Credit Rating: 30 Credits Deadline (BODY & OBJECT): 10th & 11th December 2012 Unit Leader: Jonathan

Simms

THE OBJECT & THE BODY

Unit RPHC4001 Unit Introduction This unit sets the foundation for thinking about approaching photography. All photographs require the photographer to make important decisions regarding how the photographic subject is represented: the decisions the photographer makes decide how the photograph represents its subject. This unit provides an introduction to understanding, realising, and reflecting upon the photographic choices involved in making an image, how a subject is constructed, and how that creates meaning. This is a fundamental skill that lies at the foundation of all communication media, and photography in particular. The unit looks at two key photographic fields: the object and the body. Through these themes, you will learn fundamental theoretical and technical skills. This provides a platform for your photographic development in subsequent units, right through to Stage 3 of the degree and beyond. Areas covered involve the A, B, Cs of photographic language: depth of field and visual hierarchy; perspective and focal length; studio lighting. You will learn technical skills that enable you to use the facilities: black & white and colour film processing; black & white and colour film printing; 5x4 and medium format camera inductions; tungsten, continuous lighting and studio flash. These skills will be contextualised in visual language workshops, which will be part of your portfolio submission. You must in turn be able to contextualise your own practice in the assessment sessions. In other words, you will be required to explain the photographic choices you have - how does your choice of visual language and photographic process support your idea? This Unit Aims to: To promote a critical engagement and understanding of the representation of objects and the human form through photographic medium To develop research skills that support the generation of conceptual ideas To develop the ability to think about a range of visual language To manage tasks, meet deadlines and introduce health and safety. The Unit Technical Toolbox : An Introduction into Large & Medium Format analogue Cameras The theory and use of Aperture and Shutter Speed Introduction to: Studio Lighting: Electronic Flash & Tungsten The principles of Light & Exposure Analogue Processes: Colour and B&W

BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

B R I E F I N G :
PART 1: The Body

B O D Y

Like the still-life genre, the representation of the human body and more specifically, portraits of people has been a fundamental territory for artists over many centuries. As with objects, portraits can be both simple and complex. Images of people saturate the world we live: portraits appear everywhere from advertising to social media sites. However, this unit asks you do consider the following questions:

Johannes Vermeer, Girl with a Pearl Earring c.1665

The unit deconstructs elements of portraiture into important areas such as lighting, composition, pose, and posture. You will be required to make a portrait that incorporates the elements you have learnt. For example, who will you choose to photography and why? Where will they be and why? How far or close will the camera be and why? How will you light the subject and why? You must be able to prepare and plan your shoot both technically and theoretically by having control over the photographic choices for the specific representation of your subject. What is a portrait? Is a portrait just a recording of the appearance of a person? What can be communicated by a portrait? Is likeness always important? Who defines what we are? How do the photographic choices made affect how we understand the person?

Credit Rating: 30 Credits Unit Leader: Jonathan Simms Deadline (BODY & OBJECT): 10th & 11th December 2012

THE OBJECT & THE BODY

Unit RPHC4001 BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

B R I E F I N G :
PART 1: THE BODY

B O D Y

The brief for the Body has 3 tasks, that will form your portfolio submission. The brief ask you to make 3 seperate portraits in differing contexts, of 3 individuals not know to you, from the local community living or working in the Medway Towns. You will naturally require the sitters consent. So enter into a dialogue with your subjects, beforehand. Explain clearly the image is for portfolio purposes and not for commercial gain. Make every attempt to get to know the person. Trust, empathy and respect is everything in this exchange. It is a requirement to carefully consider issues of representation when making the photograph. Portrait Task (1): On location, make 2 images of the individuals face, one must be a study of their profile, the other must be front facing. Head and shoulders is ok, however the image must be on a plain / neutral background in (B&W) - Consider posture, pose and gaze. (see ref. Steve Pyke) Task (2): The Portrait in the context of the subjects Environment (Colour) - Make a study of the sitter in their interior environment, (ie. domestic, workplace, social). ref: see image by Toby Glanville, Bedgebury, 2000 Task (3): The Portrait of an individual in the context of the Studio - this
Hendrik Kerstens, Napkin 2009

must follow the schedule set out in the timetable (Colour or B&W) There are certain requirements of the brief:

Portraiture, in its various forms, is one of the most established genres in every different discipline of art. We take photographic portraits for granted, taking them has become so in-grained and almost ritualistic within our lives. Over a lifetime, we will have our portrait taken regularly, especially at significant moments such as a wedding or birthday. But what do we really mean by the term portraiture?

