Introduction - ucw.ac.uk · Web viewYou will be introduced to a broad range of possible careers in the photographic industries. Exploring different avenues of professional practice,

FdA Photography in Practice

University Centre Westonin partnership with

Bath Spa University

Student Course Handbook

UCAS code: W641

This handbook is published for students studying at Weston College on the above programme and is available in a range of alternative

formats on request.

Contents

1. Introduction..........................................................................................1Welcome....................................................................................................................1Purpose of Handbook.................................................................................................1

2. Course content.....................................................................................2Course Distinctiveness...............................................................................................2Programme Team......................................................................................................3Course Structure........................................................................................................4

3. Programme Aims................................................................................11Progressing onto Honours Degree...........................................................................16

4. Learning Environment........................................................................17Learning and Teaching Methods..............................................................................17Work-based Learning...............................................................................................18

5. How Quality is assured.......................................................................20Quality monitoring and evaluation...........................................................................20External examiners..................................................................................................20External references..................................................................................................21

6. Employability......................................................................................22Career Opportunities................................................................................................22

7. Module Descriptors.............................................................................238. Appendices..........................................................................................lx

Appendix 1 - Marking Criteria....................................................................................lxAppendix 2 - Policies and Procedures.....................................................................lxvi

1. IntroductionWelcomeWelcome to the Photography in Practice Foundation Degree. This course is offered in partnership between Bath Spa University and University Centre Weston (UCW). You are a registered student at Bath Spa University and at UCW.

Purpose of HandbookThis handbook gives you essential background information that will be of help in your studies on the FdA Photography in Practice programme. It provides links to the definitive data sources wherever possible.

Please note that the electronic version will be kept up to date and you will be notified of any significant changes. If you have taken a hard copy of any information please remember to refer back to the electronic version to ensure that you are working with the most up to date information.

For module information please see the respective Module Handbook.

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2. Course contentMajor, Joint, Minor or Specialised SpecialisedDelivered at University Centre WestonFaculty Creative ArtsCampus Loxton Campus and Winter Gardens Campus

Final award FdA Photography in PracticeIntermediate awards available Certificate of Higher EducationUCAS code W641Details of professional body accreditation

Not applicable

Relevant QAA Benchmark statements

Art & Design (Feb 2017)

QAA Foundation Degree Characteristics Statement (Sept 2015)

Date specification last updated 2018

Course DistinctivenessThe FdA Photography in Practice programme is designed to equip you with the practical, intellectual and commercial skills required to develop and define your individual professional photographic practice.

You will be introduced to a broad range of possible careers in the photographic industries. Exploring different avenues of professional practice, you will examine the changing role of photographers in the evolving world of media and technology. You will identify where you might position yourself within the visual arts and through use of a range of platforms, develop your own creative voice.

Through testing and refining ideas and different modes of communication, you will learn how to disseminate your work effectively to identified audiences to a professional standard.

The content is primarily practice based with links to national and international creative industries and employers. In order to contextualise your practice you will engage with a range of current theories and debates.

On successful completion of this course you will be prepared for a career in the photographic and other creative industries or further academic study at BA Honours level.

Figure 1: Framework for Higher Education Qualifications

Programme Team Programme Coordinator

The Programme Coordinator is responsible for the effective day to day delivery of the programme. They have overall responsibility for the assessment of modules and the implementation of teaching and assessment procedures within the programme. Please contact your Programme Coordinator if you have any questions regarding the delivery of the programme.

Personal Tutor

At the start of the programme you will be allocated a Personal Tutor. Your Personal Tutor’s overall role is to ensure that you receive adequate guidance. He or she acts as a first point of contact and responsible person from whom you can obtain general academic and pastoral support. You should contact your tutor if you are ill or unable to get into UCW for your taught days. If you need to make an appointment to see your personal tutor you can do this by approaching them personally, e-mailing, phoning or leaving a message on their voicemail.

Module Leader

Taught modules on the FdA Photography in Practice programme have a designated module leader who has responsibility for the effective delivery of the module.

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Module Leaders are indicated on each module descriptor at the end of this handbook.

Link Tutor

Each programme has an identified link tutor from its validating partner University whose role it is to support the Weston team and students. The link tutor for your programme is:

Name Role Email

Stephen Vaughan Senior Lecturer/Y2 coordinator BA Photography

[email protected]

Course StructureDuration of programme of study: a Foundation Degree is studied for a minimum period of 2 years full time and 3 years part time.

This is a modular programme. All core modules must be taken.

Requirements for gaining an award

In order to gain a Foundation Degree you will need to obtain a minimum of 240 credits including:

A minimum of 120 credits at level 4

A minimum of 120 credits at level 5

(The successful completion of a foundation degree allows progression onto a BA (Hons) top-up degree.)

Programme Synopsis

Through practical workshops, seminars, group and individual critiques, supported and self-negotiated project-based modules, you will gain a critical and practical experience aimed at extending you both creatively and personally, encouraging work of the highest quality.

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The strong practical and contextual nature of this programme encourages you to identify strengths and develop a personal style whilst having time to experiment and reflect on different disciplines within contemporary photography.

The major themes and issues within photography are addressed including documentary photography, the landscape, the photographic portrait and portrayal of the body, editorial photography, fashion and advertising. The programme aims to develop your skills to enable you to engage with, and explore, ‘genres’ and ‘narratives’ within photography and define a personal critical response.

This intensive programme benefits from being taught by practicing professional photographers and visiting lecturers, who have extensive industry experience in the creative world; whether this is in commercial photography, portraiture, film-stills, product photography, editorial, social documentary, or the art market.

Year One is exploratory in nature and modules are designed to build on photographic skills by introducing a broad range of techniques and processes to equip students with the tools to produce high quality images in the studio or on location.

You investigate both digital and silver based processes through a series of project led modules and practical workshops covering a range of genres and disciplines within photography. There will be an emphasis on developing skills in image creation, lighting, and the digital darkroom using industry standard software plus high quality presentation of all final images.

Challenging projects provide you with an opportunity to develop an understanding of contemporary and professional practice and acquire an ability to generate ideas in response to conceptual project demands. You are also introduced to the importance of a reflective, analytical and evaluative approach through personal visual research.

Throughout Year One practical activity is complemented by a Cultural Studies seminar programme in which issues of a broader cultural and contextual nature are explored. You are introduced to key histories, practices and contextual debates specific to the medium of photography.

Year Two further develops individual creative and reflective approaches with an emphasis on work-based professional practices.

You have opportunities to undertake a period of work experience and a series of industry-based and ‘live’ assignments to give an insight into the pressures and timeframes involved in professional practice. You also study the legal, ethical and financial concerns that will affect you as a practicing freelance photographer and develop and refine a personal development plan.

Throughout this year portfolios will be built, both in digital format and as a physical printed portfolio. A final module allows you to work independently in your chosen area of professional practice, culminating in an exhibition of work.

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Programme: Core Modules

Full-Time Route:

Full time

Year 1 of study

Level

Title Credits Code

4 Engaging with Photographic Techniques 40 TBA

4 Photography and The Portrait 20 TBA

4 Photography and Landscape 20 TBA

4 Documentary and Editorial Photography 20 TBA

4 Introduction to Cultural and Photographic Contexts 20 TBA

Full time

Year 2 of study

Level

Title Credits

Code

5 Photography for Publication 40 TBA

5 Developing Professional Practice 40 PH5502-40

5 Reflective Personal Practice 40 PH5503

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Full time

Year 2 of study

-40

Part Time Route:

Part Time

Year 1 of study

Level

Title Credits Code

4 Engaging with Photographic Techniques 40 TBA

4 Introduction to Cultural and Photographic Contexts 20 TBA

4 Photography and The Portrait 20 TBA

Part time

Year 2 of study

Level

Title Credits

Code

4 Photography and Landscape 20 TBA

4 Documentary and Editorial Photography 20 TBA

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Part time

Year 2 of study

5 Developing Professional Practice 40 PH5502-40

Part time

Year 3 of study

Level

Title Credits

Code

5 Photography for Publication 40 TBA

5 Reflective Personal Practice 40 PH5503-40

All HE programmes at UCW are delivered as a collection of modules, which build on each other to form a complete programme of study. Each module carries a credit rating, defining how much study time it takes to complete. Notionally, 1 credit equates to 10 hours study time (so 10 credits = 100 study hours). “Study hours” includes lectures, seminars, tutorials, group work, independent study and research – in fact, any time that contributes to your learning on the module.

