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• Undergraduate study:
• Courses
• Order a prospectus
• How to apply
• Information for applicants
• Why choose Kingston University
• Disability and mental health support
• Accommodation
• Undergraduate fees
• Fees, funding and payments
• Access, participation and inclusion

Modes of Presentation for Photographers

• Module code: FP4006
• Year: 2018/9
• Level: 4
• Credits: 30
• Pre-requisites: None
• Co-requisites: None

Summary

In this module you will develop and progress further your independent photography and begin to engage with the moving image, extending your skillset and enhancing the potential for all image based work. The intention is for you to explore and exam the implications of different modes for editorial presentation with your photography and image making. You will be supported to develop appropriate methods of presentation through tutorials, workshops aligned with your contribution to the seminar programme where you show and discuss work-in-progress to your peer group. You will self-publish photographic books and other photographic series of works for summative assessment at the end of each teaching block.

Aims

• To develop students' understanding of a focused range of modes of photographic presentation for photography practices
• To develop an understanding of the range of forms and modes of editorial presentation for photography and related media, set within a broad range of employment and professional contexts.
• To extend students' ability to creatively develop ideas in ways which link the conceptual basis of creative photography to an enquiry into its diverse forms.
• To enable students to select and apply successfully specific appropriate forms of presentation to enhance the communication of their creative ideas to audience.
• To evidence students' understanding of the creative development and resolution of their ideas.

Learning outcomes

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

• Demonstrate a growing awareness of the context in which they are working.
• Develop, integrate and extend research as a central tool to photographic practice and projects.
• Demonstrate an increasing awareness and understanding of different ways of presenting photographic works including self-published photo books.
• Choose appropriate and considered forms of presentation of work which represents and communicates the development of their practice.

Curriculum content

• Projects enable students to become more familiar and confident with the range of photography presentation practices.
• The projects include the making of a self-published photographic book and the selection from a range of photography subject options which include 'still to moving image'.
• Students will be keeping a continuous reflective workbook and/or online blog) of their learning during the programme; including a record of their skills development, evidence of and reflection on research, including exhibition and galleries visits, and the development of their photography work.
• The book and Personal Development Portfolio give students an opportunity to pursue personal concerns within chosen areas of photography.
• Student formative peer led presentations of their work in progress to enable greater student engagement and achievement.
• Students will engage with editorial and production techniques (eg., perfect binding) in order to self-publish two photographic books
• Students will research and consider audiences for their photographic work and its appropriate context
• Presentation skills will be developed to final responses (eg., book, video) to enhance audience reception and appreciation.

Teaching and learning strategy

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

• Project teaching will include lectures and seminars to further introduce appropriate visual material and research references.
• Seminars and tutorials will be arranged during project work to enable students to monitor their progress.
• There will also be the opportunity for students to investigate the presentation of work through technical and other workshops related to editing and presentation skills.
• The reflective workbook and/or online blog (blog will be submitted as a printed document eg., see http://blogbooker.com) will encompass research and encourage contemplation and reflection about their learning activity and increase 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

Assessment strategy

Formative assessment and feedback/feed forward will be continuous through seminars, tutorials and project reviews. There will be a first summative (40%) assessment point at the end of Teaching Block 1 to enable the student and the staff team to reflect on progress and to further support student learning and achievement. This will be primarily assessed on a short video piece considering audience and a body of photographic works in response to subject options. This will be followed by a formal feedback review in January. There will be a final summative assessment (60%) at the end of the module in Teaching Block 2 when students present their final two self-published photographic books and portfolio of supporting work including reflective workbook with aligned research.

Mapping of Learning Outcomes to Assessment Strategy (Indicative)

Elements of Assessment

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

Avedon, R. (2005). In the American west: photographs, 1979-1984. London: Thames & Hudson

Barthes, R. (2010). Camera lucida: reflections on photography. New York: Hill and Wang

Bate, D. (2009). Photography. Oxford: Berg.

Billingham, R.; Collins, M.; Germain, J. (1996). Ray's a laugh. Zurich; Berlin; New York: Scalo

Block, B A. (2008). The visual story: creating the visual structure of film, TV and digital media. Burlington, MA: Focal

Bussard, K A. (2006). So the story goes: photographs by Tina Barney, Philip-Lorca Dicorcia, Nan Goldin, Sally Mann, Larry Sultan. New Haven, Conn; London: Yale University Press

Dijkstra, R. (2004). Portraits. London: Art Data

Durden, M. (2013). Fifty key writers on photography. Abingdon, Oxon United Kingdom: Routledge

Ingledew, J. & Gullachsen, L. (2013) Photography. London: Laurence King Publishing

Campany, D. (2012). Art and Photography. London: Phaidon.

Campany, D. (2008). Photography and Cinema. London: Reaktion Books.

Figgis, M. (2014). Digital film-making. London: Faber and Faber.

Frank, R, (2008) The Americans. Göttingen: Steidl; London: Thames & Hudson

Jago, M. (2016). Adobe Premiere Pro CC 2015 release: classroom in a book.

San Francisco, California: Adobe Press

Lipkin, J. (2005). Photography reborn: image making in the digital era. New York: Abrams Studio

Long, J.J.; Noble, A.; Welch, E. (2013). Photography. Hoboken: Taylor and Francis

Marker, C. (1992).  La jetée: ciné-roman. New York: Zone Books; Cambridge, Mass: MIT Press

Marker, C. (2011) La jetée Sans soleil (DVD). Nouveaux Pictures

Read, S. (2013). Exhibiting Photography A Practical Guide to Displaying Your Work. Hoboken : Taylor and Francis

Read, S. & Simmons, M. (2017). Photographers and research: the role of research in contemporary photographic practice. New York: Focal Press

Remy, P. (1998). Hiromix. Gottingen: Steidl

Szarkowski, J. (2002). William Eggleston's guide. New York: Museum of Modern Art; London: Thames & Hudson

Testino, M. (2008). Series: Stern portfolio; No. 53. Hamburg: Gruner + Jahr AG & Co KG

Tillmans, W. (2003). If one thing matters, everything matters. London: Tate Publishing

Trinh, T. M-H, (2005). The digital film event. London; New York: Routledge

Underdahl, K. (2005). Adobe Premiere Elements for dummies. Hoboken, N.J.; Chichester: Wiley

Wells, L. (2003). The photography reader. London: Routledge