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I decided to have a look around Ramsgate emporium for some inspiration, its vintage goods market which I felt would be the perfect place to find mementos. When I arrived the first thing I saw was a box titled ‘albums’, inside there were handwritten postcards, family photo albums and framed drawn portraits. Coming across this box made me wonder what it was that made these people keep these postcards, they were rarely addressing very intriguing things ,one just being an update on the weather that week as well as some of the imagery having been distorted by an error when printing. The thing about mementos is that although they are thought to be meaningful only to the individual in which those memories occurred there's a common format for mementos for everyone.. You could look at the mementos of two entirely different people from different places with different experiences and you will most likely see a similarity in the format of these momentos (old cards, letters, family portraits, first day of school outside the front door, baby in the bath, ). As I walked around I could hear conversations of the other customers, most of which were reminiscing.  The things inside the emporium are things that these people grew up with, now considered ‘vintage’. This brought me back to the mementos idea, none of these items belonged to these people ,lots of the items have lost their distinguishable features with age (logos, labels etc) so i tried to imagine what they were reminiscing about. I came to realise that these were these peoples' momentos, not their individual mementos but momentos of their time. Although ,for example, the mirror with the can can women was not something they ever personally owned they could've had a memory of a friend's mother who did. We attach memories to objects subconsciously ,perhaps to attempt to materialise the memory and make it into something we can hold in our hands, something that can't fade or change or disappear. This inspired me to look around my home and document all the random objects that act as momentos for myself, unconsciously created mementos.

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I wanted to experiment with this image in photoshop, I wanted to enhance its cartoonish look to add another angle to my experiments. I firstly uploaded this image into photoshop and adjusted the images levels in an attempt to create a starker contrast between the highlights and lowlights surrounding the subject. After doing this I saw that a curve of light had been highlighted from this, it reminded me of a poster or some sort of title page on a comic. I had the idea to edit the image into a cartoonish style ,accentuating the contrasts and adding a pen drawn texture. I played around further with adjustments , increasing and decreasing the vibrance attempting to find the right tones to suit the look I was going for. After a while of this I decided to put the photo into black and white, inspired by the old newspaper cartoons. I like how stark the removal of colour made the contrasts. I then searched the filter gallery and decided on the grain texture filter, this gave the image a pen drawn inky printed look. I had a series of different edits I liked but for my final I felt the black and white fit best for the look I was trying to achieve.

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Having been so inspired by all of the artists ive researched in my final outcome ive decided to use elements for each of their works and combine them, my idea for this outcome is a large multi media collage. Using the manipulated polaroids and objects, fabrics, photgraphs from my past displayed all interlinked on a canvas sheet. Creating somewhat of a map of memory. For subject matter in my shoot im going to go around where i grew up and intuitively photograph anything that triggers a memory.

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Exhibition dates: 28th May - 3rd October 2010

Many thankx to Rose Dahlsen and the Tate Modern for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image.

Benjamin Lowy (American, b. 1979)
Iraq Perspective II
2003-2007

US soldiers go on a late night raid with Iraqi Sunni Concerned citizens leading the way and identifying potential AQi targets. Due to a high level of IEDs in the area the company size raiding party walked 5 kilometres to the target in complete darkness, raided the target houses, detained questionable suspects and walked 5 kilometres back to waiting humvees.

Sophie Calle (French, b. 1953)
The Hotel, Room 47 (L'Hôtel, Chambre 47)
1981
2 works on paper, photographs and ink
2140 x 1420 mm
Tate
Presented by the Patrons of New Art through the Tate Gallery Foundation 1999

This is a two-part framed work comprising photographs and text. In the upper part, the title Room 47 is printed below a colour photograph of elegantly carved wooden twin head-boards behind a bed covered in rich brown satin. Below it, three columns of italic text are diary entries describing findings in the hotel room between Sunday 22 February 1981 and Tuesday 24. In the lower frame a grid of nine black and white photographs show things listed in the text above. This work is part of a project titled The Hotel, which the artist has defined:

"On Monday, February 16, 1981, I was hired as a temporary chambermaid for three weeks in a Venetian hotel. I was assigned twelve bedrooms on the fourth floor. In the course of my cleaning duties, I examined the personal belongings of the hotel guests and observed through details lives which remained unknown to me. On Friday, March 6, the job came to an end." (Quoted in Calle, pp. 140-141.)

Each of the twelve rooms gave rise to a diptych of similar structure following the occupancy of one or more guests during the period of the artist's employment at the hotel. Some rooms feature more than once as a second set of guests occupied them, giving rise to a total of twenty-one diptychs in the series. Calle's descriptions of the hotel rooms and their contents combine factual documentation along with her personal response to the people whose lives she glimpsed by examining their belongings. Each text begins with the chambermaid/artist's first entry into the room and a notation of which bed or beds have been slept in, with a description of the nightwear the guests have left. A list of objects usually follows, as the artist transcribes her activities in the room. Calle is unashamedly voyeuristic, reading diaries, letters, postcards and notes written or kept by the unknown guests, rummaging in suitcases, and looking into wardrobes and drawers. She sprays herself with their perfume and cologne, makes herself up using the contents of a vanity case, eats food left behind and salvages a pair of women's shoes left in the bin. Outside the room, she listens at doors, recording the occupants' conversations or any other sounds she may overhear, and even peers into a room when the floor-waiter opens the door to catch a glimpse of the unknown guests.

The absent occupants described in Room 47 are a family of four - two parents and two children - as revealed by their four pairs of slippers. Calle does not go through their suitcase, commenting: 'I am already bored'. From their passports she discovers that the parents are a married couple from Geneva and she copies out four postcards one of them has written. Words on one of these hint at problems within the family.

