Credit Rating: 30 Credits

THE COMMISSION
Part 1: ENVIRONMENT
Unit RPHC4002 Introduction The complexities of environment, which can at first seem the most straightforward of the photographic genres, are not to be underestimated. Interior, external, urban and rural, environments are an important feature of our cultural, social and political terrain. The critical consideration of environments represents an important aspect of contemporary practice. They are often sites of dispute, boundaries, romanticised ideals, social conventions, political and social control, economic exploitation, conservation, history, memory, archaeology, national and cultural identity, leisure and social activity. In this sense their cultural meaning ranges from the manifestations of their geography to the anthropology of habitation and nature. The unit provides you with the opportunity to investigate and represent the many different conceptual approaches to environment and the aesthetic traditions embedded within this genre. Indicative Theoretical Content - Lecture Programme This unit will introduce you to the different avenues and themes of environment. A lecture programme that is specifically designed for this particular unit aims to set out the historical relationship between the genre of environment and the medium of photography accompanies the unit. The lecture series will guide you to particular historical periods relevant to the genre such as the time from the Mid-19th Century until the II World War both in America and England and historical notions of the city as an industrialised space. The lectures will investigate the work of Fox Talbot, Henry Peach Robinson, Roger Fenton, William Henry Jackson, Timothy OSullivian, Carleton Watkins, Peter H. Emerson, Eugene Atget, Laszlo Moholy-Nagy, Walker Evans, Ed Ruscha and many more. Important aspects of each particular historical period, visual methods and styles, photographers motivation and their representation will be investigated. The historical lectures are followed by lectures considering photographers current positions, their embrace of particular themes and visual approaches investigating the work of Thomas Struth, Joel Sternfeld, Gabriele Basilico, Richard Wentworth, Simone Nieweg, Dan Holdworth, John Davies, Lewis Baltz, Rut Blees-Luxemburg, Robert Adams, Olivio Barbieri, Naoya Hatakeyama and many others.

Review/Formative Assessment: 3rd/4th December 2012 Unit Leader: Steffi Klenz Project Tutors: Steffi Klenz & Jonathan Simms BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

B R I E F I N G
Indicative Practical Content - Workshops

N O T E S

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 aperture settings and shutter speed, location lighting and an introduction to principles of light and exposure. The unit will also teach you different analogue camera formats such as medium-format and large-format cameras and introduce you to the specific characteristics of analogue 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. Part 1 of the Unit Aims to: To develop contextual and critical knowledge of environments To develop visual language and editing considerations in order to construct narratives of space and environment To engage in research in the support of conceptual ideas To develop technical, management and professional skills Teaching and Learning Methods : Tutorials guidance, feedback and project development Lectures Seminars- research skills, discussion, exploration of concepts and contextual understanding Field work- external project work Supervised Studio Workshops - concept development aligned to technical skills Project Supervision Time management and Methodology Analogue Processes: Colour and B&W Guided Independent Study Assessment Criteria: We do give the same importance to Research & Development and the Creative Project. This is a 100% portfolio submission. It is requirement to attain a pass in each of the criteria set out below: LO1) Demonstrate a cultural awareness of environments and commissioned project work LO2) Use research to contextualise and conceptually interrogate a project LO3) Develop visual strategies aligned to the appropriate use of processes and technologies LO4) Demonstrate self-management and transferable skills

Credit Rating: 30 Credits

THE COMMISSION
Part 1: Environment
Unit RPHC4002

Review/Formative Assessment: 3rd/4th December 2012 Unit Leader: Steffi Klenz Project Tutors: Steffi Klenz & Jonathan Simms

BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

THE BRIEF: TASK 1 You are also required to submit a set of images (minimum of three) based upon your personal conceptual approach to representing the landscape. Drawing upon the knowledge of your references, you must formulate your own visual choices to best reflect how you wish to represent the landscape. There may be political aspects you may wish to consider, or investigate the relationship between human intervention upon nature, or there may be ideas of the cultured landscape that interest you. 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 landscape.

