Photography & Image-making
Master of Arts /
Master of Fine Arts
in Photography & Image-making
The program focuses on new types of visual storytelling: still images, video, and multimedia, with a curriculum that emphasizes knowledge and transdisciplinary skill sets and understands photography as a hybrid and emerging art form.
The program is suitable for students who want to understand better how to navigate in an image-driven society, to be not only makers but visual thinkers, capable of relating to different fields with a critical analytical capacity, inventiveness, knowing how to juggle with the technological and communication means available today, and ready to offer creative solutions through images.
Based on the intersection of visual phenomena, new media, critical studies, and creative production, the program offers a unique blend of studio practice and theoretical and art historical training. At PCA, students can complete either a Master of Art (MA) or a Master of Fine Arts (MFA) in Photography and Image Making. These programs’ first two semesters (fall and spring) follow a common curriculum. MFA students then continue for two semesters of study in the following year to receive the MFA degree, suitable for an academic career.
Faculty
MA Curriculum
One-year program
fall
Contemporary Issues I
This course explores a variety of critical aesthetic and practical issues relevant to today’s expressive photographer. This class includes readings, critiques, and discussions examining critical theory in the digital age. It examines specific models and matrixes that define current trends. Topics will include: print/online photography, socially engaged art/photography, photography/installation/art and social/documentary practice. This course will explore the relationships between concept, process and transmission have expanded dramatically with the introduction of digital media techniques.
Seminar I: Portfolio Production
This course serves as a critical and technical exploration of the language and theory of Photography and Image-Making. Students develop their own individual identities as professionals working with still and moving images, placing their work within conceptual and historical contexts. Independent and personalized readings and research projects accompany the work done in the studio, which in the last semester is focused on developing research methodology and methods for the thesis project. The final portfolio can focus on still or moving images, or contain a combination of the two. The outcome is an original and coherent visual project.
Digital Lab I: Video
A hands-on step-by-step technical lab class, where editing video will take students beyond the basics to a professional workflow for digital video editing. Students will learn how to produce a professional looking video including – storyboarding, pre-production essentials, shooting scripts, camera movement (theory and practice), sound recording and editing, use of music, titles and credits. Premiere Pro will be the main software for moving images, and all essential tools and plug-ins (like Magic Bullet or After Effects) their options and use, the character of each menu or tool option critical for video editing will be covered at a practical level.
Digital Lab II: Photo
A hands-on step-by-step technical lab class where inputting images, editing, and printing will take students beyond the basics to a professional workflow for digital photography. A range of tools will be presented, including advanced film scanning, working with RAW files, masks, compositing and grayscale and color inkjet printing. Students will work with Photoshop for still images. All essential tools and plug-ins (e.g., Portraiture), their options and use, the character of each menu or tool option critical for photographic editing will be covered at a practical level. Students will master advanced color and B&W editing methods, scanning, masks, selections, and layers to establish an efficient non-destructive workflow.
Visual Narratives
“There are countless forms of narrative in the world. First of all, there is a prodigious variety of genres, each of which branches out into a variety of media, as if all substances could be relied upon to accommodate man’s stories.” Roland Barthes
Throughout the 20th century, the narrative has been criticized, rejected, deconstructed, and still plays an essential role in art today. Visual artists have created myths and experimented with new forms of narratives through their creative practices. This course will explore the functions of visual narrative in human culture by analyzing the history of narrative from ancient to contemporary art. The course alternates between theory, research and practice. Students will be able to develop artistic projects exploring narrative from the conceptual and curatorial point of view.
Masters Electives
You may select an elective from the many course offerings in your department or in other departments with the approval of your department chair.
- French
- Drawing Technology and Perception
- Advanced Printmaking*
- Intellectual Property Rights
- Concept Development Storytelling
- Photography as Installation*
- Photography in the Expanded Field*
- History of New Media*
- Designer’s Ethical and Social Responsibility
- Educational Principles
- Alternative Processes Image-Making*
- Digital Fabrication Design
- The Art of Code I & II
- 4D Studio I & II*
- The Fashion Editorial
- Design Thinking
- Social Entrepreneurship
- Project Management*
* Undergraduate level courses
spring
Contemporary Issues II
This course explores a variety of critical aesthetic and practical issues relevant to today’s expressive photographer. This class includes readings, critiques, and discussions examining critical theory in the digital age. It examines specific models and matrixes that define current trends. Topics will include: print/online photography, socially engaged art/photography, photography/installation/art and social/documentary practice. This course will explore the relationships between concept, process and transmission have expanded dramatically with the introduction of digital media techniques.
