20 credits at level HE4
Manual cameras offer a learning tool which is unsurpassed as a means of understanding how light and exposure is controlled. Similarly, the work in a conventional darkroom offers an invaluable opportunity to manually adjust light and timings to create flexibility in the control of image output. Knowledge and skills of these techniques and processes will help students to improve their decision-making and camera control (both conventional and digital) so that they can operate effectively when taking photographs in difficult circumstances.
This module will enable students to develop their film-camera techniques using a conventional camera plus a variety of darkroom procedures such black and white processing and printing. In addition, a revival of interest in extraordinary and unusual methods of image creation has resulted in renewed applications of alternative processes such as cyanotypes, salt prints, manual image colouring, and image transfer. The module develops students’ skills and knowledge in these methods. The module will introduce students to darkroom practices and routines, and working safely with photographic chemicals. In addition, students will develop an awareness of: the interrelation between photographic materials, the common bond between all negative positive processes, together with the variety of methods used to achieve different outcomes (for instance, contrast variation, negative/positive switch over, image degradation, final output change, and artistic enhancement of images).
The fine art market currently requires high quality conventional black and white printing for work displayed in exhibitions and therefore, there is a continued demand for the skills and understanding developed in this module.
The conventional camera (e.g., types of conventional cameras; various camera formats and their suitability for differing purposes and output requirements; benefits and limitations of conventional cameras)
Using a conventional camera (e.g. camera controls and functions; exposure control; operating skills)
Working safely and efficiently in photographic darkrooms (e.g., safe routines for handling and diluting chemicals)
Film and paper processing (e.g., process timings, temperatures)
Film characteristics (regular and specialist e.g., infra-red)
Paper characteristics (e.g., resin coated, fibre-based, art finish)
After treatments (e.g., toning, colouring, and bleaching)
Alternative and unusual / historical processes (e.g., cyanotype, salt print, manual image colouring, and image transfer)
Alternative media in both historical and contemporary contexts
Archiving and storage of photographic materials
Mounting and presentation
Researching historical and contemporary inspirational sources
Justifying decisions made and choice of techniques and equipment
Critically self-evaluating one’s own work and the work of others
Identifying and acting upon targets for improvement and development
Undertaking a project (e.g., idea generation, setting and agreeing targets, planning and scheduling, monitoring, evaluating)
Tutor led lectures seminars and workshops: 60%
Student critiques and presentations: 20%
A blended learning approach will be used
Practical assignments (25%).
Major project (50%).
when you have successfully completed this module you will:
to demonstrate that you have achieved the learning outcome you will:
|1.||Be able to take photographs using a conventional camera, process films, and print negatives, justify decisions and evaluate your work||1.1 take photographs using a conventional camera, process films, and print negatives to a near competent standard, justify the decisions you have made and critically evaluate your work.|
|2.||Be able to work safely and have an understanding of procedures used in traditional (wet) photography that enable you to work efficiently.||2.1 demonstrate you can work safely and efficiently in the darkroom.|
|3.||Demonstrate that you can use skills and processes associated with traditional (wet) photography, justify your decisions and evaluate your work||3.1 use at least two alternative techniques to produce imagery to a competent level of presentation, justify the decisions you have made, and critically evaluate your work.|
|4.||Show links between your images and historical and contemporary inspirational sources.||4.1 research and analyse relevant work of historical or contemporary practitioners, and link your work (relevant to 3.1) to theirs justifying reasons for choosing different methods or techniques in your work.|
|5.||Be able to present visual work appropriately.||5.1 Mount work to a proficient standard of presentation.|
Your achievement of the learning outcomes for this module will be tested as follows:
|Description||practical assignments.||journal.||major body of work.||major body of work.|
Before taking this module you must have successfully completed the following:
You cannot take this module if you are taking or have taken:
Alesse, C. (1997) Handcolouring Photographs. London: Laird & Chambers.
Coe, B. (1976) Birth of Photography, London: Ash and Grant.
Crawford, W. (1979) Keepers of Light, USA: Morgan and Morgan.
Hirsch, R. (1990) Photographic Possibilities, USA: Focal Press.
James, C. (2002) The Book of Alternative Photographic Process. USA: Delmar.
Kobre, Brill. (2005) Photography (eighth edition), New York: Pearson Education.
Renner, E. (2000) Pinhole Photography, USA: Focal Press.
Roberts, R, (2003) Specimens and Marvels, The work of William Henry Fox Talbot. Aperture .
Wainwright, C. (1993) The Creative Darkroom Handbook, London: Carell Villiers House.
Worobiec, T & Spence, (1999) Beyond Monochrome. London:Fountain
|Host Subject Group:||Art and Design|
|User Name||Date Accessed||Action|