Calle began her artistic projects in 1979 on returning to Paris after seven years' travel abroad. Disorientated, she felt like a stranger in her own city, not knowing how to occupy her time. She started to follow random passers-by and spend her days as they did. Eventually she picked up the camera she had been experimenting with during her time abroad and photographed the strangers, writing diaristic notes of their movements. From this she has developed a particular way of working, collecting information about people who are absent and investigating her subjects like a detective. The Hotel follows directly from a project the artist undertook the previous year entitled Suite Venetienne 1980, which evolved from a chance encounter with a man she had been following in Paris. He told her he was going to Venice, so she followed him there in disguise, documenting her observations. After a year of planning and waiting, she returned to Venice in 1981 as a chambermaid.

The Hotel diptychs were produced in an edition of four in English and four in French. Tate's copy of Room 47 (22 February) is the first in the English edition. Another version of Room 47 exists for the period 2-6 March.

Elizabeth Manchester
June 2005

Text from the Tate website [Online] Cited 26/12/2019

Walker Evans (American, 1903-1975)
Subway Passengers, New York
1938
Gelatin silver print

Exposed offers a fascinating look at pictures made on the sly, without the explicit permission of the people depicted. With photographs from the late nineteenth century to present day, the pictures present a shocking, illuminating and witty perspective on iconic and taboo subjects.

Beginning with the idea of the 'unseen photographer', Exposed presents 250 works by celebrated artists and photographers including Brassaï's erotic Secret Paris of the 1930s images; Weegee's iconic photograph of Marilyn Monroe; and Nick Ut's reportage image of children escaping napalm attacks in the Vietnam War. Sex and celebrity is an important part of the exhibition, presenting photographs of Liz Taylor and Richard Burton, Paris Hilton on her way to prison and the assassination of JFK. Other renowned photographers represented in the show include Guy Bourdin, Henri Cartier-Bresson, Philip Lorca DiCorcia, Walker Evans, Robert Frank, Nan Goldin, Lee Miller, Helmut Newton and Man Ray.

The UK is now the most surveyed country in the world. We have an obsession with voyeurism, privacy laws, freedom of media, and surveillance - images captured and relayed on camera phones, YouTube or reality TV.

Much of Exposed focuses on surveillance, including works by both amateur and press photographers, and images produced using automatic technology such as CCTV. The issues raised are particularly relevant in the current climate, with topical debates raging around the rights and desires of individuals, terrorism and the increasing availability and use of surveillance. Exposed confronts these issues and their implications head-on.

Text from the Tate Modern website [Online] Cited 21/09/2010 no longer available online

Kohei Yoshiyuki (Japan, b. 1946)
Untitled
1971
From the series The Park
Gelatin silver print

Kohei Yoshiyuki (Japan, b. 1946)
Untitled
1971
From the series The Park
Gelatin silver print
Sandra Phillips on Surveillance - Exposed at Tate Modern
SFMOMA's Curator of Photography Sandra Phillips describes how contemporary artists like Sophie Calle and Benjamin Lowry have started to talk back to surveillance.

Ronald Edward Galella (January 10, 1931 - April 30, 2022) was an American photographer, known as a pioneer paparazzo. Dubbed "Paparazzo Extraordinaire" by Newsweek and "the Godfather of the U.S. paparazzi culture" by Time magazine and Vanity Fair, he is regarded by Harper's Bazaar as "arguably the most controversial paparazzo of all time". He photographed many celebrities out of the public eye and gained notice for his feuds with some of them, including Jacqueline Onassis and Marlon Brando. Despite the numerous controversies and claims of stalking, Galella's work was praised and exhibited in art galleries worldwide.

Text from the Wikipedia website

Garry Winogrand (American, 1928-1984)
Couple Kissing, Girl Staring at Camera, Tortilla Factory, New York
1969
Gelatin silver print
© Garry Winogrand/Fraenkel Gallery, San Francisco

Georges Dudognon (French, 1922-2001)
Greta Garbo in the Club St. Germain, Paris
c. 1950s
Gelatin silver print
7 1/16 x 7 1/8 in. (17.94 x 18.1cm)
San Francisco Museum of Modern Art, Members of Foto Forum, 2005.200
© Estate of Georges Dudognon

Tate Modern
Bankside
London SE1 9TG
020 7887 8888

Opening hours:
Daily 10.00 - 18.00
Tate Modern website LIKE ART BLART ON FACEBOOK

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Exhibition: 'Exposed: Voyeurism, Surveillance & the Camera' at Tate Modern, London

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Exhibition dates: 28th May - 3rd October 2010 Many thankx to Rose Dahlsen and the Tate Modern for allowing me to publish the photographs in the posting. Please click on the photographs for a larger version of the image. Harry Callahan (American, 1912-1999) Untitled (Atlanta) 1984 Dye transfer print 9 7/16 x...

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This is not the completed outcome as at this time I was also focusing on making my portfolio for uni however this far I was pleased with the result, ideally I would've liked the background to be white canvas however I did not have access to any at the time of making. Also I think adding some enlarged photographs or polaroids would help balance out the piece a bit more compositionally and help everything interlink.

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This week taught me how broad 3d design is, i think i had a pretty limited knowledge of the practice prior and am glad to have been shown all of the possibilities as i found it really interesting learning about things such as the ‘using space in a new way’ not only did it make me have to aprroach things in a completely different way of thinking it was also really interesting starting to think about such everyday things like space in a more focused expreimental way

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Fine art Crafts and photography talk D2D Talk Notes.

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Fine art Crafts and photography talk D2D Talk Notes.

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This week surpised me, ive never really had much of an interest in making and designing 3d work though this rotation i found really interesting and challenging. Throughout the workshops this week i had to approach the tasks think rather abstractly. It was intriguing seeing the outcomes of thinking this way and i found it quite fun having the freedom to experiment with no thought towards a specific desired outcome.