Seminar II: Portfolio Development
This year-long course serves as a critical and technical exploration of the language and theory of photography and film. Students develop their own individual identities as professionals working with still and moving images, placing their work within conceptual and historical contexts. Independent and personalized readings and research projects accompany the work done in the studio, which in the second semester is focused on developing the final degree portfolio. The final portfolio can focus on still or moving images, or contain a combination of the two. At least one project in each medium (photography and video) is required. The outcome is an original and coherent set of images.
Marketplace for Art and Design
This course introduces and outlines the role, purpose, and perception of “art” and “design” in various marketplaces and contexts for the emerging arts entrepreneur. Topics include issues in marketing aesthetic products; case studies on art fairs, art institutions, and cultural events; models of consumer behavior, art, and technology; macro-economic issues that affect the arts industries, arts policy, and access; art-as-business; design in the international context; merchandising; difficulties and the impact of the various business environments on art and design disciplines.
Degree Project
Students will focus on the technical exploration of the language and theory of Photography and Image-making to develop their final degree project (it can focus on still or moving images, or contain a combination of the two.) Emphasis will be on students executing, understanding and discussing quality work, succesful composition, productive conceptualization and creative problem solving.
Masters Electives
You may select an elective from the many course offerings in your department or in other departments with the approval of your department chair.
- French
- Drawing Technology and Perception
- Advanced Printmaking*
- Intellectual Property Rights
- Concept Development Storytelling
- Photography as Installation*
- Photography in the Expanded Field*
- History of New Media*
- Designer’s Ethical and Social Responsibility
- Educational Principles
- Alternative Processes Image-Making*
- Digital Fabrication Design
- The Art of Code I & II
- 4D Studio I & II*
- The Fashion Editorial
- Design Thinking
- Social Entrepreneurship
- Project Management*
* Undergraduate level courses
MFA Curriculum
Year One
fall
Contemporary Issues I
This course explores a variety of critical aesthetic and practical issues relevant to today’s expressive photographer. This class includes readings, critiques, and discussions examining critical theory in the digital age. It examines specific models and matrixes that define current trends. Topics will include: print/online photography, socially engaged art/photography, photography/installation/art and social/documentary practice. This course will explore the relationships between concept, process and transmission have expanded dramatically with the introduction of digital media techniques.
Seminar I: Portfolio Production
This course serves as a critical and technical exploration of the language and theory of Photography and Image-Making. Students develop their own individual identities as professionals working with still and moving images, placing their work within conceptual and historical contexts. Independent and personalized readings and research projects accompany the work done in the studio, which in the last semester is focused on developing research methodology and methods for the thesis project. The final portfolio can focus on still or moving images, or contain a combination of the two. The outcome is an original and coherent visual project.
Introduction to Research & Methodology
The course provides introductory-to-advanced-level research and methodology instruction, covering topics from art and design theory to the use of technology. This course focuses in depth on various research methods currently used to inform the design process. It builds on knowledge and skills acquired in the first semester to introduce students to specific research methods for designers and artists. The course will cover research in physical human factors; human cognitive factors; cultural human factors; and ethnographic fieldwork. Students will learn how to apply these methods to the design process through hands-on projects requiring a multidisciplinary approach.
In this section, students will be introduced to the basic tenets of research in order to support their reasoning with respect to the design process. Foremost, they will learn to formulate a design research problematic; engage in data gathering and analysis; differentiate between primary and secondary research sources; carry out quantitative and qualitative research.
Digital Lab I: Video
A hands-on step-by-step technical lab class, where editing video will take students beyond the basics to a professional workflow for digital video editing. Students will learn how to produce a professional looking video including – storyboarding, pre-production essentials, shooting scripts, camera movement (theory and practice), sound recording and editing, use of music, titles and credits. Premiere Pro will be the main software for moving images, and all essential tools and plug-ins (like Magic Bullet or After Effects) their options and use, the character of each menu or tool option critical for video editing will be covered at a practical level.
