing, discuss the importance of color management, and address the versatility of inkjet printing. Working extensively with Photoshop, students use advanced methods in color correction and image processing, utilizing the medium as a means of refining and clarifying one’s artistic language. Students are expected to incorporate these techniques when working on their evolving photography projects and are asked to bring work to class on a regular basis for discussion and review.  3 Course cr
Th 1:30pm-4:30pm

ART 8294b, What Makes a Book Work?  Matt Leifheit

Open to second-year M.F.A. Photography students only. This class surveys the landscape of the contemporary photobook with a focus on producing a class book.  3 Course cr
Th 3:30pm-6:30pm

ART 8295b, Picture Show: Thesis in Photography  Lisa Kereszi

This required course supports the M.F.A. Photography thesis exhibition through attending to the logistics of the gallery exhibition as well as the development of programmatic elements that extend the show to audiences beyond Yale. Studio visits initiate conversations about the installation of physical work in addition to considering the documentation possibilities that allow the work to reach a wider audience, including editing and completing the portfolio and artist statement for its permanent home in Special Collections. The course introduces practical and conceptual considerations for exhibiting one’s work publicly and includes professional development resources and presentations for a life after Yale that sustains a lens-based practice, including an artist statement writing workshop, as well as group planning meetings and meetings with curators, gallery and museum professionals from Yale and further afield. Enrollment limited to second-year students in photography.  3 Course cr
M 1:30pm-4:30pm

ART 8308a and ART 8309b, This Means Something: Picture Makers Discuss Their Work and Practice  Gregory Crewdson

Each week, a guest artist working in a variety of disciplines addresses the cohort in whatever format they prefer—a round table discussion, conversation, or presentation— sharing experiences, insights, practice, and personal trajectory. The schedule of guest lecturers is student curated.  3 Course cr per term
W 3:30pm-5:30pm

ART 8344a and ART 8345b, Critique Panel  Staff

Each week, four students present work for open review by a rotating faculty panel of artists, curators, and critics. Work can be presented as photographic prints, installation, video, performance, or in any other interpretation. Each student has two slots per term in addition to a final review twice a year.  6 Course cr per term
T 3:30pm-7:30pm

ART 8412b, The Assignment: Photography, Context, and Response from Classrooms to Commissions  John Pilson

Photographers continue to find themselves navigating the multiplicity of “contexts” their medium inhabits. This course examines various historical and contemporary examples of photographic “call and response” wherein artists find their way within both the obstacles and the opportunities presented to them by clients, curators, and editors, and (as students and teachers) within various pedagogical models. Through lectures, individual case studies, and student presentations we look to examples of authorship, artistic integrity, self-reflectivity, the exceeding of expectations, and convention-defying subversions that might just as readily be deployed within the context of a fashion spread as a museum, biennale, or government commission for an original work.  3 Course cr
F 1:30pm-4:30pm

ART 8421a, Core Curriculum II  Elle Pérez

Adapted from Tod Papageorge’s course of the same name, Core Curriculum II is a seminar course that explores the relationship between form and content in photographs and photographic seeing. We utilize methods of close looking and visual thinking strategies to study seminal photographic work ranging from the historic to the contemporary. Students are asked to reflect first through individual writing responses and then through student-led discussions in class. Each student has the opportunity to design and lead a class section that reflects their questions about the medium.  3 Course cr
M 1:30pm-4:30pm

ART 8423a, Critical Perspectives in Photography  Gregory Crewdson

For second-year photography students. This class is team-taught by curators and critics, who approach photography from a wide variety of vantage points, to examine critical issues in contemporary photography. The class is taught both in New Haven and New York at various museums and art institutions. The course is designed to help students formulate their thesis projects and exhibitions.  3 Course cr
Th 3:30pm-6:30pm