TOTAL: 240 Credits

Part-Time programme dovetails into Full-time modules and teaching days

Work Experience/Placement Opportunities

You will develop your professional practice through relevant work experience opportunities, including live briefs set by external clients, exhibitions, collaboration with students from other creative disciplines engaged in entrepreneurial activities,

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building of your own professional networks through self-initiated projects and engagement with guest speakers who have their own professional photographic practice. Activities relevant to developing your employability skills are embedded throughout the programme and specifically in the modules “Developing Professional Practice” and “Reflective Personal Practice”.

Project/Studio Work

Project work emphasises the necessity for independent research, the acquisition of source material and the application of knowledge of skills you have learnt during the programme, which you can then incorporate within your own self-directed enquiry. Projects will enable you to develop individual solutions to creative problems and present them coherently.

There is an assessment at the end of each module. Work is graded using the Grade Related Criteria and all work is given equal attention.

In Year One work is assessed by the module coordinators and other members of staff and will be internally verified.

In Year Two work is assessed by the module coordinator and other members of staff and will be externally verified by an examiner who moderates the internal marks.

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3. Programme AimsThe programme aims to:

1. Foster the industry specific knowledge, thinking and practical skills required of photographic practitioners

2. Contextualise photographic practices within an academic and critically reflective environment

3. Engender and develop the professional approach required of practitioners in the photographic industry

4. Promote awareness of the transferability of subject specific skills to other employment scenarios or further HE study

5. Encourage the development of an individual creative voice and identity that is resilient and adaptable in a challenging professional environment

6. Enable the production and delivery of creative projects and artefacts

Programme Intended Learning Outcomes (ILOs)

A Subject-Specific Skills and Knowledge


On Achieving Level 5


A1 Knowledge and critical understanding of a broad range of photographic equipment and well-established technical processes

Knowledge and understanding of a range of photographic equipment and technical processes

A2 Ability to apply underlying historical and contextual concepts and principles to individual creative practice within a professional context

Ability to explore and evaluate a range of source material to contextualise photographic ideas and concepts.

A3 Ability to make effective use of a range of source material and established photographic techniques

Ability to present, evaluate and interpret creative ideas to develop lines of argument and make sound

in the development of creative ideas through to outcomes

judgements

A4 Ability to apply underlying concepts and principles of creative enquiry in development of photographic outcomes

Ability to evaluate the appropriateness of different approaches to the development of creative ideas within a photographic context

A5 Ability to effectively communicate information, arguments and analysis to clients and other visual creatives

Ability to communicate results of study/work accurately and reliably, with structured and coherent arguments

A6 Ability to apply and communicate underlying photographic concepts to a public audience across a range of appropriate platforms

Knowledge of the underlying concepts and principles of communication through photography across a variety of platforms

B Cognitive and Intellectual Skills




B1 Ability to use a range of established techniques to initiate and undertake critical analysis of information, and to propose solutions to resolve problems arising from that analysis.

Ability to present, evaluate and interpret basic creative photographic theories and concepts, in order to develop lines of argument and make sound judgements

B2 Knowledge and critical understanding of different approaches to creative enquiry

Knowledge of different approaches to problem solving within the context of photography

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B3 Knowledge and critical understanding of the broader ethical, social and political contexts in relation to creative photographic practice

Knowledge of a range of ethical, social and political contexts and the ability to evaluate and interpret these within the context of photographic practice

B4 Ability to critically evaluate your own creative practice in a professional contemporary context and undertake further training and acquire new knowledge to enable you to sustain a career in the creative industries.

Knowledge of the underlying concepts and principles of creative professional practice

C Skills for Life and Work




C1 Autonomous learning2 (including time management) as would be necessary for employment requiring the exercise of personal responsibility and decision-making such that significant responsibility within organisations could be assumed.

Autonomous learning2 (including time management) as would be necessary for employment requiring the exercise of some personal responsibility

C2 Team work as would be necessary for employment requiring the exercise of personal responsibility and decision-making for effective work with others such that significant responsibility within organisations could be assumed

Team work as would be necessary for employment requiring the exercise of some personal responsibility for effective work with others

C3 Communication skills commensurate with the effective communication of

Communication skills that demonstrate an ability to

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information, arguments and analysis in a variety of forms to specialist and non-specialist audiences in which key techniques of the discipline are deployed effectively

communicate outcomes accurately and reliably, and with structured and coherent arguments

C4 IT skills and digital Literacy that demonstrate the development of existing skills and the acquisition of new competences

IT skills and digital literacy that provide a platform from which further training can be undertaken to enable development of new skills within a structured and managed environment

2 i.e. the ability to review, direct and manage one’s own workload

Graduate Attributes

Bath Spa Graduates… In Photography in Practice, we enable this…

1Will be employable: equipped with the skills necessary to flourish in the global workplace, able to work in and lead teams

Through programme and module design, graduates are equipped to enter the photographic industry through engagement with a range of realistic, work based challenges, working independently and collaboratively with students from other disciplines as well as industry professionals.

2Will be able to understand and manage complexity, diversity and change

A diverse range of staff and visiting lecturers contribute to a vibrant programme of talks that raise awareness of social, cultural and political issues. Students respond to demanding briefs that see them address complex ideas reflecting

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changing media environments.

3Will be creative: able to innovate and to solve problems by working across disciplines as professional or artistic practitioners

Students will be working with proscribed and self-determined briefs to explore and innovate creative solutions that meet expectations. Collaboration with other courses leads to a cross-disciplinary approach exploring multimedia platforms.

4Will be digitally literate: able to work at the interface of creativity and technology

The programme offers technical training in digital photography, both in camera and in post-production editing. Use of VLE encourages organisation mirrors current professional practice.

5Will be internationally networked: either by studying abroad for part of the their programme, or studying alongside students from overseas

The visiting lecturing programme features a range of internationally recognised overseas speakers. Visiting lecturers interact and form professional links with our students. Each year we plan international visits, where students can see a diverse range of work and interact with people from different cultures.

6Will be creative thinkers, doers and makers

Our curriculum is all about the creative process of ideation, research, testing, refining and output. This is documented in workbooks and shown in public contexts.

7Will be critical thinkers: able to express their ideas in written and oral form, and possessing information

At level 4 students are introduced to cultural and photographic contexts and begin thinking critically about

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literacy their own practice. At Level 5 they extend their academic literacy, enabling them to critically analyse, conceptualise, research and communicate key concepts within the field of photography.

8Will be ethically aware: prepared for citizenship in a local, national and global context

The programme nurtures a questioning and reflective attitude in the students, where a variety of audiences and standpoints are considered. The notion that more than one history of any subject is possible forms the bedrock of theoretical enquiry and promotes ethical awareness.

Progressing onto Honours DegreeYou can ‘top-up’ your Foundation degree to a full Bachelors (Honours) degree by completing an additional year of study at level 6.

To be eligible for progression you must have gained 240 credits, 120 credits at Level 4 and 120 credits at Level 5. The deadline for applications is usually on or before 1st May in the final year of Foundation Degree studies.

