Applied Photography - Fall 2022 - MAP1

Projects MA PHOTOGRAPHY

Applied Photography - Fall 2022 - MAP1

This course focuses on the ability to answer a commission within its own artistic practice and leading the students through a better understanding of studio photography, challenges of constructed images and their processes. Experimenting with still life photography is a starting point, then anyone can develop a method for their ongoing subjects. For this semester, we will be collaborating with Macguffin, a magazine dedicated to the life of things, objects that tells stories, stories that are told by objects.

Studio project (2023) with Charles Negre

Assistants
Mahalia Taje Giotto
Students
Sunny Attias, Bor Cvetko, Riccardo Fasana, Nabarun Gogoi, Florian Hilt, Isabella Madrid, Tanguy Morvan, Nina Pacherová, Amélie Tricaud, Tianyu Wang, Fabienne Watzke, Mirielle Rohr
1st year
1st semestre
ECAL/Tanguy Morvan
ECAL/Tanguy Morvan
ECAL/Tanguy Morvan

1/3
ECAL/Riccardo Fasana
ECAL/Riccardo Fasana
ECAL/Riccardo Fasana
ECAL/Riccardo Fasana

1/4
ECAL/Tianyu Wang
ECAL/Tianyu Wang
ECAL/Tianyu Wang
ECAL/Tianyu Wang
ECAL/Tianyu Wang
ECAL/Tianyu Wang
ECAL/Tianyu Wang

1/7
2022-2023_S1_MAP1_Rohr-Mirielle_Applied_CharlesNegre_02.jpg
ECAL/Mirielle Rohr
ECAL/Florian Hilt
ECAL/Florian Hilt
ECAL/Florian Hilt

1/3
ECAL/Isabella Madrid
ECAL/Isabella Madrid
ECAL/Isabella Madrid
ECAL/Isabella Madrid
ECAL/Isabella Madrid

1/5
ECAL/Fabienne Watzke
ECAL/Fabienne Watzke
ECAL/Fabienne Watzke
ECAL/Fabienne Watzke

1/4

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WORKSHOP - CGI WITH AREA OF WORK – 2025

MA PHOTOGRAPHY

WORKSHOP - CGI WITH AREA OF WORK – 2025

with Area Of Work

The Computer-Generated Imagery (CGI) Workshop is an introduction to 3D creation software that allows you to create images with photographic qualities that are not photographs.  This workshop centers on the theme of “Minimal,” inviting students to explore the creative and technical foundations of contemporary CGI image-making.  It emphasizes materiality and the expressive impact of reduction. Every form, light, and texture has a specific role, negative space guides the emotional tone, and fine details unify the composition.
ECAL x PAPERBOY

MA PHOTOGRAPHY

ECAL x PAPERBOY

with Charles Negre, Milo Keller, Clément Lambelet, Tanguy Morvan

Paperboy ECAL is the result of a close collaboration between Paperboy Magazine and first-year students of the Master Photography program. Under the guidance of photographer Charles Negre , they explored the potential of everyday objects to create mysterious and playful still lives. 
ECAL at OFFPRINT Paris 2025

MA PHOTOGRAPHY

ECAL at OFFPRINT Paris 2025

with Bruno Ceschel, Nicolas Polli, Milo Keller, Clément Lambelet

During Paris Photo 2025, ECAL will present a selection of its books at OFFPRINT Paris. ECAL Master Photography is pleased to present a selection of books created by its second-year students. This event offers an opportunity to engage live with the young photographers, exploring the origins of their projects and the stories behind each of these publications.
Daniel Martinez – A River Has No Shore

MA PHOTOGRAPHY

Daniel Martinez – A River Has No Shore

by Daniel Martinez

Flowing from an Alpine glacier to the Mediterranean Sea, the Rhône River runs through ice caves, forests, cities and industrial sites. It sustains ecosystems, defines geographies and connects cultures across space and time. However, the boundless flux of the world’s waters today faces increasing stories of tragedy and collapse. Climate change doesn’t manifest only on a material level but also overwhelms the emotional dimension of human life. Today, the psychological toll of environmental crisis amplifies states of eco-anxiety and solastalgia, triggered by lived experiences, mediated imagery and narratives of apocalyptic breakdown. A River Has No Shore reflects on the distress caused by climate change and its representation by looking at the water along the Rhône River in its endless forms.
Doyoung Kim – Flattened Roughness

MA PHOTOGRAPHY

Doyoung Kim – Flattened Roughness

by Doyoung Kim

The work Flattened Roughness explores war image consumption and resulting guilt. The photographer collects and prints images of death then lick and absorb them physically, confronting the emotional and physical distance created by media. Suicide drones’ cameras constantly calculate distance to humans for destruction. In this process, the distance between humans is forgotten. To overcome this distance, he brings the images into my body. This act, where intimacy and brutality coexist, transforms voyeurism into mourning and care, confronting my lost humanity. Through sensory performance, he bridges the gap between himself and mediated death, exploring the clash of dulled emotion and sensation. This confessional, physically exhausting work explores alternative sensory approaches for the recovery of broken humanity.

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