Undergraduate Photography Degree Show 2013
www.westminsterphotography.co.uk
INTRODUCTION PIONEERS OF PHOTOGRAPHY This year the University of Westminster is celebrating its 175th anniversary. It was in 1838 that the Polytechnic Institution, as it was then called, first opened its doors at 309 Regent Street in the heart of a 19th century London still buzzing with the energy and excitement of the industrial revolution. One of the main aims of the polytechnic was to demonstrate some of the emerging technologies and new inventions to the public and in 1841, the same year that Fox Talbot patented his new calotype photographic process, the Polytechnic opened the first public photographic studio in Europe. Photography has been practiced and taught here ever since then and in the 1960s we introduced the first degree courses in Photography in the UK. The students in this year’s exhibition are the latest generation in an unbroken line to graduate from the world’s first school of photography. The building still stands on Regent Street but the world around it has changed immeasurably. It would have been impossible for these pioneers to have predicted just how much of a social and cultural impact this new medium would come to have. It’s almost impossible now to think of a world without photography, or to imagine how we would grasp our own history without the aid of photographs. Nor could they have predicted the technological advances in the medium that would be developed over the next 175 years. The past two decades have witnessed change as rapid and as profound as any since its invention and photography has become even more central to our lives than ever before. The abundance and distribution of cameras and the sheer profusion of images being made and circulated, with an estimated 6 billion uploaded daily, has changed the way we produce and consume photographs. Photography is more ‘democratic’ than ever; it is faster and easier, but it is also more transient and ultimately more disposable. Photographs are much more likely to become lost through hard drive malfunction, computer obsolescence or just bad filing. Issues around data protection and privacy have become more relevant than ever, whether to do with Facebook’s use of our personal photographs for commercial ends, or Google’s photographic mapping of the planet. Cynicism about the veracity of the photograph is now so widespread that the standard industry image manipulation software has now achieved verb status (to be ‘photoshopped’). This is indeed both a fascinating and challenging time for photography.
So what of this new generation of photographers? Looking at the work produced by this year’s graduating students I am struck first by its quality but also by its range and diversity and by the level of its engagement with the contemporary world. Sometimes this world is engaged with using a broadly documentary approach to photograph subjects and communities often in transition as a result of the seismic economic and political shifts taking place in the wake of the global recession. Some of the work involves a more ontological approach taking as its subject the medium of photography itself. It seeks to explore the apparatus and process of photography by working with a range of alternative image making processes. The camera obscura, the pinhole camera, the scanner, the microscope, x-ray film, CGI, wet plate collodian and cameraless images have been employed. At the heart of this is an attempt to measure the limits of photography in some way, so as to better understand the intrinsic spatial, temporal properties of the medium in its interface with the world. Spatial limits, edges and boundaries are also explored in several projects - whether this is the perimeter of an airport, the edge of the city or the coastline of Britain. Other work takes a much more personal approach exploring and reflecting upon personal identity through both self-portraiture and the use of family and institutional archives. The projects are as diverse in form as they are in content with video, performance, photomontage, sculpture, installation, photo books and newspapers alongside wallmounted prints. The quality, range and ambition of the work in this year’s show is a testament both to the talent and tenacity of the students on show here and also to the academic and technical staff in the photography department who have supported them during their time here. Looking forward, its clear from what’s on show, that the medium of photography is in safe hands and that this new generation of photography graduates will play a part in shaping its future. We wish them every success in that and will be keeping a keen eye on their progress. During the exhibition the new Westminster Photography website will be launched. As well as the public face of the Photography department, its aim is also to provide a community of staff, students and alumni enabling us to stay connected, showcase work, promote events and share success stories. westminsterphotography.co.uk Gavin Jack Course Leader BA (Honours) Photographic Arts
EXHIBITORS
Ayesha Alibhai
Sarah Doerfel
Max Barnett
Adam Dunnett
Frederick Bell
Angela Chiara Ferrotti
Caro Boulton
Kristof General
Lauren Burton
Laurence Harding
Andrew Chisholm
Liz Harrington
Valenitna Culley Foster
Gareth Johnson
Anand Damodaran
Cara Joseph
Laura Davies
Christine Joslin
Eliot Day
Ella Kennaway
Renée de Nève
John Kentish
Lisa Der Weduwe
Rebecca Krasnik
Alexandra Djivanovic
Jasmine Kuylenstierna
Will Leslie
Rosa Seacombe
Paul Lobban
Aida Silvestri
James Lyons
Sarah Smith
Alan Markham
Adam Sofroniou
Rowan Markson
Kun Song
Gordon Mills
Peter Stevens
Junko Ogura
Samuel Taylor
Pavla Ondrova
Janne Tuunanen
Bridie Riley
Bindi Vora
Miles Roberts
Alex Wood
Alex Rodriguez Correale
Byoung Joon Yoon
Emelie Sahl Carlos Santos Armendariz
Ayesha Alibhai
Mein Hindi Nahi Bolti Shot in eight different parts of India, Mein Hindi Nahi Bolti is an attempt to share my experience in India over the course of one month and is based on my observations. Although I can understand Hindi, in some cases, I found myself feeling disconnected from India and it’s people. E: ayeshaalibhai92@gmail.com
Max Barnett
Pylot Magazine PYLOT is an all-analogue fashion magazine that exclusively uses images that are shot on film and does not use any ‘beauty retouching’. It’s intention is to present a more positive view of fashion photography. E: info@max-barnett.com www.max-barnett.com
Frederick Bell
Semblance of Self Using traditional X-ray film to capture images, this project is an exploratory series of self-portraits, exploring notions of personal identity and the emotional and physical effects of being placed in front of a camera. The resulting large-scale images embody a paradoxical representation of my self. E: frederickjamesbell@gmail.com www.frederickbell.co.uk
Caro Boulton
Looking for Uncle Allan Uncle Allan had a significant quarrel with his mother who never spoke to him thereafter and cut him out of any inheritance. That was really all I knew about my father’s Uncle Allan until by chance I saw that the National Portrait Gallery had a photograph of him in their collection. This photograph was the first of many fragmented clues leading to a quest to unlock the aura of mystery surrounding this man. The work documents the process of such a search as well as examining family secrets and how such secrets of the past impact on the present. The work is presented as a single copy bound artist’s book. Archival photographs, archival documents and new photographs are interspersed with text to tell this story. E: caroboulton@me.com www.caroboultonphotography.co.uk
Lauren Burton
Sky Light This series of photographs looks at the artificial luminosity of the sky in the city at twilight, relating to and challenging our perceptual experience of the natural. E: laurenburton77@yahoo.com
Andrew Chisholm
Unknown Persons The people don’t know I am photographing them. They are many. Some look, then look around, as if wondering what I am hoping for. A handful of grains. A suggestion of identity to offer up. E: chisatholm@yahoo.co.uk www.chisholmphotography.co.uk
Untitled #3
Valenitna Culley Foster
From the North to the Republic This project explores the city of Londonderry as a physically and metaphorically divided city and paints a portrait of the differences and similarities between the Unionist and Nationalist communities. This page: There was something about going out in Donegal then, you see we felt trapped over here and free down there Opposite: (top left) They say that you are never more than 100ft from a Red Hand of Ulster in Northern Ireland. (top right) Represent your community, your political views, your support to organisations and religious orientation. (bottom left) With one foot you’re in the North, with the other you’re in the Republic. (bottom right) Industrial Red Diesel is the cheapest petrol, they just need to be careful they don’t get caught by the Garda’ E: photo@vculleyfoster.com
Anand Damodaran
Anaphylaxis The video piece describes the process of an allergic reaction or ‘anaphylaxis’. It plays with the intertwined concept of chaos and order using imagery and motion. It was created using a mixture of real camera footage and virtual computer generated imagery. E: Anand.damo@gmail.com
