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Independent Photography Practice

  • Module code: MU6308
  • Year: 2018/9
  • Level: 6
  • Credits: 30
  • Pre-requisites: Completion of Level 5 or equivalent
  • Co-requisites: None

Summary

This module introduces the course. It introduces active learning, research and reflection through practical photography projects which lead from thematic and conceptual to self-initiated and developmental projects. These projects will involve increasing engagement with conceptual and thematic concerns utilising different methodologies for work. There is an emphasis on the self-initiated development of critical photography in response. You will develop and independently produce (with tutorial support) a body of work(s) that can be considered "personal photography" arising from personal concerns. In effect a committed and serious independent practice on reflection, rather than purely a set response to project briefs.

Aims

  • To develop students' project work into a more resolved personal photography practice.
  • To introduce students to the creative development of ideas in ways which link the conceptual basis of creative photography to an enquiry into its diverse forms.
  • To give emphasis to the understanding of set project work as providing a learning and process framework and supporting an independent photography practice.

Learning outcomes

On successful completion of the module, students will be able to:

  • Demonstrate an ability to more clearly identify and develop personal concerns through practical work and research.
  • Creatively develop ideas through practice and research.
  • Develop, investigate and resolve a more personal photography practice, to build upon the experience of the set project work.
  • Extend the work of the set projects to investigate the potential and development of their personal practice.

Curriculum content

  • Project review of pre-course project and individual practices. Students will be set a mini series of projects  covering themes engaging photography with society and identity to begin their course experience and learning activity together. 
  • Subject seminars where key themes inherent in students' work are discussed in the context of relevant contemporary photographers' practices.
  • A series of self-initiated projects (mini briefs) allowing students the opportunity to pursue specific personal concerns within particular chosen areas of photography which will include documentary, portraiture and studio work.
  • To keep a reflective workbook in the form of an online blog and/or sketchbook that supports in-depth research, continual PDP and contextualises further and enhances the final presentation of work.
  • Portfolio (continual) development will be a key and important element as will be opportunities to engage with developing presentation skills and PDP writing through supported activities in response to set projects.

Teaching and learning strategy

An appropriately planned combination of lectures, seminars, workshops and reviews (continual feedback) - to be agreed with the course leader in advance of the academic year.

  • Student learning will be planned through the use of set projects and self-initiated work, which will address the set aims and learning outcomes of the module.
  • Seminars and tutorials will be arranged to enable students to monitor their progress.
  • Student learning will be directed through tutorials and seminar-led reflection upon their project and self-initiated work. They will be given formative feedback to enable them to achieve set learning outcomes.
  • The reflective workbook/online blog will encourage contemplation and increasing activity concerning their own learning and critical self-awareness.

The module will make use of the Virtual Learning Environment (VLE) Canvas for communication and dissemination of information between students and staff as well as making online learning materials available to all.

All courses based in the Kingston School of Art offer students free access to the online video tutorial platform Lynda.com. This provides a wide range of subjects to choose from, many with downloadable exercise files, including software tutorials covering photography, graphics, web design, audio and music, CAD and Microsoft Office software, as well as courses on Business and Management skills. Some of these are embedded in the curriculum and offer additional self-paced learning, others may be taken at will by students wishing to broaden their employability skills in other areas.

Breakdown of Teaching and Learning Hours

Definitive UNISTATS Category Indicative Description Hours
Scheduled learning and teaching Lectures/seminars/workshops/tutorials/ reviews 100
Guided independent study 200
Total (number of credits x 10) 300

Assessment strategy

Formative assessment and feedback/feed forward will be continuous through seminars, tutorials and project reviews. There will be a first deadline in at the end of Teaching Block 1 for summative assessment (40%) followed by a formal feedback review in January to enable the student and the staff team to reflect on progress and to further support student learning and achievement. It will lead to an opportunity to develop a strategy to achieve the best learning outcomes for final summative assessment (60%), when students present their final portfolio of independent practice work at the end of the module in Teaching Block 2. This portfolio must also include all supporting and research materials including the reflective learning workbook/online blog (blog will be submitted as a printed document e.g., see http://blogbooker.com) and PDP.

