In the fall of 2026, the United States will enter a pivotal midterm election season. Questions surrounding democracy, power, identity, labor, migration, climate change, and public life continue to shape our everyday lives. Corporate media consolidation, misinformation, and the rapid rise of artificial intelligence are transforming how information is produced, distributed, and understood. In this environment, using photography as an act of bearing witness seems more vital than ever.

Photographs can create records, amplify overlooked voices, challenge dominant narratives, and help communities better understand themselves. The ability to observe events as they unfold and communicate those experiences to others remains a critical skill. This course examines where photojournalism and documentary practice overlap, where they diverge, and how both respond to the political, cultural, and social realities of contemporary life.

Over ten weeks, students will identify a subject, investigate it in depth, and develop a body of work through ongoing feedback and critique. Alongside photographic approaches, the course addresses the logistics, safety, and ethics of working in the field, as well as traditional and experimental methods for distributing work. Students are introduced to historical and contemporary photographers while developing their own visual voice through sustained inquiry, critical thinking, and engagement with the world around them.

At a time when experimental ideas, inventiveness, and the ability to imagine progress in the world feel increasingly urgent, this course invites participants to expand and develop their work and ideas through moving images, video, sequence, and public projection. We will look at important early examples of film and video art alongside contemporary practices, considering the use of moving image as a powerful form for communication, experimentation, and engaging the subjects one cares deeply about.

Designed for any level of video experience, the course builds from an existing knowledge of still photography while expanding into time-based image making. Over [ten weeks], participants will learn the fundamentals of video settings for any camera, frame rates, balancing lighting, composition, and file management. The course will focus on creating sequences and developing editing workflows in Adobe Premiere Pro, including importing and organizing footage, timeline editing, basic color correction, and exporting files for professional presentation and projection.

The class will include screenings, conversations, critiques, and collaborative exchange, creating space for experimentation, feedback, and community throughout the process. The workshop culminates in a final public screening of new work created during the course.

Class Session:

For many photographers, seeing their work in book form is the ultimate goal. But how do you move from a collection of images to a publication that is thoughtfully edited, sequenced, designed, titled, and capable of expressing years of sustained inquiry?

Making photographs is often easier than understanding what they mean when viewed together. This course explores the photobook as a critical tool for editing, interpretation, and meaning-making. Through discussions, critiques, and hands-on exercises, students will develop strategies for evaluating bodies of work, refining point of view, exploring text-image relationships, and designing a coherent visual narrative. Beginning with work prints on the wall, floor, or table, students will work toward creating an InDesign prototype that could eventually be self-published or presented to publishers.

Because documentary photography encompasses a wide range of approaches—from traditional reportage to personal, subjective, and conceptual practices—students will engage with an expansive selection of photobooks to better understand the field and contextualize their own work. Whether you identify as a documentary photographer or simply want to explore the book as a vehicle for organizing and clarifying your ideas, this course is open to all students interested in developing a deeper understanding of their work through the photobook form.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

Class Session:

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

In the fall of 2026, the United States will enter a pivotal midterm election season. Questions surrounding democracy, power, identity, labor, migration, climate change, and public life continue to shape our everyday lives. Corporate media consolidation, misinformation, and the rapid rise of artificial intelligence are transforming how information is produced, distributed, and understood. In this environment, using photography as an act of bearing witness seems more vital than ever.

Photographs can create records, amplify overlooked voices, challenge dominant narratives, and help communities better understand themselves. The ability to observe events as they unfold and communicate those experiences to others remains a critical skill. This course examines where photojournalism and documentary practice overlap, where they diverge, and how both respond to the political, cultural, and social realities of contemporary life.

Over ten weeks, students will identify a subject, investigate it in depth, and develop a body of work through ongoing feedback and critique. Alongside photographic approaches, the course addresses the logistics, safety, and ethics of working in the field, as well as traditional and experimental methods for distributing work. Students are introduced to historical and contemporary photographers while developing their own visual voice through sustained inquiry, critical thinking, and engagement with the world around them.

At a time when experimental ideas, inventiveness, and the ability to imagine progress in the world feel increasingly urgent, this course invites participants to expand and develop their work and ideas through moving images, video, sequence, and public projection. We will look at important early examples of film and video art alongside contemporary practices, considering the use of moving image as a powerful form for communication, experimentation, and engaging the subjects one cares deeply about.

