sample syllabus and curriculum

Syllabus and Curriculum

Steve Polston

Instructor Intermediate Studio Arts – Photography (Tuesdays & Thursdays 1:30 – 2:50)

CONTACT: [email protected] and 317-‐966-‐1080

INDEX I. SYLLABUS 1. Teaching philosophy 2. Course purpose 3. Course description 4. Course objectives/learning outcomes 5. Course materials and texts 6. Policies and expectations

II. SAMPLE MATERIAL A. Class descriptions/goals B. Materials and texts C. Learning outcomes D. Lesson plans E. Lecture outline F. Rubrics G. QUIZ

III. CURRICULUM VITAE

SYLLABUS 1. Teaching philosophy

Students bring an extraordinary variety of academic and social experiences that

they use to engage with Photography and that they can use to communicate their art

intentions. As your photography instructor, I will help you identify your interests in genres,

photographic processes and important photographers that you will incorporate into your

midterm exam, final paper and portfolio project for this course. I will help you build on

your technical experience and ability so that you can communicate with clarity and

purpose about the things that matter to you. Discussion with your peers in each class

session will help you learn how to critique your own work, clarify your intentions, and

control your outcomes.

Seeing photographs as objects that communicate is essential to understanding how

the medium can be used to express inward intentions and understanding, moving beyond

illustration of outward appearances. With frequent in-‐class readings and independent

homework reading, students will form opinions and understanding of photography as art

and ways in which they themselves communicate with the medium.

The challenging and very conceptual homework readings are designed to be helpful

to you as you do research on your final paper so that you can be exposed to some of the

best theoretical and conceptual writing about photography. Classroom time will be spent

confronting some of these philosophical ideas and will help you confront your own

approach to image making. Reading for meaning is important if you intend to footnote

these passages for your paper. This approach to the coursework will make you a better

photographer and thinker as you finish your undergraduate work and prepare for graduate

and professional education. This is the Intermediate studio art course in Photography; it

will prepare you for presentation of a thesis project and final show if you enroll, later, in

Advanced Studio Arts as an undergraduate.

2. Course purpose Building on foundation courses such as Introduction to Photography and Basic

Photography, ARTS 298 (Intermediate Studio Art Topics, E. Photography) is for

students who wish to deepen their involvement in and expression with film and/or digital

photography. This course is significantly more difficult than foundation courses that

require the student to learn about equipment and printing in darkrooms and on digital

printers. Students will identify ways in which they can explore a subject such as landscape,

art-‐for-‐commerce, editorial, photojournalism, portraiture, and straight nature photography

(and others). After selecting a subject to study for the semester, students will identify the

equipment and materials and pursue a method in which they will work on the project. By

declaring their intentions and showing how they explore photography projects, students

will begin to clarify their work in the medium. This approach will help students strengthen

both their abilities and portfolios. Students will make images, prepare their images for

presentation in the traditional darkroom, a digital darkroom with physical prints, or show

their images on a web portfolio. Work can be in color or black and white.

By completing this course, students will be able to identify and establish their style

through image creation, as well as develop and write research papers about photographers

who influence the medium and who influence the student’s work. Students will complete a

final portfolio or other project, such as a set of prints, a gallery display, a website display, or

a publication. This becomes a very practical outcome of this course.

3. Course description

Students will have taken traditional darkroom courses (or in courses that relied on

Photoshop for image processing/alteration), so in this course the student will define an

area for research and exploration. Student photographers will receive support and

evaluation of the concept outline, as well as access to materials and equipment that

facilitate completion of the project.

Students will receive feedback and evaluation from the instructor and fellow

students, as well as be introduced to other perspectives about their research. Research

includes that paper and a final project that shows the student’s work in photography,

previously mentioned with the midterm exam.

Completing the image-‐making assignments for each class will help students see their

final project taking shape. Image creation and production will occur in the student’s own

time devoted to homework outside the classroom as well as in the wet and digital

darkrooms.

4. Course objectives/learning outcomes

Students will:

n research and prepare to exhibit their work in print, in a gallery, on a website, or in

portfolios

n complete a project that serves as a foundation for study in future courses, or that

serves as a completed project for job applications and partial fulfillment of senior

projects in other disciplines

n demonstrate proficiency in communication by learning to integrate feedback, peer

review and instructor critiques to improve photographic work and written work

n learn about genres and the photographers working in those genres; learn about

photographers and important events, exhibits and critics in photography, and

n use this information to develop their vision for the project and in their paper, as well

as to excel on the midterm exam

5. Course materials and texts

Required books for purchase are:

• The Ongoing Moment, by Geoff Dyer. (Paperback, 304 pages; Publisher: Vintage;

reprint edition March 13, 2007; English language; ISBN-‐10: 1400031680 and ISBN-‐

13: 978-‐1400031689);

• Photography After Frank, by Philip Gefter. (Paperback, 224 pages; Publisher:

Aperture; June 1, 2009; English language; ISBN-‐10: 1597110957 and ISBN-‐13: 978-‐

1597110952).

• Criticizing Photographs, An Introduction to Understanding Images, by Terry Barrett.

(Paperback, 312 pages; McGraw Hill Humanities; July 21, 2005; English language;

ISBN-‐10: 0072977434 and ISBN-‐13: 0072977434).

Required books for reading in the university library (check the reference desk>

instructor holds> in-‐library check-‐out only):

Weeks 1-‐8: Landscape and Memory, Simon Schama; and, Landscape Theory, Rachel Ziady

DeLue and James Elkins (editors). You will be assigned selected, short readings.

Weeks 4-‐6: Photography in Print: Writings from 1816 to the Present, Vicki Goldberg (Editor).

You will be assigned selected, short readings.

Weeks 7-‐8: Thoughts on Landscape, Collected Writings and Interviews, Frank Gohlke. You

will be assigned selected, short readings.

Weeks 8-‐12: Camera Lucida, Reflections on Photography, BARTHES, Richard Howard

(translator) and Geoff Dyer (foreword essay). You will be assigned selected, short readings.

Weeks 13-‐15: Search for the Real, Hans Hoffman. You will be assigned selected, short

readings.

6. Policies and expectations/Attendance and participation

LABS: your lab fee covers your darkroom, film and printing needs. Each student has

printing paper in the darkroom safe and up to two rolls of black and white film per week; in

the digital lab, photo paper is rationed to four 8x10 sheets per week. You may scan images

or upload digital files and email to me for out-‐of class review or for the in-‐class critique.

