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Tatlin at Home, 1920, Hausmann's portrait of Vladimir Tatlin (Russian collage artist)

Assignment Title: The Exploded Image


Module Number: BAPH206
Programme: BA (Hons) Photography

Assignment Brief

Start Date: Week 11 Fri 14 Oct 2016


Deadline date; Week 27 Fri 03 Feb 17
Feedback Date: Wk30 24 Feb 17
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Module Leader: J Blyth

Context

Art today needs to address how the visual world beyond art comes to shape
any resemblances of the world, and photographic images are central to this,
active across every sphere of contemporary life. Through strategies of
dissemblance, art photography questions these resemblances and
sometimes turns them inside out, using the very same apparatus that
created them. Photographic interventions in art are multiple and diverse,
eclectic even, and art is unthinkable now without them.
David Bate Art Photography

Rationale

However hard we try; photography cannot capture everything. Just as a


documentary photograph can only capture a partial truth, in any image there
is always something invisible that remains beyond the frame, which we can only
allude to. Many contemporary artists working with photography have embraced
the possibilities of working with unseen thoughts, feelings, memories and ideas
and have moved towards a range of possible outcomes involving camera-less
techniques, moving image, projection, performance, montage, collage and
sculptural forms.
Contemporary artist, Letha Wilson, for example, folds, bends and breaks
photographic prints, combining three dimensional elements from the natural
and human-made world in her work, while Wolfgang Tillmans has fractured
the image by creating installations built up through diverse and sometimes
disparate photographs arranged in an eclectic fashion. What we get from the
work depends on what we make of the relationships between what appear to
be a strange collection of images (and sometimes objects) as much as the
photographs themselves. On the other hand, the photographic accident or
mistake, which has always been present in the history of our medium, now
appears in the work of contemporary artists like Rinko Kawauchi, Dirk
Braeckman and Seba Kurtis as a poetic bleeding of light around the edges of a
cherry blossom, a half remembered hotel room printed grey and melancholy
from a scratched old negative or a story of migration and fragmentation told
through the metaphor of a wrecked family photograph.
All of these artists have studied and practiced photographic technologies and
techniques but have very deliberately chosen to break the rules for very
particular reasons, to express certain ideas, evoke particular feelings and to
communicate their own personal or collective vision through what is happening
both within, around and beyond the photograph.

Brief

For this project we ask you to experiment with photography, exploding the
image through a variety of means, exploring time, the wrecked and accidental
image as well as the installation and experiential possibilities of the photograph
as object and as ephemera. While we begin with a core of both digital and
analogue technical workshops, and the notion of effective documentation
around photographic practices in the wider environment, we will be conscious
of how our photographic skills can support more experimental practices.
We ask you to develop your own ideas through playful enquiry and to explore
thematic that are of interest to you in developing small and more extended
projects as we introduce and practice photographic and experimental
techniques both in class and independently. We ask you to document your
experiments and reflect critically on how they could be useful to you in making
your work and expressing your ideas. We ask you to use an appropriate
combination of any of the techniques you have learnt to present a project which
expresses your personal vision around a self-developed thematic. This will
inform process led research that becomes your formative assessment.
You will also be working collectively toward developing and delivering a site
specific intervention with the exploded image. This outcome will be transitory
and the process of its evolution will engage you in collaboration as a small
group, shaping a creative vision and experience of photography. This
component will become the summative assessment. Engaging audience
becomes an integral facet of our professional development and multifaceted
communication skills will be well challenged. Youll be expected to use
technical skills nurtured through workshops and independent study to render
transitory work as superb visual and technical documentation.
Through a series seminars and workshops, you will be introduced to a
variety of advanced photographic skills, techniques and processes. These
will give you a strong technical foundation for practice, covering image
capture, post-production and finishing. You will be required to work to safe
and professional standards, ensuring you continue your understanding of
all elements of risk assessment, COSHH assessment and awareness of
equipment safety. This module develops the practical skills of your 1st year.

Schedule
Key dates

Week Commencing

Friday

Introduction to 206

Week 11

14 October

Research Week
London Symposium
Formative
Assessment
VL Workshop with
Peter Kennard
Christmas Break

Week 13
Week 16
Week 19

28 October
14 18 November
9 December

Week 24

13 January

Week 21 and 22

2017 Return
Summative
Assessment

Week 23
Week 27

23 December and 30
December
06 January
03 February

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Deliverables

The project outcomes needs to be photographed / documented using large


format or medium format and demonstrate appropriate technical lighting.
1.

Individual visual documents of a collaborative photographic event on


5x4, medium format or C41 colour negative or black & white film, scans
including colour management, cleaned and metadata added. and
digitally printed. These should demonstrate use of controlled and
technical lighting thats appropriate to the outcome.

2.

The effective group collaborative exploration and outcome of the


exploded image. Participation, and production must be evidenced.

3.

Individual critical evaluative summary of the project (800 1000 words).

4.

An individual technical journal that demonstrates the process and


outcomes of all taught workshops and relevant seminars.