Designed for any level of video experience, the course builds from an existing knowledge of still photography while expanding into time-based image making. Over [ten weeks], participants will learn the fundamentals of video settings for any camera, frame rates, balancing lighting, composition, and file management. The course will focus on creating sequences and developing editing workflows in Adobe Premiere Pro, including importing and organizing footage, timeline editing, basic color correction, and exporting files for professional presentation and projection.

The class will include screenings, conversations, critiques, and collaborative exchange, creating space for experimentation, feedback, and community throughout the process. The workshop culminates in a final public screening of new work created during the course.

For many photographers, seeing their work in book form is the ultimate goal. But how do you move from a collection of images to a publication that is thoughtfully edited, sequenced, designed, titled, and capable of expressing years of sustained inquiry?

Making photographs is often easier than understanding what they mean when viewed together. This course explores the photobook as a critical tool for editing, interpretation, and meaning-making. Through discussions, critiques, and hands-on exercises, students will develop strategies for evaluating bodies of work, refining point of view, exploring text-image relationships, and designing a coherent visual narrative. Beginning with work prints on the wall, floor, or table, students will work toward creating an InDesign prototype that could eventually be self-published or presented to publishers.

Because documentary photography encompasses a wide range of approaches—from traditional reportage to personal, subjective, and conceptual practices—students will engage with an expansive selection of photobooks to better understand the field and contextualize their own work. Whether you identify as a documentary photographer or simply want to explore the book as a vehicle for organizing and clarifying your ideas, this course is open to all students interested in developing a deeper understanding of their work through the photobook form.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

In the fall of 2026, the United States will enter a pivotal midterm election season. Questions surrounding democracy, power, identity, labor, migration, climate change, and public life continue to shape our everyday lives. Corporate media consolidation, misinformation, and the rapid rise of artificial intelligence are transforming how information is produced, distributed, and understood. In this environment, using photography as an act of bearing witness seems more vital than ever.

Photographs can create records, amplify overlooked voices, challenge dominant narratives, and help communities better understand themselves. The ability to observe events as they unfold and communicate those experiences to others remains a critical skill. This course examines where photojournalism and documentary practice overlap, where they diverge, and how both respond to the political, cultural, and social realities of contemporary life.

Over ten weeks, students will identify a subject, investigate it in depth, and develop a body of work through ongoing feedback and critique. Alongside photographic approaches, the course addresses the logistics, safety, and ethics of working in the field, as well as traditional and experimental methods for distributing work. Students are introduced to historical and contemporary photographers while developing their own visual voice through sustained inquiry, critical thinking, and engagement with the world around them.

At a time when experimental ideas, inventiveness, and the ability to imagine progress in the world feel increasingly urgent, this course invites participants to expand and develop their work and ideas through moving images, video, sequence, and public projection. We will look at important early examples of film and video art alongside contemporary practices, considering the use of moving image as a powerful form for communication, experimentation, and engaging the subjects one cares deeply about.

Designed for any level of video experience, the course builds from an existing knowledge of still photography while expanding into time-based image making. Over [ten weeks], participants will learn the fundamentals of video settings for any camera, frame rates, balancing lighting, composition, and file management. The course will focus on creating sequences and developing editing workflows in Adobe Premiere Pro, including importing and organizing footage, timeline editing, basic color correction, and exporting files for professional presentation and projection.

The class will include screenings, conversations, critiques, and collaborative exchange, creating space for experimentation, feedback, and community throughout the process. The workshop culminates in a final public screening of new work created during the course.

For many photographers, seeing their work in book form is the ultimate goal. But how do you move from a collection of images to a publication that is thoughtfully edited, sequenced, designed, titled, and capable of expressing years of sustained inquiry?

Making photographs is often easier than understanding what they mean when viewed together. This course explores the photobook as a critical tool for editing, interpretation, and meaning-making. Through discussions, critiques, and hands-on exercises, students will develop strategies for evaluating bodies of work, refining point of view, exploring text-image relationships, and designing a coherent visual narrative. Beginning with work prints on the wall, floor, or table, students will work toward creating an InDesign prototype that could eventually be self-published or presented to publishers.