Your equipment manager will be available in the last 30 minutes of each class to checkout

equipment you may need or to help you trouble-‐shoot equipment issues. If you use your

own equipment, you may check with me during office hours to trouble-‐shoot equipment

malfunction. Darkroom safety: You are responsible for wearing safety goggles and gloves

while you work in the darkroom and the darkroom assistant will ask you to leave the

facility if you do not wear goggles and gloves. Your safety is important. Violators will be

reported to your instructor. Food and drinks are not allowed in the darkroom; you may use

the lounge areas for eating and drinking. Courteous behavior (discussion, conversation,

manners and actions) is expected. If you are kicked out of the darkroom for violations of

the code of behavior or for your conduct, your continued presence in this class will be

under scrutiny.

Attendance and participation in classroom discussion is mandatory, and students

will be held accountable for comprehension of lecture material through weekly

assignments, including writing parts of their final essay, quizzes about classroom

discussion, and by sharing their images in each class session.

Students should be prepared to speak in groups about their chosen themes and

receive feedback from classmates in a way that demonstrates openness and maturity, as

well as give criticism in productive and cogent ways. We will learn about how to create

substantial critical feedback by studying ways in which artists talk about art to each other.

In the second half of the semester, students will submit a complete body of

photographic images that relates directly to their proposal. The completed work should

demonstrate improvement in several areas.

The university’s policy on plagiarism and academic integrity is the guide for this

course, and the basic principle is that you must be able to prove that the work you claim is

your own is, indeed, your own. Work (photography, research and paper drafts) for each

class period must be new work, unless the instructor has given permission for an

assignment to show work created outside of the class.

Attendance

You are expected to attend class each session and show images and project progress

for your final presentation and paper. Doing this earns you 20 percent of the full points

available for the course and will be recorded when you take the in-‐class quiz each session.

You may choose three sessions to absent yourself from and there will be no penalty for

missing. Of course illness and death, accidents and weird life things happen to everybody

(even your instructor), so you should communicate as soon as you are able to by phoning

me (no texts) at 317-‐966-‐1080. School policy insists that regular attendance is an

important part of your education. You final letter grade may be lowered for excessive

absenteeism.

Late work

Late work will not receive a grade because the classroom sessions are designed for

you to show your work. Showing your work shows that you showed up to class and

participated by receiving feedback and the next assignment in the series. If your work is

late, bring it anyway to the next session so that you may receive valuable feedback about

your progress, process and project.

Grades and grading

How I grade this course is the way familiar to you in all your other classes:

A = 94-‐100%

A -‐ = 90-‐93%

B+ = 87-‐ 89%

B = 84 -‐ 86%

C+= 81 -‐ 83%

C= 77 -‐ 80%

D= 74 -‐ 76%

F= 73% and <

Final Project: 60 percent of your grade

Classroom Work: 20 percent of your grade

Final Paper: 20 percent of your grade

Attitude and behavior

It’s important to meet deadlines, participate in classroom discussions, create

homework assignments, be prompt, attend class, and communicate in a professional

manner (give and receive feedback). You and all members of the campus community share

responsibility to help create the safe zone of communication that is important in this

academic community; this includes while you are working on projects or researching your

paper outside of the class (darkroom, library, labs, community, campus).

SAMPLE MATERIAL

A. Class description/goals Week 1 – the objective of the first week is to set a positive tone for the class, set a pace for expectations and production, sets goals for the end of the term, create excitement about the possibilities for the student’s achievement, begin producing art and research

a. Become familiar with the syllabus and classroom behaviors, create positive communications and encourage discussion and positive critiques

b. Create awareness of how many quizzes, projects and papers are due and the timing c. Point out equipment and lab resources and identify assistants, procedures and

policies (refreshes information for photography students) d. Sensitize to the literature we survey in the course and how these sources help build

the paper and project e. Introduce genres and identify personal motivations, strengths and experiences f. Introduce ideation stage of creating projects and papers, and explore ways in which

we get our thoughts moving toward expression g. Assign Simon Schama readings on landscapes h. Dig into students’ ideas about landscapes (first genre) and how these may include

content of nature, cityscapes and urban environments, created realities, fantasy, etc. i. Assign creation of photographs that explore student final project ideas j. Create process/procedure for critiques and set expectations for participation and

professionalism k. Assign creation of a sample ideation project; this is to help create a record for the

student of how the individual project is developed l. Engage in discussion of first reading assignments and evaluate ways in which we

can use ideas for papers and projects m. Present first photographs and begin teaching about how to critique each other’s

work Week 2 – the objective of the second week is to clarify syllabus and course expectations by answering questions; to provide and create more material for inclusion in final projects and papers; develop understanding of critiques and how to do them; continue survey of course readings; continue ideation with journals and samples; solve problems regarding equipment needs and identifying methods and materials; identifying what portraits can and cannot do

a. Answer questions about syllabus b. Show idea journals and discuss how to record our efforts and how to move our

work from the brainstorming to the creation stages c. Discuss success with equipment and processes and identify challenges d. Discuss ideas about landscapes from master photographers and philosophers,

including Simon Schama, Frank Gohlke e. Continue to discuss genre and student goals for projects

f. Introduce ways in which camera, media and processes impact the student work and outcomes/intentions

g. Explore whether color or black & white communicates the student style and aesthetics better

h. Show our first images and learn about description and analysis, interpretation and evaluations

i. Introduce second readings on landscapes and writings by philosophers about photography

j. Introduce portraiture and constructed involvements, identifying the challenge of communicating meaning and assuming inward personality with the medium

k. Ask about paper and project progress; suggest ways in which the journal and the photography assignments become research and proof of student learning

l. Assign creation of images m. Use image critiques to encourage student progress

Week 3 – the objective of the third week is to strengthen ability to talk about photography in critiques, use the ideation journals to show how we develop our projects and papers, introduce design and concept/communication, produce photographs that show improvement in technique and illustrate our aesthetic

a. Show journals and begin to use the journal as a place to record our research b. Continue to discuss portraiture and introduce ways in which the photographer

communicates in editorial, lifestyle, advertising and fine art modes c. Wrap up discussion of landscape readings d. Introduce broader approaches to criticism and history with Terry Barrett and Geoff

Dyer e. Discuss how composition informs meaning, with concepts of sharpening and

balance, scale and repetition, color complements and light value f. Discuss ways in which photographer’s choices create style g. Assign creation of images h. Use images critiques to discuss and encourage a project focus i. Discuss materials and processes and allow for thoughts on historical processes and

materials j. Lecture about destructive editing in digital files and film/print blunders and pitfalls

