Unit RPHC4002

B R I E F I N G N O T E S

BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

Contemporary practising photographers from various contextual

backgrounds make interesting work through a commission. The

commissioning process is a unique, distinctive and dialogical one. Each

commission presents its own terms and conditions. Successful

WOV[VNYHWOLYZ�HYL�L_WLJ[LK�[V�IL�ÅL_PISL�HUK�YLZWVUK�[V�H�KP]LYZL�YHUNL�of briefs. This part of the unit aims to encourage the students to familiarise

themselves with the demands and expectations of a commission as part of

their growing professional practice.

This unit delivers a ‘commissioned’ project assignment that encourages the

development and creative execution of work regarding the theme of waste.

The assignment encourages the students to consider the theme of waste as

an index for the industrial globalized world we live in. Global actions such as

consumption, recycling and the artefacts of waste have an interconnected

relationship with people at every local level and the theme for this commis-

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The students are asked to create a body of photographic work using the

photographic genres of portraiture, environment or still-life.

The photographs for this commission have to be produced in the local Med-

way area.

The student have a choice how to approach the subject matter: a set of por-

traits of local people working with waste refusal or waste management could

be created, a photographic piece dealing with discarded objects of the local

area could be produced, fashion photographs using clothing from recycled

TH[LYPHSZ�VY� SHUKZJHWL�PTHNLZ�VM� SHUKÄSSZ�JV\SK�IL�JVUZPKLYLK�HZ�HUV[OLY�option – the options are manifold and invite the students to be

innovative. The commission unit aims to extend the development of visual

vocabulary, whilst promoting an understanding of the social, political and

cultural narratives.

The resulting images have to be presented in a simulated exhibition form.

The student must consider carefully through the vehicle of an exhibitionw hot

to reach their relevant audience.

(�SLJ[\YL�WYVNYHTTL�[OH[�PZ�ZWLJPÄJHSS`�KLZPNULK�MVY�[OPZ�WHY[PJ\SHY�WHY[�VM�the unit aims to investigate the theme of waste through the different genres

of portraiture, environment and still-life accompanies the unit.

The lecture programme considers photographers’ current positions regard-

ing the theme of waste, their concerns, opinions and different visual ap-

proaches investigating the work of Richard Wentworth, Pieter Hugo, Yao

Lu, Chris Jordan, August Sander, Melissa Moore, John Stezaker, Richard

Prince and many others.

Unit Introduction

1

This Unit Aims to:

��;V�KL]LSVW�HUK�WYVTV[L�JVU[L_[\HS�HUK�JYP[PJHS�\UKLYZ[HUKPUN�VM�JVTTPZ-sioned work

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��;V�NHPU�[OLVYL[PJHS�HUK�WYHJ[PJHS�\UKLYZ[HUKPUN�VM�[OL�YLSL]HUJL�VM�H\KP-ence in relation to viewing of work in published context

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The Unit Technical Toolbox :

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Indicative Theoretical Content - Lecture Programme

This unit will introduce you to a variety of technical workshops providing the

students with knowledge and experience of a range of image-related

concerns such as the theory and use of alternative image-making processes.

The unit will enable you to revise your understanding and further your techni-

cal printing skills of analogue printing processes.

The technical workshop programme aims to guide and support your visual

ambitions, encouraging the development of practical skills and expertise

necessary to successfully create visually stimulating photographs.

Indicative Practical Content - Workshops

T H E C O M M I S S I O N

Assessment Criteria:

Creative Project/Images - 100% (LO1, LO2, LO3, LO4)

It is requirement to attain a pass in each of the criteria set out below:

LO1) Creative project methodology in the production of commissioned

project.

LO2) Research methods, knowledge and understanding of the context for

commissions.

LO3) Visual strategy employed in response to a commissioned project.

LO4) Management, communication and professional skills

The lectures and accompanied seminar programme will help the students

understand the important aspects of each artists’ visual language, their

motivation and particular choice of representation embracing the theme

of waste. Additionally, the students will be informed about the important

aspects regarding the particular context of an exhibition.

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B R I E F I N G N O T E S

BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

You are required to submit a set of images (minimum of three) based upon

your personal conceptual approach to representing the theme of waste.

Drawing upon the knowledge of your references, you must formulate your

V^U�]PZ\HS�JOVPJLZ� [V�ILZ[� YLÅLJ[�OV^�`V\�^PZO� [V� YLWYLZLU[� [OLTL��@V\�must select one of the following photographic genres: portraiture, still-life,

fashion or environment.

There may be political or environmental aspects you may wish to consider,

or investigate the relationship between recycling and fashion, or there may

be ideas of the worker dealing with waste refusal that interest you. You may

also consider ideas of the archive in that some contemporary photographers

rework existing archival images as an act of recycling.

Whatever area you wish to work, it is paramount to consider the relationship

between your visual strategy and how that affects the representation of the

theme of waste.