Because documentary photography encompasses a wide range of approaches—from traditional reportage to personal, subjective, and conceptual practices—students will engage with an expansive selection of photobooks to better understand the field and contextualize their own work. Whether you identify as a documentary photographer or simply want to explore the book as a vehicle for organizing and clarifying your ideas, this course is open to all students interested in developing a deeper understanding of their work through the photobook form.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

In the fall of 2026, the United States will enter a pivotal midterm election season. Questions surrounding democracy, power, identity, labor, migration, climate change, and public life continue to shape our everyday lives. Corporate media consolidation, misinformation, and the rapid rise of artificial intelligence are transforming how information is produced, distributed, and understood. In this environment, using photography as an act of bearing witness seems more vital than ever.

Photographs can create records, amplify overlooked voices, challenge dominant narratives, and help communities better understand themselves. The ability to observe events as they unfold and communicate those experiences to others remains a critical skill. This course examines where photojournalism and documentary practice overlap, where they diverge, and how both respond to the political, cultural, and social realities of contemporary life.

Over ten weeks, students will identify a subject, investigate it in depth, and develop a body of work through ongoing feedback and critique. Alongside photographic approaches, the course addresses the logistics, safety, and ethics of working in the field, as well as traditional and experimental methods for distributing work. Students are introduced to historical and contemporary photographers while developing their own visual voice through sustained inquiry, critical thinking, and engagement with the world around them.

At a time when experimental ideas, inventiveness, and the ability to imagine progress in the world feel increasingly urgent, this course invites participants to expand and develop their work and ideas through moving images, video, sequence, and public projection. We will look at important early examples of film and video art alongside contemporary practices, considering the use of moving image as a powerful form for communication, experimentation, and engaging the subjects one cares deeply about.

Designed for any level of video experience, the course builds from an existing knowledge of still photography while expanding into time-based image making. Over [ten weeks], participants will learn the fundamentals of video settings for any camera, frame rates, balancing lighting, composition, and file management. The course will focus on creating sequences and developing editing workflows in Adobe Premiere Pro, including importing and organizing footage, timeline editing, basic color correction, and exporting files for professional presentation and projection.

The class will include screenings, conversations, critiques, and collaborative exchange, creating space for experimentation, feedback, and community throughout the process. The workshop culminates in a final public screening of new work created during the course.

For many photographers, seeing their work in book form is the ultimate goal. But how do you move from a collection of images to a publication that is thoughtfully edited, sequenced, designed, titled, and capable of expressing years of sustained inquiry?

Making photographs is often easier than understanding what they mean when viewed together. This course explores the photobook as a critical tool for editing, interpretation, and meaning-making. Through discussions, critiques, and hands-on exercises, students will develop strategies for evaluating bodies of work, refining point of view, exploring text-image relationships, and designing a coherent visual narrative. Beginning with work prints on the wall, floor, or table, students will work toward creating an InDesign prototype that could eventually be self-published or presented to publishers.

Because documentary photography encompasses a wide range of approaches—from traditional reportage to personal, subjective, and conceptual practices—students will engage with an expansive selection of photobooks to better understand the field and contextualize their own work. Whether you identify as a documentary photographer or simply want to explore the book as a vehicle for organizing and clarifying your ideas, this course is open to all students interested in developing a deeper understanding of their work through the photobook form.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

In the fall of 2026, the United States will enter a pivotal midterm election season. Questions surrounding democracy, power, identity, labor, migration, climate change, and public life continue to shape our everyday lives. Corporate media consolidation, misinformation, and the rapid rise of artificial intelligence are transforming how information is produced, distributed, and understood. In this environment, using photography as an act of bearing witness seems more vital than ever.

Photographs can create records, amplify overlooked voices, challenge dominant narratives, and help communities better understand themselves. The ability to observe events as they unfold and communicate those experiences to others remains a critical skill. This course examines where photojournalism and documentary practice overlap, where they diverge, and how both respond to the political, cultural, and social realities of contemporary life.

Over ten weeks, students will identify a subject, investigate it in depth, and develop a body of work through ongoing feedback and critique. Alongside photographic approaches, the course addresses the logistics, safety, and ethics of working in the field, as well as traditional and experimental methods for distributing work. Students are introduced to historical and contemporary photographers while developing their own visual voice through sustained inquiry, critical thinking, and engagement with the world around them.