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I was already looking forward to this pathway, photography and film are my main interests out of the arts and I was interested to expand my knowledge and understanding of all that they have to offer. I really enjoyed how varied the tasks were this week, I felt I got a good idea of all the different roads to go down in lens based. Starting with the photoshop workshop I was pleasantly surprised by it as prior to this pathway I've always had difficulty with using the software, the task where we were taught how to distort subject matter inspired me once I got the hang of it and introduced me to all the possibilities using photoshop in my future work. Also another workshop I found interesting was the work we did in the darkroom, I had a rather limited understanding of the tools in the darkroom in my first year. This workshop introduced me to

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This week I've really enjoyed the viscous pathway, prior to this I considered perhaps looking into viscom as my specialist pathway. It seems like such a broad course, what appealed to me was the range of work you're able to experiment with as well as the communication aspect of it. One of my favourite tasks in this rotation was where we created illuminated letters, it made me have to think in a much more abstract way than I do and the outcomes of that were really interesting. Viscom is definitley high up there on my choices however I feel I may be suited better to lens based as viscous though it does include lens based media and experimentation in indesign and photoshop softwares I would like to expand my technical knowledge of photography.

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Id like to develop this experiment, the manipulation of the polaroid seems like a great way of displaying the decay of memory, the polaroid being an object which is produced almost instantly from the memory feels like the perfect representation of a memento. As well as the the techniques in which i will be using to manipulate these polaroids occur over a period of time, wether that be a few seconds running under a hot tap or a more gradual peeling back of the layers- all act as a metaphor for the impacts of time

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Corinne Day was a self taught photographer ,her early work was centred around her friends and documenting her surroundings, the photographs were deeply personal and at times rather frank.Her photography is reminiscent of that of nan goldin and larry clark ,in her diary style format and contentious subject matter. What drew me to Day's work was her storytelling, through her photography she's extended her personal life to the viewer in an incredibly intimate way. Depicting images of heroin use, nudity and dirty squats, it was deemed rather controversial and to be glamourising unhealthy lifestyles. Despite this , I found the series to be a raw ,intimate depiction of friendship and has inspired me to document in even more detail my life and all that surrounds me.Her individual style with its high contrasts and watercolour like bleeds of colour is really beautiful , the tones in photographs are always rather muted and are soft on the eye creating quite a subdued airy look. Such a gentle colour palette and use of light contrasted with her raw, poignant subject matter in a way that portrays to the viewer days perspective, her love despite her disturbance and her tenderness towards what she photographed.

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Stacy Greene found accidental inspiration from picking up her friend's dropped lipstick, she found the mark made on the tip intriguing leading her exploration into different womens 'unconscious personal sculptures’. She documented a range of lipstick forms from a group of people. She found the factory, ready made product turned into a uniquely surreal and subconscious image evolving from a private daily ritual taken for granted. I was really intrigued by this piece of hers, I found the idea of a subconscious creation of art rather thought provoking. Looking at possessions in terms of how we have an effect on them rather than how they have an effect on us ( regarding things such as makeup, soap or any other cosmetic products). This inspired an idea for an experiment. I was going to look at individuals and their cosmetic bags ( or whatever their collection of everyday products is) ,a portrait of the individual then photograph their ‘subconcious sculptures’ of cosmetics.

These physical artefacts of time and acts being created by us.

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Goldsmiths- Conditional offer
LCC Photojournalism- Portfolio sent
LCC Photography- Portfolio sent
Camberwell- Portfolio sent
GSA- Portfolio sent

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Who lives here?

Undergraduate and postgraduate students. You can expect to live with students of different nationalities and from different degrees, and we'll try and house you with other undergraduate or postgraduate students.

Room types available

En suite small (Single occupancy bedroom with private bathroom and shared kitchen)

En suite (Single occupancy bedroom with private bathroom and shared kitchen)

En suite medium (Single occupancy bedroom with private bathroom and shared kitchen)

En suite large (Single occupancy bedroom with private bathroom and shared kitchen)

En suite - new area (Single occupancy bedroom with private bathroom and shared kitchen)

Studio large (Self-contained single or double occupancy studio flat, with private bathroom and kitchenette)

Pictures of Raymont Hall

What's included?

Shared kitchen with cooker, freezer, kettle, microwave oven, iron and ironing board. You'll have a private kitchen if you live in the studio

Ensuite bathroom

Wifi

Bike storage

Access to on-site launderette

Common room with TV and table tennis

Study room

Garden

All utility bills (ie electricity, water and gas)

Basic possessions insurance

Access to 24-hour on-site team

Please note, there is no car parking on site.

Applying for this hall

For 2021-22 this hall will be available to book directly with Campus Living Villages.

Please read our Important Information before applying for this hall of residence.

If you have any questions that aren't answered on this page, please contact Campus Living Villages.

Address

Raymont Hall,63 Wickham Road, London SE4 1LX

Management

This hall is managed by Campus Living Villages. Halls managed by private accommodation providers are signed up to the National Code of Standards for Larger Developments.

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Undergraduate and postgraduate students. You can expect to live with students of different nationalities and from different degrees, and we'll try and house you with other undergraduate or postgraduate students.

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The BA Anthropology & Media degree at Goldsmiths, University of London combines anthropology, ethnography, communication theories and media practice.

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Glasgow School Of Art- Fine Art Photography

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Glasgow School Of Art- Fine Art Photography

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How to Apply

Institution Name: GSA
Institution Code: G43
UCAS Code: W640

Award

BA(Hons) Fine Art. All GSA degree programmes are validated by the University of Glasgow. Established in 1451, the University of Glasgow is a member of the prestigious Russell Group of leading UK research universities and a founder member of Universitas 21, an international grouping of universities dedicated to setting worldwide standards for higher education.

Assessment

Coursework, essays, Formative (i.e. advisory) assessments take place at key points throughout the year with summative (final) assessments at the end of each academic year.

Glasgow Clyde College Associate Student Scheme
This programme participates in the scheme supporting year 2 entry to selected programmes at the GSA - find out more here.