– Walker Evans (cut negatives), Ansel Adams (re-‐printed for a final set of images) and Stephen Shore (re-‐envisioned exhibition from found negatives and small prints to larger prints)

B. Materials and texts

Week 1 Student materials/equipment

a. Copies of course syllabus (passed out by instructor) b. Journals (can be a lined thematic book or blank pages, should be larger than 5 x

7 inches); writing implements c. Camera equipment, film or media cards, darkroom paper or art jet paper

(available from the equipment and darkroom assistants, provided by student lab fees)

d. Camera/gear bag (student provides this in most instances, though equipment provided by equipment assistant usually comes with a basic leather/vinyl cover)

e. In-‐class readings (provided by instructor), reading list of items available in the library only

f. Scanner and computer, available in photography digital lab g. Cloud storage (provided as college fee) h. Prints of their work created for this week

Instructor materials/equipment

a. Syllabus, enough for each student b. Example of personal journal and sample of photographer’s journals to show as

projected slide c. Projector/monitor, slide screen d. Copies of the books required for the course e. Instructions on how to access reserve materials in the library (a copy of this for each

student) f. Copies of in-‐class readings, Terry Barrett on critiques g. Copies lab/equipment procedures (a copy of this for each student) h. Copy of Simon Schama and Frank Gohlke landscape books for lecture i. Copy of Photography in Print for lecture j. Copy of Walker Evans and Ansel Adams images for projection

Week 2 Student materials/equipment








a. Copies of the books required for the course b. Instructions on how to access reserve materials in the library (a copy of this for each

student) c. Copies of in-‐class readings on destructive editing and re-‐printing d. Copy of Simon Schama, Frank Gohlke landscape books for lecture e. Copy of Photography in Print for lecture f. Copy of Diane Arbus, Dorothea Lange, Richard Avedon, and Robert Mapplethorpe

images for projection Week 3 Student materials/equipment








a. Copies of the books required for the course b. Instructions on how to access reserve materials in the library (a copy of this for each

student) c. Copies of in-‐class readings on design and composition d. Copy of Photography in Print, The Ongoing Moment and Photography After Frank for

lecture e. Copy of Garry Winogrand, Stephen Shore, Edward Burtynsky, Ansel Adams and

Walker Evans images for projection

C. Learning outcomes

Week 1 Students will

n Become familiar with the course requirements for projects and papers n Understand equipment and darkroom rules/procedures n Find library reserve materials n Articulate their interest in genres n Discuss types and subgenres of landscape photography n Choose subjects and produce images that show their interest in a specific genre n Show two images for class review


n Show their journals and new images n Discuss aesthetic/design considerations in their own work n Understand the level of direction/involvement by photographers by looking at

portraiture, landscape and documentary work n Discuss the aesthetic and style points of Walker Evans, Ansel Adams, Diane Arbus,

Robert Mapplethorpe, Richard Avedon, and Dorothea Lange n Choose subjects and produce images that show their interest in a specific genre n Articulate their interest in genres n Discuss their choices of equipment, process and goals


n Show their journals and new images n Create new images that articulate their interest in genres n Discuss how exposure to master artists inspires the creation of their new work and

project, or ways in which they want to re-‐direct their project n Discuss ways in which they can narrow down their intention n Articulate the messages and communications delivered in the work of Dorothea

Lange, Walker Evans, Garry Winogrand, Diane Arbus, and Stephen Shore n Articulate the content of their final project (project out to the end what their hopes

are for their project)

D. Lesson plans

Intermediate Studio Arts – Photography (Tuesdays & Thursdays 1:30 – 2:50) Week One – Tuesday Student Learning Outcomes:

1. Express understanding of syllabus and required portfolio and project 2. Relate/re-state ideas of master landscape photographers and philosophers such as Frank

Gohlke and Simon Schama 3. Articulate own interest in genres 4. Articulate a critique with some new language by Terry Barrett

Building blocks Time What the teacher is doing What are the students doing? Tools needed Attendance Define purpose of course Review syllabus Introduce instructor’s experiences/bio Define success for course

1:30-2:00 Recording attendance, connecting names and faces, outlining major waypoints for project/paper; revealing own interests and showing own work; highlight how student interests relate to project and paper

Introducing selves, revealing own interests and experiences in photography; asking questions about syllabus and defining what’s necessary for success; making connection between prior knowledge and course outcome

Pen and notebook

Introduce genre: Landscapes Defined by Simon Schama and with examples and ideas by Frank Gohlke

2-2:15 Outlining Schama’s thoughts on landscapes and human intervention; projecting images from Renaissance paintings and Frank Gohlke photographs

Laptops/tablets may be on, asking questions, taking notes; re-stating and relating Gohlke’s thoughts on culture in landscape

Laptops, notebook

Show map of library and outline procedure for checking out reserve materials

2:15-2:20 Identifying importance of early access to the ancillary readings on library reserve; assigning short survey of The Photo Book (“look at it and record artist name and images that appeal”)

Asking questions, reflecting understanding that the reading is due next meeting

Pen and notebook, computers if desired

Demonstration 2:20-2:35 Hand out Terry Barrett checklist on criticism, make assignment of Terry Barrett readings (Chapter 1: About Art Criticism), Simon Schama readings (Prologue: Wood, Detour up to page 23) on library reserve

Asking questions, reflecting understanding that the reading is due next meeting; Making a one-sentence critique of a photograph with prior student learning then apply Terry Barrett terminology


Making photo assignment 2:35-2:50 Make assignment for two photos due next time; assign brief outline for final paper

Reflect understanding that the assignment is due next meeting


Intermediate Studio Arts – Photography (Tuesdays & Thursdays 1:30 – 2:50) Week One – Thursday Student Learning Outcomes:

1. Express understanding of syllabus and required portfolio and project 2. Show new work and articulate genre, use new language to critique photographs 3. Identify communication themes in landscape photographs 4. Identify personal interests and turn in outline of final paper 5. Relate and restate ideas about how portraits communicate

Building blocks Time What the teacher is doing What are the students doing? Tools needed

Attendance Review assignments: Gohlke and Schama readings; The Photo Box book; two new photographs; outline for final paper

1:30-2:00 Records attendance, outlines waypoints for project/paper; identify landscape terms from Schama about culture and identity, identify Gohlke ideas about man’s intervention; highlight student interests related to project and paper; pass out quiz; investigate student knowledge with 5-question quiz

Asking questions about three readings, and paper outline; taking quiz; re-stating interest in photographers they discovered in The Photo Box

Pen and notebook

Introduce ideas for journals, connect to research for paper and project

2-2:15 Show own journals and project sample journal formats on video screen

Laptops/tablets may be on, asking questions, taking notes; may show their own journals

Laptops, notebook

Introduce ideas about portraiture

2:15-2:30 Assess attitudes about portraits; hand out one-page resource on quotes about what portraits do and don’t do; talk about where portraits are used; talk about constructed reality, directed reality and assisted reality

Asking questions, reflecting understanding; arguing points. Restating ideas from Diane Arbus on portraits. Restating own experience in portrait studio.