At a time when experimental ideas, inventiveness, and the ability to imagine progress in the world feel increasingly urgent, this course invites participants to expand and develop their work and ideas through moving images, video, sequence, and public projection. We will look at important early examples of film and video art alongside contemporary practices, considering the use of moving image as a powerful form for communication, experimentation, and engaging the subjects one cares deeply about.

Designed for any level of video experience, the course builds from an existing knowledge of still photography while expanding into time-based image making. Over [ten weeks], participants will learn the fundamentals of video settings for any camera, frame rates, balancing lighting, composition, and file management. The course will focus on creating sequences and developing editing workflows in Adobe Premiere Pro, including importing and organizing footage, timeline editing, basic color correction, and exporting files for professional presentation and projection.

The class will include screenings, conversations, critiques, and collaborative exchange, creating space for experimentation, feedback, and community throughout the process. The workshop culminates in a final public screening of new work created during the course.

For many photographers, seeing their work in book form is the ultimate goal. But how do you move from a collection of images to a publication that is thoughtfully edited, sequenced, designed, titled, and capable of expressing years of sustained inquiry?

Making photographs is often easier than understanding what they mean when viewed together. This course explores the photobook as a critical tool for editing, interpretation, and meaning-making. Through discussions, critiques, and hands-on exercises, students will develop strategies for evaluating bodies of work, refining point of view, exploring text-image relationships, and designing a coherent visual narrative. Beginning with work prints on the wall, floor, or table, students will work toward creating an InDesign prototype that could eventually be self-published or presented to publishers.

Because documentary photography encompasses a wide range of approaches—from traditional reportage to personal, subjective, and conceptual practices—students will engage with an expansive selection of photobooks to better understand the field and contextualize their own work. Whether you identify as a documentary photographer or simply want to explore the book as a vehicle for organizing and clarifying your ideas, this course is open to all students interested in developing a deeper understanding of their work through the photobook form.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

In the fall of 2026, the United States will enter a pivotal midterm election season. Questions surrounding democracy, power, identity, labor, migration, climate change, and public life continue to shape our everyday lives. Corporate media consolidation, misinformation, and the rapid rise of artificial intelligence are transforming how information is produced, distributed, and understood. In this environment, using photography as an act of bearing witness seems more vital than ever.

Photographs can create records, amplify overlooked voices, challenge dominant narratives, and help communities better understand themselves. The ability to observe events as they unfold and communicate those experiences to others remains a critical skill. This course examines where photojournalism and documentary practice overlap, where they diverge, and how both respond to the political, cultural, and social realities of contemporary life.

Over ten weeks, students will identify a subject, investigate it in depth, and develop a body of work through ongoing feedback and critique. Alongside photographic approaches, the course addresses the logistics, safety, and ethics of working in the field, as well as traditional and experimental methods for distributing work. Students are introduced to historical and contemporary photographers while developing their own visual voice through sustained inquiry, critical thinking, and engagement with the world around them.

At a time when experimental ideas, inventiveness, and the ability to imagine progress in the world feel increasingly urgent, this course invites participants to expand and develop their work and ideas through moving images, video, sequence, and public projection. We will look at important early examples of film and video art alongside contemporary practices, considering the use of moving image as a powerful form for communication, experimentation, and engaging the subjects one cares deeply about.

Designed for any level of video experience, the course builds from an existing knowledge of still photography while expanding into time-based image making. Over [ten weeks], participants will learn the fundamentals of video settings for any camera, frame rates, balancing lighting, composition, and file management. The course will focus on creating sequences and developing editing workflows in Adobe Premiere Pro, including importing and organizing footage, timeline editing, basic color correction, and exporting files for professional presentation and projection.

The class will include screenings, conversations, critiques, and collaborative exchange, creating space for experimentation, feedback, and community throughout the process. The workshop culminates in a final public screening of new work created during the course.

For many photographers, seeing their work in book form is the ultimate goal. But how do you move from a collection of images to a publication that is thoughtfully edited, sequenced, designed, titled, and capable of expressing years of sustained inquiry?

Making photographs is often easier than understanding what they mean when viewed together. This course explores the photobook as a critical tool for editing, interpretation, and meaning-making. Through discussions, critiques, and hands-on exercises, students will develop strategies for evaluating bodies of work, refining point of view, exploring text-image relationships, and designing a coherent visual narrative. Beginning with work prints on the wall, floor, or table, students will work toward creating an InDesign prototype that could eventually be self-published or presented to publishers.