In terms of painting, the word might conjure up images of oil paintings of aristocrats and historical figures gathering dust in public galleries and country houses. The artists commissioned to paint such works would firstly be attempting to record a (flattering) likeness of their patrons, but also somehow represent aspects of their character, their occupation or their personal ideology. Certain conventions have evolved within portraiture, such as subjects sitting or standing still; smiling or appearing deep in thought; subjects addressing the artist/viewer directly or looking ponderingly into the distance. These conventions still dominate even contemporary photographic art, although the genre continues to progress, in terms of style, technique and the photographers personal approach to their subject.
Steve Pyke, Arthur Scargill, 1985

Credit Rating: 30 Credits Unit Leader: Jonathan Simms Deadline (BODY & OBJECT): 10th & 11th December 2012

THE OBJECT & THE BODY

Unit RPHC4001 BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1 (i) The person must be unknown to you. So this requires both careful, considerate and professional negotiations with your subject. Their availability for a specific shoot day, as per the YR1 timetable? How much time can the sitter offer you, on the day of your shoot? For Task 3 you will be inviting a guest to UCA, so you will need to meet them, ask them to sign-in as a guest. You are responsible for their welfare, so do brief them politely on fire-alrm procedures. (ii) In addition you are requied to write a 300 word critical appraisal - this should be used as a basis for your final presentation at assessment. (ii) For Task (3) the portrait must follow the schedule set out in the timetable and be made in the Studios at UCA Rochester, using either Colour or B&W film of your choice. The choice of Format must be either Medium or Large-Format analogue/film cameras. (iii) You must carefully consider your Lighting, which must be either Studio Flash or Continuous Tungsten Fresnel - testing is vital here, so the workshops leading up to your shoot are designed to support your portrait. (iv) To support your learning professionally, you will are required to Assist one another on alternative days. So when you are shooting you will have an assistant to help you with your shoots. It is important that the role of assistant is undertaken in a supportive manner. All relevant contact sheets & final prints must be digitized and uploaded to your journal from your shoots. The ability to have worked to the scheduled production dates & relevant deadlines will also be considered at this time. Format can be either Medium or Large-Format analogue/film cameras. Using either Tungsten or Studio Flash lighting Final Colour & B&W analogue prints, no smaller than (9.5 x 12) Consider paper surface. The print must be to the highest standard, evidencing your ability to control focus, density and contrast, through your control of exposure & lighting, etc. Contact sheets from the shoot. Here we can feedback matters of gesture, posture and gaze. Consider carefully issues of editing and selection, also look at the variety of shot.
Toby Glanville, Bedgebury, 2000, from the series Actual Life

T H E B O D Y: S U B M I S S I O N
Submission Requirement: The Body. For the final Critique you will be assigned a Studio to present your work: Deadline: 10th & 11th December 2012 (See iCal for specific details) Your Online Learning Journal must include: Your visual references, and a 300 word, critical appraisal outlining the concept behind the impression of this individual you have created and using your critical understanding of representation your self evaluation the appraisal is designed to help you place yourwork into context when you present. What were the reasons behind your photographic choices and how do think they support the representation of the individual in the photograph. It will be used, to assist the tutors with evaluation. The Journal should be kept up to date and demonstrate your research approach to the project,.

Schedule: During the first semester you will be required to work on several projects at the same time. This obviously will put demands on your own ability to manage your time. The key to a successful production is to set yourself interim stages. Your research must be completed by a certain date and that your shoot production must commence by another date, so give yourself sufficient time to complete the following: develop films; produce contact sheets; edit and select images; make test prints and then print final choices.

