IN
TRODUCTION
_ 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. You’ll have an introduction to a range of new and traditional techbologies. Working with established methods of photographic image-making as well as contemporary digital methods of construction and manipulation. You will discover how they inform each other and are appropriate for achieving different outcomes. You’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.
IN
TRODUCTION
_ 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. You’ll have an introduction to a range of new and traditional techbologies. Working with established methods of photographic image-making as well as contemporary digital methods of construction and manipulation. You will discover how they inform each other and are appropriate for achieving different outcomes. You’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.
IN
TRODUCTION _
_
This course will provide you with a sound
discover how they inform each other and
technical background in the broad and
are appropriate for achieving different
stimulating field of photography and lens
outcomes.
based media, as well as developing your critical and conceptual understanding.
You’ll be encouraged to analyse
You’ll have an introduction to a range
contemporary photography in a variety of
of new and traditional techbologies.
contexts, from the gallery to commercial
Working with established methods of
design. The critical elements of the
photographic image-making as well
course will help you to discuss your own
as contemporary digital methods of
work as well as that of others.
construction and manipulation. You will
IN TRODUCTION
_ 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. You’ll have an introduction to a range of new and traditional techbologies. Working with established methods of photographic image-making as well as contemporary digital methods of construction and manipulation. You will discover how they inform each other and are appropriate for achieving different outcomes. You’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.
IN TRODUCTION
_ 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. You’ll have an introduction to a range of new and traditional techbologies. Working with established methods of photographic image-making as well as contemporary digital methods of construction and manipulation. You will discover how they inform each other and are appropriate for achieving different outcomes. You’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.
IN TRODUCTION
_ 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. You’ll have an introduction to a range of new and traditional techbologies. Working with established methods of photographic image-making as well as contemporary digital methods of construction and manipulation. You will discover how they inform each other and are appropriate for achieving different outcomes. _ You’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.
IN TRODUCTION _ 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. You’ll have an introduction to a range of new and traditional techbologies. Working with established methods of photographic image-making as well as contemporary digital methods of construction and manipulation. You will discover how they inform each other and are appropriate for achieving different outcomes. _ You’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.
IN TRODUCTION _ 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. You’ll have an introduction to a range of new and traditional techbologies. Working with established methods of photographic image-making as well as contemporary digital methods of construction and manipulation. You will discover how they inform each other and are appropriate for achieving different outcomes. _ You’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.
IN TRODUCTION _ 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. You’ll have an introduction to a range of new and traditional techbologies. Working with established methods of photographic image-making as well as contemporary digital methods of construction and manipulation. You will discover how they inform each other and are appropriate for achieving different outcomes. _ You’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.
IN TRODUCTION _ 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. You’ll have an introduction to a range of new and traditional techbologies. Working with established methods of photographic image-making as well as contemporary digital methods of construction and manipulation. You will discover how they inform each other and are appropriate for achieving different outcomes. _ You’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.
IN TRODUCTION
_
_
This course will provide you with a sound
You’ll be encouraged to analyse
technical background in the broad and
contemporary photography in a variety of
stimulating field of photography and lens
contexts, from the gallery to commercial
based media, as well as developing your
design. The critical elements of the
critical and conceptual understanding.
course will help you to discuss your own
You’ll have an introduction to a range
work as well as that of others.
of new and traditional techbologies. Working with established methods of photographic image-making as well as contemporary digital methods of construction and manipulation. You will discover how they inform each other and are appropriate for achieving different outcomes.
IN TRODUCTION
_
_
This course will provide you with a sound
You’ll be encouraged to analyse
technical background in the broad and
contemporary photography in a variety of
stimulating field of photography and lens
contexts, from the gallery to commercial
based media, as well as developing your
design. The critical elements of the
critical and conceptual understanding.
course will help you to discuss your own
You’ll have an introduction to a range
work as well as that of others.
of new and traditional techbologies. Working with established methods of photographic image-making as well as contemporary digital methods of construction and manipulation. You will discover how they inform each other and are appropriate for achieving different outcomes.
IN TRODUCTION
_
_
This course will provide you with a sound
You’ll be encouraged to analyse
technical background in the broad and
contemporary photography in a variety of
stimulating field of photography and lens
contexts, from the gallery to commercial
based media, as well as developing your
design. The critical elements of the
critical and conceptual understanding.
course will help you to discuss your own
You’ll have an introduction to a range
work as well as that of others.
of new and traditional techbologies. Working with established methods of photographic image-making as well as contemporary digital methods of construction and manipulation. You will discover how they inform each other and are appropriate for achieving different outcomes.
IN TRODUCTION
_
_
This course will provide you with a sound
You’ll be encouraged to analyse
technical background in the broad and
contemporary photography in a variety of
stimulating field of photography and lens
contexts, from the gallery to commercial
based media, as well as developing your
design. The critical elements of the
critical and conceptual understanding.
course will help you to discuss your own
You’ll have an introduction to a range
work as well as that of others.
of new and traditional techbologies. Working with established methods of photographic image-making as well as contemporary digital methods of construction and manipulation. You will discover how they inform each other and are appropriate for achieving different outcomes.
IN TRODUCTION
_
_
This course will provide you with a sound
You’ll be encouraged to analyse
technical background in the broad and
contemporary photography in a variety of
stimulating field of photography and lens
contexts, from the gallery to commercial
based media, as well as developing your
design. The critical elements of the
critical and conceptual understanding.
course will help you to discuss your own
You’ll have an introduction to a range
work as well as that of others.
of new and traditional techbologies. Working with established methods of photographic image-making as well as contemporary digital methods of construction and manipulation. You will discover how they inform each other and are appropriate for achieving different outcomes.
IN
TRODUCTION
_
_
This course will provide you with a sound
You’ll be encouraged to analyse
technical background in the broad and
contemporary photography in a variety of
stimulating field of photography and lens
contexts, from the gallery to commercial
based media, as well as developing your
design. The critical elements of the
critical and conceptual understanding.
course will help you to discuss your own
You’ll have an introduction to a range
work as well as that of others.
of new and traditional techbologies. Working with established methods of photographic image-making as well as contemporary digital methods of construction and manipulation. You will discover how they inform each other and are appropriate for achieving different outcomes.
IN
_ 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. You’ll have an introduction to a range of new and traditional techbologies. Working with established methods of photographic image-making as well as contemporary digital methods of construction and manipulation. You will discover how they inform each other and are appropriate for achieving different outcomes. _ You’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.
TRODUCTION
INTRODUCTION _ By Adrian Davies, Course Leader
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.
INTRODUCTION
_ By Adrian Davies, Course Leader
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.
FOREWORD _ By Adrian Davies, Course Leader
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.
FOREWORD _ Adrian Davies, 2011
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.
FOREWORD _ Adrian Davies, 2011
_ 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.
FOREWORD _ Adrian Davies, 2011
_ 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 unrelentlessly 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.