Credit Rating: 15 Credits Interim Deadline/Review: 3rd/4th November 2011 Project Deadline (ENVIRONMENT): 13th/17th January 2012 Project

Tutors: Steffi Klenz & Jonathan Simms

THE ENVIRONMENT
Unit RPHC1002 Unit Introduction The complexities of environment, which can at first seem the most straightforward of the photographic genres, are not to be underestimated.

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 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 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 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 Unit Technical Toolbox : An Introduction into Large & Medium Format analogue Cameras 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. Assessment Criteria: As with your other visual practice Unit we do give greater importance to Research & Development over the Creative Project. Research and Development - 60% (LO1, LO2) Creative Project/Images - 40% (LO3, LO4) 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. LO1) Knowledge and understanding of issues related to space and environment LO2) Developing project methodology, use of research to support of project progression LO3) Ability to understand and employ photographic technique to represent a visual strategy LO4) Appropriate project management: planning and organisation (preparation, heath & safety, shoot production skills, etc.) It is requirement to attain a pass in each of the criteria set out below: The theory and use of Aperture and Shutter Speed Introduction to: Location Lighting The principles of Light & Exposure Analogue Processes: Colour and B&W This 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 create visually stimulating photographs. 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.

Credit Rating: 15 Credits Interim Deadline/Review: 3rd/4th November 2011 Project Deadline (ENVIRONMENT): 13th/17th January 2012 Project Tutors: Steffi Klenz & Jonathan Simms

THE ENVIRONMENT
Unit RPHC1002 THE BRIEF: TASK 1 (WEEKS 1 -7) A) You are required to submit a photograph that pastiches one of below images. You must imitate the photographic language of the image by researching and reproducing compositional form, camera setting, lighting conditions, depth-of-field, scale. Your work should recreate the aesthetic and feeling/mood of your chosen image. Your image is a reconstruction of the visual style of the chosen reference image.

BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

B R I E F I N G

N O T E S

B) 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.
Robert Adams, On Signal Hill, Overlooking Long Beach, California, 1983

Roger Fenton The Terrace and Park at Harewood House, 1860

Jem Southam, Seaford Head, 1999

Credit Rating: 15 Credits Interim Deadline/Review: 3rd/4th November 2011 Project Deadline (ENVIRONMENT): 13th/17th January 2012 Project Tutors: Steffi Klenz & Jonathan Simms

THE ENVIRONMENT
Unit RPHC1002 THE BRIEF: TASK 2 (WEEKS 7 -14) A) As before, you are required to submit a photograph that pastiches one of below images. You must imitate the photographic language of the image by researching and reproducing compositional form, camera setting, lighting conditions, depth-of-field, scale. Your work should recreate the aesthetic and feeling/mood of your chosen image. Your image is a reconstruction of the visual style of the chosen reference image.

BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

B R I E F I N G

N O T E S

B) You are also required to submit a set of images (minimum of three) based upon your personal conceptual approach to representing urban space. Drawing upon the knowledge of your references, you must formulate your own visual choices to best reflect how you wish to represent the urban environment. 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. 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.
Lee Friedlander, Albuquerque, New Mexico, 1972

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

Brassai, Paris after Dark, No.27, 1933

Credit Rating: 15 Credits Interim Deadline/Review: 3rd/4th November 2011 Project Deadline (ENVIRONMENT): 13th/17th January 2012 Project Tutors: Steffi Klenz & Jonathan Simms

THE ENVIRONMENT
Unit RPHC1002 Schedule Wednesday 21st September 2011 10 - 11.30am 11.45 - 1pm 1.45pm - 3.15pm Unit Briefing and Introductory Thoughts Approaches to Making Work (Grps. A,B,C,D,E) Approaches to Making Work (Grps. F,G,H,I)

BA (HONS) PHOTOGRAPHY,CONTEMPORARY PRACTICE - LEVEL 1

SCHEDULE & BLOG

Wednesday 16th November 2011 10 - 11.30am 11.45 - 1pm Lecture: The City Research Task Deconstructing Environmental