Your tutor will arrange a meeting with the Course Leader at UCW to discuss the modules on offer on the top-up degree and answer any questions that you may have. You are also welcome to visit the campus and meet with staff and students

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4. Learning EnvironmentYOU WILL BE BASED AT:

UCW Loxton Campus, Loxton Road, Weston-super-Mare, North Somerset BS23 4QU.

All undergraduate students in Art, Design and Music are based in the Faculty of Creative Arts. The Loxton Campus is a contemporary and spacious purpose-built facility that has excellent studios and workshops. Other features include a student refectory, shop, gallery, student support, and a site specific library.

Central to the ethos of the programme is the allocation of higher education specific equipment, facilities and work-bases within the Photography Centre. You will have dedicated access to a fully equipped photographic studio along with digital and traditional darkrooms and excellent post-production facilities.

The digital darkroom will contain large screen Apple Macs with industrial standard software, supported by excellent print equipment. These ‘state of the art’ facilities will be accessible on five days and two evenings each week.

Learning and Teaching MethodsUCW has a Learning and Teaching Strategy for Higher Education, which underpins our approach.

We intend that the learning programme should be both stimulating and demanding, and should lead you through progressive stages of development, towards increasingly complex and open-ended tasks, increasingly sophisticated application of intellectual/conceptual and personal (transferable) skills, and increasingly independent study. A variety of learning methods will be used, which might include:

Lectures Seminars Experiential learning Reflective learning Skills practice Group work and group discussions (in class and on VLE) Workshops Fieldwork Supervised studio/lab-based activity Case studies Student presentations Information and communications technology (ICT) based activities Visiting speakers/expert practitioners will be used during the programme

UCW actively encourages the development of technology enhanced learning and you will find staff utilising new teaching methods to enhance your learning experience.

Work-based LearningWork-based learning is central to the programme and gives you the opportunity to reflect on your experiences and develop a portfolio of work and skills supporting your future career development. Students will undertake a period of work experience and a series of industry-based and ‘live’ assignments to give an insight into the pressures and timeframes involved in professional practice. Students will also study the legal, ethical and financial concerns that will affect them as a practicing photographer and develop and refine a personal development plan. You will work on live projects, working to briefs set in collaboration with professional photographers, so that you gain a real understanding of photographic practice.

If you are interested in developing high level skills in a variety of photographic disciplines, and applying those skills within the creative industries as well as contextualising your creativity in the light of current theories and contexts, then this programme will provide the appropriate pathway.

If you enjoy creative thinking, problem solving, working as an individual or as part of a team with like-minded creatives, this programme will provide you with the confidence and ability to enable you to increase your employment potential or access continuing higher education.

If you want to gain employment within the photographic and creative industries then this programme aims to provide you with relevant entrepreneurial, practical skills and industry knowledge to enable you to successfully work in the field of Photography.

Other resources available:

Use of large college darkroom and studio.

HE specific high spec digital cameras and high quality lenses available on loan through booking system.

Tungsten, flash and studio lighting equipment available to loan through booking system.

Students have use of a base room equipped with Mac computers and industry standard image editing software.

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Excellent support by specialist technicians.

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5. How Quality is assuredQuality monitoring and evaluationThe programme you are studying was approved by Bath Spa University. As part of the approval process it was assured that

the content of the programme met national benchmark requirements; the programme met any professional/statutory body requirements; and the proposal met other internal quality criteria covering a range of issues such

as admissions policy, teaching, learning and assessment strategy and student support mechanisms.

This was done through a process of programme approval which involves consulting academic experts including subject specialists from other institutions and industry.

How we monitor the quality of this programme

The quality of this programme is monitored each year through evaluating:

external examiner reports (considering quality and standards); statistical information (considering issues such as the pass rate); and student feedback including the National Student Survey (NSS).

Drawing on this, and other, information programme teams undertake an annual monitoring process, in accordance with the University's quality policy.

Once every six years an in-depth review of the subject area is undertaken by a panel that includes at least two external subject specialists. The panel considers documents, looks at student work, speaks to current and former students and speaks to staff before drawing its conclusions. The result is a report highlighting good practice and identifying areas where action is needed.

The role of the Programme Committee

This course has a Programme Committee comprising all relevant teaching staff, student representatives and others who make a contribution towards its effective operation (e.g. library/technician staff). The Programme Committee has responsibilities for the quality of the programme and plays a critical role in the University's quality assurance procedures.

External examinersThe standard of this programme is monitored by at least one external examiner. External examiners have two primary responsibilities:

To ensure the standard of the programme; and

To ensure fairness and equity.

The external examiner for your programme:

Name (including prefix e.g. Dr.)

Role in institution Name of institution

Geraint Cunnick Course Leader BA hons Digital Photography

Ravensbourne University, London

As part of their role, external examiners complete an annual report for the University commenting on the learning, teaching and assessment standards of the modules and the programme overall. The report will highlight areas of good practice and identify areas for development, as well as provide assurance that your programme is of an equable standard to similar HE provision nationally.

External examiner reports, and the University’s response, are shared with students. They are normally discussed at Staff/Student Liaison Committees and made available online, via Moodle.

External referencesThe following methods are used for gaining the views of other interested parties:

Feedback from former students Employers External lecturers Link Tutor reports External Examiner reports

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6. EmployabilityCareer OpportunitiesWhat career opportunities are open to me if I study a Foundation Degree in Photography?

Graduate career opportunities include:

· Freelance photographer

· Photojournalist

· Photographic director

· Editorial photographer

· Studio photographer

· Publishing (book and magazine work)

· Social photography

· Digital artist

· Digital retoucher

· Photographic technician

· Arts and gallery work

· Community arts

· Arts project management

· Teacher training

· Photographic illustrator

· Picture desk/image library

· Progression to further study BA (Hons) top-up degree

7. Module Descriptors

1 Module code TBA

2 Module title Engaging with Photographic Techniques

3 Subject field Photography in Practice

4 Pathway(s) FdA Photography in Practice

5 Level 4

6 UK credits 40

7 ECTS credits 20

8 Core or Required or Optional Core

9 Acceptable for NA

10 Excluded combinations NA

11 Pre-requisite or co-requisite NA

12 Class contact time: total hours Total Hours: 134

13 Independent study time: total hours Total Hours: 266

14 Semester(s) of delivery Year long

15 Main campus location Loxton Campus, University Centre Weston

16 Module co-ordinator Jamie Dormer-Durling

17 Additional costs involved £50 for film and specialist paper

18 Brief description and aims of module

This module is designed to build on your current photographic skills. It will introduce you to a broad range of techniques and processes encouraging

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exploration and experimentation in a range of media.

The learning from this module will inform future projects and equip you with the technical and creative toolkit to approach a range of briefs, including a collaborative project.

The module aims to: Underpin your practice with a broad range of relevant traditional and

contemporary photographic skills Enable you to experiment with and select appropriate media for your

practice Enable you to analyse and understand techniques and processes used

by practitioners to convey ideas and meaning.

19 Outline syllabus

You will be introduced to a broad range of media and techniques, from both traditional and contemporary disciplines. The practical work will be contextualised in both vocational and conceptual frameworks.

Indicative areas of study include: Silver based imaging Digital Imaging Analogue photography Post-production Moving image Alternative processes Studio lighting Location lighting Technical analysis Collaborative project work

20 Teaching and learning activities

This module will consist of a programme of tutor led workshops, seminars, tutorials and independent exploration, concluding with a short collaborative project.

Skills based practical workshops will confirm and extend knowledge and introduce new photographic processes to further your practical and aesthetic understanding.