Laura Davies
Dear Albert Through his own words Albert describes the life he lived and the memories he treasured. This book is dedicated to him. E: Laura.davies03@hotmail.co.uk
ELIOT DAY
Coasting A personal exploration of transition, and the English coastline, from behind a pair of handlebars. E: eliotdayphoto@gmail.com
RenÊe de Nève
The Lost Generation The Lost Generation is a collaborative project between myself and 11 other young adults who are currently unemployed and/or trying to find a job they are qualified to do. Using newspaper format I have asked each sitter to write about their experiences, to accompany their portrait. E: info@reneedeneve.co.uk
Lisa der Weduwe
Sipson Surrounded by Heathrow, the M4 and the M25, the community of Sipson has been under threat by the airport’s proposed expansion plans since 1998, which would see the surrounding area disappear. With the future of Sipson uncertain, many long-term residents have moved away and the village has been left neglected. E: lisarayaderweduwe@gmail.com
Alexandra Djivanovic
The Mask of Moss The visual basis of this project is digitally downloaded images of a face that is internationally recognised and prolifically reproduced. These virtual images essentially no longer represent reality, but have become mere visual stimuli. In breaking down the images I am searching for the essence of the medium and its subject. E: alexandradjivanovic@hotmail.com
Sarah Doerfel
Non-Stop Journey Non-Stop Journey introduces us to four personalities living in a big city. Each character shows a different aspect of the emotional environment encountered in urbanity. States of drifting, indecisiveness and disempowerment stand next to situations of thrill, excitement and restlessness. E: contact@sarahdoerfel.com
Adam Dunnett
Eivissa Ibiza is an island of stark contrasts. Evissa documents my experience roaming these complex and often conflicting spaces during an eight day trip. The introspective process of traveling and shooting alone allowed me to find forms and compositions that express my fascination as well as my frustration with the world around me. E: Itsonlystuff22@gmail.com
Angela Chiara Ferrotti
First Coat First Coat is a self-portrait project centred on the concepts of being and appearing. This project focuses on the way we see our own body, which is continuously influenced by the Other’s point of view. The subject in these photographs is shown in four different moments of the day. The reflection becomes an obsession, and the mirror, just like an imaginary eye, stands for the society staring at us, leading us to a perpetual transformation and a feeling of inadequacy. E: gimme_danger@hotmail.it
Kristóf Generál
Kari In May 2013, I spent three weeks with Kari Szecsdi who is a twenty-one year old transsexual singer living in Budapest, Hungary. Kari is the only transsexual individual appearing in the Hungarian mainstream media. She became a celebrity through her participation in a singing competition called Megasztár (similar to American Idol) in 2008. This series explores her surreal world living the transition as she is still waiting for her full sex-change operation. I have found this stage in her life very intriguing, as her physical identity is changing rapidly into someone she has envisioned through her imagination, yet her inner identity is developed and working like a woman’s. E: kristofgeneral@gmail.comt www.kristofgeneral.com
LAURENCE HARDING
House of Cards As a reflection upon life’s fragile ambitions, young people were photographed in front of lifestyle billboards scattered around London. Reminiscent of Victorian portraiture, the draperies, Greek columns and painted canvases have now been replaced by photographs of luxurious homes, creating visual enigmas resembling theatre sets, and projecting pre-packaged and standardised ideals of a successful life and perfect homes. However, these screens, fixed upon temporary walls, become a metaphor emphasising the fragility of our society’s economy, and how it could all tumble in a second like a house of cards. E: hardinglaurence@yahoo.co.uk www.laurencehardingphotography.co.uk
LIZ HARRINGTON
Muriel Sylvia Muriel Sylvia was my paternal grandmother. She suffered from Alzheimer’s and Dementia and, although I had met her on many occasions, looking back I never really knew her. In 2012 I came across a box of old family photographs. Could these photographs help me discover who the ‘real’ Muriel Sylvia was? Taking on the role of the archivist, and using old family photographs, the project explores the relationship between the photograph and memory, and reflects on the photograph as object. E: liz@lizharrington.com www.lizharrington.com