Wednesday 28th September 2011 10 - 11.30am Lecture: The Picturesque Period and the Taming of the English Landscape 11.45 - 1pm - Research Task Deconstructing Environmental Practitioners

Practitioners

2 - 3.30pm 3.30 - 5pm

Visual Seminar - Discussion Grps. A,B,C,D,E Visual Seminar - Discussion Grps. F,G,H,I

2 - 3.30pm 3.30 - 5pm

Visual Seminar - Discussion Grps. A,B,C,D,E Visual Seminar - Discussion Grps. F,G,H,I

Wednesday 23rd November 2011 10 - 11.30am 11.45 - 1pm Lecture: The Contemporary Urban Space Research Task Deconstructing Environmental Prac-

Wednesday 5th October 2011 10 - 11.30am Lecture: Extreme Nature and the Discovery of the American West 11.45 - 1pm - Research Task Deconstructing Environmental Practitioners

titioners

2 - 3.30pm 3.30 - 5pm

Visual Seminar - Discussion Grps. A,B,C,D,E Visual Seminar - Discussion Grps. F,G,H,I

2 - 3.30pm 3.30 - 5pm

Visual Seminar - Discussion Grps. A,B,C,D,E Visual Seminar - Discussion Grps. F,G,H,I

Friday 13th January 2012 Tuesday 17th January 2011 Unit Assessment

Wednesday 12th October 2011 10 - 11.30am Lecture: Between Frontier and the Back-Garden - Contemporary Responses to the Land 11.45 - 1pm - Artist Talk - Steffi Klenz 2 - 5.00pm - Compulsory Blog Entry - All Grps. Submission Requirement: For the final Critique you will be assigned a Studio to present your work: Print out the key elements of your blog: 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 Tuesday 18th October 2011, Wednesday 19th October 2011, Tuesday 25th October 2011 & Wednesday 26th October 2011 10-1pm Group Tutorials - Concept Development think they support the represntation of the individual in the photograph. 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 Interim Reviews - Thursday 3rd November 2011and Friday 4th November 2011 Format analogue/film cameras appropriate to the pastiche. Monday 7th November 2011, Tuesday 8th November 2011, Wednesday 9th November 2011 Location Shoot Final analogue prints of your pastiches, no smaller than (30x40cms) - Carefully consider paper surface. The print must be to the highest standard, evidencing your ability to control focus, exposure and lighting, etc. worked to the relevant deadlines will also be considered at this time.

2-5pm - Group Tutorials - Concept Development

Contact sheets from the shoot. Here we can discuss matters of camera position and focal length.

Credit Rating: 15 Credits Interim Deadline/Review: 3rd November 2011 Project Deadline (ENVIRONMENT): 13th January 2012 Project Tutors: Steffi Klenz & Jonathan Simms

THE ENVIRONMENT
Unit RPHC1002 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. Any advertising references may be useful, current or archival as ads often build quite complex narratives using only still life. Food/fashion imagery can also often be a good place to check out the way in which simple references to a background context and lighting can set a scene and build a clear impression of a place or an event. 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. Resources

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

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 & Bachelard, G (1958) The Poetics of Space (New York: Orion Press, 1964) Barnes, M (2010) Shadow Catchers, Camera-less Photography (Merrell) Crewdson, G (2002) Twilight (Harry N. Abrams) Millar, J (2010) Florian Mairer-Aichen: Snow Machine (Gargosian Gallery) Vidler, A (1992) The Architectural Uncanny: Essays in the Modern Unhomely (MIT Press) McGonagle, D, Seawright, P (2000) Paul Seawright (Campo de Agramante) (Ediciones Universidad Salamanca) Salvesen, B (2009) New Topographics: Roberts Adams . Lewis Baltz . Bernd and Hilla Becher. (Gottingen: Steidl) 2009 Shore, S (2004) Uncommon Places: The Complete Works (London: Thames & Hudson) Sontag, S (1979) On Photography (Various: Penguin) Southam, J (2000) Rockfalls & Rivermouths (Photoworks) Sternfeld, J (2003) American Prospects (DAP) BBC, The Genius of Photography, DVD 2009

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