Digital Lab II: Photo
A hands-on step-by-step technical lab class where inputting images, editing, and printing will take students beyond the basics to a professional workflow for digital photography. A range of tools will be presented, including advanced film scanning, working with RAW files, masks, compositing and grayscale and color inkjet printing. Students will work with Photoshop for still images. All essential tools and plug-ins (e.g., Portraiture), their options and use, the character of each menu or tool option critical for photographic editing will be covered at a practical level. Students will master advanced color and B&W editing methods, scanning, masks, selections, and layers to establish an efficient non-destructive workflow.
Educational Principles and Radical Pedagogies
This seminar is offered in parallel to the studio course devoted to education. Students will be given an overview of historical and current pedagogical theory that is specific to the teaching or art and design. They will be asked to consider the role of diversity and culture on learning, as well the role of the teacher as a decision maker and facilitator. Additionally, this course will introduce alternative approaches to building a learning environment, drawing upon recent experiments in art education that challenge the traditional structure of a ‘school’. Students will study: how to generate motivation, involvement, and integration in respect to learner’s development and experience; the planning and design of learning activities for different levels of experience; how to write assessment procedures and appropriate feedback on performance, competence, and knowledge.
spring
Contemporary Issues II
This course explores a variety of critical aesthetic and practical issues relevant to today’s expressive photographer. This class includes readings, critiques, and discussions examining critical theory in the digital age. It examines specific models and matrixes that define current trends. Topics will include: print/online photography, socially engaged art/photography, photography/installation/art and social/documentary practice. This course will explore the relationships between concept, process and transmission have expanded dramatically with the introduction of digital media techniques.
Seminar II: Portfolio Development
This year-long course serves as a critical and technical exploration of the language and theory of photography and film. Students develop their own individual identities as professionals working with still and moving images, placing their work within conceptual and historical contexts. Independent and personalized readings and research projects accompany the work done in the studio, which in the second semester is focused on developing the final degree portfolio. The final portfolio can focus on still or moving images, or contain a combination of the two. At least one project in each medium (photography and video) is required. The outcome is an original and coherent set of images.
Intermediate Research & Methodology
The course provides introductory-to-advanced-level research and methodology instruction, covering topics from art and design theory to the use of technology. This course focuses in depth on various research methods currently used to inform the design process. It builds on knowledge and skills acquired in the first semester to introduce students to specific research methods for designers and artists. The course will cover research in physical human factors; human cognitive factors; cultural human factors; and ethnographic fieldwork. Students will learn how to apply these methods to the design process through hands-on projects requiring a multidisciplinary approach.
Masters Electives
You may select an elective from the many course offerings in your department or in other departments with the approval of your department chair.
- French
- Drawing Technology and Perception
- Advanced Printmaking*
- Intellectual Property Rights
- Concept Development Storytelling
- Photography as Installation*
- Photography in the Expanded Field*
- History of New Media*
- Designer’s Ethical and Social Responsibility
- Educational Principles
- Alternative Processes Image-Making*
- Digital Fabrication Design
- The Art of Code I & II
- 4D Studio I & II*
- The Fashion Editorial
- Design Thinking
- Social Entrepreneurship
- Project Management*
* Undergraduate level courses
Year Two
fall
Contemporary Issues III
This course explores a variety of critical aesthetic and practical issues relevant to today’s expressive photographer. This class includes readings, critiques, and discussions examining critical theory in the digital age. It examines specific models and matrixes that define current trends. Topics will include: print/online photography, socially engaged art/photography, photography/installation/art and social/documentary practice. This course will explore the relationships between concept, process and transmission have expanded dramatically with the introduction of digital media techniques.
Seminar III: Portfolio Development
This course serves as a critical and technical exploration of the language and theory of Photography and Image-making. Students develop their own individual identities as professionals working with still and moving images, placing their work within conceptual and historical contexts. Independent and personalized readings and research projects accompany the work done in the studio, which in the last semester is focused on developing research methodology and methods for the thesis project. The final portfolio can focus on still or moving images, or contain a combination of the two. The outcome is an original and coherent visual project.