Demonstration 2:30-2:45 Collect two images from each student, project images that were turned in electronically and show prints that were handed in during class

Making a one-sentence critique of a student photograph with prior student learning and Terry Barrett checklist

Eyes and ears, gentle hands, mouths

Making photo assignment; making reading assignments; making assignment for introduction to paper

2:45-2:50 Collect journal samples; make assignment for two photos due next time; assign introduction for paper; assign readings from Barrett (Chapter 2: Describing photographs: “What Do I See?”), from Schama Chapter 3 (“The Liberties of the Greenwood,” especially Green Men and In Extremis)

Reflect understanding that the assignments are due next meeting


Intermediate Studio Arts – Photography (Tuesdays & Thursdays 1:30 – 2:50) Week Two – Tuesday Student Learning Outcomes:

1. Express understanding of syllabus and required portfolio and project 2. Show new work and articulate genre, use new language to critique photographs 3. Identify communication themes in landscape photographs 4. Identify personal interests and turn in introduction of final paper 5. Relate and restate ideas about how portraits communicate

Building blocks Time What the teacher is doing What are the students doing? Tools needed Attendance Review assignments: Barrett and Schama readings; two new photographs; introduction for final paper

1:30-2:00 Records attendance, emphasizes that outline and introduction are beginnings of final paper; identify landscape themes from Schama about historical identify; identify Barrett’s ideas about describing photographs; highlight student interests related to project and paper; pass out quiz; investigate student knowledge with 5-question quiz

Asking questions about two readings, and paper rough draft; taking quiz

Pen and notebook

Discuss student journals and highlight good examples

2-2:15 Share and return student journals; make assignment to turn in journals next meeting


Laptops, notebook

Discuss and demonstrate more landscape and portrait ideas, themes,

2:15-2:30 Assess attitudes about portraits; ask students where how to use portraits in editorial, fashion, commerce, lifestyle uses; ask for

Asking questions, reflecting understanding; arguing points about genres and their literal subjects


masters

student interest in portraits and tie that to possible final projects; project portraits on screen; ask for student interest in landscapes


Appoint three students to select a student photograph and make a gentle critique with new language from Terry Barrett checklist


Making photo assignment; making reading assignments; making assignment for 1 page rough draft of 5-page final paper

2:45-2:50 Collect journal samples; make assignment for two photos due next time; assign a single page due for rough draft for 5-page final paper; assign readings from Barrett (Chapter 5: Photographs and Contexts), from Schama Chapter 4 (“The Verdant Cross,” especially Tabernacles and Volvos at the Sepulchre)



Intermediate Studio Arts – Photography (Tuesdays & Thursdays 1:30 – 2:50) Week Two – Thursday Student Learning Outcomes:

1. Express understanding of syllabus and required portfolio and project 2. Show new work and identify interest in a single genre, use new language to critique

photographs, make choices about color or black & white processes 3. Weigh whether historical ideas in landscapes are relevant to student interest 4. Identify personal interests and turn in single page rough draft of final paper

Building blocks Time What the teacher is doing What are the students doing? Tools needed Attendance Review assignments: Barrett and Schama readings; two new photographs; rough draft for final paper

1:30-2:00 Records attendance, emphasizes that rough draft reflects arguments or personal research; identify landscape themes from Schama about historical identify; identify Barrett’s ideas about analyzing photographs; pass out quiz; investigate student knowledge with 5-question quiz

Asking questions about two readings, and paper rough draft; taking quiz

Pen and notebook

Discuss student journals and highlight good examples

2-2:15 Share and return student journals; make assignment to turn in journals next meeting


Laptops, notebook

Discuss and demonstrate documentary and editorial projects

2:15-2:30 Assess attitudes about documentary, editorial, photographic involvement and past experiences; project documentary work of Camilo Jose Vergara, Walker Evans and Dorothea Lange; assess student interest and tie that to possible final project work

Asking questions, reflecting understanding; arguing points about landscape genres with information about documentary, journalism, fantasy; discuss differences in color and black/white – which has more impact?





Making photo assignment; making reading assignments; making assignment for 1 page

2:45-2:50 Collect journal samples; make assignment for two photos due next time; assign another page due for rough draft for 5-page final paper (answering the question, “Why I



5. Answer question/persuade others: Does a portrait photograph communicate interior character

Intermediate Studio Arts – Photography (Tuesdays & Thursdays 1:30 – 2:50) Week Three – Tuesday Student Learning Outcomes:

1. Identify photographers working in student’s chosen genre 2. Show new work and identify interest in a single genre, use new language to critique

photographs 3. Identify interest in documentary and editorial work 4. Identify whether color or black and white is the student’s preferred mode 5. Answer question/persuade others: Does color work best for documentary, for portraits,

for landscapes? Building blocks Time What the teacher is doing What are the students doing? Tools needed Attendance Review assignments: Dyer reading (“The Ongoing Moment”); two new photographs; another page of rough draft (Color Vs. Black and White)

1:30-2:00 Records attendance, emphasizes that rough draft reflects arguments or personal research; identify theme from Dyer (universal content for 20th Century photography); pass out quiz; investigate student knowledge with 5-question quiz

Asking questions about reading, and paper rough draft; taking quiz

Pen and notebook

Discuss student research exposition on Color vs. Black and White

2-2:15 Projects themes from Dyer’s book (hats, blind men, poverty, social themes); project Walker Evans themes on lyrical documentary; project Stephen Shore and William Eggleston color work

Laptops/tablets may be on, asking questions, taking notes;

Laptops, notebook

Discuss and demonstrate documentary, editorial and formal projects

2:15-2:30 Assess attitudes about documentary, editorial, photographic involvement and past experiences; project documentary and formal work of Alec Soth, Jeff Brouws, Robert Voit, and Bernd and Hilla Becher; pass out one-page review of above photographers

Asking questions, reflecting understanding; arguing points; discuss content of Soth, Brouws, Voit, Bechers – answering question: what is the intent of the artists?