Because documentary photography encompasses a wide range of approaches—from traditional reportage to personal, subjective, and conceptual practices—students will engage with an expansive selection of photobooks to better understand the field and contextualize their own work. Whether you identify as a documentary photographer or simply want to explore the book as a vehicle for organizing and clarifying your ideas, this course is open to all students interested in developing a deeper understanding of their work through the photobook form.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

In the fall of 2026, the United States will enter a pivotal midterm election season. Questions surrounding democracy, power, identity, labor, migration, climate change, and public life continue to shape our everyday lives. Corporate media consolidation, misinformation, and the rapid rise of artificial intelligence are transforming how information is produced, distributed, and understood. In this environment, using photography as an act of bearing witness seems more vital than ever.

Photographs can create records, amplify overlooked voices, challenge dominant narratives, and help communities better understand themselves. The ability to observe events as they unfold and communicate those experiences to others remains a critical skill. This course examines where photojournalism and documentary practice overlap, where they diverge, and how both respond to the political, cultural, and social realities of contemporary life.

Over ten weeks, students will identify a subject, investigate it in depth, and develop a body of work through ongoing feedback and critique. Alongside photographic approaches, the course addresses the logistics, safety, and ethics of working in the field, as well as traditional and experimental methods for distributing work. Students are introduced to historical and contemporary photographers while developing their own visual voice through sustained inquiry, critical thinking, and engagement with the world around them.

At a time when experimental ideas, inventiveness, and the ability to imagine progress in the world feel increasingly urgent, this course invites participants to expand and develop their work and ideas through moving images, video, sequence, and public projection. We will look at important early examples of film and video art alongside contemporary practices, considering the use of moving image as a powerful form for communication, experimentation, and engaging the subjects one cares deeply about.

Designed for any level of video experience, the course builds from an existing knowledge of still photography while expanding into time-based image making. Over [ten weeks], participants will learn the fundamentals of video settings for any camera, frame rates, balancing lighting, composition, and file management. The course will focus on creating sequences and developing editing workflows in Adobe Premiere Pro, including importing and organizing footage, timeline editing, basic color correction, and exporting files for professional presentation and projection.

The class will include screenings, conversations, critiques, and collaborative exchange, creating space for experimentation, feedback, and community throughout the process. The workshop culminates in a final public screening of new work created during the course.

For many photographers, seeing their work in book form is the ultimate goal. But how do you move from a collection of images to a publication that is thoughtfully edited, sequenced, designed, titled, and capable of expressing years of sustained inquiry?

Making photographs is often easier than understanding what they mean when viewed together. This course explores the photobook as a critical tool for editing, interpretation, and meaning-making. Through discussions, critiques, and hands-on exercises, students will develop strategies for evaluating bodies of work, refining point of view, exploring text-image relationships, and designing a coherent visual narrative. Beginning with work prints on the wall, floor, or table, students will work toward creating an InDesign prototype that could eventually be self-published or presented to publishers.

Because documentary photography encompasses a wide range of approaches—from traditional reportage to personal, subjective, and conceptual practices—students will engage with an expansive selection of photobooks to better understand the field and contextualize their own work. Whether you identify as a documentary photographer or simply want to explore the book as a vehicle for organizing and clarifying your ideas, this course is open to all students interested in developing a deeper understanding of their work through the photobook form.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

In the fall of 2026, the United States will enter a pivotal midterm election season. Questions surrounding democracy, power, identity, labor, migration, climate change, and public life continue to shape our everyday lives. Corporate media consolidation, misinformation, and the rapid rise of artificial intelligence are transforming how information is produced, distributed, and understood. In this environment, using photography as an act of bearing witness seems more vital than ever.

Photographs can create records, amplify overlooked voices, challenge dominant narratives, and help communities better understand themselves. The ability to observe events as they unfold and communicate those experiences to others remains a critical skill. This course examines where photojournalism and documentary practice overlap, where they diverge, and how both respond to the political, cultural, and social realities of contemporary life.

Over ten weeks, students will identify a subject, investigate it in depth, and develop a body of work through ongoing feedback and critique. Alongside photographic approaches, the course addresses the logistics, safety, and ethics of working in the field, as well as traditional and experimental methods for distributing work. Students are introduced to historical and contemporary photographers while developing their own visual voice through sustained inquiry, critical thinking, and engagement with the world around them.

