An introduction to both the techniques and the aesthetics of black-and-white photography as a means of self-expression. Systematic instruction in darkroom techniques and weekly criticism of individual work provide the student with a solid basic understanding of the use of the camera as an expressive tool. The student must obtain within the first week of classes a camera (35mm or 2 1/4) with fully adjustable f/stops and shutter speeds and a handheld reflected light exposure meter. No previous photography experience is required. Admission is by portfolio (portfolio photographs do not have to have been printed by the student).

This course covers the same material as Photography 101 but is intended for beginning students who have had some previous photography experience. Admission is by portfolio.

This course covers the same material as Photography 101 but is intended for beginning students who have had some previous photography experience. Admission is by portfolio.

View cameras were the first cameras and were the primary photographic tool for the first half of photography's history. They offer unexcelled clarity, tonality, and image control. The operation of the view camera and advanced darkroom techniques are demonstrated in this course. The class explores the expressive potential of the conscious use of the camera's precise control of the image. Students are supplied with 4" x 5" camera outfits. Prerequisite: Photography 105 or 106. Admission is by portfolio.

An introduction to the problem of rethinking photographic picture-making through the medium of color photography. Transparencies, color negatives, and type C prints are the technical areas explored. Interested students should bear in mind the higher costs of color materials. Admission is by portfolio.

Cross-listed: Gender Studies, Integrated Arts,Victorian Studies

Modernist photographic practice, generally grounded in the notion of finding meaningful images in the actual world, has been actively subverted by many contemporary artists working in photography. These artists have rejected expectations that photography serve the true and actual, and have used photography in conjunction with fabrications and performances of all kinds, from the deceptively "real" to the gleefully artificial. This course investigates the diverse objectives, methods, and outcome of photography in various performative modes at several moments in the history of photography, including Victorian tableaux photography, fin-de-siècle pictorialism, surrealism and neo-surrealism, and postmodern stagings, constructions, and spectacle. Prerequisite: PHOT 110 or permission of the instructor. Maximum enrollment 18.

The use of photography to document social conditions has been one of the richest and most problematic applications of the medium. This course will investigate the history and practice of documentary photography through readings, slide presentations, and field work. Providing a background to the studio aspects of the course will be a consideration of the history of documentary photography, from the reformist projects of Jacob Riis and Lewis Hine through the use of documentary in the Farm Security Administration and elsewhere in the 1930s to the work of such contemporary documentarians as Eugene Richards and Mary Ellen Mark. Documentary's roots in anthropology, sociology, politics, and journalism, as well as recent critical challenges to the concept and practice of documentary, will also be considered. In addition, participants in the class will undertake independent documentary projects in the city of Hudson. They will be expected to bring weekly contributions to classroom discussions and critiques and to produce a final project of prints and related materials. They will also be responsible for writing a paper on an aspect of the history of documentary photography. Prerequisites: A basic command of photography, which can be demonstrated by having taken at least one course in photography. This will be an intense and fast-moving course, and prospective participants should be willing to invest the time needed to complete an extended documentary project. Enrollment limited.

Course no.	PHOT 301
Title	Advanced Photography
Professor	Larry Fink
Schedule	Mon 7:00 pm - 10:00 pm
Distrib.	F
CRN	93248

To prepare the student for ongoing independent work, this course emphasizes the exploration of visual problems. At the heart of this exploration is asking good questions of oneself and one's work, seeing how other photographers and artists in other media have dealt with such questions, and "answering" the questions for oneself through individual projects. Prerequisite: Photography 201 and 203.

Course no.	PHOT 305
Title	Digital Imaging
Professor	Oliver Wasow
Schedule	Fri 1:30 pm - 4:30 pm Henderson
Distrib.	F
CRN	93247

This is an introductory class in the use of Adobe Photoshop for image processing. The first third of the semester will be spent studying techniques for color management, scanning, image processing, and outputting. For the last two thirds of the semester students will pursue individual projects, which will be critiqued in class. This class is open to both photography students and oth,br>ers, but admission is by permission of the instructor.

Course no.	PHOT 320
Title	Literature and Photography
Professor	Laurie Dahlberg
Schedule	Tue 9:30 am - 12:30 pm Olin 301
Distrib.	A/B
CRN	93250

Cross-listed: Integrated Arts, Victorian Studies

Course no.	PHOT SEM
Title	Senior Seminar
Schedule	Th 7:00 pm - 10:00 pm Woods Studio
Distrib.	none
CRN	93251

The senior seminar is a requirement for all seniors majoring in photography. The seminar meets on a bi-weekly basis, and carries no credit.