Digital Lab IlI: New Media and Technology
This course offers a critical introduction to new (digital) media and technology, focusing on the relationship between “old” and “new” media and emphasizing both the cultural meanings of media in general and media as pedagogy. This course gives the chance to observe, participate, and explore new media literacy, learning, and making across formal and informal learning settings. This is not a course about technology; rather, it is a course about the activity-the doing, the participatory culture-that surrounds new media, the use and the learning born through that activity. During the course, a number of guests will join to discuss their work in new media.
Written Research
Building on the research, critical thinking, and writing skills developed in the first three semesters of the seminar, in the final semester, each student will be responsible for the production of a 40 to-60 page thesis paper and the corresponding body of work, culminating in a public exhibition or conference. For their final paper, each student will be responsible for identifying an urgent, critical, or current problem, that may stand independently of the student’s studio practice. Rigorously researched and constructed, this paper will provide the platform for ongoing lines of investigation. Students should be versed in the critical voices and issues surrounding their own practice and develop the communication and research skills necessary to assert their own critical voice in regard to their evolving practice. Faculty and guest lectures will guide each student to a reading list appropriate to their research and final exhibition. For their final exhibition, the students will focus on creating a body of work and build a portfolio based on their artistic research, documenting the process and their different projects. This is done under the guidance and support of an internal and external thesis committee.
Masters Electives
You may select an elective from the many course offerings in your department or in other departments with the approval of your department chair.
- French
- Drawing Technology and Perception
- Advanced Printmaking*
- Intellectual Property Rights
- Concept Development Storytelling
- Photography as Installation*
- Photography in the Expanded Field*
- History of New Media*
- Designer’s Ethical and Social Responsibility
- Educational Principles
- Alternative Processes Image-Making*
- Digital Fabrication Design
- The Art of Code I & II
- 4D Studio I & II*
- The Fashion Editorial
- Design Thinking
- Social Entrepreneurship
- Project Management*
* Undergraduate level courses
spring
Seminar IV: Portfolio Organization
This course serves as a critical and technical exploration of the language and theory of Photography and Image-making. Students develop their own individual identities as professionals working with still and moving images, placing their work within conceptual and historical contexts. Independent and personalized readings and research projects accompany the work done in the studio, which in the last semester is focused on developing research methodology and methods for the thesis project. The final portfolio can focus on still or moving images, or contain a combination of the two. The outcome is an original and coherent visual project.
MFA Degree Project
Students will focus on the technical exploration of the language and theory of Photography and Image-making to develop their final degree project (it can focus on still or moving images, or contain a combination of the two.) Emphasis will be on students executing, understanding and discussing quality work, succesful composition, productive conceptualization and creative problem solving.
Masters Electives
You may select an elective from the many course offerings in your department or in other departments with the approval of your department chair.
- French
- Drawing Technology and Perception
- Advanced Printmaking*
- Intellectual Property Rights
- Concept Development Storytelling
- Photography as Installation*
- Photography in the Expanded Field*
- History of New Media*
- Designer’s Ethical and Social Responsibility
- Educational Principles
- Marketplace for Art and Design
- Photography and the Marketplace*
- Alternative Processes Image-Making*
- Digital Fabrication Design
- The Art of Code I & II
- 4D Studio I & II*
- The Fashion Editorial
- Design Thinking
- Social Entrepreneurship
- Project Management*
* Undergraduate level courses
Frequently Asked Questions
What makes this program stand out?
Paris makes our Master of Arts (MA) / Master of Fine Arts (MFA) in Photography & Image-making one of a kind. The city offers some of the most important photography-related events in the world, not to mention the countless exhibitions, extraordinary museums, bookshops and galleries. Paris is the world capital of photography. In such a context, we encourage students to develop an awareness of their artistic practice, personal storytelling, assets, and potential vocations.