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Activities include: Lectures Seminars 1:1 tutorials Peer reviews Educational visits Visiting lecturer talks and critique Residential trips Practical workshops Student presentations Independent study and photographic shoots

Throughout the year, you are expected to build a reflective journal/portfolio to evidence learning and analysis of the application of techniques and processes in others work to inform your own practice, which will form a substantive part of the assessment for the module.

21 Intended learning outcomes

By successful completion of the module, you will be able to demonstrate:1. Knowledge of the underlying concepts and principles of

photographic techniques2. The ability to apply photographic techniques effectively

through the creation of new work3. An understanding of how different techniques and

processes can be utilised to convey ideas and meaning4. The ability to organise your time effectively and work

safely with photographic materials and processes

How assessed

F1, F2, S1, S2

F1, F2, S1

F1, F2, S1, S2

F1, S1, S2

22 Assessment and feedback

Formative exercises and tasks:

F1. Feedback on development of reflective journal/portfolio in a mid-point review.

F2. Peer review

Summative assessments: Weighting%

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S1. Reflective Journal/Portfolio (6000 words equivalent)

S2. Critical evaluation (2000 words) 75%

25%

23 Learning resources

University Library print, electronic resources and Minerva:

Key texts: Cotton, C. (2004) The Photograph as Contemporary Art, Thames and

Hudson Daly, Tim. (2014) The Fundamentals of Digital Photography, Bloomsbury Higgins, J. (2013) Why It Does Not Have to Be in Focus, Thames &

Hudson Hirsch, R (2009) Photographic Possibilities. Focal Press Jaeger, Anne-Celine (2010) Image Makers Image Takers, Thames &

Hudson Lhotka, Bonny Pierce (2013) The Last Layer, Pearson Ritchin, F. (2009) After Photography, Norton Shore, S. (2007) The Nature of Photographs. Phaidon Sturken, M. Cartwright, L (2009) Practices of Looking: An Introduction to

Visual Culture. OUP Wells, L. (editor) (1996) Photography: A Critical Introduction, Routledge.

Key web-based and electronic resources: Strobist lighting blog: http://strobist.blogspot.co.uk/ Info on B&W film and materials:

https://www.digitaltruth.com/devchart.php Info and specialist shop for photography:

https://www.silverprint.co.uk/

Specialist resources: Darkroom Processing facilities Photographic equipment loan Technical support

24 Preparatory work

You should familiarise yourself with the exposure triangle.

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https://www.silverprint.co.uk/

https://www.digitaltruth.com/devchart.php

http://strobist.blogspot.co.uk/

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1 Module code TBA

2 Module title Photography and The Portrait



5 Level 4

6 UK credits 20

7 ECTS credits 10


9 Acceptable for NA



12 Class contact time: total hours Total Hours: 67 Hrs

13 Independent study time: total hours Total Hours: 133 Hrs


15 Main campus location Loxton Campus, UCW


17 Additional costs involved N/A


In this module, you will explore the cultural and contextual history of portraiture, taking into account aspects such as fine-art traditions and commercial application of the genre. You will be asked to challenge notions of how production and consumption of portraits impacts on the individual and society. In a fast-changing world, study of the contemporary uses of media to produce selfies and shared digital family albums become just as relevant for study as the old masters and contemporary photographic art markets.

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This module will enable you to engage with a series of practical assignments that challenge you technically and develop collaborative skills.

This module aims to: Broaden your historical and contextual understanding of the portrait

in art through to contemporary photographic practice Improve your technical understanding of a wide range of lighting

techniques Enable you to engage with a range of collaborators from other

creative disciplines Introduce working with clients and models

19 Outline syllabus

The module will cover portraiture in different contexts (for example, historical, traditional, self-portrait, fashion, theatrical, commercial) from both a theoretical and technical standpoint.

Indicative areas of study include: Production Techniques Collaborative working Studio Photography Location Photography Contextual Studies


This module will be made up of lectures, lighting workshops, tutorials, seminars and independent exploration and application of new learning.

Workshops will build on your existing skills and lectures will enhance your understanding of the aesthetics and histories of the photographic portrait. You are asked to reflect on the workshops and the working processes. The documentation and development of ideas is expected to be presented in your workbooks.

Activities include: Lectures Seminars 1:1 tutorials Peer reviews Educational visits Visiting lecturer talks and critique

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Residential trips Practical workshops Student presentations Independent study and photographic shoots


By successful completion of the module, you will be able to demonstrate:1. Understanding of a range of technical skills in making

photographic portraits2. The ability to apply technical principles of photographic

portraiture in creative work3. Knowledge of underlying contextual influences and social

and ethical principles in the production of a portrait 4. The ability to form effective collaborative working

relationships with others in the production of a series of photographic portraits

How assessed

S1, F1, F2

S2, F1, F2

S1, S2, F1, F2

S1, S2, F1, F2



F1. Feedback on development of ideas

F2. Peer review

Summative assessments:

S1. Set of 8 printed photographs

S2. Reflective Journal/Portfolio

Weighting%

40%

60%



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Key texts: Berger, J (2015) Portraits: John Berger on Artists, Verso Bright, S (2010) Autofocus: The Self-Portrait in Contemporary

Photography, Monacelli Press Cotton, C. (2014) The Photograph as Contemporary Art, Thames &

Hudson Clarke, G (1997) The Photograph (Chapter 6), Oxford History of Art Hunter, T (2003) Tom Hunter, Hatje Cantz Warner Marien, M (2002) Photography A Cultural History, Laurence King

Further Reading Coplans, J (2003) Body Parts: A Self Portrait by John Coplans, PowerHouse

Books Knight, N (2009) Nick Knight, Harper Design Magnin, A (1997) Seydou Keita: African Photographer, Scalo Muir, R (2004) Norman Parkinson: Portraits in Fashion, Palazzo Editions Nixon, N (2014) The Brown Sisters: Forty Years, Museum of Modern Art Ruiz, S (2006) People, Chris Boot

Key web-based and electronic resources National Portrait Gallery: https://www.npg.org.uk/ Yossi Milo Gallery, New York: www.yossimilo.com/ The Photographers Gallery: www.thephotographersgallery.org.uk


24 Preparatory work:

Visit the Bristol Museum & Art Gallery and consider the influence the painted portrait has had on contemporary photographic portraiture.

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https://www.npg.org.uk/

1 Module code TBA

2 Module title Photography and Landscape



5 Level 4

6 UK credits 20

7 ECTS credits 10


9 Acceptable for NA







16 Module co-ordinator Sam Brooks

17 Additional costs involved NA


During this module, you will explore interpretations of the land through photography. You will develop your own visual language through working with a range of techniques and processes as well as reflecting on your relationship to given and self-identified environments. You will be expected to investigate and interpret a theme to produce a personal body of photographic work that builds a coherent narrative or communicates a particular set of ideas.

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Diversity of interest is welcomed and the final printed portfolio may include themes as varied as: the figure in the landscape, seascape, coastline industries, the impact of agriculture, the industrial landscape, the urban landscape, dereliction, coastal erosion, intervention, pollution, issues of nature’s power, perceptions of beauty, politics, historical ideas and human interaction.

19 Outline syllabus

This module will be taught using both digital techniques and silver-based technologies. You will be supported with practical, skills based workshops.

We will explore the history of photography in relation to the genre of landscape in the visual arts and study past and contemporary photographers who have responded to landscape, recording it in very different ways.

You are asked to investigate, interpret and create a personal response to the broad subject of landscape, acknowledging in a reflective journal, photographers whose work influences and informs your own practice.


In group seminars, presentations, 1:1 tutorials and peer reviews, you will receive feedback on your work and are encouraged to contribute to the sharing of ideas.


