Telling stories across multiple frames. Explore how photographers use the sequence to imply motion, narrate a life, or build a complex conceptual argument.
| Introduction |
| 1 | Introduction to sequences and series |
| Sequences for documentation |
| 2 | Thomas Easterly: The Destruction of Big Mound (1853-1854) |
| 3 | Joseph Cundall: Construction of the Great Eastern at John Scott Russell's Yard, Milwall (1855-1856) |
| 4 | Louis-Emile Durandelle: Eiffel Tower (1887-1889) |
| 5 | Albert Bardem: Construction of the Commercial National Bank, SW corner Martin and Wilmington Streets, Raleigh, NC (1912-1913) |
| 6 | William A. Garnett: Aerial views of Californian suburbia |
| Sequences for literature |
| 7 | Meade Brothers Studio: Seven Ages of Man (ca 1860) |
| Sequences for documentation / fine art |
| 8 | Nicholas Nixon: The Brown Sisters |
| 9 | Jan Saudek: The Story of Flowers (ca 1987) |
| Sequences for photojournalism |
| 10 | Paul Nadar: Interview with Michel-Eugène Chevreul (8 September 1886) |
| 11 | Dorothea Lange: The Migrant Mother |
| Sequences for social propaganda |
| 12 | Thomas Barnardo: Children Reclaimed for LIfe |
| Sequences for narrative |
| 13 | Hill & Adamson: Narrative sequence - In pensive mood (1845) |
| 14 | Henry Peach Robinson: Little Red Riding Hood |
| 15 | C. Eckenrath: Hansel & Gretel |
| Sequences for titillation |
| 16 | Erotica: Comment me preferez vous? [How would you like to see me?] |
| 17 | Erotica: La Soubrette [The Maid] |
| Fotonovelas |
| 18 | Introduction to Fotonovelas |
| Photographers |
| 19 | Duane Michels: The Spirit Leaves the Body (1968) |