B R I E F I N G

N O T E S

Lee Friedlander, Albuquerque, New Mexico, 1972

SUBMISION REQUIREMENTS FOR FORMATIVE ASSESSMENT: With this Unit there will be both a Formative Review where verbal feedback will be provided and a Summative Assessment at the end of the unit where your work will be graded. After your Foramtive review you will have the opportunity to refine your work and resubmit for your final Summative Assessment at the end of the unit. For the Formative Review you will be assigned a Studio to present your work: Prepare an individual blog-post or a powerpoint presentation including: Your visual references, and a 500 word critical appraisal outlining the concept THE BRIEF: TASK 2 You are also required to submit a set of images (minimum of three) representing the urban space. You are encouraged to develop a conceptual approach to the representation of the city. There may be political aspects you may wish consider, or investigate the citys metaphorical potential, or there may be ideas of the city as transforming and modernising that interest you. You might investigate street photography, create a social document, or represent humanistic scenes of urban space. The challenge is to consider the significance of the city as an environment from a range of perspectives. You must develop your own visual strategy and vocabulary that best presents your ideas in a sequential set of images. . Format must be 5x4 Large-Format or 6x6 or 6x7 Medium-Format analogue film cameras Two sets of final Colour C-Type analogue prints (minium three images per set), no smaller than (10x12 inch). The print must be to the highest standard, evidencing your ability to control focus, exposure and colour correction. Selected contact sheets from the shoot. Here we can see and discuss matters of camera position, focal length, exposure and lighting. of your landscape as well as city submission. Remember your Blog will be used, to assist the tutors with evaluation. The Blog should be kept up to date and demonstrate your research approach to the project, contact sheets from the workshops and an initial self-evaluation of the project prior to your shoot. The ability to have worked to the relevant deadlines will also be considered at this time.

Jem Southam, Seaford Head, 1999

Credit Rating: 30 Credits

HE COMM SS ON TTH E C O M M I IS S I IO N
Part 1: ENVIRONMENT
Unit RPHC4002

Review/Formative Assessment: 3rd/4th December 2012 Unit Leader: Steffi Klenz Project Tutors: Steffi Klenz & Jonathan Simms

BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

B R I E F I N G
Formative Review - Presentation & Evaluation Your presentation can take the form of either a specific Blog Post (listed as Formative Assessment) or a powerpoint-presentation. A computer will be provided in the allocated studio to display this. Final Prints and contactsheets are to be presented on the wall. Your presentation should seek to satisfy the following criteria and have the following structure: Using key elements of your blog, produce a 500 word critical appraisal, that discusses both Landscape and City in equal terms. Provide a clear introduction to your projects, outlining the concept (idea), behind both the landscape as well as the city environment you have created. Include your Research and Visual References, with a clear explanation of what you think their significance is and why. For example, how does your reference relate to your project? What do you think are the most important factors that you have learnt from your reference? Include a Self Evaluation that covers these questions: What is your understanding of issues related to both Environments? - What context would you place your work in? - What were the reasons behind your photographic choices? How do you think your visual choices translate your ideas? - How have you managed your studies? - What aspect of your shoot productions do you need to reflect upon and why? - What has been the most significant challenge on these Units so far? - How can you overcome them prior to your final submission?

N O T E S

Brassai, Paris after Dark, No.27, 1933

Robert Adams, On Signal Hill, Overlooking Long Beach, California, 1983

Credit Rating: 30 Credits

THE COMMISSION
Part 1: Evironment
Unit RPHC4002 Schedule Wednesday 19th September 2012 10 - 11.30am Unit Briefing and Introductory Thoughts (Room 806)

Review/Formative Assessment: 3rd/4th December 2012 Unit Leader: Steffi Klenz Project Tutors: Steffi Klenz & Jonathan Simms

BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

PROJECT SCHEDULE
Monday 29th October 2011 10 - 11.30am 11.30 - 1pm tioners (Library) 2 - 3.30pm Visual Seminar -Grps. A,B,C, D (Room 806) Visual Seminar -Grps. E,F, G, H (Room 806) 3.30-5pm Room 806, Lecture: The City Research Task Deconstructing Environmental Practi-

Monday 24th September 2011 2-3.30pm Room 806, Lecture: The Picturesque Period and the Taming of the English Landscape Wednesday 26th September 2012 10 - 11.30am 12-1pm 2-3pm 3.30-4.30pm Artist Talk - Andrew Lacon (806) Seminar with Andrew Lacon - Grps. A,B,C (806) Seminar with Andrew Lacon - Grps. D,E,F (806) Seminar with Andrew Lacon - Grps. G,H (806)

Wednesday 7th November 2011 10 - 11.30am 11.45 - 1pm tioners (Library) 2 - 3.30pm 3.30-5pm Room 806, Lecture: The Contemporary Urban Space Research Task Deconstructing Environmental PractiVisual Seminar -Grps. A,B,C, D (Room 806) Visual Seminar -Grps. E,F, G, H (Room 806)

Thursday 27th September 2012 Image Analysis Deconstructing Picturesque Practitioners 10-11.30am 11.30-1pm 2 - 3.30pm 3.30 - 5pm Grps. E,F (Room 803) Grps. C,D (Room 803) Grps. A,B (Room 803) Grps. G,H (Room 803)

Thursday 8th November 2012 & Friday 9th November 2012 5x4 Camera and Medium-Format Camera Location Shoot Monday 26th November 2012, Tuesday 27th November 2012 & Wednes-