THE BRIEF: TASK 1

2

Yao Lu, ‘Fishing Boats Berthed by the Mount Fuchun’

Kevin Newark, ‘Protoplasm’, 2007

THE BRIEF: TASK 2

You are required to select two exhibitions in London and contrast and com-

pare them. You must study both exhibitions carefully and note the similarities

and dissimilarities between how the images have been displayed and con-

sider the exhibitions in terms of aesthetics and concepts. Please investigate

both exhibitions and examine how each curator haspositioned the images

in relation to one another and also in relation to the intentions of the curator

and the particular context of the exhibition’s concept/theme. Through the

process of your interrogation, you will be able to understand the narrative

behind each individual exhibition. Please collect your research and prepare

H���������^VYK� PUKP]PK\HS�ISVN�LU[Y`� [OH[�T\Z[�IL�JVTWSL[LK�I`� [OL�ÄUHS�deadline of the unit submission on the 25th March 2013 at 10am.

Additionally, you must select two 2nd year exhibitions and undertake the

same research task. Make a comparison between your chosen two student

exhibitions, discussing the images in relation to each other and in relation

to the chosen theme of the exhibition. Your selected exhibitions could be

similar or contrasting in their chosen theme or their visual display style of the

images. You must become a ‘critic’ or ‘reviewer’ of your chosen images and

engage in the conceptual as well as technical exploration of these exhibi-

tions, paying attention to the particular contexts in which the students have

chosen to display their images and what methods they have chosen to do

so: pay attention to the sequence of the images, the size of the images, the

framing of the images, the lighting of the exhibition venue, the press-release,

the title of the exhibition, the general feel/atmosphere of the exhibition, the

way the audience is adressed and the chosen exhibition venue.

Again your individual blog-entry must highlight your ability to critically engage

with your chosen student exhibitions. You have to submit a 300-500 words

blog-entry by the 25th March 2013 at 10 am that presents your ability to de-

JVUZ[Y\J[�`V\Y�JOVZLU�L_OPIP[PVUZ��LUNHNPUN�^P[O�[OL�L_OPIP[PVU�HZ�H�ZWLJPÄJ�context to engage with an audience.

Unit RPHC4002T H E C O M M I S S I O N

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Kevin Newark, ‘Bag 9’ from the series Protoplasm, 2006

B R I E F I N G N O T E S

BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

@V\�HYL�YLX\PYLK�[V�ZLSLJ[�H�W\ISPZOPUN�NYV\W�^OPJO�^PSS�ºW\ISPZO»�[OLPY��ÄUHS�images in an exhibition.

You must choose the context of your exhibition carefully refering to the con-

tent of your work and the relevant audience.

You must establish an informed framework for commissioned projects, as

you are challenged to explore the relevant exhibition context for your visual

images. Your exhibition must engage an audience and creatively display your

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ages included.

This is a group exersice and you must work within a team. You must assign

each other roles and have a clear group structure that enables you to plan,

manage and create your exhibition proposal for the Zandra Rhodes Gallery

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As part of your assessment, each group will be asked to ‘pitch’ their

proposal to the assesment panel in a simulated manner of a ‘real’

professional situation. The unit therefore presents students with a

professional ‘dragons den’ experience in which they must communicate their

research, concepts and rationale for their visual solutions of their exhibition

proposal.

THE BRIEF: PUBLISHING

3

Melissa Moore, Know the Edge, 2004

Unit RPHC4002T H E C O M M I S S I O N

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Andreas Gursky, Untitled XIII, Chimalhuacan, Mexico City. Mexico, 2002

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:*/,+<3,� �+,30=,9()3,:Schedule

Monday 7th January 2013�����HT����WT�<UP[�)YPLÄUN�HUK�0U[YVK\J[VY`�;OV\NO[Z��:[LMÄ�2SLUa�

Wednesday 9th January 2013All Day - Gallery Visists in London (Students)

Wednesday 16th January 2013�����HT���3LJ[\YL!�*VTTPZZPVU!�;OL�3HUKZJHWL�0ZZ\L��:[LM�2SLUa��WT���3LJ[\YL!�;OL�6IQLJ[�0ZZ\L��:[LM�2SLUa�

Thursday 17th January 2013Research Development Tutorials (Tracy Ashmore)

Fridday 18th January 201310.30am Lecture: Fashion in the Context of Waste - Ulrich Lehmann

Wednesday 23rd january 2013�����HT���3LJ[\YL!�;OL�7VY[YHP[\YL�0ZZ\L��:[LM�2SLUa11.30-1pm Research Support Seminar (Marie-Therese Shortt)2-3.30pm - Research Support Seminar (Marie-Therese Shortt)

>LKULZKH`���[O�1HU\HY`������HUK�;O\YZKH`���Z[�1HU\HY`�����Group Concept Development Tutorials - See Timetable for detailedinformation.

