Lessons Beyond the Lens
For the CIEE Open Campus Block II, I had the immense privilege of reimagining and rewriting the Photojournalism syllabus. What started as a course outline soon unfolded into a living, breathing journey—shaped not only by how I see the subject and assignments but by the powerful presence and insights of guest speakers who joined us along the way.
Each conversation became a window into a different facet of photography or storytelling through pictures and moving images—not just as a medium but as a language of time, context, feeling, and truth.
Tracy Metz, journalist and curator, invited us into the curatorial process behind American Photography at the Rijksmuseum. With her, we explored contemporary American photography and its layered relationship to culture and narrative. She reminded us that context is everything in art, and especially in photography. A photograph without its context can speak—but often in a fragmented tongue.
With Herbert Alfonso, we entered the world of street and event photography. His reflections were raw, poetic, and grounding. He spoke of the photographer as a hunter—“a hunter for people’s lost moments and time.” When he shared that “time slows down” during the act of capturing life as it happens, it resonated deeply with our shared experiences behind the lens. Photography, in his words and presence, became an act of communion with the present.
Tuaca Kelly brought us into the heart of storytelling. Her work as an interdisciplinary artist led us into a rich dialogue on perception, context, and the ethics of image-making. Through her lens, photography is a vessel for connection—an invitation to listen, feel, and honor what’s unseen just as much as what’s visible.
Tien Cernak unpacked the anatomy of iconic photography. What makes an image transcend its moment and enter the collective memory? Is it the composition, the timing, the emotion—or the story it tells long after it was taken? These questions sparked lively debates and introspections among students, revealing how iconography is shaped not just by the image, but by us, the viewers.
When Daphne Maierna introduced us to the world of color theory, a whole new layer of perception opened up. Her insights into how color shapes feeling, memory, and understanding transformed the way we read photographs—and even how we experience daily life.
Finally, Stefano di Pietro grounded us in the craft of documentary-making. His presentation peeled back the layers of planning, intention, and dedication that go into telling real stories. We saw how much labor, heart, and structure exist behind a film or a photo essay—reminding us that documentary work is both art and architecture.
Rewriting a syllabus is one thing. Watching it come alive through voices, textures, and collective exploration is something else entirely. I’m deeply grateful for these artists, mentors, and minds who joined us—not only teaching but co-creating a space for reflection, curiosity, and growth. Even though I am also a photographer, this course wasn’t only about photography. It was about seeing each other, our stories, and the moments we often overlook.