Class Documentary Photography Project II

The course of Documentary Photography Project II is essentially practical and takes place in the second semester, following the course with the same name taught in the first semester. This second moment of development of a documentary photography project intends to give continuity and deepen the projects started in the 1st semester, with the purpose of creating a dummy photobook or an exhibition proposal. Documentary Photography is the field of greatest expression and scope in the context of the artistic practice and creation of contemporary photography. It is intended that the student matures his conception of documentary photography and understands the mechanisms of research, practice and dissemination specific to the project of documentary photography. On the other hand, it is encouraged the development of a personal approach and a singular vision during the whole process of artistic creation, which contributes to an autonomous artistic practice.

Not applicable

Research prior to fieldwork: the identification of references, visual and otherwise, for the project to be developed.  Choice and editing of the work to be developed, the creation of meaning. Presentation of work by contemporary artists directly or indirectly related to the practice of documentary photography. Editing and sequence of the final work. Organization of the final portfolio. Design of an exhibition: printing formats; sequence of images; the relationship with the exhibition space; the installation and lighting. Photobook dummy: the functions of the photobooks; sequencing and narrative; materialities; design, printing and binding.

The curricular unit is built around a project-based learning model throughout the semester. This approach aims to develop creativity, self-directed learning and problem-solving skills. At the same time, collaboration and peer feedback are encouraged through critique sessions where students can exchange ideas, make constructive criticisms and learn from each other's work. The aim is to foster a sense of community and collaboration in the class. In addition, lessons are punctuated with presentations and discussions around the work of contemporary photographers relevant to the practice and themes developed in the class, and field trips are promoted whenever appropriate. Debates on ethical and cultural considerations in documentary photography are also promoted, helping students to develop a deeper understanding of the impact of their work on the subjects and/or communities they document.

Bull, Stephen (ed.). (2020). A Companion to Photography. John Wiley & Sons Ltd. Contacts Vol 1; 2; 3 [DVD]. Prod. ARTE video. Cotton, Charlotte. (2009). The Photograph as Contemporary Art. Thames and Hudson. Goldberg, Vicki (ed.). (1981). Photography in Print. Writings from 1816 to the Present. University of New Mexico Press. Lugon, Olivier. (2001). Le Style Documentaire; D'August Sander à Walker Evans, 1920 - 1945. Éditions Macula. Marien, Mary Warner. (2002). Photography. A Cultural History. Lawrence King Publishing. Mora, Gilles, Brannan, Beverly W. (2006). FSA: The American Vision. Abrams. Sontag, Susan. (2012). Ensaios sobre Fotografia. Quetzal Editores. Stallabrass, Julian (ed.). (2013). Documentary; Whitechapel documents of contemporary art. The MIT press.