At a time when experimental ideas, inventiveness, and the ability to imagine progress in the world feel increasingly urgent, this course invites participants to expand and develop their work and ideas through moving images, video, sequence, and public projection. We will look at important early examples of film and video art alongside contemporary practices, considering the use of moving image as a powerful form for communication, experimentation, and engaging the subjects one cares deeply about.

Designed for any level of video experience, the course builds from an existing knowledge of still photography while expanding into time-based image making. Over [ten weeks], participants will learn the fundamentals of video settings for any camera, frame rates, balancing lighting, composition, and file management. The course will focus on creating sequences and developing editing workflows in Adobe Premiere Pro, including importing and organizing footage, timeline editing, basic color correction, and exporting files for professional presentation and projection.

The class will include screenings, conversations, critiques, and collaborative exchange, creating space for experimentation, feedback, and community throughout the process. The workshop culminates in a final public screening of new work created during the course.

For many photographers, seeing their work in book form is the ultimate goal. But how do you move from a collection of images to a publication that is thoughtfully edited, sequenced, designed, titled, and capable of expressing years of sustained inquiry?

Making photographs is often easier than understanding what they mean when viewed together. This course explores the photobook as a critical tool for editing, interpretation, and meaning-making. Through discussions, critiques, and hands-on exercises, students will develop strategies for evaluating bodies of work, refining point of view, exploring text-image relationships, and designing a coherent visual narrative. Beginning with work prints on the wall, floor, or table, students will work toward creating an InDesign prototype that could eventually be self-published or presented to publishers.

Because documentary photography encompasses a wide range of approaches—from traditional reportage to personal, subjective, and conceptual practices—students will engage with an expansive selection of photobooks to better understand the field and contextualize their own work. Whether you identify as a documentary photographer or simply want to explore the book as a vehicle for organizing and clarifying your ideas, this course is open to all students interested in developing a deeper understanding of their work through the photobook form.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

In the fall of 2026, the United States will enter a pivotal midterm election season. Questions surrounding democracy, power, identity, labor, migration, climate change, and public life continue to shape our everyday lives. Corporate media consolidation, misinformation, and the rapid rise of artificial intelligence are transforming how information is produced, distributed, and understood. In this environment, using photography as an act of bearing witness seems more vital than ever.

Photographs can create records, amplify overlooked voices, challenge dominant narratives, and help communities better understand themselves. The ability to observe events as they unfold and communicate those experiences to others remains a critical skill. This course examines where photojournalism and documentary practice overlap, where they diverge, and how both respond to the political, cultural, and social realities of contemporary life.

Over ten weeks, students will identify a subject, investigate it in depth, and develop a body of work through ongoing feedback and critique. Alongside photographic approaches, the course addresses the logistics, safety, and ethics of working in the field, as well as traditional and experimental methods for distributing work. Students are introduced to historical and contemporary photographers while developing their own visual voice through sustained inquiry, critical thinking, and engagement with the world around them.

At a time when experimental ideas, inventiveness, and the ability to imagine progress in the world feel increasingly urgent, this course invites participants to expand and develop their work and ideas through moving images, video, sequence, and public projection. We will look at important early examples of film and video art alongside contemporary practices, considering the use of moving image as a powerful form for communication, experimentation, and engaging the subjects one cares deeply about.

Designed for any level of video experience, the course builds from an existing knowledge of still photography while expanding into time-based image making. Over [ten weeks], participants will learn the fundamentals of video settings for any camera, frame rates, balancing lighting, composition, and file management. The course will focus on creating sequences and developing editing workflows in Adobe Premiere Pro, including importing and organizing footage, timeline editing, basic color correction, and exporting files for professional presentation and projection.

The class will include screenings, conversations, critiques, and collaborative exchange, creating space for experimentation, feedback, and community throughout the process. The workshop culminates in a final public screening of new work created during the course.

Class Session:

For many photographers, seeing their work in book form is the ultimate goal. But how do you move from a collection of images to a publication that is thoughtfully edited, sequenced, designed, titled, and capable of expressing years of sustained inquiry?