Mapping of Learning Outcomes to Assessment Strategy (Indicative)

Learning Outcome Assessment Strategy
1. Demonstrate an ability to more clearly identify and develop personal concerns through practical work and research. Formative assessment through project work which is assessed at group reviews, seminar presentations and core tutorials. Summative assessment and feedback takes place at the end of each teaching block. Portfolio will include all responses to compulsory set projects and independent photography practice including all supporting reflective and research materials.
2. Creatively develop ideas through practice and research. Formative assessment through project work which is assessed at group reviews, seminar presentations and core tutorials. Summative assessment and feedback takes place at the end of each teaching block. Portfolio will include all responses to compulsory set projects and independent photography practice including all supporting reflective and research materials.
3. Develop, investigate and resolve a more personal photography practice, to build upon the experience of the set project work. Formative assessment through project work which is assessed at group reviews, seminar presentations and core tutorials. Summative assessment and feedback takes place at the end of each teaching block. Portfolio will include all responses to compulsory set projects and independent photography practice including all supporting reflective and research materials.
4. Extend the work of the set projects to investigate the potential and development of their personal practice. Formative assessment through project work which is assessed at group reviews seminar presentations and core tutorials. Summative assessment and feedback takes place at the end of each teaching block. Portfolio will include all responses to compulsory set projects and independent photography practice including all supporting reflective and research materials.

Elements of Assessment

Description of Assessment Definitive UNISTATS Categories Percentage
Intermediate Portfolio of work Coursework 40%
Final Portfolio of work Coursework 60%
Total (to equal 100%) 100%

Achieving a pass

It is NOT a requirement that any element of assessment is passed separately in order to achieve an overall pass for the module.

Bibliography recommended reading

Adams, R. (1994). Why People Photograph. New York: Aperture

Adams, R. (1999). I hear the leaves and love the light: Sally in the back yard. Tucson, Ariz: Nazraeli

Baltz, L.; Rian, J. (2001). Lewis Baltz. London; New York: Phaidon

Bate, D. (2009) Photography (Key Concepts). Oxford: BERG

Bright, S. (2010). Auto focus: the self-portrait in contemporary photography. London: Thames & Hudson

Clark, E. (2010). If the lights go out. Stockport : Dewi Lewis

Cotton, C. (2009). The Photograph as Contemporary Art. London; New York, NY: Thames & Hudson

Couturier, Elisabeth (2012). Talk about contemporary photography. Paris: Flammarion

Di Bello, P; Wilson, C.E.; Zamir, S.; (2012). The photobook : from Talbot to Ruscha and beyond. London ; New York :I.B. Tauris

Dijkstra, R. (2004). Rineke Dijkstra : portraits. London : Art Data

Dufour, D. (2016). Provoke : between protest and performance : photography in Japan, 1960-1975. Gottingen : Steidl

Edwards, S. (2012). Martha Rosler : The Bowery in two inadequate descriptive systems. London : Afterall

Enwezor, O. (2006). Snap Judgements : new positions in contemporary African photography. Göttingen : Steidl

Fernández, H. (2011) The Latin American Photobook. New York: Aperture

Fox, A; Caruna, N. (2012). Basics Creative Photography: Vol. 3: Behind the Image - Research in Photography. Ava Publishing SA

Fraser, P. (2006). Peter Fraser. Portland, Ore. : Nazraeli Press/JGS

Garb, T. (2011). Figures & fictions: contemporary South African photography. Göttingen: Steidl ; London: V&A Publishing

Graham, P. (2006). Paul Graham: photographs 1981-2006. Göttingen : SteidlMACK

Gronert, S. (2009). The Düsseldorf school of photography. London : Thames & Hudson

Haworth-Booth, M. (1997). Paul Strand 1890-1976. Denville, N.J. : Aperture Foundation and

Gustafsson, H. (2016). The Cut and the Continuum: Sophie Ristelhueber's Anatomical Atlas. Routledge

Herschdorfer, N. (2011). Afterwards: contemporary photography confronting the past. London: Thames & Hudson

Höfer, C. (2004). Architecture of absence. New York: Aperture

Jaeger, A-C. (2007). Image Makers, Image Takers: The Essential Guide to Photography by Those in the Know. London:Thames and Hudson

Jeffrey, I. (2014). The Photography book. London: Phaidon Press

Jetzer, G.; Bush, K. (2007). Shirana Shahbazi : Meanwhile. JRP Ringier

La Grange, A. (2005) Basic Critical Theory for Photographers. Oxford: Focal Press

MacDonaldStrand. (2012). MacDonaldStrand presents. Brighton: MacdonaldStrand 

Parr, M.; Badger, G. (2004). The photobook : a history. London: Phaidon

Rosler, M.; Wallis, B. (1991).  If you lived here: the city in art, theory, and social activism : a project by Martha Rosler. Seattle: Bay Press

Squiers, C. (1991). The critical image: essays on contemporary photography. London: Lawrence & Wishart

Stocchi, F. (2007). Cindy Sherman. Milan: Electa

Streuli, B. (1999). City. Ostfildern : Hatje Cantz

Teller, J. (2011). Juergen Teller : touch me. Dijon : Les Presses du Réel

Tillmans, W. (2017). Wolfgang Tillmans 2017. London : Tate Publishing

Wells, L. (2015). Photography: A critical introduction. London: Routledge.

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