Tutorial Support: To support your learning we have scheduled a number of tutorials, where you will receive feedback verbally. It is a requirement that you attend these and bring the following: (i) Research (relevent texts & research: eg. specialist journals, newspapers, monographs from the library) (ii) Contact Sheets from Test Shoots (iii) Ref imagery (Body: Casting, Locations, Costume, Lighting references, example of pose/posture) (iv) B&W and C Type Prints

BODY Shoot Production Date: Week 5/6 - see timetable for the specific details.

Credit Rating: 30 Credits Unit Leader: Jonathan Simms Deadline (BODY & OBJECT): 10th & 11th December 2012

BRIEFING:
Unit RPHC4001 PART 2: OBJECT

OBJECT

BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

Taking inspiration from the history of art and using a visual approach, employed in traditional still-life painting, construct a photograph based upon a current social issue. It is your chance to produce an individual comment or opinion through the objects in your still-life. What current debates or issues concern you? Inspiration may come from the media (newspapers, radio, internet, television, etc) There may be something you wish to make a comment upon, such as your experience of an aspect of the local Medway area. You may feel strongly about issues such as vegetarianism, starvation, or consumption, for example. It is up to you to construct a meaningful photograph through research and careful use of objects. There will be tutorial support to help and develop your idea. Your photographic decisions will also be crucial: how and why will you decide to shoot the still-life the way that you have?

LEARNING JOURNALS
You must allow sufficient time to re-shoot work that has not met the creative and technical standards required. In this case this may be after the initial hand in date but before your final end of unit assessment. Remember you will be on an intensive learning curve, mistakes happen, embrace these, but do factor in time to make corrections. This project will run for six weeks; during this time you will be required to present both your research and your edited contact sheets at both seminars and tutorials. Use a Chinamarker and a loupe to edit your first, second and third choices. As you work on the projects we are asking you to keep a online journal. A learning journal is a record of your process through the unit; evidencing your learning from your research; developing your ideas; images of test-shoots and shoots; research and inspirations; and reflection on your final images. The journal will enable your tutors to monitor your progress throughout the unit, and to assess your methodology. There is no problem if you choose to use a traditional work-book, however the pages must be digitised, (scanned or photographed) and uploaded to the online journal. Please ensure that the resolution is sufficient so that tutors are able to read clearly the content. Therefore, you can keep your Learning Journals individual, but do keep them professional. Let the work on show express your character. This will be a public-facing journal, and one to which potential employers, for example, might refer. You may choose to keep a physical workbook as part of your personal creative process. These will not be assessed. Tutorial Support: To support your learning we have scheduled a number of tutorials, you will receive feedback verbally. It is a requirement, that you will bring the following: (i) Research (relevant texts & research: eg. specialist journals, newspapers, monographs from the library) (ii) Contact Sheets from Test Shoots (iii) Ref imagery (Object: props, background / context, concept, lighting references, composition) (iv) B&W and C Type Prints

Laura Letinsky, from Hardly More Than Ever, 2002

Credit Rating: 30 Credits Unit Leader: Jonathan Simms Deadline (BODY & OBJECT): 10th & 11th December 2012

THE OBJECT & THE BODY

Unit RPHC4001

BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

BRIEFING:
Submission Requirement: The Object.

OBJECT

Final Deadline: 10th or 11th December 2012 (See iCal for specific details) Just as with the Body submission, you will be required to ensure that your Online Learning Journal must include: Your visual references, and a 300 word, critical appraisal outlining the concept behind the impression of this individual you have created and using your critical understanding of representation your self evaluation the appraisal is designed to help you place yourwork into context when you present. What were the reasons behind your photographic choices and how do think they support the representation of the individual in the photograph. It will be used, to assist the tutors with evaluation. The Journal should be kept up to date and demonstrate your research approach to the project,. All relevant contact sheets & final prints must be digitized and uploaded to your journal from your shoots. The ability to have worked to the scheduled production dates & relevant deadlines will also be
Edward Weston, Nautilus 1927

considered at this time. Format must be Large-Format analogue / film cameras. Using either Tungsten or Studio Flash lighting. Final Colour analogue prints, no smaller than (9.5 x 12) The print must be to the highest standard, evidencing your ability to control focus, density and contrast, through your control of exposure & lighting, etc. Contact sheets from the shoot. Here we can feedback matters of composition, context, lighting, etc. Consider carefullu issues of editing and selection, also look at the variety of shot.
OBJECT Shoot Production Date: Week 9 - see timetable for the specific details.

