Module Details

Module Code: PHGR C1701
Module Title: Photography and Video
Title: Photography and Video
Module Level:: 6
Credits:: 10
Module Coordinator: Janette Davies
Module Author:: Ciara Healy Musson
Domains:  
Module Description: This module aims to encourage individual and group teamwork. It values visual investigation, experimentation, the collection of diverse images, moving image and a final presentation of completed work. Students are expected to attend and participate in all the formal timetabled sessions for the subject. Students are also expected to manage their directed learning and independent study in support of the subject and project aims.
Photography Aims: To develop a basic understanding of the relationship between the theory and practice of chemical and digital photography To introduce the student to the camera obscura, film and digital cameras, file management, formatting and basic chemical photographic and digital processes. To develop creative responses to project briefs. To encourage an understanding of the role of photography as a creative and technical aid in art and design practice, its history and impact on society and culture. To increase the student’s ability to gather research and apply their research material to their project work. To improve the student’s ability to present ideas and research in a group context. To increase the students visual awareness.
Video Aims: • To develop a basic knowledge of digital video making and its application in art and design practice. • To acquire a basic practical knowledge of making a short video with sound. • To become familiar with hardware/software configurations for video and audio editing. • To develop an appropriate level of competency in handling a video camera and sound recording equipment. • To provide an introduction to contemporary art and design practices that employ the moving image, its history and impact on society and culture. To increase the student’s ability to gather research and apply their research material to their project work. To improve the student’s ability to present ideas and research in a group context. To increase the students visual awareness.
 
Learning Outcomes
On successful completion of this module the learner will be able to:
# Learning Outcome Description
LO1 Be able to identify key events and contributors to the history of photography and video through short written submissions and/or presentations, visual notebook with personal comments and reflections and to recognize current contemporary art and design practices employing moving images and photography.
LO2 Be able to present work that demonstrates and applies technical understanding of basic photographic and video camera functions and equipment, both analogue and digital by producing work in photography and video: photographic prints, contact sheets, pictograms, positive/negative images, cyanotypes and other processes, demonstrate the principles using a camera obscura, darkroom enlarger, photographic chemicals and digital camera use, making correctly exposed and processed photographic prints, Video pre production, storyboarding, shooting and editing moving image with sound using video editing software and presenting analysis /notes from various exercises; making short video vignettes/stop-moti
LO3 Be able to anticipate and apply appropriate time-management in meeting requirements of project briefs, working in a group and on their own, making experimental work showing trial and error learning, working and sharing information /research and project experiments equipment in a communal work-space.
LO4 Be able to learn from different learning contexts through, learning from mistakes, and demonstrating problem-solving abilities, developing visual awareness in terms of light, colour, composition and the rule of thirds and self conscious approaches to composition and context through project work with subject and location, in the studio, locally and on the international field trip.
LO5 Be able to learn from their research and experiments and evaluate and formulate a personal response to the project brief through; Making experimental work showing trial and error learning, Identify the potential of a technique and applying their knowledge to produce a resolved outcome, evaluating experiments and producing their own solutions to technical problems.
Dependencies
Module Recommendations

This is prior learning (or a practical skill) that is recommended before enrolment in this module.
No recommendations listed
Co-requisite Modules
No Co-requisite modules listed
Additional Requisite Information
No Co Requisites listed
 
Indicative Content
Photography
Digital & Analogue Photography- individual and group project work. Smoke & Mirrors - presentations on photography, the principles of how photography works, its historical and contemporary contexts in art and design. Dark room processing demos- in groups. Independent research on film and digital pinhole cameras - build cameras, take photos, process and print. Cyanotype demos and experimental work with Cyanotypes on a theme. Photogram demos and experimental work with photograms on a theme. Introduction to the principles film and digital cameras, taking and up loading, formatting and storing digital images, Scanning and Importing, introduction to digital processing, and discussion. International field trip assignment,, make digital contact sheets from international field trip, edit and make digital prints. Group work- ‘Painting with light’ Digital time lapse and long exposure photography on a theme and presented as a slide show/animation with sound as an option.
Video
Students participate in technical demonstrations to introduce them to working with digital video equipment. Students are introduced to the various roles and duties of the production team. Students engage in the production of vignettes. Students are introduced to making a timeline and visualizing their shots through drawing and storyboarding. Students are introduced to televisual composition, basic post production skills, field recording and basic digital non linear editing. Students make a presentation suggested topics: Early cinema as a cinema of attractions. Film and video in contemporary Art and Design and various artists and designers working in moving image and stop-motion. Students make both individual and group based work, typically we would expect each participating student to make at least 4 short videos that show progress in their video making skills and a final group project. Projects are supported by screening examples and class discussion.
Module Content & Assessment
Assessment Breakdown%
Project100.00%

Assessments

Full Time

No Continuous Assessment
Project
Assessment Type Project % of Total Mark 50
Timing Week 25 Learning Outcomes 1,2,3,4,5
Non-marked No
Assessment Description
Photography: The subject will be assessed through the completion of brief tasks and the submission of a research journal/notebook and portfolio of the completed work including: pinhole positives, photograms, cyanotypes:, contact sheets and prints, essay and class presentation of painting with light.
Assessment Type Project % of Total Mark 50
Timing Week 30 Learning Outcomes 1,2,3,4,5
Non-marked No
Assessment Description
Video: The subject will be assessed through the completion of brief tasks, a student presentation on video art, short film or animation and the submission of a research journal/notebook. Notebook with research on early silent cinema and the conventions of the moving image and notes on your project work during the module. Submission of Individual video project: 3 short videos screening and submission of group video project during final class screening.
No Practical
No End of Module Formal Examination
Reassessment Requirement
Repeat examination
Reassessment of this module will consist of a repeat examination. It is possible that there will also be a requirement to be reassessed in a coursework element.
Reassessment Description
Students are required to pass both photography and video projects. For reassessment students will be assigned a new project in either or both elements.