Gareth Johnson
(Rain and Wind) “This world is the interval where something passes from being into nothingness. Sometimes in that interval, beauty sparkles like a solved riddle from a secret language.� Hiroshima Sugimoto E: gareth7946@gmail.com www.mirrorshadow.com
Cara-May Joseph
I Know Where I am going “I know where I am going I know, This is what I keep reciting in my mind.� A series based on three poems written by mother. E: caratashana@gmail.com
Christine Joslin
People are Good People are Good explores the personal qualities of the volunteer using a documentary portraiture approach on a group of volunteer Healthwalk Leaders in Brighton and Hove. The work seeks to consider the question whether the volunteer has special “heroic� qualities (volunteers are often viewed as heroes by those they help) or whether volunteers simply reflect those characteristics which are in all of us. Viewers are encouraged to recognise their own qualities in those they see, and consider whether the volunteer is in all of us. E: Joslinc64@hotmail.com www.scattyflowers.co.uk
Volunteer Healthwalkers in Brighton and Hove
Ella May Kennaway
Imaginary Traveler “The woods enclose and then enclose again, like a system of Chinese boxes opening one into another, the intimate perspectives of the wood changed endlessly around the interloper, the imaginary traveler walking towards an invented distance ... It is easy to lose yourself in these woods.� Angela Carter E: ellamaykennaway@hotmail.com
John Kentish
Therapists Cognitive Behaviour Therapy is a relatively new type of therapy which has gained wide support because of its effectiveness. I have been documenting some of the people who have been influential in the development of CBT in this country before they retire or disappear. E: mail@johnkentish.com www.johnkentish.com
Rebecca Krasnik
Here Now Photographs are static; a frozen moment in time, fixed on a flat surface. At the same time, a photograph can depict movement and evoke a sense of duration. As Barthes wrote, there is a strange sense of both here-now and there-then in every photograph. E: mail@rebeccakrasnik.info
Jasmine Kuylenstierna
Constellations Through a set of flip books and a series of warped 3D prints, Constellations explores artistic responses to astronomical notions of scale and time, abstracting universal laws and stardust to illustrate a love for the distant and unknown. E: jasmine.stierna@gmail.com
Will Leslie
Hybrid My mother is from Barbados, my father is from Sierra Leone and I was born in London. Three very separate experiences and influences which contribute to my identity. I have lived my whole life in the South East of England. I am at the same time Caribbean, African and European. E: info@isisconsultancy.org.uk
Paul Lobban
Irreparable Gesture “In principle, the work of art has always been reproducible. What man has made, man has always been able to make again” Walter Benjamin (1936) Utilizing the Wet Plate Collodion technique to create a unique glass negative in a retreat back to photography’s basic principles of light reacting to chemistry, this object (a piece of glass) is used to create an image. This project explores the photograph as object and uses an iconoclastic gesture, the breaking of the glass negative, to interrupt the surface of that image. Once the gesture has taken place it is irreversible and thus an image of fragments can only remain, resulting in the muting of photography’s ease of reproduction and dissemination. E: paul_lobban@hotmail.co.uk www.paullobban.com
James Lyons
Untitled “Our lives begin to end the day we become silent about things that matter� Martin Luther King, Jr E: jh-lyons@hotmail.com
Video Installation
Alan markham
Nowhereland Nowhereland explores the places and landscape near and around the M25 motorway, highlighting the difference between the noise and speed of the motorway and the quiet stillness nearby. The M25 is a major artery for London’s commercial and social life yet, despite its familiarity, it is culturally overlooked. These photographs provide an alternative perspective of the motorway, aiming to prompt deeper consideration of how a motorway relates to the landscape and the places that exist alongside. E: as_markham@yahoo.com www.alanmarkham.co.uk
rowan markson
The Innocent Eye
E: r.mark1990@hotmail.com
gordon mills