Making photo assignment; making reading assignments; making writing assignments

2:45-2:50 Collect journal samples; make assignment for two photos due next time; assign another page due for rough draft for 5-page final paper (answering the question, “Why I Choose to Explore Portraits or Documents or Fantasy/Lyrical Work)”; assign reading from “The Ongoing Moment” by Geoff Dyer (pages 41-81)



Intermediate Studio Arts – Photography (Tuesdays & Thursdays 1:30 – 2:50)

rough draft of 5-page final paper

Photograph With Color (or Black and White)”; assign reading from “The Ongoing Moment” by Geoff Dyer (pages 1 to 40)

Week Three – Thursday Student Learning Outcomes:

1. Articulate choices for final project (lyricism, fantasy, portraits, documents, landscapes) 2. Show new work and use practice in critique-language 3. Identify master photographers and their key themes (Robert Frank) 4. Defend use of color/black and white choices 5. Identify and defend influences/inspirations

Building blocks Time What the teacher is doing What are the students doing? Tools needed Attendance Review assignments: Dyer reading (“The Ongoing Moment”); two new photographs; another page of rough draft (Why I Choose ….)

1:30-1:45 Records attendance, emphasizes that rough draft reflects arguments or personal research; identify theme from Dyer (how a photographer works with a common theme shows his style); pass out quiz; investigate student knowledge with 5-question quiz

Asking questions about readings, and paper rough draft; taking quiz

Pen and notebook

Discuss student research exposition on Why I Choose Documentary, Portraits or Fantasy/Lyrical work …

1:45-2:15 Projects themes from Dyer’s book (formalism, politics, racism); project images from The Americans, by Robert Frank; show 20 minutes of An American Journey: In Robert Frank's Footsteps

Laptops/tablets may be on, asking questions, taking notes;

Laptops, notebook

Discuss and demonstrate documentary, editorial and formal projects

2:15-2:30 Assess attitudes about documentary, editorial, photographic involvement and past experiences;

Asking questions, reflecting understanding; arguing points about lyrical documentary and identifying photographers





Making photo assignment; making reading assignments; making writing assignments

2:45-2:50 Collect journal samples; make assignment for two photos due next time; assign another page due for rough draft for 5-page final paper (answering the question, “My Influences and Inspirations Are (or come from)”; assign reading from “The Ongoing Moment” by Geoff Dyer (pages 81-125)



E. Lecture outline This is a detailed lecture outline for the Week One, Tuesday portion of my class, focused on landscapes, the readings from Simon Schama and examples from Frank Gohlke’s photographs, examples from Robert Adams’ photographs, and Renaissance paintings. Reflections on landscape photography Lecture by Steve Polston, instructor Intermediate Studio Arts – Photography Tuesday, Sept. 1, 2015 – 2-‐2:15 p.m. 1. Introduction a. landscape as a photographic genre b. we will consider some definitions and show some examples: -‐-‐ student definitions -‐-‐ philosopher definitions (Simon Schama) -‐-‐ examples from Renaissance paintings -‐-‐ examples from Frank Gohlke and Robert Adams c. why are we studying this? -‐-‐ showing relevant sources for your own research paper -‐-‐ providing examples to inspire student work -‐-‐ learning to identify genres and photographers associated with the genres d. feel free to look up websites and picture sources as we discuss the topic (http://frankgohlke.com, http://fraenkelgallery.com/artists/robert-‐adams http://en.wikipedia.org/wiki/Mississippi_River, http://www.nps.gov/indu/index.htm, http://www.nps.gov/maca/index.htm, http://www.in.gov/dnr/parklake/2964.htm, http://www.in.gov/dnr/parklake/2970.htm) 2. Landscape as a worthy art study a. Follow along in your book or photocopies: Simon Schama, Landscape and Memory, pp. 6: “For although we are accustomed to separate nature and human perception into two realms, they are, in fact indivisible. Before it can ever be a repose for the senses, landscape is the work of the mind. Its scenery is built up as much from strata of memory as from layers of rock.” This is the key and underlayment to understanding Schama that I want you to take away. -‐-‐ two points to understand: human perception and nature exist together; and landscape isn’t a place to be and experience, alone; it is also tied to your perception and memory. b. Student definitions: many of you mentioned the natural areas as being the places you would make a landscape photograph. What are your places?: -‐-‐ state parks: Turkey Run State Park, Shades State Park and Big Walnut Nature Preserve are all within 30 minutes drive of the campus

-‐-‐ national parks: Dunes National Lakeshore on Lake Michigan is three hours’ drive; Mammoth Cave National Park is about five hours’ drive; the Mississippi River is about four hours’ drive -‐-‐ you’ll be asked to name places in the quiz c. Is landscape a pure place? Isn’t it simpler than Schama is telling us? -‐-‐ John Muir hiked up into the northern California mountain range and gave us glorious descriptions of what became Yosemite National Park. -‐-‐ the National Geographic films and photographs in our memories are astonishing and make us feel, but the photographer didn’t discover the place -‐-‐ the concept of landscape, Schama tells us, entered our vocabulary as Dutch words in the 16th Century. -‐-‐ the word landschap is from a German root Landschaft. But signifies an area of human habitation, jurisdiction or occupation. It also might be a pleasing object of depiction. Schama tells us even more on pp. 10 and you’ll want to know it for the quiz. d. In Renaissance art, Nature was incorporated in the paintings that showed religious themes and the landscape was even a part of the scenery shown through public squares and windows. a. Titian, La Vierge au Lapin à la Loupe (The Virgin of the Rabbit), 1530, Louvre, Paris. Idealized Italianate landscape background. http://upload.wikimedia.org/wikipedia/commons/a/a5/La_Vierge_au_Lapin_à_la_Loupe.jpg b. Rembrandt, The Three Trees etching. http://upload.wikimedia.org/wikipedia/commons/2/2b/Die_landschaft_mit_den_drei_baeumen.jpg c. Albrecht Altdorfer, Danube landscape near Regensburg c. 1528; http://upload.wikimedia.org/wikipedia/commons/5/5c/Albrecht_Altdorfer_007.jpg e. Can you think of other paintings in other times that you have seen that depict the landscape as we have seen in the paintings? Try to remember two artists who showed the natural world in their paintings. f. Let’s look at Frank Gohlke’s work. Gohlke traces his interest in man-‐altered landscapes to 1971 and his arrival in Minneapolis. He was looking at grain silos. 1.http://payload222.cargocollective.com/1/14/451871/6755710/Abandoned%20grain%20elevator-‐%20Homewood-‐%20Kansas-‐%201973.jpg 2. http://payload222.cargocollective.com/1/14/451871/6755710/Grain%20elevators%20-‐%20Minneapolis%20-‐%20Series%20I-‐%20-‐26-‐%201973.jpg 3. http://payload222.cargocollective.com/1/14/451871/6756208/Aerial%20view-‐%20ash-‐covered%20snow-‐%20snow-‐covered%20ash.%20East%20flank%20of%20Mount%20St.%20Helens-‐%20Washington-‐%201982.jpg 4. http://payload222.cargocollective.com/1/14/451871/6756208/Timber%20salvage%20on%20ridge%20at%20eastern%20limit%20of%20blast%20zone.%20Clearwater%20Creek%20Valley-‐%20ten%20miles%20northeast%20of%20Mount%20St.%20Helens-‐%20Washington-‐%201983.jpg