SETU Carlow Campus reserves the right to alter the nature and timings of assessment

 

Module Workload

Workload: Full Time
Workload Type Workload Category Contact Type Workload Description Frequency Average Weekly Learner Workload Hours
Contact Hours Contact Photography: Contact Hours Every Week 1.50 1.5
Independent Learning Non Contact Photography: Studio Based Learning, Research & Studio Practice, Field work exercises including international field trip. Every Week 1.50 1.5
Contact Hours Contact Video: Contact Hours Every Week 1.50 1.5
Independent Learning Non Contact Video: Studio Based Learning, Research and Studio Practice Every Week 1.50 1.5
Total Weekly Contact Hours 3.00
 
Module Resources
Recommended Book Resources
  • Photography: HOCKNEY, D.. (2006), SECRET KNOWLEDGE, LONDON: THAMES & HUDSON PAGES 74-90, 189-197.
  • Photography: Mirzoeff, N. (1999), 'The Age of Photography' in Visual Culture, London: Routledge, p.65 - 90.
  • Photography: Barthes, R.. (1984), Camera Lucida, London: Vintage.
  • Photography: Sontag, S.. (2002), On Photography, London: Penguin, p.23-30, 110-115.
  • Photography: Ashley LaGrange. (2005), Glossary of photographic terms from Basic Critical Theory for Photographers, Focal Press, p.236-246.
  • Malin Fabbri, Gary Fabbri. (2006), Blueprint to Cyanotypes, CreateSpace Independent Publishing Platform, p.68, [ISBN: 1456342223].
  • Gary Fabbri, Malin Fabbri, Peter Wiklund. (2009), From Pinhole to Print: Pt. 1, AlternativePhotography.com, p.44, [ISBN: 9163343800].
  • Susannah Shaw. (2008), Stop motion, Focal Press, Burlington, Mass., [ISBN: 9780240520551].
  • Christopher James. (2015), The Book of Alternative Photographic Processes, 3rd Revised edition. CENGAGE Delmar Learning, p.660, [ISBN: 978-128508931].
  • Robert Hirsch. Photographic Possibilities, Third Edition, Focal Press, p.304, [ISBN: 0240810139].
  • Eric Renner. Pinhole Photography, Fourth Edition, Focal Press, p.272, [ISBN: 9780240810478].
  • Tom Grill, Mark Scanlon. The Essential Darkroom Book, Amphoto Books, p.175, [ISBN: 0817438386].
  • Ian Leake. (2015), The Platinum Printing Workshop: Platinum/Palladium Printing Made Easy, CreateSpace Independent Publishing Platform; 2 edition, [ISBN: 1505246148].
  • Mike Figgis. (2014), Digital Film-making Revised Edition, Faber & Faber, p.176, [ISBN: 978-057130503].
  • Malin Fabri. (2010), Alternative Photography: Art and Artists, Edition I, [ISBN: 1456444514].
  • Jed Pearl. (2004), Man Ray: (Aperture, Masters of Photography), [ISBN: 0893817430].
Supplementary Book Resources
  • Photography: Berger, J.. Ways of Seeing London, Penguin: chapter 7.
  • Photography: LaGrange, A.. (2005), Basic critical Theory for Photographers, London: Focal Press.
  • Rodrigo Alonso. (2009), Vitamin Ph (New Perspectives in Photography), Phaidon Press, p.352, [ISBN: 978-071485642].
This module does not have any article/paper resources
Other Resources
  • www.hope.edu/academic/engineering/labs/P inhole_Camera_Lab/Pinhole.htm.
  • www.photo.net/learn/pinhole/pinhole.
  • www.bbc.co.uk/history/british/empire_sea power/vermeer_camera_02.shtml/memory.loc .gov.
  • www.ubu.com.
  • www.soundrecordingadvice.com.
  • www.apple.com/support/imovie/tutorial.
  • www.variablemedia.net.
  • www.rhizome.org.
  • www.iplugin.org.
  • www.geobodies.org.
  • Marker, C.. (1982), Sans Soleil.
  • Marker, C.. (1962), La Jette.
  • Brakhage S. (2000), Hand Painted Films.
  • Cocteau, J. (1950), Orphee.
  • Minha, Trinh-T. (1984), Reassemblage.
  • Deren, M.. (2003), Meshes in the Afternoon.
  • Jacobs, K. (2000), Tom Tom the Pipers Son.
  • Bahrani, R. (2009), Plastic Bag.
  • BBC Four TV 2007, The Genius of Photography, BBC,
    http://www.bbc.co.uk/photography/genius/
Discussion Note: