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