21 Intended learning outcomes How assessed

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By successful completion of the module, you will be able to demonstrate:

1. An understanding of underlying concepts and principles in the representation of landscape in photographic and other creative practices

2. An ability to present, evaluate and interpret different concepts of land and place through a range of photographic media

3. The ability to take personal responsibility for the effective planning, development and resolution of creative photographic projects

4. The ability to interpret and evaluate potential and intended meaning in practical work

F1, F2, S1, S2

F1, S1

F2, S1, S2

F2, S2



F1. Presentation of practical work for assignment briefs with feedback

F2. Presentation of workbooks for assignment briefs with feedback


S1. Coherent set of “thematic” landscape prints


Weighting%

40%

60%



Key texts: duChemin, D. (2011) Photographically Speaking: a deeper look at

34

creating stronger images, New Riders Ewing, W. A. (2014) Landmark: The Fields of Landscape Photography,

Thames & Hudson Misrach, R. (to be published in 2012) Petrochemical America, Aperture Misrach, R. (2010) Richard Misrach: Destroy this Memory, Aperture Norfolk, S (2003 edn) Chronotopia: Landscapes of the Destruction of

Afghanistan, Dewi Lewis Publishing Waite, C, Cornish, J, Ward, D (2006) Working the Light, Argentum Salgardo, S. (1990 and 2008) An Uncertain Grace, Thames & Hudson Seawright, P. (2003) Paul Seawright, Hidden, National War Museum Westerbeck, C. & Meyerowitz, J. (1994) Bystander: A History of Street

Photography, Little Brown

Key web-based and electronic resources: Yossi Milo Gallery, New York: www.yossimilo.com/ The Photographers Gallery: www.thephotographersgallery.org.uk Edward Burtynsky’s: www.edwardburtynsky.com/ Simon Norfolk: http://www/simonnorfolk.com Royal Photographic Society collection

www.nationalmediamuseum.org.uk Victoria & Albert Museum, National Collection of the Art of Photography

www.vam.ac.uk Magnum: www.magnumphotos.com John Davies: www.johndavies.uk.com

Specialist resources: Darkroom Processing facilities Transparency Scanner

24 Preparatory work

Think about areas locally that may be interesting for subjects of landscape photographic study.

1 Module code TBA

2 Module title Documentary and Editorial Photography


35


5 Level 4

6 UK credits 20

7 ECTS credits 10


9 Acceptable for NA








17 Additional costs involved £20-40 Printing/publication costs


This module introduces you to the areas of documentary and editorial photography. You will explore the function of photography to gather information and tell stories. We will also question the veracity of the photographic document, and study historical and contemporary examples to help contextualise your own work, and give an insight into current practice.

In this module you will create work with a specific client-base in mind. Your work will take the form of a sequence of images that relate to a researched topic, and which are also appropriate for specific media formats such as a documentary story, an article on fashion, or consumer or trade magazine articles. You will showcase the work in a relevant format, demonstrating its relevance in a specific context, e.g. magazine, online news feed, published book or exhibition etc.You will be encouraged to use your personal vision,

36

whilst conscious of how your work relates to society, the workplace and the parameters of the brief.

19 Outline syllabus

After talks and discussion that will cover historical, contemporary and theoretical aspects of the brief and initial set research tasks, you will work more independently to explore an area of media/photographic context that interests you

A topic for study will be identified and practical photography undertaken to gather visual information. This should be a sustained piece of work and allows for greater development of your skills as a photographer, as well as your confidence as a professional.

This module is supported by practical workshops in a concurrent module, but will also include more specific skills development tailored to individual and group needs.

The practical enquiry will be supported by a reflective journal that shows how your thoughts have developed, research for your chosen topic and investigation of relevant practitioners who might inspire and inform your practice. The reflective journal will also give insights into your growing understanding of the professional context for your own practice.

Your final project or narrative story, for use in the editorial or documentary field, will be a collection of high quality printed or online images that are structured in a coherent way. The work should demonstrate an understanding of content, image production, presentation and use of appropriate media.


Throughout this module you will participate in group seminars, workshops and lectures. Your practical work will be supported by a reflective journal and the beginnings of an online portfolio in the form of a website or blog.

37


Attendance of lectures, workshops and tutorials is expected of all students where you will participate in discussion about your own work and development of ideas.


By successful completion of the module, you will be able to demonstrate:1. Knowledge and understanding of the underlying concepts

and principles of historical and contemporary documentary and editorial practices

2. An ability to apply basic theories and techniques of documentary and editorial photography to identify and communicate visual narratives

3. The ability to identify and apply professional standards in the production and presentation of photographic work in both print and digital publication

How assessed

F1, F2, S1

F1, F2, S1, S2

F1, F2, S2



F1. Mid-point review of practical work in group presentation

F2. Mid-Point review of research, practical work and journaling in 1:1 tutorial.

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S2. Final images in appropriate published context

Weighting%

40%

60%



Key texts: Boot, C. (2004) Magnum Stories, Phaidon Freeman, M. (2011) The Photographer’s Vision: Understanding and

Appreciating Great Photography, ILEX Golden, R. (2010) Photojournalism: 150 Years of Outstanding Press

Photography, Darlton Books Jeager, A-C. (2010) Image Makers, Image Takers: the Essential Guide to

Photography by Those in the Know, Thames and Hudson Szarkoski, J. (2007) The Photographer’s Eye, The Museum of Modern Art Tutu, D. (2009) Magnum Photos: Access to Life, Aperture Westerbeck, C. & Meyerowitz, J. (1994) Bystander: A History of Street

Photography, Little Brown

Journals: British Journal of Photography Source Aesthetica Aperture Colours

Key web-based and electronic resources Edward Burtynsky: www.edwardburtynsky.com/ Pieter Hugo: http://www.pieterhugo.com/ Susan Meiseilas: http://www.susanmeiselas.com/ David Moore: http://davidmoore.uk.com/projects Daido Moriyama: http://www.moriyamadaido.com/english/ Anders Peterson: http://www.anderspetersen.se/ Klaus Pichler: http://kpic.at/images/5244 Clare Richardson: http://www.clarerichardson.com/ Michael Wolf: - http://photomichaelwolf.com/ Magnum: www.magnumphotos.com

39

The Photographers Gallery: www.thephotographersgallery.org.uk Royal Photographic Society collection:

www.nationalmediamuseum.org.uk Victoria & Albert Museum, National Collection of the Art of Photography:

www.vam.ac.uk Yossi Milo Gallery, New York: www.yossimilo.com/

Specialist resources: Darkroom Processing facilities Photographic equipment to hire Technical support

24 Preparatory work

Think about possible research themes and suitable stories to document.

40

Module Descriptor Template

1 Module code TBA

2 Module title Introduction to Cultural and Photographic Contexts



5 Level 4

6 UK credits 20

7 ECTS credits 10


9 Acceptable for NA






15 Main campus location Winter Gardens, Knightstone Campus




The purpose of this module is to introduce you to some of the key debates and concepts that influence the making and reading of contemporary photographic work. You will be encouraged to discuss, argue and debate

41

ideas in a managed environment which will be synthesised into your practice as a photographer, and underpin the work you make. Awareness of some of the key thinkers on visual culture is an essential skill when going into the image making industry, and this module will equip you with the knowledge and skills to debate these ideas.

This module aims to: Underpin your practice with a solid grounding in historical and

contemporary debates around photography and visual culture Enable you to be able to structure a coherent argument Enable you to critically evaluate your own work and that of others

19 Outline syllabus

In this module you will explore contemporary and historical debates that relate to photography. Through a series of discussions, presentations and lectures you will learn about a range of different perspectives, challenging preconceived notions of what photography is or should be and how it conveys ideas.

You will also be introduced to academic conventions of constructing an argument, with a series of interactive sessions led by lecturers and staff from the learning resource centre.

