Search our site
Search our site

Photography and Process

  • Module code: FP5002
  • Year: 2018/9
  • Level: 5
  • Credits: 30
  • Pre-requisites: None
  • Co-requisites: None

Summary

The module encourages and challenges you to make critical photographic projects responding to different subjects and contexts, focusing on process, audience and refinement of visual literacy. You will have the opportunity to participate in collaborative projects as well as work individually, building and increasing confidence in communication and working in partnership towards resolution. You will continue to use journals/workbooks/blogs as a means of analyzing your practice, context, research, critically reflecting on process and making evident your engagement with subjects and project themes.

Aims

  • To establish a greater confidence in the creative development of ideas, critical engagement with working processes and to experiment more specifically within chosen areas of practice.
  • To encourage students to specialise more appropriately within the diverse range of photography practices.
  • To ensure students continue to work with more critical confidence both independently and in collaboration.

Learning outcomes

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

  • Use the processes of photography practical work and research to work in more experimental and challenging ways within their chosen areas of practice
  • Demonstrate the ability to develop specific areas of photography practice and to further experiment whilst working within those areas of specialism with an awareness of visual and cultural context
  • Show a deep understanding and applied appreciation of the relationship between photography, practical work and research
  • Demonstrate an increasing confidence and growing ability to work successfully both individually and collaboratively, and to further develop and refine their skills and technical abilities and production processes.

Curriculum content

  • Workshops to further enhance students' ability to develop learning methods and skills appropriate to the progress of their work
  • Self-initiated and collaborative projects in response to briefs to enable students to specialise within their chosen areas of photography practice in more considered ways
  • Diagnostically further refine and develop their areas of creative concern, and to devise related projects.
  • The ongoing maintenance of a personal development portfolio.

Teaching and learning strategy

An appropriately planned combination of lectures, seminars, workshops, and reviews.

  • Project teaching will include seminars and tutorials to introduce appropriate research references.
  • Seminars and tutorials will be arranged to develop students' awareness of their chosen areas of photographic practice, and students will be given feedback to further enable them to achieve set learning outcomes.
  • Photography and research skills will be supported through appropriate workshops.
  • Students will continue to manage their independent engagement and learning and to maintain a personal development portfolio.

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. Students should check this site on a daily basis for module information, timetables, sign-ups, updates and additional information and teaching materials.

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 Reviews, seminars, presentations Taught studio practice, tutorials, exhibition visits, workshops 100
Guided independent study Includes further independent exhibition visits and studio practice 200
Total (number of credits x 10) 300

Assessment strategy

Formative Assessment: Individual weekly feed forward tutorials will also enable reflection on process and practice. Notes will be recorded and consolidated on a feedback form, to be filled in by students during feedback tutorial.

Periodical group and peer review reflecting on individuals' progress and each student's understanding of the use of practical work and research and the creative development of ideas. This will be by a brief verbal presentation and print review made in response to the module demands. There will also be set individual mid-term folio-in-progress reviews.

Summative Assessment: A selected body of work consisting of two practical projects is augmented by a Research Log.

Group work will not be assessed. It is a method through which students learn, the results of which are integrated back in to individual practice. However, the student's reflection on this process may well be included in the work which is submitted for assessment.

Mapping of Learning Outcomes to Assessment Strategy (Indicative)

Learning Outcome Assessment Strategy
1. Use the processes of photography practical work and research to work in more experimental and challenging ways within their chosen areas of practice. Integral to the development of the student photographic practice is an exploration of different technical processes - acquisition of appropriate practical skill evidenced in students' portfolio and reflective journal which are formatively assessed at the end of TB1 and summatively assessed at the end of TB2.
2. Demonstrate the ability to develop specific areas of photography practice and to further experiment whilst working within those areas of specialism with an awareness of visual and cultural context. Formative and summative assessment will take into account individual progress and each student's understanding of practical work, aligned to research and the creative development of ideas, evidenced in the projects' outcomes and accompanying reflective research journals/workbooks/blogs.
3. Show a deep understanding and applied appreciation of the relationship between photography, practical work and research. Formative assessment given in tutorials and group reviews. Students' develop two portfolios of work and accompanying reflective research journals, workbooks/blogs in which the context, processes and documentation of the projects are compiled. Summative assessment will take place at the end of TB2, supported by a follow-up tutorial.
Demonstrate an increasing confidence and mature ability to successfully work both individually and collaboratively and to further develop and refine their skills and technical abilities and production processes. Formative assessment through presentations, and tutor/peer feedback. Summative assessment and formal feedback on project work and production processes takes place at the end of TB2.

Elements of Assessment

Description of Assessment Definitive UNISTATS Categories Percentage
Portfolio Coursework 80%
Research log/journal Coursework 20%
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 core texts

Blees Luxemburg, B. (c1997) London: a modern project. London: Black Dog

Blees Luxemburg, B. (2000) Liebeslied. London: Black Dog

Burke, P.J; Stets, J.E. (2009) Identity Theory. Oxford: Oxford university press

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

Edwards, S. (2014) Martha Rosler: The Bowery in Two Inadequate Descriptive Systems. Cambridge: MIT press

Elkins, J. (2013) Photography Theory. London: Routledge

Ferguson, R; DeSalvo, D; Slyce, J. (1999) Gillian Wearing. London: Phaidon

Friend, M. (2015) The Home Front. London: Routledge.

Gursky, A. (2002) Andreas Gursky. Paris: Centre Pompidou

Hunter, T. (c2003) Tom Hunter. Ostfildern-Ruit: Hatje Cantz

Maloof, A (2000) On Identity. London: Harvill

Modrak, R.; Anthes, B. (2011) Reframing photography:theory and practice. London:Routledge

Sander, A. (c2013) People of the 20th century: a cultural work of photographs divided into seven groups. Munich: Schirmer/Mosel

Smith, B. (2007). Society. Gottingen: Steidl; London: Thames & Hudson

Solomon-Godeau, A. (1995) Photography at the dock:essays on photographic history, institutions and practices. Minneapolis: University of Minnesota press

Sternfeld, J. (c2001) Stranger passing. Boston; London: Bulfinch

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

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

Weedon, C. (2004) Identity and culture narratives of difference and belonging. Maidenhead: McGraw-Hill education

Find a course

Course finder

Find a course
>