Facilities
Colour negative and slide processing lab; multi-unit black and white darkrooms with enlargers capable of using 35mm, medium format, and 5x4" negs, and able to produce mural size black and white prints; multi-unit digital darkrooms incorporating negative scanners (up to 5x4"), A2 ink jet printers; large scale digital print facilities. Alternative process darkrooms, photographic studios, and a range of print finishing and mounting facilities are also available. An equipment store with a large range of cameras and tripods allows students to take items out on loan. In addition, all Fine Art students have access to electronic media resources in the Media Studio where they can use video editing software, sound and video capture equipment (cameras, mics, sound recorders, etc), and audiovisual presentation equipment (monitors, projectors, speakers, etc).

Indicative Additional Costs
Individual departments levy material fees as indicated on this page. You should budget for each year of your programme of study and should allow for costs over and above your fees and maintenance, particularly if expensive materials or projects are chosen.

A lab fee or core materials charge of £25 per semester is charged to cover the cost of chemicals, inkjet cartridges, developers etc. Students provide their own film and paper on top of this charge.

Our Graduates Include:
Torsten Lauschmann, Tris Vonna- Michell, Emilia Beatriz, Charles Sandison, Astrid Kruse Jensen, Richard Learoyd, Mads Holm, Kristina Bengtsson, Ewan Morrison, Bryndís Snæbjörnsdóttir, Anja Titova, Thomas Bangsted, Lotte Fløe Christensen, Matthew Dalziel of Dalziel & Scullion, Martin Clark and Cara Connolly

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Information on the Glasgow School of Art (GSA)'s bachelor of Art (BA) in Fine Art Photography, the only School with a dedicated Fine Art Photography degree. World-renowned landscape photographer Professor Thomas Joshua Cooper established the programme in 1982 and remains an influential Head of the Department within the School of Fine Art.

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Year 1

Unit 1: Introduction to Fine Art

This unit is an introduction to your course, the university and London as a resource.

Unit 2: Establishing practice

With support from your tutors, you will develop your own fine art practice through identifying areas of interest that have emerged in Unit 1. This will be through self-directed projects leading to sustained and increasingly independent practice. There will be timetabled workshops, seminars, lectures and tutorials.

Unit 3: Ideas into practice

You will focus on further developing and strengthening your skills and confidence in articulating and exploring your chosen areas of research through writing and art practice. By identifying specific skills and strategies, you will develop your work for public exhibition.

Unit 4: Activating practice

You will be introduced to working outside a studio environment and situating your work in the public realm.

Year 2

Unit 5: Exploring context through practice

You will extend the independent practice you established in Year 1. This will deepen your understanding and articulation of the ideas influencing your practice.

Unit 6: Collaborative and collective practices

You will be introduced to different ways in which collaborative working can help you to focus and enhance your own creative strengths. You'll have the chance to work with fellow students and creative communities.

Unit 7: Refining practice

This unit will build on some of the collaborative skills gained in Unit 6 in order to facilitate the presentation and contextualisation of your work. You will research and present an essay to help situate your work critically.

Unit 8: Audiences

In this unit, you are prompted to professionally plan and communicate your work in the third year, focusing the direction and context of your practice.

Year 3

Unit 9: Practice and articulation

You will develop work for a public audience, supported by a piece of research produced either in written form, presentation, live project or work placement.

Unit 10: Practice and presentation

You will work to build a sustainable and ethical practice for your degree show. You will consolidate your research in the creation of new work which engages audiences.

Optional Diploma between Years 2 and 3

Between Years 2 and 3 of the course, you'll also have the opportunity to undertake one of the following additional UAL qualifications:

Diploma in Professional Studies (DPS)

This optional diploma can be taken between years 2 and 3. With support from your tutors, you'll undertake an industry placement for a minimum of 100 days/20 weeks. As well as developing industry skills, you'll gain an additional qualification upon successful completion.

Diploma in Creative Computing

Between years 2 and 3, you can undertake the year-long Diploma in Creative Computing. This will develop your skills in creative computing alongside your degree. After successfully completing the diploma and your undergraduate course, you'll graduate with an enhanced degree: BA (Hons) Fine Art: Photography (with Creative Computing).

Our BA Fine Art Photography graduates have exhibited their work in major UK competitions and exhibitions, including The Photographer's Gallery's Fresh Faced and Wild Eyed exhibition of most promising graduates, Saatchi New Sensations, Sony Professional Photography Awards and The Sovereign Asian Art Prize.

Others have gone on to work for major galleries and publishers, whilst many former students progress to postgraduate study.

Alumni

Pedro Alfacinha - Photography publishing, Steidl and Mack Books

Lea Collet - Artist

Jon Maguire - Freelance documentary filmmaker

Robert Zhao Renhui - Artist

Katherine Reynolds - Curator

Find out how careers and employability helps our students and graduates start their careers.

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BA Fine Art Photography at Camberwell College of Arts offers an open and experimental approach to fine art photographic practice.

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In common with all courses at the University of the Arts London, this course is credit rated. The course is three years, levels 4-6. Each year requires you to achieve 120 credits. To be awarded the BA (Hons) Photography qualification, you need to accumulate a total of 360 credits.

Year 1

During the first year, through a series of specially designed theory and practice workshops, you will learn about historical and contemporary photography practices, and the key theoretical frameworks used to situate them.

You'll be introduced to specialist photographic skills and creative methodologies in a supportive environment, to develop your curiosity and creativity.

There will be lectures from visiting professional photographers where you will learn about the many career opportunities open to those with a photographic education and meet fellow photography students from BA to MA levels of study. In your first year you will attend an Adobe accredited Photoshop course.

You'll be supported through tutorials to develop and research your own photographic ideas in relation to project briefs and experiment with the technical skills to develop your personal position as a photographer.

Introduction to Photography (20 Credits)

This unit acts as an introduction to the course and to your subject specialism. Topics covered include effective learning and studentship at undergraduate level as well as introducing basic technical skills.