Gohlke was using the literal subjects he found in landscapes, such as grain silos, to provide content and an inference of meaning. The inferences were about the use of grain silos in the economy and the way they pierced the sky; and the volcanic movements at Mount St. Helen showed the rhythm and pattern associated with the explosion and debris field; this is where he found form. G. Let’s look at Robert Adams’ landscape images. He began his fulltime pursuit of photography 45 years ago, looking at the suburbanization of landscapes. It is a very rich resource of material. You can see in many images that what people built has all but obscured the natural features of the land. 1. http://fraenkelgallery.com/wp-‐content/uploads/2012/04/RA-‐06-‐08391-‐725x570.jpg 2. http://fraenkelgallery.com/wp-‐content/uploads/2012/04/Adams_WhatWeBought-‐10-‐742x570.jpg 3. http://fraenkelgallery.com/wp-‐content/uploads/2012/04/Adams_TheNewWest-‐8-‐589x570.jpg 4. http://fraenkelgallery.com/wp-‐content/uploads/2012/04/RA-‐06-‐0107-‐731x570.jpg Are Adams images positive or negative? You should know that he was using light to shape the topography and define his subjects. What else do you notice? You should know that Adams is well known by people who are concerned with the American West and landscape photography. He has written many books, including The New West, From the Missouri West, Summer Nights, Los Angeles Spring, and To Make It Home F. Frank Gohlke also has written much and you’ll be looking at excerpts from his book Collected Writings and Interviews. 1. from pp. 67: “If the storage and distribution of grain were the only functions the (grain) elevators serves, however, they would not have the prominence with the landscape that they do. A community of practical farmers does not build a concrete tower one hundred feet tall for the sake of the view. Vertical storage has real advantages, but it is nevertheless a choice worth remarking in places where there is little else but horizontal space. Perhaps they remind people what vertical is.” 2. Do you think that Gohlke is convinced that nature, alone, is the subject of landscape photography? Can you name some other bits of content that can be included in a landscape photograph? Some things are: factories, houses, hotels, swimming pools, highways. 3. Conclusion Continue to read in Schama and Gohlke, especially the Schama piece on the forest, called “Wood, Detour” up to page 23. What I think is important for you to begin doing is to expand your idea of what a landscape might be.

F. Rubrics

Week 1 Tuesday Discussion rubric – To receive A: student should listen actively and with respect to classmates and instructor; make comments that are relevant and reflect understanding of the text and the previous remarks of other students, with insight to the material. The student’s comments should move the discussion ahead. The student is able to participate when asked. To receive B: The student sometimes drifts in attention and provides comments that may be irrelevant or off-‐topic without regard to previous comments; sometimes the student’s remarks advance the discussion; sometimes the student participates. To receive C: the student occasionally displays lack of interest in the class discussion; comments show lack of preparation or understanding of photographic syntax and may only occasionally advance the conversation. The student occasionally participates. To receive D: student shows disrespect for the other students or instructor; comments are not related to the discussion or apply photographic syntax; there is little understanding of the current topic. If asked, the student participates at a minimal level and seldom advances the conversation. To receive F: The student is disrespectful and not paying attention; comments are not related to the conversation and are intentionally disrespectful. Student comments don’t advance the discussion; there may not be participation at all. Thursday Assignment photographs rubric – daily class assignment (not the final project) To receive A: student must submit two photographs that clearly represent the assignment; there is very strong evidence of the elements of design with clear effort to control the image and make sound decisions. The image should be technically sound in every way, with correct exposure, white balance, range of tones, and control of color. To receive B: the student may have turned in one photo instead of two; the photos mostly represent the assignment there are some design elements or principles. The student displayed good effort to make sound decisions, and there is mostly correct exposure, white balance and range of tones and correct color. To receive C: the student may have turned in one photo instead of two; the images somewhat represent the assignment, but there are few examples of design elements; exposure, white balance and range of tones/color are somewhat correct. To receive D: student turned in one photo; the photo barely represents the assignment and only minimally uses design principles or elements; there was little effort at decision making; the image was only minimally correct in use of exposure, white balance, range of tones or use of color.

To receive F: there was no photograph turned in and the student did not photograph anything; there are no principles or design elements shown; there was no effort to control the photograph and the image is not technically sound; exposure, white balance, range of tones or color is completely wrong. Discussion rubric – To receive A: student should listen actively and with respect to classmates and instructor; make comments that are relevant and reflect understanding of the text and the previous remarks of other students, with insight to the material. The student’s comments should move the discussion ahead. The student is able to participate when asked. To receive B: The student sometimes drifts in attention and provides comments that may be irrelevant or off-‐topic without regard to previous comments; sometimes the student’s remarks advance the discussion; sometimes the student participates. To receive C: the student occasionally displays lack of interest in the class discussion; comments show lack of preparation or understanding of photographic syntax and may only occasionally advance the conversation. The student occasionally participates. To receive D: student shows disrespect for the other students or instructor; comments are not related to the discussion or apply photographic syntax; there is little understanding of the current topic. If asked, the student participates at a minimal level and seldom advances the conversation. To receive F: The student is disrespectful and not paying attention, comments are not related to the conversation and are intentionally disrespectful. Student comments don’t advance the discussion; there may not be participation at all. Writing assignment rubric – (paper outline) To receive A: student turned in outline for their final paper (at least most of a page), with indication of the main topic/thesis, indication of ideas and a clear roadmap to what the paper will be about; the student indicates how they will relate photography syntax to their style choices and a choice of genre; the outline indicates an introduction, a middle and a conclusion; writing shows specific topics to be covered in the final paper; and the outline demonstrates the student can take this outline and turn it into a substantial essay and demonstration of research. To receive B: student turned in outline that was at least a half page, with a delineation of a topic/thesis, an introduction, a middle and a conclusion; the outline may indicate some content about genres, and style, but does not indicate interest in photographic syntax; the outline does not indicate there is substantial interest in producing a five-‐page paper (maybe four pages); the outline does not promise much more than opinion. To receive C: the student’s outline may be a half-‐page, but it includes just a title for the topic and indicates an introduction, middle and conclusion, with no inference of the topic or the sub-‐topics that interest the student; there is no roadmap for taking the paper from a solid thesis to a well-‐researched conclusion. To receive D: the student has turned in an outline that is about no specific topic, except general photography and does not indicate an interest in genres or photographic syntax; the student is not engaged in making research choices or projecting photographic interests onto the page.