5.

Consistent personal documentation of individual and collaborative


processes with experiments that lead up to the delivery of an outcome
exploring the exploded image. This research should be recorded
through an individual blog and be presented through an edited and
printed submission. All workflow and editorial should be clearly
revealed.

* ALL components of the assignment must be identified with full name,


module number, assignment title and date. Please submit your portfolio
images in an archival box that clearly displays these components.
NB: 50% of this modules final grade will consist of the individual work
completed at the formative assessment. The other 50% of the final
grade is attained through the collaborative processes submitted at the
summative assessment.

Studentship

You are expected to use the facilities outside of taught sessions in order to
complete the work requested for submission. The list of submission
requirements provides evidence of the ability to Pass the module.
NB: Plagiarism is defined as to steal or pass off work (e.g. the ideas, words,
images of another) as ones own, and if discovered, will result in disciplinary
action in line with the Colleges regulations. Please refer to your Programme
Handbook for further guidelines.
At the point of hand-in you will be confirming that work submitted for this
assignment is your original work and that all references are appropriately
acknowledged.
Attendance to all sessions is mandatory.

Reading

Bate. D (2015) Art Photography, Tate Publishing,2015


Benjamin,W. Orig. (1968) The work of Art in the Age of mechanical reproduction,
Illuminations,
Blakemore, J. (2008) Black and White Photography Workshop. Devon: David
and Charles
British Journal of Photography, Sept (2016) Unseen edition, 7851
Brief Encounters (2012), Directed by Ben Sapiro, [Film], USA: Zietgeist
Cotton. C (2015), Photography is Magic, Aperture, 2015,
Cotton, C (2014), The Photograph as Contemporary Art, Thames and Hudson,
2014
Frizot Michel (1991) Photomontage : experimental photography between the wars
Films.. Crewdson, G. (2008) Beneath the Roses, New York: Abrams.
Fillippo,M. (2008) New Photography in Britain, Italy, Skira
Luca Bendandi and Marco Antonini, Experimental Photography, a handbook of
techniques.
Langford. M. (2010) Langfords Basic Photography 9th edition: The
Guide for Serious Photographers. Oxford: Focal Press
Ava Wall, J. (2001) Figures & Places. London: Prestel.
Letha Wilson, Wolfgang Tillmans, Rinko Kawauchi, Dirk Braeckman, Seba Kurtis
Peter Kennar, Hannah Hoch, John Stezeker, Geoffrey Farmer, Lazlo Moholy-Nagy,
John Heartfield
Battleship Potemkin, Eisenstein, 1925
http://www.youtube.com/watch?v=xVnSG_6hP2M
Odessa Steps scene
http://www.youtube.com/watch?v=Ps-v-kZzfec
Websites:
https://www.lensculture.com/https://www.lensculture.com/
http://photoworks.org.uk/http://photoworks.org.uk/
http://www.portfoliocatalogue.com/http://www.portfoliocatalogue.com/
http://www.aperture.org/http://www.aperture.org/
http://www.dazeddigital.com/photographyhttp://www.dazeddigital.com/photogra
phy
http://www.foam.org/http://www.foam.org/
https://www.nowness.com/https://www.nowness.com/
http://www.itsnicethat.com/http://www.itsnicethat.com/
http://www.foto8.com/live/http://www.foto8.com/live/
https://www.hotshoeinternational.com/https://www.hotshoeinternational.com/
http://thephotographersgallery.org.uk/http://thephotographersgallery.org.uk/
http://www.icp.org/http://www.icp.org/
http://www.parisphoto.com/http://www.parisphoto.com/
http://www.mdf-berlin.de/en/http://www.mdf-berlin.de/en/

Module team
Jonathan Blyth
Mohini Chandra

Credits 20

Luke Broadway

Module
Title
Exploded
Image

Module Code BAPH206

Assessor

Assessment Method

Jonathan Blyth

group crits, formative, summative

Mohini Chandra

presentations, portfolio, group event,


journal and evaluation.

Learning Outcomes:
At the end of the module, learners will be expected to:

Control and manipulate lighting to an advanced level, using complex lighting set ups, with
industry standard generators and high flash output.

Demonstrate advanced skills in camera control and techniques using a variety of high-end
cameras and formats.

Apply advanced post-production techniques to achieve a desired outcome using a range


of high-end hardware and software.

Show a developed understanding of legislative and ethical requirements.

BA (HONS) DEGREE AWARDS MARKS CRITERIA


These grading criteria have been designed to help in benchmarking grading decisions and to support
self and peer evaluation and critique. Each statement should be read in conjunction with the learning
outcomes on the assignment brief. These criteria have been designed to be equally relevant for all
stages of your BA (Hons) Degree. However we would expect to see increasingly independent
responses and growing technical and conceptual competence as you progress through the
programme.
Refer to Course Handbook for marking criteria.

Refer to you
Internal Moderation of Assignment Brief

Name of Programme IM (Capital

Signature

Date

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