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The aim of this study is to understand the ‘photographic selves’ – the collective competences and skills required for making, interpreting, and communicating through photographs — that are articulated in the educational framework for future photographers in Russia and Sweden. These are two countries with very different histories in relation to photographic practices. Theories on photography from recent decades have emphasized that digital photography is a different medium from analogue photography. This study seeks to understand whether and how this is addressed in two different cultural contexts, based on interviews with teachers and department heads, combined with written descriptions of courses and educational programs. The material makes visible different ideal photographic practices. One, the most common in both countries, is firmly embedded in the international documentary tradition. Other ways, represented by teachers at a Russian art school for photography, stress a more critical perspective toward established conventions. However, absent at the studied schools are more freer understandings of photography in the wake of digitization. Photography is still framed by the historically anchored indexical relation to the surrounding world and as a fixed object.

FRAMING “THE PHOTOGRAPHIC SELF” IN EDUCATION PROGRAMS FOR PHOTOGRAPHERS IN RUSSIA AND SWEDEN