Remix, Remake (20 Credits)

This unit is designed to familiarise you with making practice-based work that is informed by experimentation, the development of critical, practical skills and peer-to-peer learning. Designed to assist in your exploration of the medium, the unit asks you to consider what photography is in its contemporary condition through making work.

Histories in Context (20 Credits)

This unit addresses some of the key debates concerning photographic representation today. Using appropriate cultural and critical methods, the unit encourages you to develop an awareness of how these debates have emerged.

Photographic Fictions (40 Credits)

Photographic Fictions is an opportunity for you to identify and develop photographic work with a particular focus on book form. The unit specifically considers how work might address the potential of photographic mediations, formulating an expanded understanding of narrative which explores contemporary (as well as historic) concerns.

Ideas in Practice (20 Credits)

The unit builds on your previous study in addressing some of the key contemporary questions concerning photographic representation. The unit interrogates contemporary areas of research and practice, particularly concerning the politics of visual representation.

Year 2

As you move into Year 2 you will expand on your skills and start to develop your voice within your practice. Year 2 builds on the foundations established in Year 1, introducing themes of practice, contextual studies, and professional development.

You'll work through considerations of the medium, usage, and institutional setting, to focus on two key themes of contemporary photography: society and culture.

Towards the end of the year, the emphasis in contextual studies is shifted towards preparation for your selection of a dissertation topic and approach and the initiation of research.

Visualising Ideologies (20 Credits)

This unit encourages you to consider the ideological basis of both photographic and art practice. It will examine the production of overtly political work with a clearly identified political target, but also consider the ideological basis of any visual artefact.

Image, Society, Resistance (20 Credits)

This unit places emphasis on contemporary photographic issues and practices and builds on your developing understanding of historical and theoretical photographic knowledge. This unit develops essential skills in independent research and critical thinking and provides critical insight into photographic practice.

Professional Collaborations (Elective) (20 Credits)

The Professional Collaborations (Elective) Unit provides you with the opportunity to choose from a number of available collaborative options. Through this process you will share skills and expertise with others and gain insight from working on projects that may fall outside of the usual opportunities provided within the course.

Situated Practice (40 Credits)

Situated Practice considers practice in relation to theories of site and location (i.e., political/economic), but also specificity of place and space and how such specificity can transform meanings in practice.

The central theme of situated practice allows an interrogation of the photographer or photographic artist as fieldworker and considers what it is as photographic image makers to practice within the public sphere.

Culture Machines (20 Credits)

This unit explores models of production and their consequence for meaning, identity and value. Culture Machines will contribute to your developing skills in independent research and critical thinking.

Year 3

Year 3 consolidates and develops your ability to direct and plan your own work by producing three substantial self-selected pieces of work - your Major Photographic Practice Project, Professional Practice Outputs and Dissertation. All three units are designed to enable you to sustain your practice and find exciting career opportunities.

Dissertation (40 Credits)

The dissertation is an extended research paper written on a self-selected topic relevant to your sense of photographic/artistic practice and research concerns.

The research topic is generally chosen to complement your Major Project and provides you with the opportunity to develop a larger set of questions and ideas using skills, knowledge, and understanding acquired over the course.

Major Project (60 Credits)

Major Project builds on your interest and knowledge acquired from previous units to produce a significant body of work. You will be supported in conducting in-depth research and technical / methodological experimentation which will on completion demonstrate sophisticated understanding and articulation of your own practice.

Professional Practice Outputs (20 Credits)

Professional Practice Outputs explores the future possibilities of photographic practice and scholarship open to graduates.

The unit considers the ways that your practice can be situated in contemporary culture and focuses on personal professional planning, considering your career development outside of the undergraduate environment.

Communicating with you

After you have successfully submitted your application, you will receive an email confirming we have successfully received your application and providing you with your login details for the UAL Portal. We will request any additional information from you, including inviting you to upload documents through the portal. You should check your UAL Portal regularly for any important updates and requests.

If you have achieved or expect to achieve the standard entry requirements we will consider you for a place on the course.

We make our offers based on the strength of the whole application, and therefore don't routinely invite applicants to interview.

International applicants may be invited to an online interview. Interview details will be sent via the UAL Portal.

Please add @arts.ac.uk to your contacts to ensure that you do not miss any important updates re: your application to UAL.

Portfolio advice

Your portfolio of work is the most important part of your application, and you must clearly evidence development work as well as work from completed projects.

Please provide a maximum of 20 images of your own original photographic work to support your application.

Important Note: You are strongly advised not to delay the upload by trying to create new work; your main aim should be to demonstrate the creativity within your current portfolio.

What happens next?

We will advise you of your application outcome through UCAS Hub. If you are an International applicant and have applied directly or through an agent, we will notify you through the UAL Portal.

We invite all offer holders to attend one of our online Offer Holder events. This is your opportunity to meet the academic team and fellow offer holders, find out more about the course, and get a taste of what it will be like to study here.

Requesting feedback

This course receives a high number of applications. Unfortunately, we can't provide feedback to everyone who is unsuccessful. We can only provide feedback after you've had an interview. We are only able to provide feedback to you directly, or to someone you have told us in writing can receive it on your behalf. If you would like to request feedback please contact us through the UAL Portal using the Contact Us button in your My Application(s) tab.

Successful applicants will be guided through the rest of our admissions stages and towards enrolment on the course.

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In common with all courses at the University of the Arts London, this course is credit rated. The course is three years, levels 4-6. Each year requires you to achieve 120 credits. To be awarded the BA (Hons) Photography qualification, you need to accumulate a total of 360 credits.

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LCC- Photojournalism and documentary photography

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LCC- Photojournalism and documentary photography

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One of my main areas of interest in lens based media is the documentary aspect, I've always enjoyed combining my photography with meaning and research. I was looking to find a course where I could also develop my literary work as well as lens based. looking at the type of work Ive produced i feel this course offers a great mixture of these two areas.