Untitled from the series Pictures from a Rubbish Tip, 1988 - 1989 Keith Arnatt

Credit Rating: 30 Credits Unit Leader: Jonathan Simms Deadline (BODY & OBJECT): 10th & 11th December 2012

Unit RPHC4001

ASSESSMENT CRITERIA

BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

Assessment Criteria: Submission of Portfolio & Learning Journal (Please note you will not get a separate mark for the Object & Body. However for this Unit we do give greater importance to Research over the Creative Project. Research and Development - 60% Creative Project/Images - 40% It is requirement to attain a pass in each of the criteria set out below: LO1) Applied knowledge and conceptual understanding of representation LO2) Demonstrate developing research skills in support of conceptual and contextual ideas LO3) Ability to understand and employ photographic technique to represent ideas LO4) Appropriate project management: planning and organisation (preparation, heath & safety, shoot production skills, etc.)

ASSESSMENT NOTES

What Learning Journals should contain: Idea (concept) development. Inspirational references, a discussion of your choice of subject and your thoughts about it. Why this subject? Visual approach. Your ideas about your photographic choices. What approach are you taking and why shoot this way? How does this relate to our idea, your opinions and our objectives? Making the work. Take notes (text and photographs) during your shooting, processing and printing. Include visual examples of your contact sheets and test prints and experiments in shooting/printing. Editing: Include your contact sheets with your edited selection marked on the sheet. Final work: Include your final images.

Assessment - How does it work? Stages, Levels & Years - Your 3 years Honours Degree course is divided into 3 stages: STAGE ONE, FOR THE FIRST YEAR; Stage Two, for the Second year and Stage Three for the final Third year. - You must successfully complete each stage before you can progress to the next stage. For this year, all assignments which are set at an Introductory Level - If you successfully complete Level 1, you will then be able to progress onto Level 2 - The key aspect to consider is that ALL MARKS at Level 1, DO NOT effect your Final Award in Year 3. This is to encourage experimentation and the notion that failing is not negative. - However you MUST PASS ALL UNITS. - Please refer to the Handbook for further details.

Reflection and Critique Learning from your work. Outline thoughts prior to the project review sessions on your choice of image and your own understanding of your work. Add comments and insights gained form the critical discussion. These may be about your work but also you might include points on other students work or additional references that could be useful to you in the future. Written content can be presented as bullet point notes or full text paragraphs. Visual content should contain: Scans of analog prints and contact sheets. Scans should be colour corrected and of sufficient quality to the original. Digital images Final Project images Reference images, - behind the scenes - snapshots and visual documentation. If uploading very large numbers of images (for discussions of editing choices) we suggest you make digital - Contact Sheets or - Index Prints using Adobe Bridge.

Units & Credits - a UNIT is as a self-contained component of your learning. Each UNIT will be assessed and will count towards your award. Each UNIT has its own aims, content, learning outcomes, methods of assessment and assessment criteria. Within a UNIT there are PROJECTS or ASSIGNMENTS, there may be one project, there could be several projects within a unit.