To receive F: the student doesn’t turn in an outline; or the outline indicates nothing that could be developed beyond a topic sentence. Week 2 Tuesday and Thursday Assignment photographs rubric – daily class assignment (not the final project) To receive A: student must submit two photographs that clearly represent the assignment; there is very strong evidence of the elements of design with clear effort to control the image and make sound decisions. The image should be technically sound in every way, with correct exposure, white balance, range of tones and control of color. To receive B: the student may have turned in one photo instead of two; the photos mostly represent the assignment there are some design elements or principles. The student displayed good effort to make sound decisions, and there is mostly correct exposure, white balance and range of tones and correct color. To receive C: the student may have turned in one photo instead of two; the images somewhat represent the assignment, but there are few examples of design elements; exposure, white balance and range of tones/color are somewhat correct. To receive D: student turned in one photo; the photo barely represents the assignment and only minimally uses design principles or elements; there was little effort at decision making; the image was only minimally correct in use of exposure, white balance, range of tones or use of color. To receive F: there was no photograph turned in and the student did not photograph anything; there are no principles or design elements shown; there was no effort to control the photograph and the image is not technically sound; exposure, white balance, range of tones or color is completely wrong. Discussion rubric – To receive A: student should listen actively and with respect to classmates and instructor; make comments that are relevant and reflect understanding of the text and the previous remarks of other students, with insight to the material. The student’s comments should move the discussion ahead. The student is able to participate when asked. To receive B: The student sometimes drifts in attention and provides comments that may be irrelevant or off-‐topic without regard to previous comments; sometimes the student’s remarks advance the discussion; sometimes the student participates. To receive C: the student occasionally displays lack of interest in the class discussion; comments show lack of preparation or understanding of photographic syntax and may only occasionally advance the conversation. The student occasionally participates. To receive D: student shows disrespect for the other students or instructor; comments are not related to the discussion or apply photographic syntax; there is little

understanding of the current topic. If asked, the student participates at a minimal level and seldom advances the conversation. To receive F: The student is disrespectful and not paying attention; comments are not related to the conversation and are intentionally disrespectful. Student comments don’t advance the discussion; there may not be participation at all. Tuesday Writing assignment rubric – (introduction for paper) To receive A: student turned in an introduction of their final paper that includes well-‐developed and clear prose that proclaims the student’s thesis and direction for this paper; the introduction is logical and predicts a general development of the outline for their final paper; the student has indicated an interest in a genre, a style, a photographic syntax and indicated a point on the timeline of the history of photography; there are no spelling errors and terms and historical facts are indicated with mastery; the writing promises an interesting and scholarly paper to follow. To receive B: student turned in an introduction that is clear, but not developed enough to warrant a full treatment in a scholarly essay or research paper; the flow from sentence to sentence is logical, but there may be abrupt transitions; there is interest in a point of history and genre’s, but the student may not have indicated a clear way to write much more than a few pages of content; there may be one or two spelling errors; there should no grammar errors. To receive C: the student’s introduction may be a paragraph of content that is not really an introduction but more like an essay statement that does not indicate a broad idea with any promise of depth; the introduction may have a spelling error or leave out references to photographic terminology or syntax; there is not much promise of a full treatment to come. To receive D: the student has turned in a paragraph that makes a non-‐scholarly statement, such as “I will write about …” or which shows little ideation about a fuller essay or research paper. There are no references to history, genres, photographers or styles. To receive F: the student doesn’t turn in an introduction, or the introduction is just one or two sentences; there is no roadmap to predict a longer treatment. Week 3 Tuesday and Thursday Assignment photographs rubric – daily class assignment (not the final project) To receive A: student must submit two photographs that clearly represent the assignment; there is very strong evidence of the elements of design with clear effort to control the image and make sound decisions. The image should be technically sound in every way, with correct exposure, white balance, range of tones and control of color.

To receive B: the student may have turned in one photo instead of two; the photos mostly represent the assignment there are some design elements or principles. The student displayed good effort to make sound decisions, and there is mostly correct exposure, white balance and range of tones and correct color. To receive C: the student may have turned in one photo instead of two; the images somewhat represent the assignment, but there are few examples of design elements; exposure, white balance and range of tones/color are somewhat correct. To receive D: student turned in one photo; the photo barely represents the assignment and only minimally uses design principles or elements; there was little effort at decision making; the image was only minimally correct in use of exposure, white balance, range of tones or use of color. To receive F: there was no photograph turned in and the student did not photograph anything; there are no principles or design elements shown; there was no effort to control the photograph and the image is not technically sound; exposure, white balance, range of tones or color is completely wrong. Discussion rubric – To receive A: student should listen actively and with respect to classmates and instructor; make comments that are relevant and reflect understanding of the text and the previous remarks of other students, with insight to the material. The student’s comments should move the discussion ahead. The student is able to participate when asked. To receive B: The student sometimes drifts in attention and provides comments that may be irrelevant or off-‐topic without regard to previous comments; sometimes the student’s remarks advance the discussion; sometimes the student participates. To receive C: the student occasionally displays lack of interest in the class discussion; comments show lack of preparation or understanding of photographic syntax and may only occasionally advance the conversation. The student occasionally participates. To receive D: student shows disrespect for the other students or instructor; comments are not related to the discussion or apply photographic syntax; there is little understanding of the current topic. If asked, the student participates at a minimal level and seldom advances the conversation. To receive F: The student is disrespectful and not paying attention; comments are not related to the conversation and are intentionally disrespectful. Student comments don’t advance the discussion; there may not ne participation at all. Thursday Writing assignment rubric – (rough draft for paper) To receive A: student turned in a rough draft of their paper of at least three pages, including their previous introduction and references to their outline from Week One; the strength of this work is that it indicates the complete paper will cover all the topics the student promised in the introduction and outline, even if not all the topics are fleshed out. There are references to photographic syntax. The student has indicated profession of photographic style and genre. The student is working toward an essay or research paper

that builds on information presented in class lectures and is showing footnoted sources for some statements and a basic list of bibliographic sources. To receive B: This rough draft is less than three pages and it may have left out key elements such as the paper introduction or references to the outline. The student is working toward development of a thesis or is just extending their introduction with opinion statements. A spelling error may have crept in. The student is introducing some bits of content from research. There is an attribution of research or a footnote and a source list. To receive C: The student has turned in less than two pages and there is a general thrust that indicates the student has an interest and is beginning to do research about an aspect of photography. There may be a few spelling errors. There may be no source list or bibliography to indicate the student is working toward a substantial topic. To receive D: The student turned in less than a page. There may be a restatement of the introduction or repeat of the outline, but there is no additional writing. It does not appear as if the student is interested in the content of the course, just writing opinions. To receive F: the student doesn’t turn in anything, or there may be just a few sentences or content.