In an image-driven society, it is essential to comprehend your role within it; this is what we aim for through the program. Provide the technical but also conceptual and theoretical means of understanding. The program, therefore, offers a rare space where the student can develop a portfolio and acquire further depth while measuring against the contemporary scenario and the challenges, including ethical, of society. The program encourages students to navigate their values, understand their cultural roots, appreciate diversity and discover their voice and specificities through a dialogue with expert and teachers active in image-making and photography.
During their studies, students face numerous opportunities to visit the city’s cultural institutions (museums, galleries, foundations), attend PCA talks, crits and lectures with experts and professionals, and participate in portfolio readings. Students can intern at studios, agencies, and other working opportunities Paris offers.
Students of Master of Arts (MA) / Master of Fine Arts (MFA) in Photography & Image-making
profit from a field trip to Venice at the European Cultural Centre, where they meet curators and experts of the art and creative industry connected to Biennale and other international cultural institutions.
What is the range of disciplines from which the students will be pooled?
We seek to have a highly diverse student group. Candidates from backgrounds in fine art, printmaking, photography and demonstrated technical skills (black & white and color photography, digital photography, lighting techniques, common software programs for editing) are all encouraged to apply.
How do you know if the program is right for you?
The department makes great efforts to attract students that are diverse in practice, background, and career goals. The proposed MA/MFA programs give practitioners and theorists the opportunity to research and develop the new boundaries of image-making made possible by technological change within the context of post-industrial culture. As a result, the department doesn’t favor any particular visual aesthetic. We are committed to supporting and nurturing each student’s individual creative trajectory. If you’re interested in combining technical knowledge and principles of photography and image-making research, theory and academia, this is the perfect program for you.
What are the prerequisites?
The program is open to any applicant who has successfully completed an undergraduate degree (BFA, BA, BSc, BID, BArch, etc.) with a studio component, or acquired basic technical skills (photography, art, video, editing software, printing, lighting, image-making, etc.) through other educational or professional experiences. Your previously acquired technical skills and creative potential will be evaluated through your portfolio.
What are the advantages of studying in Paris?
Paris is the most suitable place to study photography worldwide. Since its beginning, photography has found fertile ground here, and even today, Paris represents the undisputed point of reference for those who want to understand, study, and explore the past and future of lens-based arts. Every week, Paris, through its extraordinary museums, galleries, and foundations, offers students multiple cultural opportunities and exhibitions to help them understand how image-making is evolving, as much as to observe artistic and curatorial works.
Paris is a learning environment like no other. Jeu de Paume, Foundation Henri-Cartier Bresson, European Museum of Photography, the ParisPhoto fair, and the Photo Saint-Germain festival, are just some of the many institutions that make studying photography in Paris a unique experience in the world.
What are concrete projects students can expect to complete?
This program focuses on technical skills and cognitive needs that arise from the continuous development of the image industry. Students will be able to:
- Show an ability to include visual references and textual evidence within the body of a written thesis;
- Locate and propose a specific pathway within research and/or studio work;
- Produce quality artwork that is technically, aesthetically and conceptually at a professional level;
- Apply methods of work and thought, encompassing the research, production, and reflection in a framework of aesthetic, artistic, social and ethical issues, within a culture of change;
- Explore a variety of digital technologies for the explicit purpose of employing them to create various narrative forms;
- Manage grant process: identify private and public funding priorities and opportunities, develop a consistent and workable program plan, write clearly defined goals and objectives, prepare a complete program budget in a grant format, etc.;
- Prepare art residency and exhibition proposals for those who plan to pursue a fine arts path;
- Respond to professional and public art commissions.
How do faculty facilitate the collaborative work?
Our PCA faculty, all active professionals, is best suited to impart the skills and knowledge required to prepare students to enter a rapidly changing professional world. They facilitate much the way a project manager would-by having a weekly meeting to make sure everyone is working towards a commonly defined goal. Then they break down to smaller teams/individuals to define milestones and address any difficulties.
What are the faculty’s credentials?
Their expertise lies in Contemporary Photography, Advanced Printing Techniques, Curatorial Studies, Art History, Intellectual Property, Professional Business Practices, Editorial, Concept and Storytelling, Art Direction, Marketing and Teaching Methods.
What are the expected outcomes in terms of employability?