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LCC- Photojournalism and documentary photography

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LCC- Photojournalism and documentary photography

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In common with all courses at the University of the Arts London, this course is credit rated. The course is 3 years, levels 4-6. Each year requires you to achieve 120 credit points. To be awarded the BA (Hons) Photojournalism and Documentary Photography qualification, you need to accumulate a total of 360 credits.

Year 1

Introduction to Photojournalism and Documentary Photography (20 credits)

This unit acts as an introduction to the course and to your subject specialism. Topics covered include effective learning and studentship at undergraduate level as well as introducing basic technical skills.

Practical Documentary Photography and Photojournalism (20 credits)

This unit will introduce you to the skills and knowledge required to identify, research, shoot and edit a series of photographic images within particular genres of documentary and photojournalistic image making.

Histories and Theories of Photojournalism and Documentary Photography (20 credits)

This unit introduces you to the key historical and social developments surrounding photojournalism and documentary photography from their earliest stages to the present day.

Documentary Storytelling (20 credits)

This unit helps to develop the knowledge and skills necessary to produce a documentary storytelling project. It will examine contemporary ways of using images for storytelling and help you develop an understanding of visual and narrative structure.

Publication Project

The Publication Project is a collaborative endeavour where students come together to work on a particular idea/issue/theme and work in production teams on the creation of a publication.

Media Theory and Media Law (20 credits)

This unit will introduce media theories that underpin and help us to understand the role of communication systems, modes of representation and systems of meaning. You will learn about the main media laws that affect the work of photojournalists and documentary photographers.

Year 2

Contemporary Documentary 1 (40 credits)

This unit will help you to develop the theoretical knowledge and practical skills necessary to produce a documentary project and associated theoretical research. You will be encouraged to go beyond traditional narrative documentary approaches and to look at ways in which to disrupt expectations about storytelling and start to embrace experimental narratives and structures.

Elective unit (20 credits)

The Elective unit provides a choice of stimulating conceptual and practical projects that will compliment the core units of your course.

Contemporary Documentary 2 (40 credits)

In this unit you will further develop the knowledge and skills necessary to produce an in-depth documentary project and associated research. The unit is designed to encourage you to think holistically about the theoretical, philosophical and subjective aspects of documentary photography in relationship to the development of your own practice.

Reading and Writing Practice (20 credits)

This unit explores the practices of reading and writing within, around and about photojournalism and documentary photography.

The unit culminates in the submission of a Dissertation Proposal, and you will also create an analytical reading journal that records and articulates your engagement with literature in a personal way.

Year 3

Major Project part 1 (20 credits)

In this unit you will begin the exploratory process of researching and making visual work towards your final major project. You will begin to develop a written proposal, complete a risk assessment and begin to make work that will be further developed in the Major Project Part 2 unit.

Major Project part 2 (40 credits)

This unit requires the consolidation of your Major Project and its presentation in an appropriate form which will be negotiated with tutors and can encompass, for example, a portfolio of photographic prints, multimedia piece or a photographic monograph.

Dissertation (40 credits)

In this unit you will write an extended written essay and will work closely with selected supervisors to present a substantial research project.

Contemporary Professional Practice (20 credits)

This unit asks you to consider your future goals and how to best prepare yourself for your career after university. You'll do extensive research into your chosen career field, produce a web presence, a creative identity package and an interview with a relevant professional

Home/EU/International

The course team welcomes applicants from a broad range of backgrounds from all over the world. The course attracts students who apply direct from A-level (or equivalent) or from Foundation Diploma in Art and Design, or other art or design courses, as well as mature students who may have previously worked in industry.

The standard entry requirements for this course are as follows:

64 UCAS tariff points which can be made up of one or a combination of the following accepted full level 3 qualifications:

A Levels at grade C or above (preferred subjects include: English; History; Media; Business; Art and Design, or other subjects within Social Sciences).

Pass at Foundation Diploma in Art & Design (Level 3 or 4).

Merit, Pass, Pass at BTEC Extended Diploma (preferred subjects: Art and Design, IT & Computing, Media, Music and Performing Arts).

Pass at UAL Extended Diploma.

Access to Higher Education Diploma (preferred subject: Digital and Creative Media, Film and Production).

OR equivalent EU/International qualifications, such as International Baccalaureate Diploma at 24 points minimum

And 3 GCSE passes at grade 4 or above (grade A*-C).

APEL - Accreditation of Prior (Experiential) Learning

Applicants who do not meet these course entry requirements may still be considered in exceptional cases. The course team will consider each application that demonstrates additional strengths and alternative evidence. This might, for example, be demonstrated by:

Related academic or work experience;

The quality of the personal statement;

A strong academic or other professional reference;

A combination of these factors.

Each application will be considered on its own merit but we cannot guarantee an offer in each case.

English Language Requirements (International/EU)

IELTS level 6.0 or above, with at least 5.5 in reading, writing, listening and speaking. Please check our main English language requirements page for more information.

All classes are conducted in English. If English is not your first language you will be asked to provide evidence of your English language ability when you enrol.

The portfolio, along with the details on your UCAS application (including the academic reference and your personal statement) will be assessed against the following criteria:

Demonstration of an appreciation of photojournalism and documentary photography as a specialised discipline

Technical skills and experimentation with visual creativity, demonstrated in your own photographic work

Evidence of research and development of ideas through practice to achieve specific outcomes

Quality of ideas and thought processes in the production of your work

Communicating with you

After you have successfully submitted your application, you will receive an email confirming we have successfully received your application and providing you with your login details for the UAL Portal. We will request any additional information from you, including inviting you to upload documents through the portal. You should check your UAL Portal regularly for any important updates and requests.

If you have achieved or expect to achieve the standard entry requirements we will invite you to submit a full digital portfolio.

We make our offers based on the strength of the whole application, and therefore don't routinely invite applicants to interview. To find out more, view our Undergraduate Application Process page.