__________ Tolerance Acceptance This series explores the familiar derogatory terms that are often aimed at gay men. I have embraced these terms and presented them in a fun and camp exhibit that celebrates the progression of gay rights and the fight for equality. E: gordonmillsphotography@gmail.com www.gordonmillsphotography.com
Junko Ogura
The Little Box of Milk On the 11th March 2011, the most powerful earthquake to have hit Japan occurred. The tsunami associated with the earthquake caused a nuclear catastrophe in the Fukushima No.1 Nuclear Power Plant and two years on, the leakage of radioactive materials continues to pose an invisible threat to the lives of the people. E: info@junkoogura.com www.junkoogura.com
pavla Ondrova
Decommissioned Decommissioned is a body of work which explores the relationship between humans and their natural environment and it emphasises the fragility and transience of the landscape. It is a visual exploration of the Burkean notion of the sublime combined with a contemporary understanding of the concept. E:pavla.ondrova@hotmail.com www.pavlaphoto.co.uk
Bridie Riley
Father, Mother, Daughter Produced from a Camera Obscura, each image is a unique photographic negative. Bypassing any intermediary printing processes; the body of work sits in contrast to the digital era’s disposable image culture of immediate and infinite reproducibility. Instead, these exist as unique artifacts, a testament to the physical, optical and chemical processes of traditional photography. E: bridieariley@gmail.com
Left: Father Middle: Mother Right: Daughter
Miles Roberts
In Search of Stillness In Search of Stillness is about the journey, the running from place to place so prominent, that it is almost genetic within my family; the search for something intangible at best and possibly completely imagined. It is about the fleeting moments of time spent in any one place, so short that we barely leave our mark upon them, that hardly register at all. It is about how we can easily spend our lives in transition, travelling from place to place, running. E: contactmilesroberts@gmail.com www.milesroberts.co.uk
Alex Rodriguez Correale
To the North To the North pretends to be a reflection on the experiences of emigration. More specifically, in the context of the Spanish recession, it looks at the lives of young Spanish migrants and their stories of displacement and alienation but also hope and success. E: alex.correale@gmail.com
Emelie Sahl
Seeing Peace I was 4 years old when I left Africa, brought to Sweden by my adoptive parents. I decided to return recently, to work as a volunteer in a children’s day centre in the Capricorn township. The idea of going back to Africa scared me. Would I finally fit in? A part of me never really found peace or a sense of belonging. Watching these children dreaming so peacefully, who usually have to be so vigilant to survive the dangers of the world outside, I felt a strong sense of empathy. E: Emz1587@hotmail.com
Carlos S. Armendariz
Pythia 1.0 The Pythia was the name assumed by the woman serving as oracle at the Temple of Delphi in ancient Greece. She delivered cryptic prophecies thanks to her connection with Apollo. We worship new gods today, new sources of knowledge. Pythia 1.0 is an art installation, an online entity, a computer program that uses Google Images to translate what you write into a sequence of colours and sounds in an attempt to create a connection between you, previous visitors and the vast and cryptic repository of knowledge that is the internet. E: carlos@carlosarmendariz.com
Rosa Seacombe
Jaywick Jaywick is a small town in Essex, UK. Situated by the seaside, this town was part of the Plotlands Movement whereby small areas of land were used to build temporary holiday homes up until the Second World War. Some of these homes still exist, and in 2011, Jaywick was named the most deprived area of the UK. This project documents my time spent in and around the area, recording this somewhat strange place and my response through the camera. E: rosaseacombe@gmail.com
AIDA SILVESTRI
Even This Will Pass This project is about Eritreans in the United Kingdom who emigrated from Eritrea for various reasons. It aims to bring to light different experiences and difficulties they faced on an uncertain voyage to exile. “I am hearing bad stories. The sea in winter is very bad.“ “I am told I have fifty/fifty chance of survival.” The journeys can sometimes be dreadful. The lucky ones board an aeroplane in Eritrea to exile; only a few make it to their final destination after months of struggle crossing different countries. Some end up dying in the Sahara Desert or in the Mediterranean Sea. Others are detained in refugee camps or prisons and many more end up in hands of human traffickers where they are abused, tortured or killed if they don’t provide a ransom. E: aidasilvestri24@googlemail.com www.aidasilvestri.com