Students graduating from the MA/MFA programs would be prepared to enter the international job market with specific knowledge and skills in photography and image-making, but also in a wide range of disciplines and fields, including fine art, commercial photography, video and multimedia production, editing, college-level education, web design, curating, and museum & gallery management.
The Master in Photography and Image-making offers to students a practiced-based opportunity with a professional creative production. The program focuses on tailored education and an individual approach giving to students the possibility to expand their network with of professionals (e.g. museums, galleries, industry, etc.) through guest speakers, meetings with alumni, monthly portfolio reviews, access to the career services office, industry credentials and contacts, etc. The first-year also provides an excellent preparation for higher level research degrees, with an increasing number of graduates undertaking research in photography and image making related subjects, in practice or theory or entering academia.
What types of projects and companies will alumni be prepared for?
PCA has closely established links with industry and other partners through past industry sponsorship agreements with companies such as L’Oreal, Hermès, Shiseido, Galeries Lafayette, Les Compagnons du Devoir, Promod, Picto and more. Our career services office assists students with securing internships. New links are sought and explored, to provide photography and image-making students with a pertinent professional network.
If freelancing/entrepreneurship is not your cup of tea, alumni will be able to work in a whole slew of fields like photography (advertising/commercial, documentary/photojournalism), editing and postproduction (story structure for still image and moving image), new media (digital media and its impact on the processes of making and experiencing photography), story (concept, management, fiction and non-fiction) or business practices/business skills (writing, social media, marketing). The MFA program will prepare students to become scholars who redefine the creative role of photography within the contemporary culture (teaching assistantships, etc.)
What will students have in terms of a portfolio by the end of the program(s)? Is a portfolio even the right way to look at the end result?
Upon successful completion of the MA/MFA Degree Portfolio and Thesis, students are expected to have achieved demonstrable skills in image capturing and editing, an understanding of applied research methodologies, and increased teamwork and management skills. They will have practised talking about their skills and competencies with professional employers and clients.
What are some of the past thesis research topics students have chosen to explore?
A selection of past topics include:
- Brother, I’ve Got Your Back: Capturing Physical Intimacy Through the Lens of American Masculinity;
- Borders expanded: from street to earth. You can photograph anything now;
- Family Portraits: Intimate distance;
- Evolution of Contemporary Inkjet Printing;
- Contemporary Photography. A dialogue with the viewer: blurring the lines between fashion and documentary photography;
- Exploring the soul through photography;
What do alumni go on to do?
Alumni from our Master of Arts (MA) / Master of Fine Arts (MFA) in Photography & Image-making, depending on their interests and background, can cultivate their artistic practice, apply to artistic residencies, and propose their portfolio to galleries, curators, and festivals.
Alongside this, they can use their excellent experience in the image-making world in publishing, documentation, advertising, and archiving, as well as education, laboratories, workshops, or participatory processes concerning specific communities and thematic or geographical issues.
Students enrolled in the MFA program can also continue with an academic career, the prospect of teaching, or undertaking a PhD program and doing research.
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Cameron Tidball-Sciullo is a director & photographer based in Queens, New York who works as 1/2 of creative duo 91 Rules. His work is future-facing, focused on digital image-making technology and manipulation practices and deeply indebted to the 21st century. He’s driven...More
PCA Talks Presents: Amak Mahmoodian
Amak Mahmoodian is an artist born in Shiraz and lives in Bristol, UK. In 2015, she completed a practice based doctorate in photography at the University of South Wales, having previously studied at the Art University of Tehran. The artist’s work questions...More
Filipa Cruz will be representing PCA at SDB’s International Awards & Conference 2021, LIAC 2021
PCA Adjunct Faculty member, Filipa Cruz will speak at SDB’s International Awards & Conference 2021, LIAC 2021. Speakers and Panel discussions will cover the topics of EdTech, Colleges/Universities and the dignitaries in EducationMore
PCA MTNM Lunch Talk with La Fabrique des Communs Pédagogiques
Benjamin Gentils, education and innovation expert and the founder of the “Fabrique des Communs pédagogiques,” and Antoine Henry, associate professor at the University of Lille, and the scientific coordinator of the FabPeda will share their experience of the practice of commoning as...More