FINAL CRIT: OBJECT & BODY 10TH & 11TH DECEMBER 2012

Credit Rating: 30 Credits Unit Leader: Jonathan Simms Deadline (BODY & OBJECT): 10th & 11th December 2012

THE OBJECT & THE BODY

Unit RPHC4001 We recommend that you use your journal actively regularly at least once a week. It is mandatory to keep a journal and we expect you to make it part of your image-making process. When creating a post, do ensure that you create a category or tag for each Unit. This way you and your tutors will be able to navigate your online journal. INDUCTION WEEK: Wednesday 19th September Briefing - Do note your first ideas and thoughts about the Object & Body project. Initial research and inspiration. WEEK 1: Task 1: On location, make 2 images of a persons Face, one must be a study of their profile, the other must be front facing. The image must be on a plain / neutral backround 10am: Monday 24th September - Rm: 806, Lecture: What is a Portrait? From Scientific Study to Contemporary Practice. Seminar Task - Posture & Pose: Deconstructing the Family Portrait (From Struth to Barney) - see ical for schedule WEEK 2 & 3: Task 2: Portraiture & the Environment Student Led Shoot Contact-sheets of your images from the workshops and reflection on darkroom practice. Self-evaluation of your skills - What can be improved? Developments of you concept. - Unit Tutorials: Body WEEK 3: Intro. to Studio Lighting (Health & Safety) Clothing & the Uniform: Posture & Pose. WEEK 4: Rembrandt Lighting: Key/Fill Light Workshop WEEK 5 & 6: Task 3: BODY Unit Studio Shoot Productions - Unit Tutorials: Object 10am: Monday 22nd October - Rm: 806, Lecture: What is a Object? (Project Re-Briefing) Seminar Task - Student led research Task - Deconstructing the Object as Image - see ical for schedule WEEK 7: Depth of Field, Perspective & 5x4 Large Format Workshop & Urban Space 5x4 Wista/Medium Format Location Workshop WEEK 8: Chiaoscuro: A Lighting Workshop (5x4 Format revisited) WEEK 9: OBJECT Unit Shoot Production WEEK 10: B&W and Colour Printing Support & Editing Workshop WEEK 12: OBJECT & BODY UNIT Summative ASSESSMENT Online & Library Journals British Journal of Photography: http://www.bjp-online.com Photoworks: http://www.photoworks.org.uk Blindspot: http://www.blindspot.com Source Photographic Review: http://www.source.ie Hotshoe: http://www.hotshoeinternational.com American Suburb X: http://www.americansuburbx.com Conscientious: http://jmcolberg.com/weblog/ VII: http://www.viistories.com 1000 Words Photography: http://1000wordsphotographymagazine. blogspot.co.uk

BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

SCHEDULE & READINGS

Indicative Reading List. Much of your research for this project is visually based so range widely using the books but also magazines. The following books are only an indication of some you may wish to consult for your research. This is not a compulsory reading list - most of the appropriate titles are available from the library.

Barbe-Gall, F (2010), How to Understand a Painting BBC, The Genius of Photography, DVD 2009 Bright, S (2006) Art Photography Now (London: Thames & Hudson) Campany, D (2007) Art and Photography (London: Phaidon) Clarke, G, The Photograph, , Oxford University Press, 1997 (Chapter 6 The Portrait in Photography & chapter 7 The Body in Photography) Cotton, C (2009) The Photograph as Contemporary Art (London: Thames & Hudson) - See Chapter 4, Something for Nothing - (Object Project) Ewing, W (1994) The Body: Photoworks of the Human Form (London: Thames & Hudson) Ewing W (2008) Face: The New Photographic Portrait (London: Thames & Hudson) Fox, A (2012) Basics Creative Photography 03: Behind the Image: Research in Photography (AVA Publishing) Gian Casper Bott, (2008) Still Life, Taschen, Langmuir, E (2010) A Closer Look: Still Life (Yale University Press, National Gallery London) London, B & Upton, J (2010) Photography (Harlow: Pearson Education) Luica Impelluso, 2005, Nature and its symbols (Guide to imagery), Martineau, P (2010) Still Life in Photography (J. Paul Getty Museum) Short, M (2011) Basics Creative Photography 02: Context & Narrative (AVA Publishing) Taylor.P, Yale Press, 1995, Dutch Flower Painting, 1600-1720, Resources Silverprint: www.silverprint.co.uk (Film Supplies) Process Supplies: www.process-supplies.co.uk (Film) 7 dayshop: www.7dayshop.com (Fuji Instant film supplies) Robert White: www.robertwhite.co.uk Ffordes: www.ffordes.com Sekonic Light Meters: www.sekonic.com