International applicants may be invited to interview in person at LCC, or via Skype if overseas or unable to attend. Details of this interview will be sent via the UAL Portal.

Portfolio advice

Your portfolio of work is the most important part of your application, and you must clearly evidence development work as well as work from completed projects.

Please provide a maximum of 20 images of your own original photographic work to support your application.

Important Note: You are strongly advised not to delay the upload by trying to create new work; your main aim should be to demonstrate the creativity within your current portfolio.

What happens next?

We will advise you of your application outcome through UCAS Track. If you are an International applicant and have applied directly or through an agent, we will notify you through the UAL Portal.

We invite all offer holders to come to London College of Communication to attend one of our Offer Holder events. Offer holders will have the chance to meet the team, find out more about the course, and see our diverse and vibrant student community in action.

Successful applicants will be guided through the rest of our admissions stages and towards enrolment on the course.

Deferring your place

If you are offered a place for 2020/21 but wish to defer to 2021/22, information on how to do this and who to contact can be found in your offer letter.

International applicants will have to pay a pre-payment in order to defer. In all cases, deferred places will be held for one year.

Most of our graduates progress onto careers in photojournalism, documentary photography or related fields.

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BA (Hons) Photojournalism and Documentary Photography

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In common with all courses at the University of the Arts London, this course is credit rated. The course is 3 years, levels 4-6. Each year requires you to achieve 120 credit points. To be awarded the BA (Hons) Photojournalism and Documentary Photography qualification, you need to accumulate a total of 360 credits.

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Memory is constantly shifting ,whether that be fading or being reinterpreted and is continuously being reevaluated relative to our position in our lives. Photographs offer a means by which the most intangible elements of our subjective experience are able to be materialised into possessions. We take pictures to preserve moments. It feels like the most effective artistic form of preservation ;painting and drawing rely on the personal touch of the artist to manifest the image whereas photography relies on the objective ,physical response to chemicals with light and time. I'm interested in the human instinct to photograph; why do we choose to remember what we remember? What influences that choice? How different are the memories we choose to preserve to those of others?, does the image dictate the memory or did the memory dictate the image? These are topics I'm keen on exploring through my work.  My photography is mainly documentary, I have created more arranged pieces of work on my ED course however  I've found when I'm given complete freedom my work tends to lean towards a more diaristic style. I enjoy shooting on film because of the lack over control over the outcomes, I like how experimental it can be and how intuitive using the medium is.  ​​​​​​​

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Tracy Emin's work is entirely autobiographical ,using her emotional life as a source of inspiration for her art she creates diaristic pieces exhibiting her internal being. I admire her attitude towards creating art , she stated ‘it's not what you inherit. It's what you do with your inheritance’ (From her applique words on a chair inherited from her grandmother ). Her art being so vulnerable gives the viewer a look into where her consciousness focuses, where her memory has decided to stick. Her work ‘My Photo Album’ takes the shape of a standard photo album, taking the viewer through a journey of the artist's life using photographs and bygone busspasses. What I found interesting about Emin's photo album is the details she decided to include and her choice of words in her descriptions, it is a physical representation of her memory and how she interprets it now at a different point of life.

This acts as a great piece to study to gain a bit more of an understanding of the purpose of mementos ,being someone so open with their emotional life means there is so much material to investigate the links between. Id like to attempt a similar thing in my work, trying to make a map or narrative of my life .Perhaps making my own map of life and then asking a close relative or friend to make another out of the materials i used and see how theirs differ in an attempt to compare and understand how unconsciously selective we can be when it comes to memory.

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A guide to Tracey Emin, Britain’s art enfant terrible

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For this experiment I wanted to play around with the idea of memory being ever changing. Inspired by Emin, I had a look through my familys box of old photographs and picked out a couple which I had recollection of experiencing. To display my individual recollection I decided to look at the photograph ,then turn it over and draw from memory, using my short term and long term. I found the outcomes rather interesting ,when comparing the illustration to the photograph I noticed id added extra elements which did not exist in the photograph. This led me to think about how our memories become distorted over time, we don't remember the moment we remember the last time we remembered the moment therefore our experiences turn into edited ideas rather than raw recollections.

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“Never try to convey your idea to the audience - it is a thankless and senseless task. Show them life, and theyll find within themselves the means to assess and appreciate it.” Filmmaker and poet Andrei Tarkovsky creates work which explores themes of memory, childhood and philosophy. I came across his art through his book ‘Instant Light’, a culmination of polaroids by tarkovsky from 1973 - 1984 Russia accompanied by a series of his personal diary entries. I found this book so moving, it felt as if  i was gaining access to a strangers deep and untouched memories. His photography had no specific motifs ,only acting upon instinct he photographed whatever was infront of him when he had a feeling of —-- consciousness. The result was incredibly powerful, it translated an inner intangible experience into material form. Id like to create my own work following this kind of approach, documenting upon instinct as opposed to seeking out specific subject matter. I also like the idea of pairing my photographical work with written pieces ,working in a more diaristic format.

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David Bailey is a fashion photographer best known for his portraits featuring the celebrities ,musicians and models of the 1960s. His photography is representative of the shift in Britain's cultural climate at the time; straying from the conservative and beginning to experiment. “The pictures I take are simple and direct and about the person I’m photographing and not about me. I spend more time talking to the person than I do taking pictures.”- D.B. It seems he focused mainly on exploring and encapsulating the subject's character ,capturing his subjects in their natural state ,unposed rather than giving them his directions trying to control the outcome. I find his work unique as he's taken a more unusual approach to photographing celebrities, at the time this series was created celebrities were documented in the media in quite glamorous staged ways (for example, dressed in an arranged wardrobe ,on a specially designed sets , in adverts,films,magazine covers etc etc.). These ways had less focus on themselves as people and more the character the media gave them. So ,Bailey's simple ,focused approach is intriguing as it seems personal , it's unstaged just simply capturing who he had in front of him.

