Introduction and navigation
This LPE submission comprises:
1. This introduction and navigational guide
Please note that I maintain two web sites relating to this course – the intentionally labyrinthine BAPhot.co.uk covering the whole of the degree and, for each yearly module a relatively austere sub-domain, in this case, LPE.BAPhot.co.uk for assessment purposes.
Coursework illustrating Learning Objectives
The relevant items of coursework are available online:
L01 visual and conceptual strategies
i Exercise 5.3 Unpacking and
ii Exercise 5.5 Photography and Advocacy.
In Exercise 5.3, Unpacking, I took issue with Kate Orff’s approach, as described in the course material, and apply a rather less imaginative approach to The Battery, New York, where Agnes Denes created Wheatfield…, 1982.
Exercise 5.5, Photography and Advocacy, compares Denes’ approach to other campaigns.
L02 social, cultural and ethical considerations
i Exercise 3.2 Postcard views and
ii Exercise 5.1 Eco-Criticism.
Postcard views, Exercise 3.2 comes to the defence of postcards as a resource and leads to the creation of a homage to Ed Ruscha’s TWENTYSIX GASOLINE STATIONS, 1963.
Eco-Criticism, Exercise 5.1, looks at the work of Richard Misrach.
L03 exploring a range of ideas
i Exercise 2.2 Explore a road and
ii Assignment 2 A Journey.
Exercise 2.2 identifies buildings which have changed their purpose, while tracing the route from Eltham Palace to the Stephen Lawrence Memorial.
Assignment 2 follows a route from Greenwich Observatory to Canary Wharf, concentrating on public art, while keeping the banking towers in view.
L04 research, managing time and resources
i Exercise 1.2. Museum & Gallery and
ii Assignment 4 Critical review.
Exercise 1.2 contrasts the views of Rosalind Krauss, Tod Papageorge and Douglas Crimp on the gallerisation of photography.
Assignment 4 was the most research-intensive task in the module, exploring image maniplulation in a variety of genres,
L05 autonomy, voice, and communication
i Assignment 1 Beauty & the Sublime,
ii Voice development is covered in the reflection: this was a gradual process throughout the module and with confidence of voice comes autonomy of project development which can be seen throughout the lens-based Assignments.
iii Regarding communications, I have participated in the monthly(ish) LPE student discussion groups and various online courses organised by the OCA Student Association covering equality and diversity.
I volunteer at the Courtaulds Institute, photographing and cataloguing the Kersting and Conway archives.
The Ruscha homage has already been mentioned: following a prompt from my C&N tutor, I also produce a book every year relating to the course.
I am not a social media enthusiast and use it only sparingly. I am, though, an admirer of the hashtag and enjoyed Exploring Hashtags in Part 5: this led to the creation of an NFT which, regrettably, has not yet sold.
Portfolio of creative work
The Assignments chosen are 1, 2 and 5, as A3 is mostly found material and A4 is the essay. These comments are based on the remarks in the Reflection. The links provided are to the online versions of the work.
Assignment 1. Vauxhall Bridge – produced some decent individual images that did justice to the current bridge, but there was not sufficient material to support the historical narrative that I intended.
Assignment 2. Journey to Mammon – sculptures from Greenwich to Canary Wharf always with the towers in view was a worthwhile idea, though my tutor judged them over-processed and a rework was necessary.
Assignment 5. Becoming subjects – “slideshows” of some local plant life (and death) required new skills in visual and music software. Because of the volume of data and the consequential file sizes, the subjects had to be uploaded to Vimeo and YouTube. As will be seen from the Assignment text, the envisaged display vehicle for the series would be the window of a local television shop or TVs on sale in a charity store.
Assignment 4, Grey Areas: The Ethics of Skies, as the title suggests, looks at the methods, reasons and justifications of manipulating the sky in landscape images, from Victorian times to the current day. It then broadens the examination of manipulation to other subjects and genres.
There is a copy on the G Drive formatted for the plagiarism check.
This is available online or as a physical submission in the G Drive package.
This is available on the G Drive as the original Word files as received from my tutor, or a composite document containing both the feedback and my responses.