Unseen Publication Adjusted by Carl Holderness

_ BA (Hons.) Photography 2011 Leeds College of Art

FOREWORD _

_ The medium of Photography was given its name by using two Greek terms that described the process – drawing (graphy) with light (Photo). Though the process required very specific technical and scientific knowledge during its early stages of development, the term ‘Photography’ clearly implies an artistic reference in its description. The medium of Photography has embedded itself within society and is used by a continuously increasing number of people. This has been encouraged through constant changes in camera technology as manufacturers were financially driven to make the process accessible for use by the public at large. With the possibilities of digital technology, we are fully immersed and bombarded by images. Not only are the general public more liberated with their use of the camera to record their personal lives, but they are also happy to place them in the public forum of internet sites for the world to see. Long gone are the fears of the camera stealing souls, replaced by a knowing awareness of how the camera ‘sees’ and can project a persona of ones self into the public realm. As the world and our lives are recorded more frequently and covertly, the role of the photographer becomes even more important. CCTV cameras record mundane

scenes un-relentlessly without consideration to composition and the ‘decisive moment’. Google’s Streetview shows us a virtual world through photographs where time is blurred to create 360% views of places we may never have visited. Yet to walk through this virtual world is still a complex and difficult experience. The artist Doug Rickard has split the photography world with his recent photographs taken through his computer screen of ‘Streetview’ scenes. These images reference the history of photography and reiterate the most important point that photography is all about ‘looking’. Looking and communicating is at the heart of the work in this publication. The photographers have followed their individual interests to make visual engaging images. The camera may still be the mechanical recorder of what it is pointed at, but the personal intention and vision of the photographer is crucial to creating images that will challenge us to reconsider our understanding of the world we live in. Adrian Davies, 2011.

CONTENTS _

CHARYS ELLMER

MARIA GALVIN

ALEX POLL

ROSE-LOUISE COX

LAUREN PISSOCHET

DOUGLAS TONKIN

ANNE-MARIE ATKINSON

RACHAEL BARKER

MARC BROWN

POLLY PARKER

ZAC HELMORE

JOSH ROSE

ELEANOR SMITH

HANNAH SUNDERLAND

JOSEPH CREFFIELD

JOHN ROY

JACK BOOTH

KIRSTY GARLAND

DANIEL ROSS

JAYDE SCREATON

HOLLY SAXTON

AMY COCHRANE

FREYA KRUCZENYK

HOLLY SAXTON 12

_ In the world of fashion, rarely do we see works-in-progress or unfinished garments before they grace catwalks and glossy magazines. This project provides a documentary insight into the backstage of fashion. Holly Saxton explores a wide range of fashion studios: a local designer constructing garments to support a cause is juxtaposed with a big-name designer who showcased at London Fashion Week. The images reveal unseen aspects of this sometimes intimidating and elusive world. Does the glitz and the glamour live on after Fashion Week? Is everything as beautiful and perfect as what is shown in magazines? Blurring the line between fashion and documentary, the grainy fly-on-the-wall aesthetic contrasts with airbrushed magazine images and challenges stereotyped ideas about the fashion world. Contact hollysaxton@hotmail.co.uk 07949002884

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FREYA KRUCZENYK 16

Something to do with Ruins Both ruin and photograph are fragments, deemed to connect us to a place in time, with a â&#x20AC;&#x153;historyâ&#x20AC;?, yet both held in a perpetual present. The impulse to photograph has something to do with preservation; an attempt to rescue something as it passes away, a similar impulse asserts itself in the preservation of ruins. This project explores this notion, that photography has something to do with ruins. Contact freyakruczenyk@hotmail.co.uk 07582080076

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COURSE PHILOSOPHY _

This course will provide you with a sound technical background in the broad and stimulating field of photography and lens based media, as well as developing your critical and conceptual understanding. Youâ&#x20AC;&#x2122;ll have an introduction to a range of new and traditional technologies. Working with established methods of photographic image-making as well as contemporary digital methods of image construction and manipulation. You will discover how they inform each other and are appropriate for achieving different outcomes.

Find out more by contacting our student advice team, visiting the College at one of our open events or alternatively contact our marketing department on 0113 202 8000.

Youâ&#x20AC;&#x2122;ll be encouraged to analyse contemporary photography in a variety of contexts, from the gallery to commercial design. The critical elements of the course will help you to discuss your own work as well as that of others. The course addresses contemporary practice in four main areas of Journalism/documentary, Fashion/lifestyle, Advertising/commercial and Gallery/Fine Art. Thought-provoking modules will provide you with opportunities to explore both commercial and personally creative work. The course structure enables you to work within your chosen genre, resulting in a portfolio of work that is relevant for specific areas of employment/progression upon completion of the course. _

ACKNOWLEDGEMENTS _

Course Leader