Indicative areas of study include: Theory of visual culture Photographic debates Critical thinking Presentation of theoretical arguments Introduction to researching source materials


This module will consist of a programme of lectures, seminars and debates which conclude in the production of a short essay. Complimenting this module will be a series of visiting lecturers who will talk about their practice and the theory that underpins their work. Visiting lecturers will hold group critique sessions with you and give you feedback on the progress of your work, raising awareness of the implementation of ideas and theory, and encourage critical thinking.

42

Activities include: Lectures Seminars 1:1 tutorials Peer reviews Educational visits Visiting lecturer talks and critique Residential trips Student presentations Independent study



1. Knowledge and understanding of the key underlying theories, concepts and debates that influence contemporary photographic practice

2. The ability to evaluate and interpret meaning in contemporary debates and relate to your own practice

3. The ability to communicate structured and coherent arguments and ideas using a range of sources and in an appropriate format

How assessed

F3, S1, S2

F1, F2, S1, S2

F2, F3, S2



F1. Peer review of project work

F2. 1:1 tutorials

F3. Student presentations


S1. Presentation (10 minutes)

Weighting%

43

S2. Critical Essay (3000 words) 25%

75%



Key texts Barthes, R. (1980) Camera Lucida, New York: Hill and Wang Berger, J. (1972) Ways of Seeing, Penguin Bolton, R. (editor) (1989) The Contest of Meaning, The MIT Press Cotton, C. (2004) The Photograph as Contemporary Art, Thames and

Hudson Pultz, J. (1995) Photography and the Body, Everyman Art Library Ritchin, F. (2009) After Photography, Norton Shore, S. (2013). The nature of photographs. London: Phaidon. Sontag, S. (1977) On Photography. New York: Farrar, Straus and Giroux Sontag, S. (2010). Regarding the pain of others. New York: Picador Sturken, M. Cartwright, L (2009) Practices of Looking: An Introduction to


Key web-based and electronic resources:

Google Scholar: https://scholar.google.co.uk/

Library Plus: https://moodle.weston.ac.uk/mod/page/view.php?id=116979

Specialist resources: HE.LibraryPlus academic writing skills development sessions

24 Preparatory work

It is recommended that you read 'The Nature of Photographs' by Stephen Shore before the start of the module.

44

https://moodle.weston.ac.uk/mod/page/view.php?id=116979

1 Module code TBA

2 Module title Photography for Publication



5 Level 5

6 UK credits 40

7 ECTS credits 20


9 Acceptable for NA








17 Additional costs involved £20-40 for Publication/Printing


This module is designed to build on skills, techniques and knowledge gained at Level 4, allowing you to produce a more sustained project that gives voice to personal interests and enables you to produce a body of photographic work for publication to a negotiated theme.

The intention is that you gain a practical understanding of how to structure a longer project, how to edit and select from a large group of photographs and what methods of publication/dissemination might best support your output.

45

19 Outline syllabus

A series of workshops will introduce you to different publication formats, including limited edition handmade, online digital and opportunities for publication in print.

Alongside learning about working in series and possibilities for dissemination, lectures in contemporary and historical practice enhance your knowledge and help to contextualise your photography. You will further contextualise your work through independently sourcing and critically reflecting on relevant research material.

Practical workshops expand on existing techniques in studio work, lighting, location shooting, digital editing, design principles and darkroom practice and aim to support students' individual needs.

In completing this module, you will have produced a substantial body of photographic work. It is expected that you plan and manage your project through experimental and developmental stages to a coherent and resolved design outcome that exists within the public domain.

You will be expected to critically reflect on the challenges you face, identifying and acting on creative solutions as well as showing you understand the strengths of your work.


In group seminars, presentations, 1:1 tutorials and peer reviews, you will receive feedback on your work and are encouraged to contribute to the sharing of thoughts and information.

Activities include: Lectures Seminars 1:1 tutorials Peer reviews Educational visits Visiting lecturer talks and critique Residential trips Practical workshops Student presentations Reading groups

46

Independent study and photographic shooting



1. The ability to select and apply underlying publication concepts and principles to create, edit and sequence a coherent body of work to suit a chosen publication format

2. The ability to critically analyse photographic publications in relation to historical and contemporary contexts

3. Knowledge and critical understanding of design principles and creative processes

4. Knowledge and critical understanding of professional production values for digital or print publication

5. The ability to analyse and evaluate target audiences and make informed judgements about the appropriateness of a variety of publication methods

How assessed

F1, F2, F3, S1, S2, S3

F2, F3, S2, S3

F1, F2, F3, S1, S2, S3

F1, F2, S1, S2

F1, F2, F3, S1, S2, S3



F1. Interim review of publication design

F2. Interim presentation of photographic work

F3. Interim review of workbook


S1. Publication


S3. Critical and evaluative Journal/Portfolio

Weighting%

50%

10%

40%

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Key texts: Badger, G. (2010). The Photobook A History v. 1. London: Phaidon Press

Ltd. Cotton, C. (2004) The Photograph as Contemporary Art, Thames and

Hudson. Daly, Tim. (2014) The Fundamentals of Digital Photography, Bloomsbury. Higgins, J. (2013) Why It Does Not Have to Be in Focus, Thames &

Hudson. Hirsch, R (2009) Photographic Possibilities. Focal Press. Jaeger, Anne-Celine (2010) Image Makers Image Takers, Thames &

Hudson. Lhotka, Bonny Pierce (2013) The Last Layer, Pearson. Parr, M. and Gu, Z. (2016). The chinese photobook. New York: Aperture. Ritchin, F. (2009) After Photography, Norton. Shore, S. (2007) The Nature of Photographs. Phaidon. Sturken, M. Cartwright, L (2009) Practices of Looking: An Introduction to


Key web-based and electronic resources

Galleries and organisations: www.ffotogallery.org https://thephotographersgallery.org.uk/ http://icvl.co.uk

Journals: http://www.source.ie http://www.equivalence.com http://www.colorsmagazine.com http://www.bjp-online.com http://www.aperture.org

Digital editing support and tutorials: https://helpx.adobe.com/support/photoshop.html

48

https://helpx.adobe.com/support/indesign.html https://helpx.adobe.com/support/indesign.html

Online publishing: http://www.blurb.co.uk/ https://www.newspaperclub.com/


24 Preparatory work

Prior to the module, you are asked to consider different possibilities for sustained piece of work leading to publication.

49

1 Module code PH5502-40

2 Module title Developing Professional Practice



5 Level 5

6 UK credits 40

7 ECTS credits 20


9 Acceptable for NA




13 Independent study time: total hours

Total Hours: 266


15 Main campus location Winter Gardens




This module provides a professional context for your practical work and will provide you with knowledge of the essential tools needed to survive in a competitive industry. In this module you will explore how professionals organise, fund, promote and disseminate their work. You will demonstrate awareness of the skills needed to market and sustain yourself as a successful practitioner.

The module aims to:

50

Develop business skills relevant to the creative sector Inform you about ethical, financial and legal considerations relevant to

photography Support the production of a viable business plan Facilitate the production of promotional materials for your practice

19 Outline syllabus

This business focused module will be taught through a series of workshops and lectures that address what it means to be in business as a practicing photographer.

The focus of this module is the professional world and, as part of this, you will document work experience. Evaluation of and sharing ideas about these professional experiences is crucial in understanding how to position yourself in the world of work and make informed choices that will determine the direction of your individual creative practice.

Reflections on work experience and your professional development, placing your own practice within a wider framework, will be recorded in a reflective journal.

Developing Professional Practice will include sessions with practising professional photographers where there will be an opportunity to see how different ways of working can be costed, promoted and disseminated.

Topics discussed will include: Building your brand and identity Calculating fees and relating to frameworks set by professional bodies

(such as NUJ and AoP) Preparing contracts for work undertaken Employed v. self employed Creating a business plan Writing a CV Finance and financial forecasting Self-employment, tax and VAT Health and Safety issues Insurance

You will produce a reflective journal to demonstrate your understanding of the principles explored, along with your own digital presence and development of a professional identity.