Wednesday 13th February 201310am Artist Talk - Jessica Potter11.30-1pm Research Seminars2-3.30pm Research Seminars

>LKULZKH`���[O�-LIY\HY`�HUK�;O\YZKH`���[O�-LIY\HY`�����Final Review Part 1 Commission Unit - Landscape and City (Andrew Lacon) TBCFinal Review

Thursday 14th February 20139LZLHYJO�;YPW�3VUKVU��.HSSLY`�=PZPZ[Z��:[LM�2SLUa�HUK�1VUH[OHU�:PTTZ�

Wednesday 20th February 201310am Guest-Lecture - Sandra Plummer ‘The Photogram’11.30-1pm Research Seminars2-3.30pm Research Seminars

Wednesday 20th February 2013*VTTPZZPVU�<UP[�º>HZ[L»�0U[LYPT�9L]PL^���:[LMÄ�2SLUa

Thursday 21st and Friday 22nd February 2012Colour Darkroom (Colin Jackson)10am - 1pm - Workshop: Alternate Processes: Photograms2pm - 5.00pm - Workshop: Alternate Processes: Photograms

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4

BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

Tuesday 5th March 2013 and Thursday 7th March 2013*VSV\Y�HUK�) >�7YPU[PUN�HUK�,KP[PUN�:LZZPVUZ��:[LM�2SLUa�HUK�1VUH[OHU�:PTTZ�

Wednesday 6th March 201310am Guest-Lecture - Sandra Plummer ‘Photography’s Materiality as Deconstructed Form’

Tuesday 12th and Wednesday 13th March 2013Research Review Support Presentations (Marie-Therese Shortt)

Tuesday 19th and Wednesday 20th March 2013Colour Printing Support Sessions (Andrew Lacon)

Final Summative Assessment - Submission DeadlineMonday 25th - Tuesday 26th March 2013 �:[LM�2SLUa�HUK�1VUH[OHU�:PTTZ�

Submission Requirement: -VY�[OL�ÄUHS�*YP[PX\L�`V\�^PSS�WYLZLU[�`V\Y�^VYR!��7YPU[�V\[�[OL�RL`�LSLTLU[Z�VM�`V\Y�ISVN!�Your visual references, the concept and 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 represntation of the individual in the photograph.

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approach to the project, contact sheets from the workshops and an

initial self-evaluation of the project prior to your shoot.

��9LZLHYJO�9L]PL^Z�VM�[^V�,_OPIP[PVUZ�PU�3VUKVU�HUK�[^V���UK�@LHY�Z[\KLU[�exhibitions

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Unit RPHC4002T H E C O M M I S S I O N

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Indicative Reading List.

Much of your research for this project is visually based so range widely

using the books but also magazines, and other forms of commercial

image publishing in regards to the context of fashion. A general investigation

PU[V�^LLRLUK�Z\WWSPTLU[Z�^V\SK�IL�ILULÄJPHS�[V�\UKLYZ[HUKPUN�VM�LKP[VYPHS�context or gallery visits to gain a better knowledge of the exhibition context.

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.

Please be aware that you must become more self-initiated regarding your

YLZLHYJO�HUK�T\Z[�ÄUK�`V\Y�V^U�YLMLYLUJL�TH[LYPHS�KPYLJ[S`�YLSL]HU[�[V�`V\Y�chosen subject matter.

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Campany, D (2007) Art and Photography (London: Phaidon)

Cotton, C (2009) The Photograph as Contemporary Art (London: Thames-

Barnes, M (2010) Shadow Catchers, Camera-less Photography (Merrell)

Sontag, S (1979) On Photography (Various: Penguin)

BBC, The Genius of Photography, DVD 2009

Scott, C (1999) The Spoken Image, Reaktion Books

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Wang)

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ford University Press

Arden P (2006) Whatever you Think, Think the Opposite (Various: Penguin)

Bayley S, Mavity, R (2007) Life’s a Pitch (London: Bantham Press)

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Celine-Jaeger, A (2010) Image Makers, Image Takers, The Essential Guide to

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Flusser, W (2000) Towards a Philosophy of Photography (Reaktion Books)

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Thomas,G (2003) Beyond the Lens: Rights, Ethics and Business Practice in

Professional Photography (AOP)

Source Magazine

Next Level Magazine

Hotshoe Magazine

Portfolio Magazine (past issues)

5

BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

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Resources

Silverprint: www.silverprint.co.uk (Film Supplies)

Process Supplies: www.process-supplies.co.uk (Film)

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Bob Rigby: www.bobrigby.com (Pinhole cameras)

Linhof Studio: www.linhofstudio.com

Walker Cameras: www.walkercameras.com

Robert White: www.robertwhite.co.uk

Ffordes: www.ffordes.com

Teamwork: www.teamworkphoto.com

Sekonic Light Meters: www.sekonic.com

Alternative Processes: www.alternativephotography.com

Photogravure: www.photogravure.com

Unit RPHC1005T H E C O M M I S S I O N

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Project Deadline (Commission): 25th March 2013<UP[�3LHKLY!�:[LM�2SLUa