Making photographs is often easier than understanding what they mean when viewed together. This course explores the photobook as a critical tool for editing, interpretation, and meaning-making. Through discussions, critiques, and hands-on exercises, students will develop strategies for evaluating bodies of work, refining point of view, exploring text-image relationships, and designing a coherent visual narrative. Beginning with work prints on the wall, floor, or table, students will work toward creating an InDesign prototype that could eventually be self-published or presented to publishers.

Because documentary photography encompasses a wide range of approaches—from traditional reportage to personal, subjective, and conceptual practices—students will engage with an expansive selection of photobooks to better understand the field and contextualize their own work. Whether you identify as a documentary photographer or simply want to explore the book as a vehicle for organizing and clarifying your ideas, this course is open to all students interested in developing a deeper understanding of their work through the photobook form.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

In the fall of 2026, the United States will enter a pivotal midterm election season. Questions surrounding democracy, power, identity, labor, migration, climate change, and public life continue to shape our everyday lives. Corporate media consolidation, misinformation, and the rapid rise of artificial intelligence are transforming how information is produced, distributed, and understood. In this environment, using photography as an act of bearing witness seems more vital than ever.

Photographs can create records, amplify overlooked voices, challenge dominant narratives, and help communities better understand themselves. The ability to observe events as they unfold and communicate those experiences to others remains a critical skill. This course examines where photojournalism and documentary practice overlap, where they diverge, and how both respond to the political, cultural, and social realities of contemporary life.

Over ten weeks, students will identify a subject, investigate it in depth, and develop a body of work through ongoing feedback and critique. Alongside photographic approaches, the course addresses the logistics, safety, and ethics of working in the field, as well as traditional and experimental methods for distributing work. Students are introduced to historical and contemporary photographers while developing their own visual voice through sustained inquiry, critical thinking, and engagement with the world around them.

At a time when experimental ideas, inventiveness, and the ability to imagine progress in the world feel increasingly urgent, this course invites participants to expand and develop their work and ideas through moving images, video, sequence, and public projection. We will look at important early examples of film and video art alongside contemporary practices, considering the use of moving image as a powerful form for communication, experimentation, and engaging the subjects one cares deeply about.

Designed for any level of video experience, the course builds from an existing knowledge of still photography while expanding into time-based image making. Over [ten weeks], participants will learn the fundamentals of video settings for any camera, frame rates, balancing lighting, composition, and file management. The course will focus on creating sequences and developing editing workflows in Adobe Premiere Pro, including importing and organizing footage, timeline editing, basic color correction, and exporting files for professional presentation and projection.

The class will include screenings, conversations, critiques, and collaborative exchange, creating space for experimentation, feedback, and community throughout the process. The workshop culminates in a final public screening of new work created during the course.

For many photographers, seeing their work in book form is the ultimate goal. But how do you move from a collection of images to a publication that is thoughtfully edited, sequenced, designed, titled, and capable of expressing years of sustained inquiry?

Making photographs is often easier than understanding what they mean when viewed together. This course explores the photobook as a critical tool for editing, interpretation, and meaning-making. Through discussions, critiques, and hands-on exercises, students will develop strategies for evaluating bodies of work, refining point of view, exploring text-image relationships, and designing a coherent visual narrative. Beginning with work prints on the wall, floor, or table, students will work toward creating an InDesign prototype that could eventually be self-published or presented to publishers.

Because documentary photography encompasses a wide range of approaches—from traditional reportage to personal, subjective, and conceptual practices—students will engage with an expansive selection of photobooks to better understand the field and contextualize their own work. Whether you identify as a documentary photographer or simply want to explore the book as a vehicle for organizing and clarifying your ideas, this course is open to all students interested in developing a deeper understanding of their work through the photobook form.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.

This 10-week course for emerging and working photographers ready to build the professional infrastructure their practice demands. Rooted in the instructor's own experience across fine art, editorial, documentary, and public art photography, the course takes a hands-on approach from day one: students begin researching and applying to real opportunities (grants, residencies, open calls, and public art commissions) in the first week, and that process drives everything that follows.

As the course progresses, students build the full architecture of a working practice: cloud storage and digital asset management systems, CV, bio, artist statement, and project documents, pricing and licensing frameworks, contracts and releases, and strategies for connecting with curators, editors, and art directors. Each session includes dedicated work time so students leave with real systems in place, real applications submitted, and a clearer, stronger practice than when they arrived.