51


Attendance of lectures, workshops, group seminars and tutorials is expected of all students where you will participate in discussion about your own work and development of ideas.

Activities include: Lectures and workshops with outside practitioners Project briefings Student led discussions Group seminars Individual tutorials Practical skills-based sessions Self-directed Study Student led work-based learning



1. The ability to apply underlying concepts and principles of collaboration, conduct and presentation in photographic practice within a professional context

2. Knowledge and critical understanding of the legal and financial responsibilities of the practicing photographer

3. Knowledge and critical understanding of the social, ethical and economic contexts of creative industries

4. The ability to use a range of established techniques to initiate, develop and evaluate a coherent business model

How assessed

F1, S1, S2, S3

F1, F2, S1, S2,

F1, F2, S1, S2,

F3, S1, S2


52


F1. Mid-year review of journal to date

F2. Interim presentation of findings and practical work mid-year

F3. 1:1 tutorials


S1. Reflective Journal including Business Plan and work experience review


Weighting%

80%

20%



Key Texts: Association of Photographers. (2014) Beyond the Lens: Rights, Ethics

and Business Practice in Professional Photography, Association of Photographers (Forth Edition).

duChemin, D. (2009), Vision Mongers: Making a Life and a Living in Photography, New Riders

Griffiths, J. (2011) The Bigger Picture: the Essential Business Guide for Photographers. Plane Tree Press.

Pritchard, L. (2012) Setting up a Successful Photography Business: How to be a Professional Photographer. A & C Black Publishers Ltd.

Sylvan, R. (2010) Taking Stock: Make Money in Microstock Creating Photos That Sell, Peachpit Press.

Tracy, J. (2014) Freelance Photographers Market Handbook 2015, BFP Books.

Tracy, J. (2015) Freelance Photographers Market Handbook 2016, BFP Book

Key web-based and electronic resources: www.dacs.org.uk Business Link start up information, available online from:

http://www.businesslink.gov.uk/bdotg/action/layer?topicId=1073858805

53

HMCR website for Self-Assessment, NI, Tax & Vat:https://www.gov.uk/government/organisations/hm-revenue-customs

National Union of Journalists (NUJ):https://www.nuj.org.uk/home/

NUJ London Photographers’ Branch:http://londonphotographers.org/

Creators’ Rights Alliance bringing together the major UK organisations representing copyright, available online from: http://www.creatorsrights.org.uk

Design Council Business Growth information, available online from: http://www.designcouncil.org.uk/our-services/business-growth

Freelance Fees Guide. Fees guide for freelancing in London: http://www.londonfreelance.org/feesguide/index.php?&section=Photography&subsect=All&subsubs=All


24 Preparatory work

You should begin researching possibilities for work experience and think about career options that would interest you.

54

1 Module code PH5503-40

2 Module title Reflective Personal Practice



5 Level 5

6 UK credits 40

7 ECTS credits 20


9 Acceptable for NA






15 Main campus location Loxton Campus


17 Additional costs involved £20 minimum for printing


This module provides an opportunity for you to work independently in your chosen area of professional practice, developing a project that culminates in an exhibition of work.

During this self-directed practical and critical module, you will create a significant body of work, the context for which could be commercial or non-commercial but should meet professional standards of production. The

55

module aims to support your aims and ambitions as a creative practitioner, whether this be an intention to enter employment, progress to further higher education e.g. BA (Hons) top-up degree or pursue another area of creative endeavour.

The module aims to: Encourage the development of an individual creative voice, resulting in

meaningful outcomes Enable the creation of work to a professional standard Extend research skills through in-depth exploration of a negotiated topic

for study Contextualise personal creativity within contemporary and historical

photographic practice Enable the production of a coherent exhibition of individual work in a

professional and public setting Develop organisation and time-management skills

19 Outline syllabus

The syllabus provides a structure and timeframe within which you negotiate appropriate activities relevant to your topic or area of interest. Ambitious and imaginative work is encouraged.

The module develops core skills in relation to: Proposal development Effective applied research Project definition and negotiation Reflective practice Project and time-management

Potential areas for exploration could include: Fine Art Interactive media Mixed media Documentary Editorial Video and time-based Architectural photography Events/leisure pursuits News/sport

56

Environmental Advertising and promotional imagery Food/catering/restaurant Social/campaigning Social photography, portraiture/weddings etc. Fashion

The work should combine creative practice with a high level of critical reflection resulting in a significant body of work which will feed into and support the practical requirements of the Developing Professional Practice module




By successful completion of the module, you will be able to demonstrate:1. The ability to apply underlying concepts and principles of

research within your own creative practice2. The ability to effectively deliver high quality work to a

variety of specialist and non-specilist audiences through the deployment of a variety of appropriate techniques (e.g. digitally, online, printed portfolio, exhibition)

3. The ability to critically evaluate and effectively communicate information, arguments and analysis related to your personal creative practice

4. The ability to evaluate critically the appropriateness of

How assessed

F2, S1, S2, S3

F1, F2, S1, S3

F1, F2, S1, S2, S3

57

different approaches to solving practical and creative challenges in the production of photographic work to a high professional standard

F1, F2, S1, S3



F1. Module Mid-point Presentation

F2. 1:1 tutorials to review work


S1. Exhibition and critical and evaluative Journal/Portfolio

S2. Critical reflective essay (3000 words)

Weighting%

70%

30%


University Library print, electronic resources and Minerva: Berger, J. (1972) Ways of Seeing, Penguin Bolton, R. (editor) (1989) The Contest of Meaning, The MIT Press Cotton, C. (2004) The Photograph as Contemporary Art, Thames and

Hudson Heiferman, M. (editor) (2012) Photography Changes Everything,

Aperture/ Smithsonian Institution Pultz, J. (1995) Photography and the Body, Everyman Art Library Ritchin, F. (2009) After Photography, Norton Stallabrass, J. (editor) (2013) Documentary, The Everyday, The MIT

Press/ The Whitechapel Gallery Wells, L. (editor) (1996) Photography: A Critical Introduction, Routledge. Sturken, M. Cartwright, L (2009) Practices of Looking: An Introduction to

Visual Culture. OUP

58

Key web-based and electronic resources http://www.source.ie/index.php http://www.equivalence.com http://www.colorsmagazine.com http://www.bjp-online.com http://www.aperture.org http://duckrabbit.info http://icvl.co.uk http://storycenter.org http://www.photovoice.org http://akinabooks.com http://onegiantarm.com http://www.selfpublishbehappy.com


24 Preparatory work

You should begin to research and explore possibilities for a self-directed, negotiated theme for project that could be developed through the course of this module.

59

8. AppendicesAppendix 1 - Marking CriteriaGrading scale for presentations

1st. 70%+ A first-class presentation will be excellent in content, organization, and style. There will be a clear central strategy with strong supporting points and ample evidence for each assertion. The ideas will be engaging and original and will offer illuminating insights into the topic, materials, or works being studied. The topic will be treated in depth, drawing on a good number of appropriate sources. The organization will be clear at all levels. The presentation will not include material irrelevant to the strategy and supporting arguments. There should be very few distracting errors in style, delivery, and mechanics.

2:1. 60-69% A 2:1 presentation will still be good, but weaker than a first class presentation in some areas. It may have good ideas but be weakened by problems of organization and delivery. Or it may be well-organized and well-constructed but offer fewer and less valuable insights than a first class presentation.

2:2. 50-59% A 2:2 presentation will show a competent understanding and coverage of the topic, but its insights will usually not go beyond the obvious, and there will be weaknesses in two or more areas. A 2:2 may also be assigned to an inconsistent presentation that shows some excellent insights yet fails to tie them into a unified whole.