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For my final shoot I'm going to be using multiple different locations. I first am going to start in a house trying to capture the anti hero in their natural state, hoping to highlight the anti hero thing of a sort of relatable villain. I'm using Taxi Driver as a reference for my composition. The slanted and slightly disoriented shots are what I'm going to try to somewhat replicate in this shoot. The character will first be pictured around the house in a natural state, almost candid pictures to aim to capture the personality of the anti hero I'm trying to convey. I then went on to experiment with other outside locations, trying to find locations that were sort of an extension of the anti hero character, places where there was a mix of vandalism or neglect with things like nature. I also want to try to find a few settings where there are colours that match the anti heroes outfit to create a continuous colour scheme throughout all the separate locations to tie them all together. I'm going to be alternating between black and white film,coloured film and digital. I want to play around with a range of different mediums as I want to develop my confidence using film and also try to play around with the outcomes in the darkroom.  As well as this i think having the digital camera to hand will aid me with shooting on film, adjusting the iso and shutter speed accordingly and testing out what the shots will look like before i shoot on film. I want to portray the character and their personality through this shoot, focusing in on details and their quirks as oppose to a whole image. I want to after collate a selection of the images from the shoot into a small comic inspired book or perhaps a poster.

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In this shoot i took inspiration from egon schieles illustrations, i loved the was he composed his subjects and wanted to emulate a similar style in my outcome.

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la beauté sera convulsive ou ne sera pas

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RAW image

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In this shoot i enjoyed playing around with different setting and seeing the different ways i could present the character/ capture theyre behaviour in different setting circumstances, i felt this would widen my ability to really encapsulate a character as oppose to just a subject (encapsuate mannerisms, expressions, characteristics, style). This photograph is another favourite from the series, this was initially a location test using a sony cybershot digital camera however upon reviewing has become one of my favourites. One thing i like about this individual picture is the expression captured, i wanted the series to be able to convey personality ,the character who they are. Also the composition is partly inspired by the shooting style in taxi driver, slanted and slightly disorientating leading lines , i like how the bannisters and stairs lead the viewers eye in a spiral sort of formation. This image has a slight cartoonish feel to it , i think this would work well in a comic or storyboard format.Im going to play around with this image in photoshop and see if i could enhance the colours and posterise it to see it in a cartoon form.

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I wanted to experiment with this image in photoshop, I wanted to enhance its cartoonish look to add another angle to my experiments. I firstly uploaded this image into photoshop and adjusted the images levels in an attempt to create a starker contrast between the highlights and lowlights surrounding the subject. After doing this I saw that a curve of light had been highlighted from this, it reminded me of a poster or some sort of title page on a comic. I had the idea to edit the image into a cartoonish style ,accentuating the contrasts and adding a pen drawn texture. I played around further with adjustments , increasing and decreasing the vibrance attempting to find the right tones to suit the look I was going for. After a while of this I decided to put the photo into black and white, inspired by the old newspaper cartoons. I like how stark the removal of colour made the contrasts. I then searched the filter gallery and decided on the grain texture filter, this gave the image a pen drawn inky printed look. I had a series of different edits I liked but for my final I felt the black and white fit best for the look I was trying to achieve.

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Starting by looking at  ‘La Jetee’ ,marker has used black and white still images accompanied by narration, various sound effects and a classical soundtrack as his storytelling devices. In comparison to those used in twelve monkeys these techniques were much simpler and lower budget despite this the clarity of the story and all its details matched that of twelve monkeys, the more modern film. I feel like the lack of dialogue between characters was compensated by the great description in the narration and the still images being paired with the soundtrack worked together to help really animate the scenes .At points the soundtrack  was eerie and scattered but then dramatic and emotive which was the same as with the images. Twelve monkeys also had a similar soundtrack, it was classical and at points rather dramatic, though i feel it didn't play as large of a role as in ‘La Jetee. In ‘Twelve monkeys’ Visually and audibly there was so much more to comprehend ( the detail in the sets, number of characters, lots of dialogue between characters and the fact it was a moving image film) that the soundtrack didn't play as large of a role in the storytelling. I noticed The two films share very limited colour palettes, perhaps this is to accentuate the unsettling and bleak tone of the subject matter. Also there were multiple times in twelve monkeys where I recognised a shots framing  from one in  ‘La Jetee’, usually the more personal close up shots. Twelve Monkeys compositionally was quite interesting, lots of the shots were very intimate,  and at times framed diagonally sort of distorting the subject matter or from directly below looking up at the character and above ,this could maybe be to add to the confusing unsettling nature of the story. The sequence at the airport in the beginning of the film shares a lot of similarities with the one in La Jetee, not only that the events in the scenes are the same but that it is the one instance in twelve monkeys where there is no dialogue just the soundtrack along with the moving image. The shots are long and focus on only one subject just like the still images in ‘la jetee’. There were a couple of times in Twelve Monkeys where there were repeats of the earlier compositions in scenes for example,(insert pictures) i think this was to portray the parallels between the present and what is to come in the future and perhaps suggesting mankind's ignorance towards its future. Both films storylines arent linear, in La Jetee theres a flashback to the protagonists memory of the shooting at the airport before the war and the same in twelve monkeys.

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Linear and non-linear structures

A linear storyline is where the events are presented in the order in which they occurred for clear storytelling. Whereas in nonlinear storylines the events are not arranged chronologically instead the storyline is alternating between the past, present and future events. .A few examples of a non-linear storytelling techniques are flashbacks or dream sequences, these techniques are commonly used to mimic the human memory or to add a paranormal element to the story. An example of a non-linear storyline is Markers ‘La Jetee’, the film is set post world war three however there are also scenes during the war as well as flashbacks to life before, Marker used this style of narrative as a tool to play with the concept of time and memory.

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https://drive.google.com/drive/folders/1VnUsX48LLrpgBKokE3cSddF6cJx6HrvN