Eritrea to London on foot, by camel, car, lorry, boat, train and aeroplane
sarah Smith
As the crow flies This work explores an obsession; the continual chasing of something unattainable, the very thing that already exists within ourselves but is forever overlooked in its pursuit. E: sarah@sarahsmithphotographer.com
Adam Sofroniou
Silvertown “From the poisonous drains a vision appears A new circle of cranes, a new reason to be here A big silver dome rising up into the dawn Above the church and the homes where all the silver is gone” (Mark Knopfler – Silvertown Blues, 2000) E: ad.sofroniou@gmail.com
Embraer E190, 2012
kun SonG
Transit I locked myself into a car in transit in China. I could hear the noise of the engine and the sound of the wind. I could feel the bumps in the road, but not the sense of speed any longer. Speed became part of me and transformed to an entrance, through which I penetrated into an unknown reality where everything was distorted. I continuously pressed the shutter. In every fraction of a second, everything was blurred. E: info@songkun.net www.songkun.net
PETER STEVENS
The House This project is about the construction of a residential house of great size, quality and opulence. It is also about the builders. The hard, gritty, physical nature of the working environment is set in stark contrast to the elegant structure that will emerge on completion of the build. E: peter.stevens@btinternet.com
SAMUEL TAYLOR
The Death Of Billy The Kid
E: sampaultaylor@gmail.com
JANNE TUUNANEN
Come Back Next Summer The English seaside had its heyday in Victorian and Edwardian times when holiday destinations were built to function as escapes for city dwellers. The spirit of those times still resonates in the seafront architecture and beach promenades, but in the present day that spirit is mixed with the eerie hopelessness of towns struggling to re-discover their identity. E: janne.tuunanen@gmail.com
Bindi Vora
Lustre By removing the recognizable aspects of an image and replacing it with a sheet of white photographic paper, where depth and space are indeterminate, I hope to achieve a sense of oscillating scale. The process of gently bowing and bending, forming and shaping this image from an illusory white to a sculpted object transform its dimensionality. Through sculpting these voids and contours the irreversible marks that appear upon the surface depict the potential for the image. E: bindi.vora1@gmail.com www.bindivora.co.uk
Alex Wood
A Model Village Bourneville, famed as one of the nicest places in England in which to live, was George Cadbury’s vision of a model village, fulfilling his ideal of creating clean living for his industrial workforce. Since Kraft completed their £11.5bn takeover of Cadbury’s, locals fear that having the village so heavily dictated by foreign visions predicts a turbulent future. E: alexwoodphoto@gmail.com
Byoung Joon Yoon
Agency of Light (Diptych) Colour is an event, a phenomenon or agency of light, rather than a substantial entity. It is a process of becoming, not of being. If so, is it then possible to capture the shadow of colour? This series of diptychs, consisting of a photograph and a photogram of the same colours created with a simultaneous exposure, investigates this very question. Colour is a mysterious, intractable yet enthralling and intoxicating ‘nothing’ or ‘nothing’. E: bj.yoon@yahoo.com
THE DEGREE SHOW EXHIBITION CATALOGUE INCLUDES WORK FROM THESE COURSES:
BA Photography (4 years part-time) This course is the only four-year degree in Photography in the UK and it is aimed at school leavers and mature applicants who use photography in their work and are concerned with issues of photographic representation. The course is designed to equip students with a range of critical skills for understanding the uses, functions and meanings of images in relation to art, society and culture. The course is taught one day a week for four years with further access to facilities. Prior experience or learning may be credited, and applicants with exceptionally advanced qualifications or experience may be granted admission at Credit Level 5 of the degree. CAREERS Many of our graduates go on to work as photographers and photographic artists or pursue a range of careers within the broader photographic sectors, such as picture editors and researchers, designers, magazine editors, museum and gallery curators, writers, teachers and community project workers and many go on to postgraduate study. ENTRY REQUIREMENTS Applicants must demonstrate a strong interest in both the practical and theory side of the course, have a high standard of oral and written English and submit a portfolio. A short essay may be set for applicants interviewed. T +44 (0)20 7911 5000 E course-enquiries@westminster.ac.uk westminster.ac.uk/photography
