SO! Here is a copy of the briefs, just to set the scene, enjoy.
SCHOOL OF FINE ARTS
221.374 Photographic Methods IIB
Programme: BDes Hons Photography
Semester 2. 2011
Credits: 15
Assignment 1: Seminar Presentation
Assignment weighting: 35%
Due: Week 4
Paper Co-ordinator: Mark Bolland
Lecturer: Mark Bolland
Photograph by Mark Bolland & Dylan Haines
Introduction and Aims:
This paper provides an examination of commercial contexts for photographic
investigation, including consideration of the relationship between a client or
commissioner and the photographer. The aim of this first assignment is to
provide you with an opportunity to work with a commercial client in order to
devise and develop a photographic project with a specified visual outcome, or
outcomes. You will be expected to provide evidence of experimentation and
exploration relevant to the client brief, and demonstrate an awareness of
precedents in related contemporary and historic practice.
Indicative Content:
In the first assignment we will examine commercial contexts for photographic
images through lectures, seminars and tutorials. You will find a client, gallery,
publication, or similar, whose requirements will form the basis of your
photographic work for this paper. You will then research appropriate
techniques and methodologies, and also precedents in relevant contemporary
and historic photography. You will present your research and proposed work
to the class in week 4.
Constraints:
A class presentation of the work you propose for the semester will be required
in week 4.
The client driven work must result in a ‘real world’ application, i.e. it must have
an appropriate public presentation.
Indicative delivery schedule:
Semester 2
Week 1: Introduction to Assignment 1: ‘Commercial Contexts’ Slideshow
and Discussion of approaches to commercial photography
Week 2: Small Group Tutorials
Week 3: Tutorials: Draft presentations for review
Week 4: Deadline Assignment 1 Class Presentations
Assessment Criteria:
Encompassing technical, visual and conceptual processes:
1.
Exploration & Analysis – how the work and ideas are informed
2.
Development – how the work is made and ideas developed
3.
Communication – how the work and ideas are presented
4.
Engagement in the studio programme and class critiques
References:
Barthes, R (1964) Rhetoric of the Image in Image/Music/Text, Hill and Wang,
New York 1977
Chermayeff, C. (ed) (2000) Fashion Photography Now. New York. Harry. N.
Abrams
Child, J; Galer, M (2002) Essential Skills Photographic Lighting Focal
Press, Oxford
Child, J (1999) Essential Skills Studio Photography, Focal Press, Oxford
Ewing, W (2006) Face: The New Photographic Portrait. London, Thames
and Hudson
Freeman, M (1991) The Photographer’s Studio Manual, Harper Collins
Publishers, UK
Frosh, P (2003) The Image Factory: Consumer Culture, Photography and the
Visual Content Industry, Berg, UK
Harrison, M. (1991) Appearances: Fashion Photography Since 1995.
London. Cape.
Lowry, J. Durden, M. Richardson, C. Hunt, I. (2000) Face On: Photography as
Social Exchange London: Black Dog Publishing
Piscopo, M (2001) The Photographer’s Guide to Marketing and Self-
Promotion, Allworth Press, New York
Rose, G. (2001) Visual Methodologies: an introduction to the interpretation of
visual materials. London: Sage (Semiology, chapter 4)
Siegal, E. (2008) Fashion Photography Course; principles, practice and
techniques: an essential guide. New York. Barrons
Tarantino, C. and Tan, K. (2005) Digital Fashion Photography. Boston.
Thompson
Wells, L. (2000) Photography, A Critical Introduction London: Routledge.
Weiermair, P. (1998) The Measure of All Things. On the Relationship between
Photography and Objects. Zurich: Edition Stemmle
Williamson, J (1978) Decoding Advertisements, Boyars, London
See Stream for other references, websites, etc.
Also magazines such as Wallpaper, Blind Spot, Dazed and Confused, etc, etc
SCHOOL OF FINE ARTS
221.374 Photographic Methods IIB
Programme: BDes Hons Photography
Semester 2. 2011
Credits: 15
Assignment 1: Photographic Project
Assignment weighting: 65%
Due: Week 12
Paper Co-ordinator: Mark Bolland
Lecturer: Mark Bolland
http://www.aaronkphotography.com/beauty/16.htm
Introduction and Aims:
Assignment two focuses on the production, resolution and presentation of the
project for a client devised and developed in assignment one.
Students are expected to create an integrated body of work while extending a
client’s expectations, and providing an innovative photographic resolution to a
client’s needs.
Indicative content:
In the second assignment you will execute the commercial brief that was
agreed and researched in assignment one, producing images that visually
resolve the requirements of the client and presenting them in a way that is
appropriate to the relevant commercial context.
Constraints:
A workbook is to be kept and submitted. It should contain developmental
visual and conceptual references, proofs, diagrams of the lighting setups
used, evidence of any post-production work, budgeting, etc. and also
documentation of planning, experimentation and client communication.
You will present a series of photographic images that fulfil the client’s criteria
in an appropriate way that considers their ‘real world’ application.
Work in Progress will be evaluated in an interim critique in week 8.
Indicative delivery schedule:
Semester 2
Week 5: Introduction to Assignment 2 and Tutorials
Week 6: Lecture; The Image Factory –Stock Photography
Tutorials
Week 7: Lecture; Objects of Desire –The Rhetoric of Advertising
Tutorials
Week 8: Interim Critique
Week 9: Visiting Lecturer
Week 10: Lecture: Head Shots -Contemporary Portraiture
Week 11: Small Group Tutorials
Week 12: Deadline Assignment 2 and Critique
Assessment Criteria:
Encompassing technical, visual and conceptual processes:
1.
Exploration & Analysis – how the work and ideas are informed
2.
Development – how the work is made and ideas developed
3.
Communication – how the work and ideas are presented
4.
Engagement in the studio programme and class critiques
References:
Barthes, R (1964) Rhetoric of the Image in Image/Music/Text, Hill and Wang,
New York 1977
Chermayeff, C. (ed) (2000) Fashion Photography Now. New York. Harry. N.
Abrams
Child, J ; Galer, M (2002) Essential Skills Photographic Lighting Focal
Press, Oxford
Child, J (1999) Essential Skills Studio Photography, Focal Press, Oxford
Ewing, W. (2006) Face. The New Photographic Portrait. London, Thames
and Hudson
Freeman, M (1991) The Photographer’s Studio Manual, Harper Collins
Publishers, UK
Frosh, P (2003) The Image Factory: Consumer Culture, Photography and the
Visual Content Industry, Berg, UK
Harrison, M. (1991) Appearances: Fashion Photography Since 1995.
London. Cape.
Lowry, J. Durden, M. Richardson, C. Hunt, I. (2000) Face On: Photography as
Social Exchange London: Black Dog Publishing
Piscopo, M (2001) The Photographer’s Guide to Marketing and Self-
Promotion, Allworth Press, New York
Rose, G. (2001) Visual Methodologies: an introduction to the interpretation of
visual materials. London: Sage (Semiology, chapter 4)
Siegal, E. (2008) Fashion Photography Course; principles, practice and
techniques: an essential guide. New York. Barrons
Tarantino, C. and Tan, K. (2005) Digital Fashion Photography. Boston.
Thompson
Wells, L. (2000) Photography, A Critical Introduction London: Routledge.
Weiermair, P. (1998) The Measure of All Things. On the Relationship between
Photography and Objects. Zurich: Edition Stemmle
Williamson, J (1978) Decoding Advertisements, Boyars, London
See Stream for other references, websites, etc.
Also magazines such as Wallpaper, Blind Spot, Dazed and Confused, etc, etc
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