Wednesday 3rd October 2011 10 - 11.30am LT2, Lecture: The Sublime: Extreme Nature and the Discovery of the American West 11.30 - 1pm Research Task Deconstructing Environmental Practitioners (Library) 2 - 5pm 705) Monday 8th October 2011 10 - 11.30am Room 806, Lecture: Between Frontier and the Back-Garden - Contemporary Responses to the Land 11.30-11.45 Compulsory Individual Blog Entry (deadline Monday 15th October, 9am) Wednesday 17th October 2012 10 - 11.30am 12-1pm 2-3pm 3.30-4.30pm Artist Talk - Jo Broughton (Studio 1) Seminar with Jo Broughton - Grps. A,B,C (Studio 1) Seminar with Jo Broughton - Grps. D,E,F (Studio 1) Seminar with Jo Broughton - Grps. G,H (Studio 1) Visual Seminar - Individual Groups (please check ical), (Room

day 28th November 2012 Colour and B&W Printing and Editing Workshop (Room 801 & Romm 802) Monday 3rd December 2012 Formative Assessment 10-11.30am 11.30-1pm 2 - 3.30pm 3.30 - 5pm Grps. A (Studio 3) Grps. B (Studio 3) Grps. C (Studio 3) Grps. D (Studio 3)

Tuesday 4th December 2012 Formative Assessment 10-11.30am 11.30-1pm 2 - 3.30pm 3.30 - 5pm Grps. E (Studio 3) Grps. F (Studio 3) Grps. G (Studio 3) Grps. H (Studio 3)

Thursday 13th October 2012 10-11.30am 11.30-1pm 2 - 3.30pm 3.30 - 5pm Grps. 1,5 Peer Review (Room tbc) Grps. 2,6 Peer Review (Room tbc) Grps. 3,7 Peer Review (Room tbc) Grps. 4,8 Peer Review (Room tbc)

Wednesday 17th October, 2012, Thursday 18th October 2012, Tuesday 23rd October 2012 & Thursday 25th October 2011 10-5pm Room 705, Individual Development Tutorials

Credit Rating: 30 Credits

THE COMMISSION
Part 1: Evironment
Unit RPHC4002 Indicative Reading List. Much of your research for this project is visually based so your reference material should range widely using books, magazines, interviews, articles and other forms of image publishing and theoretical content. Try not to limit yourself only to photography but branch out into posibly the medium of painting, sculpture or literatire. The following books are only an indication of what could be fruitful to you, but you should use your own initiative to find reference material. This is not a compulsory reading list - most of the appropriate titles are available from the library. Bright, S (2006) Art Photography Now (London: Thames & Hudson) Campany, D (2007) Art and Photography (London: Phaidon) Cotton, C (2009) The Photograph as Contemporary Art (London: Thames & Hudson) Bachelard, G (1958) The Poetics of Space (New York: Orion Press, 1964) Barnes, M (2010) Shadow Catchers, Camera-less Photography (Merrell) Burtynsky, E (2003) Manufactured Landscapes: The Photographs of Edward Burtynsky (New Haven: Yale University) Crewdson, G (2002) Twilight (Harry N. Abrams) Gersht, Ori (2005) The Clearing (Film & Video Umbrella) Knorr, Karen (2002) Genii Loci Black Dog Publishing Hofer, Candida (1993) Zoologische Grten Schirmer/Mosel Jaschinski, Britta (2003) Wild Things Thames & Hudson Millar, J (2010) Florian Mairer-Aichen: Snow Machine (Gargosian Gallery) Misrach, R (1992) Violent Legacies: Three Cantos, (Aperture) Salvesen, B (2009) New Topographics: Roberts Adams . Lewis Baltz . Bernd and Hilla Becher. (Steidl) Shore, S (2004) Uncommon Places: The Complete Works (London: Thames & Hudson) Sontag, S (1979) On Photography (Various: Penguin) Soper, K., (1990) What is Nature? Culture, politics and the non-human, (Blackwell Publishing) Southam, J (2000) Rockfalls & Rivermouths (Photoworks) Sternfeld, J (2003) American Prospects (DAP) Wall, J. (1996) About Making Landscapes in Thierry de Duve (ed) Jeff Wall Phaidon) Wells, Liz (2000) Shifting Horizons: womens landscape photography now, (I.B. Tauris) Vidler, A (1992) The Architectural Uncanny: Essays in the Modern Unhomely (MIT Press) Resources

Review/Formative Assessment: 3rd/4th December Unit Leader: Steffi Klenz Project Tutors: Steffi Klenz & Jonathan Simms

BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

READINGS & 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) 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

Thomas Struth, Bukseo Dong, Pyongyang, North Korea, 2007