For further details see: http://www.westminsterphotography.co.uk
BA Photographic Arts (full-time) This course combines creative practice with the theoretical and critical study of photography and related media. The course is unique in placing an equal emphasis on Practice and Theory and on encouraging the integration of written and visual research. It is designed to equip students with a range of critical skills for understanding the uses, functions and meanings of images in relation to art, society and culture. Students also learn to produce image based work in a range of media, and to communicate their ideas with sensitivity to audience, purpose and context. As well as our experienced and highly respected teaching staff, the course is supported by a range of visiting lecturers and guest speakers. CAREERS Graduates go into a wide range of photography related careers including: freelance photography, picture editing, picture research, photography education, curating, publishing, digital image processing, image management and postgraduate study. ENTRY REQUIREMENTS Applicants must demonstrate a strong interest in both the practical and theory side of the course, have a high standard of oral and written English and submit a portfolio. A short essay may be set for applicants interviewed. T +44 (0)20 7911 5000 E course-enquiries@westminster.ac.uk westminster.ac.uk/photography
For further details see: http://www.westminsterphotography.co.uk
OTHER PHOTOGRAPHY RELATED COURSES OFFERED BY THE UNIVERSITY OF WESTMINSTER:
BSc Clinical Photography
The BSc Clinical photography combines the study of science, photography, digital imaging, anatomy, physiology, biology and clinical practice. A substantial element of the course involves work-based learning in a clinical setting. This is achieved through a significant number of hours of work placement in a variety of relevant specialisms throughout the three years of the course. BSc Photography and Digital Imaging
In the digital era photography is becoming a much more technical profession. There are very few courses that provide students with the background knowledge to truly master modern imaging systems. If you seek a deeper understanding of the processes involved, this course is for you. Students will have a technical or scientific background and a desire to explore the fundamental principles of imaging. BA Contemporary Media Practice
This long established course combines film, video, photography, digital media and theoretical debates, and continues to break new ground in contemporary media production. Practical instruction in a range of visual media from film and video to interactive digital media and photography encourages multiskilling within an innovative and creative environment. Students may specialise in one or two media or forge new links between converging and cross-disciplinary media.
For further details see: www.westminsterphotography.co.uk
MA Photojournalism
This course provides a unique combination of professional practice and critical understanding for photographers and journalists interested in entering the field of editorial and related photography. It builds on the international reputation of the journalism and photographic departments of the University. The MA is a modular course designed to equip students with a sound command of the working methods necessary to sustain a career in contemporary journalism. MA Photographic Studies
The MA Photographic Studies is intended for those who wish to develop their practice, theory and criticism of photography to a higher level of expertise and scholarship. The course aims to develop relationships between a creative photographic practice and critical theory in the context of art and mass media culture. Modules explore practices of photography and develop student awareness of social, cultural and critical issues involved in photography and its histories.
The University also offers the following Foundation Degrees: Foundation Degree in Professional Photography Foundation Degree in Image Management
For further details see: www.westminsterphotography.co.uk