G. Quiz

Midterm Quiz

1. Landschap and Landschaft are two important words that entered our language in the 16 Century. TRUE or FALSE? (Ans. True) a. true b. false

2. The conceptual landscapes of Frank Gohlke include _________ . CHOOSE THE

BEST ANSWER FROM THE CHOICES BELOW TO FILL IN THE BLANK. (Ans. C)

a. grain silos and the aftermath of tornadoes b. Mt. St. Helens and The Sudbury River c. Both A and B d. Neither A nor B

3. Robert Adams, American photographer working in the Western United States,

said his “work is largely concerned with moments of regional transition: the suburbanization of Denver, a changing Los Angeles of the 1970s and 1980s, and the clear-‐cutting in Oregon in the 1990s.” TRUE or FALSE? (Ans. True)

a. true b. false

4. Lee Friedlander has photographed several subjects in the past six

decades, including historical monuments, musicians, nudes and _________. Fill in the blank. (Ans. Landscapes)

5. The Ongoing Moment is Geoff Dyer’s survey of themes found in

photography over and over again. Is it true or false that he, himself, is not a photographer. (Ans. True)

a. true b. false

6. Simon Schama is a philosopher. TRUE or FALSE? (Ans. True)

a. true b. false

7. In Simon Schama’s book, he wrote, “landscape is the work of the mind.” Write a short paragraph that explains the fundamental understanding that you learned about landscapes from reading Simon Schama. (Rubric: the student writing should incorporate themes such as nature, perception and memory, or human action and history.)

8. Depression-‐era photographer Walker Evans taught courses on photography at Harvard in the early 1970s. His early, main work was in black and white. The last two years of his life were spent working in color with a Polaroid Land Camera. Write a short paragraph that shows your understanding about the relationship of his early work to his late work. (Rubric: the student writing should incorporate the subject of his Polaroid work – letters of the alphabet that resembled his early fascination with signs and postcards.)

9. Stephen Shore wrote that the depictive level of photography showed us the four ways the medium changes perception of the world. The four ways are flatness, frame, time and ____________. Fill in the blank with the correct answer. (Ans. A – focus)

a. focus b. mental c. emotional d. chemical

10. William Eggleston was a pioneering photographer and one of the first to establish the use of ____________ in fine-‐art photography. Choose the best answer to fill in the blank. (Ans. A – Color)

a. color b. black and white

III. Curriculum Vitae Steve Polston ǀ [email protected] 2344 N. New Jersey St. Indianapolis, Ind. 46205 317-‐966-‐1080 TEACHING EXPERIENCE Adjunct instructor – INDIANA UNIVERSITY,

Richmond, Ind., 1988-‐1989; Adjunct faculty, Journalism; instructed working journalists on law, ethics, reporting, writing, editing and design of campus newspaper

Co-‐instructor – FRANKLIN COLLEGE OF INDIANA, Hometown, Winter Term 1987

EXHIBITION In development, Monuments of the City, a fine-‐art landscape project for a local history museum (March 2016 – June 2016)

EMPLOYMENT Freelance photographer, editorial and design consultant

Clients include: Episcopal Diocese of Indianapolis; EmberWood Center; Christ Church Cathedral; Church of The Advent; Waycross Conference Center; DJ Case & Associates

Test evaluator – Kelly Services, Indianapolis;

intermittent work employing rubrics to score essay answers for elementary schools Blogger – Examiner.com (Indianapolis outdoors-‐travel writer); instructional columns on outdoor photography

Spokesperson – INDIANA DEPARTMENT OF

ENVIRONMENTAL MANAGEMENT, 2007; Spokesman for TV, Radio and Newspaper on water quality issues; delivered factual information to promote confidence in the agency’s response to environmental management issues

Senior editor – OUTDOOR INDIANA magazine, 1995-‐ 2004; Directed and approved work of seven graphic artists, photographers and writers; provided photography for news items and feature stories for bi-‐monthly magazine; spokesman for agency on natural resources and historic sites management

Spokesperson – INDIANA STATE MUSEUM, Indianapolis, Ind., 1992-‐1995; Media relations coordinator, promoted exhibitions Spokesperson – SOCIETY OF PROFESSIONAL JOURNALISTS, Greencastle, Ind., 1990-‐1991; Media relations coordinator, newsletter editor; promoted membership organization to other journalists Spokesperson–THE REPUBLIC, Columbus, Ind., 1989-‐1990; PALLADIUM-‐ITEM, Richmond, Ind., 1987-‐1989; INDIANAPOLIS STAR, Indianapolis, Ind., stringer, 1990

EDUCATION ACADEMY OF ART UNIVERSITY, San Francisco, Cal. MFA Photography (December 2015)

FRANKLIN COLLEGE OF INDIANA, Franklin, Ind. BA Journalism (1987) Chupp Award for Graduating Senior Showing Most Promise for a Career in Journalism; Pulitzer Prize nominee for work with investigative team

MEMBERSHIP Society for Photographic Education, Midwest

Region and LGBTQ Caucus

SELECTED CREDITS Book cover, Nubby – Nancy Paul (ISBN – 13: 978-‐0989438803) Book Cover, Keeping my Sister – Nancy Paul (ISBN – 098943883X) Book interior photos, Wicked Indianapolis – Andrew Stoner

(ISBN – 1609492056, 9781609492052) Book interior photos, Stone, Steel and Spirit Indiana State Museum (ISBN – 1578601622, 9781578601622) Book interior photos – Notorious 92, Indiana’s Most Heinous Murders in All 92 Counties – Andrew Stoner (ISBN-‐13 – 9781600080241, ISBN-‐10: 1600080243)

PRESENTATIONS Episcopal Diocese Convention, delivered seven

annual reports on foreign mission partner activities and progress toward fundraising, 2005-‐2012