3rd. 40-49% A third-class presentation has some virtues, but weaknesses in several areas. Examples include a presentation with relatively few sources and little breadth of coverage, a presentation with some good ideas or information marred by unclear delivery and poor organization, or a clearly delivered presentation with superficial ideas that shows a lack of engagement with the topic.

F. 39% or below An F presentation is consistently weak, whether poorly delivered throughout, lacking insight into the topic or artist/event being studied, or reflecting little thought or effort. Presentations that plagiarize, that fabricate information or sources, that rely excessively on quoting secondary sources, or that do no more than repeat what is said in class sessions or in the lecture notes will also receive an F.

Grading scale for written assignments (essays, reports, portfolios)

1st. 70%+ A first-class assignment will be excellent in content, organization, and style. There will be a clear focus upon the requirements of the brief with strong supporting points and ample evidence for each assertion. The ideas will be engaging and original and will offer illuminating insights into the topic, materials, or work being studied/carried out. The topic will be treated in depth, drawing on a good number of appropriate resources. The organization will be clear at all levels. The assignment will not include material irrelevant to the brief or its supporting points. There should be very few distracting errors in style, diction, and/or mechanics.

2:1. 60-69% A 2:1 assignment will still be good, but weaker than a first-class submission in some areas. It may have good ideas but be weakened by problems of organization, style and mechanics. Or it may be well-organized and well-constructed but offer fewer and less valuable insights than a first-class assignment.

2:2. 50-59% A 2:2 assignment will show a competent understanding and coverage of the topic, but its insights will usually not go beyond the obvious, and there will be weaknesses in two or more areas. A 2:2 may also be awarded to an inconsistent assignment that shows some excellent insights yet fails to relate them comprehensively to the brief.

3rd. 40-49% A third-class assignment has some virtues, but weaknesses in several areas. Examples include an assignment with evidence of relatively few resources and little breadth of coverage, an assignment with some good ideas or information marred by unclear writing and poor organization, or a clearly presented piece of work with superficial ideas that shows a lack of engagement with the topic.

F. 39% or below An F assignment is consistently weak, whether poorly written/constructed throughout, lacking insight into the topic or works being studied, or reflecting little thought or effort. Assignments that plagiarize, that fabricate information or sources, that rely excessively on quoting secondary sources, or that do no more than repeat what is said in class sessions or in generalized textbooks will also receive an F. Grading scale for creative assignments (incl. production work)

1st. 70%+ A first-class assignment will demonstrate an excellent understanding of technique and style. There will be a convincing and compelling sense of creative flair in the engagement and execution of ideas. The brief will be clearly addressed and a thorough understanding of industry practices will be exhibited whenever appropriate. There should be very few distracting technical errors.

lxi

2:1. 60-69% A 2:1 assignment will still be good, but weaker than a first-class submission in some areas. It may have good ideas but be weakened by problems of technique. Or it may be technically secure but with less creative flair than a first-class assignment.

2:2. 50-59% A 2:2 assignment will show some understanding and coverage of technique and style but will usually not go beyond the obvious, and there will be weaknesses in two or more areas. A 2:2 may also be awarded to an inconsistent assignment that shows some excellent creative and/or technical skill but fails to comprehensively address the brief.

3rd. 40-49% A third-class assignment has some virtues, but weaknesses in several areas. Examples include an assignment which deploys relatively few resources and techniques, an assignment with some good ideas or information marred by technical weaknesses, or a clearly presented piece of work with pedestrian or highly derivative ideas that show a lack of engagement with the topic.

F. 39% or below An F assignment is consistently weak, whether poorly constructed throughout, lacking insight into the techniques and/or styles being studied, or reflecting little thought or effort. Assignments that plagiarize, that rely excessively on long, unprocessed samples/quotations, or that do no more than reproduce basic exercises from class will also receive an F.

lxii

GUIDANCE CRITERIA FOR THE PREPARATION OF ASSESSED WORK (specific to written assignments, presentations, contextual studies and work placement)

1. ESSAYS:

Level 4:

Able to analyse the question Clear indication of how it will be answered Appropriate content Develops a line of argument, makes a case Supports from further reading (at least 6 appropriate sources) Reaches an appropriate conclusion Correct referencing procedure Accurate use of English Word processed/accurate word-count Tutor sets titles and helps with structure. Emphasis on marking at this level will be on content and structure.

Level 5: as for Level 4 plus the following:

Engage in difference lines of argument Evaluate different cases Develop a critical approach At least 8 appropriate references including journal articles/web-sites Write in an appropriate academic style Student has some choice of content but within tutor approved title.

2. ORAL PRESENTATIONS:

Level 4:

Content

Relevance of content to given/chosen topic Identification of key elements Visual materials support topic Appropriate use of written English in materials/handout

Skills

Confidence in speaking Use of resources e.g. projectors, PowerPoint presentation Some audience involvement Quality of spoken English

lxiii

Additional Criteria for Group Presentation

Collaborative approach to preparation for presentation Contributions from all group members during presentation

Level 5:

Content

Relevance of content to topic Discussion of key elements Coherence of presentation Visual materials to elaborate on topic Handout

Skills

Confidence, use of voice range of presentational methods, use of resources Use and quality of resources Quality of spoken English

Additional Criteria for Group Presentation

Critical reflection on collaborative approach to presentation Distinct and equal contributions from all

3. WRITTEN TASKS DURING CONTEXTUAL STUDIES SESSIONS

Level 4:

Identify key issues under discussion Identify key points in lectures and readings Raise questions about ideas presented in lectures, readings, seminars Begin to make connections between difference elements of the module Begin to develop own lines of argument Identify key elements of own learning Demonstrate knowledge of some key ideas associated with area of study Accurate use of English Correct referencing procedures

Level 5

Able to discuss the key issues Analyse ideas presented in lectures and readings Critically reflect on module content drawing upon some further reading Apply some underlying concepts to other contexts by drawing links between

difference elements of module

lxiv

Reflect critically upon process of own learning Demonstrate knowledge and critical understanding of some of the key ideas

associated with area of study Writing in appropriate personal/academic style Appropriate references and correct referencing procedure

4. THESIS PREPARATION

Level 5 only

Abstract

Clear account of findings of investigation in single paragraph

Rationale

Clear statement of reason for choice of topic in relation to own background knowledge and experience

Literature

An account of literature relevant to topic Should include some primary sources

Methods

Clear statement of specific question being investigated and methods used to answer it

Commentary on why selected methods are appropriate

Findings

Clear presentation of data which is accessible to reader Presents answer to question posed

Conclusions

Discusses findings in terms of question posed and wider implications Refers to discussions in literature section

5. ASSESSMENT IN THE WORKPLACE

Level 4

Engage as part of a team or with the mentor. Assess learning environment in a given context. Try a variety of methods used in the work placement. Identify problem areas. Identify positive areas within the work place experience.

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Document what your contribution is to the work placement. What have you gained from this experience? Document the experience through keeping a daily diary/log and

visual/photographic record. Write an evaluation.

Level 5

At Level 5 you will be expected to meet the Level 4 criteria with the addition of the following:

Liaise with external agencies yourself. Demonstrate development in your professional practice. Gain confidence in the employment market. Gather networks and contacts to assist with future career development.

Appendix 2 - Policies and Procedures Policies relating to HE Students can be found on Moodle at: https://moodle.weston.ac.uk/mod/glossary/view.php?id=93970

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https://moodle.weston.ac.uk/mod/glossary/view.php?id=93970

Documents

Introduction - ucw.ac.uk · Web viewYou will be introduced to a broad range of possible careers in the photographic industries. Exploring different avenues of professional practice,