From: Robert W. Schramm (schrammrus@hotmail.com)
Date: 07/30/02-08:33:26 PM Z
Matt,
Well, I am impressed. I taught fine art photography to art majors and
graphic design majors. Our school's journalism department did not do a very
good job (no, that is too kind). They did a crappy job of teaching
photojournalism. I ended up with all the PJ students in my classes.
I have a good friend who I have known for over 50 years who is now a Prof.
of photojournalism and has written several books. Therefore, I am aware of
the close relationship between PJ and Fine Art Photography.
It is unfortunate that our local newspapers do exactly what I said, i.e.
hand point and shoot digital cameras to reporters who don't know
photography. I guess the save money this way by not having to hire
photographers.
I got to know several of the old time newspaper photographers back in the
1940s and 50s via another friend whose father was a reporter. This was back
in the days when they all carried a Speed Graphic and one pocket full of
Press 25 flashbulbs and another full of 4 x 5 plate holders. Since they did
not have an almost unlimited number of shots as they do these days, they
went slower, thought more about the shot and waited for the right moment.
Also with the 4 x 5 format came good quality.
Thanks for the info. It was inspirational. It gives me hope that "real"
photography is alive and still with us.
Best wishes,
Bob Schramm
>From: "Leyba, Matt" <MLeyba@Denverpost.com>
>Reply-To: alt-photo-process-l@sask.usask.ca
>To: "'alt-photo-process-l@skyway.usask.ca'"
><alt-photo-process-l@sask.usask.ca>
>Subject: RE: Real photography
>Date: Tue, 30 Jul 2002 18:06:13 -0600
>
>
> > ----------
> > From: Robert W. Schramm
> > Reply To: alt-photo-process-l@skyway.usask.ca
> > Sent: Tuesday, July 30, 2002 11:31 AM
> > To: alt-photo-process-l@skyway.usask.ca
> > Subject: Real photography
> >
> >
> I am involved with the photojournalism department at the State
>College here in Denver. Although these students have a different emphasis,
>I
>think you may be suprised at the type of material students cover.
>Fundamentals are the bulk of what is taught at good schools, the latest
>digtial this and that is only a small part of the course work and is
>necessary. Digital is a requirement at newspapers these days, I know for a
>fact as I was the film killer at the paper I work at, and no we did not
>hand
>over digital cameras to reporters, we have 17 real photographers. When an
>intern or prospective new hire comes around, the bottom line is how good
>their eye is, not if they can adjust a curve in Photoshop. (it doesn't hurt
>though) Of course, if they are into pd/pt printing, that person just scored
>big points! :)
> This may or may not be of interest, but here is a section of the
>PJ101 class Syllabus from the school, remember what those are? I might add
>that students have to work in the lab and perform all the Zone VI workshop
>tests as well.
> (I'm working on getting The New Platinum Print added to the list!)
>Required Textbooks:
> Truth Needs No Ally, Chapnick, Howard, University Of Missouri Press,
>1994.
> What's Goin' On, Lopez, Greg, edited by Kathleen Bohland,
>Bohland Publishing, 1996.
> Art & Fear, Bayles, David and Orland, Ted
> A Witness In Our Time, Light, Ken (will have to order from
>Tattered Cover)
> The Zone VI Workshop, Picker, Fred, Watson, 1978.
>
>Suggested Readings:
> Let Truth Be The Prejudice, W. Eugene Smith, Aperture, N.Y., 1985.
> Photographs That Changed The World, Lorraine Monk,
>Doubleday, N.Y., 1989.
> Dorothea Lange and the Documentary Tradition, Karin Ohrn, Louisiana
>State University Press, 1980.
> Why People Photograph; Selected Essays and Reviews, Robert Adams,
>Aperture, N.Y., 1994.
> Is Anyone Taking Notice, Don McCullin, MIT Press, Cambridge, MA.,
>1973.
> Photography and Society, Gisele Fruend, David R. Godine, Boston,
>1980.
>
>COURSE OBJECTIVE:
> The objective of this course is to come to an understanding of
>visual language through the practice of photography as it is applied to
>photojournalism and the study of photographic images.
>
>About The Class:
> "Today is the day."
>
> Ruth Bernhard preached this phrase to me twenty-five years ago on a
>daily basis. Today is the day. There are photographers wandering the world
>with half of your talent who get all the recognition. Some may explain this
>as the product of a fallen world. It is that and more. Most journalism
>students at the college level are looking for the free ride, for that media
>entity to come begging the student to sign on. The go-getters with minimal
>talent get the jobs while the gifted journalism student is postponing the
>completion of the portfolio while planning a graduation trip to Europe.
>Today is the day where all this changes.
>
>ABOUT THE COURSE:
> There are two ways in which a journalist may choose to work. One is
>for the furtherance of self. The second is to work to illuminate the human
>condition. The photojournalist, in the traditional / historical sense will
>work to illuminate the human condition. Choosing not to illuminate the
>human
>condition is to choose to work for the furtherance of self.
>
> I have found that the photojournalism student struggles with both
>the mastering of the machine (camera) as well as the understanding of the
>aesthetic photographic process. I believe photography is art and science
>and
>craft. It is my objective with the offering of this course to teach an
>easily understandable yet practical and profound approach to the making of
>photographs (the how-to) while simultaneously imparting upon the student
>the
>"why" of photojournalism. As photojournalists, we make images for mass
>consumption.
> It is my intention to help students become aware of their personal
>worldview; how it is we see ourselves in the world in which we live. It is
>from our personal worldview that we, as photojournalists, approach the
>subjects before our lens. It is from our personal world view that we begin
>to have an understanding of our individual explicit and implicit bias
>regarding our choice of subject matter, cropping, composition, personal
>narrative, irony, etc.
> With the uncovering of each student's personal worldview, there
>begins a cultivated knowledge that photojournalism is a subjective art
>form.
>It is not possible for the camera to be the incontrovertible, objective
>eye.
>The camera must be personally held, even if momentarily to be anchored
>somewhere (television's Mountain Cam, for instance). As the camera is held,
>choices must be made; focal length, lens position, lighting, composition,
>the aesthetic of content ... and most important, the decision of when to
>interrupt the time / space continuum (make an exposure). The culmination of
>these decisions is what creates the visual statement (image).
> Each student, at semester's end, will begin to understand the
>symbiosis between fine art photography and photojournalism. This revelation
>will become more clear as the student becomes aware of the historical
>precedence that has been established by photographers who have chosen to
>work within the genre of photojournalism; that is, photographers who make
>images that tell stories. In conjunction with assignments each week, the
>student will study the work of several photojournalists. This study of
>historical / contemporary photojournalists will help each student establish
>visual literacy. Knowledge of powerful images is the foundation that
>students begin to build a body of work. Knowing what makes powerful visual
>statements is the beginning to making powerful visual statements.
Check out my web page at:
also look at:
http://www.wlsc.wvnet.edu/www/pubrel/photo.html
_________________________________________________________________
MSN Photos is the easiest way to share and print your photos:
http://photos.msn.com/support/worldwide.aspx
This archive was generated by hypermail 2.1.5 : 09/19/02-11:11:01 AM Z CST