001
INTRO
002 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 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. 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.
DUCTION
001
INTRO
002 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 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. 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.
DUCTION
001
INTRO
002
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 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. 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.
DUCTION
FREYA KRUCZENYK ‘Something to do with Ruins’ Both ruin and photograph are fragments, deemed to connect us to a place in time, with a “history”, 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. freyakruczenyk@hotmail.co.uk 0782080076
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ALEX POLL Website: www.alexpoll.co.uk Email: Poll7@hotmail.com Mobile: 07533 994 122 Travelling alone through familiar and foreign landscapes an infinite landscape passes by with nuances and poignancies that are captured by the eye that please and evoke a sense of beauty and serenity. Only being alone can one fully feel and become enveloped by them. (Right) House One The Journeys Inbetween
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007 ALEX POLL
House Two The Journeys Inbetween
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House Three The Journeys Inbetween
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FREYA KRUCZENYK Email: freyakruczenyk@hotmail.co.uk Mobile: 07582 080 076
Both ruin and photograph are fragments, deemed to connect us to a place in time, with a “history�, 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.
Ruin One Something to do with Ruins
Ruin Two Something to do with Ruins
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Ruin Three Something to do with Ruins
003 FREYA KRUCZENYK
Ruin Four Something to do with Ruins
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Ruin Five Something to do with Ruins
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ALEX POLL Website: www.alexpoll.co.uk Email: Poll7@hotmail.com Mobile: 07533 994 122 Travelling alone through familiar and foreign landscapes an infinite landscape passes by with nuances and poignancies that are captured by the eye that please and evoke a sense of beauty and serenity. Only being alone can one fully feel and become enveloped by them.
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House One The Journeys Inbetween
007 ALEX POLL
House Two The Journeys Inbetween
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House Three The Journeys Inbetween
001 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 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. 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.
INTRO
002
DUCTION
001
INTRO
002 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 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. 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.
DUCTION
001
INTRO
002 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 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. 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.
DUCTION
001
INTRO
DUCTION 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 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. 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.
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
002
INTRO
001
002
DUCTION
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 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. 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.
INTRO
001
002
DUCTION
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 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. 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.
001
INTRO
DUCING
002
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 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. 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.
001
INTRO
002 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 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. 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.
DUCING
INTRO
001
002
DUCING
Introduction From ADRIAN DAVIES 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 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. 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.
INTRO
001
002
DUCTION
Introduction From ADRIAN DAVIES 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 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. 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.
INTRO
001
002
DUCTION
Introduction From ADRIAN DAVIES 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 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. 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.
INTRO
001
002
DUCTION
Introduction From ADRIAN DAVIES 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 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. 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.
01
ANNE-MARIE ATKINSON
By merging documentary with fine art practices to scrutinize the often-overlooked provocation of everyday, recognisable scenarios, AnneMarie Atkinson creates stilled frames with ambiguous narratives. The images consider the manifestations of relationships; what we can truthfully interpret from a still photograph; and the various contemporary influences on the individual. Creating breathing space for contemplation on the interrelated issues, she aims to hint at a ‘universal sympathy’, the common yet potentially isolating experience of being human.
Contact http://www.annemarieatkinson.co.uk hello@annemarieatkinson.co.uk
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House One The Journeys Inbetween
01
ANNE-MARIE ATKINSON _Overlooked Provocation By merging documentary with fine art practices to scrutinize the often-overlooked provocation of everyday, recognisable scenarios, AnneMarie Atkinson creates stilled frames with ambiguous narratives. The images consider the manifestations of relationships; what we can truthfully interpret from a still photograph; and the various contemporary influences on the individual. Creating breathing space for contemplation on the interrelated issues, she aims to hint at a ‘universal sympathy’, the common yet potentially isolating experience of being human.
Contact http://www.annemarieatkinson.co.uk hello@annemarieatkinson.co.uk
006
House One The Journeys Inbetween
01
ANNE-MARIE ATKINSON Overlooked Provocation By merging documentary with fine art practices to scrutinize the often-overlooked provocation of everyday, recognisable scenarios, AnneMarie Atkinson creates stilled frames with ambiguous narratives. The images consider the manifestations of relationships; what we can truthfully interpret from a still photograph; and the various contemporary influences on the individual. Creating breathing space for contemplation on the interrelated issues, she aims to hint at a ‘universal sympathy’, the common yet potentially isolating experience of being human.
Contact http://www.annemarieatkinson.co.uk hello@annemarieatkinson.co.uk
006
House One_ Panasonic DMC-FZ30
03
ANNE-MARIE ATKINSON
House One_ Panasonic DMC-FZ30
House One_ Panasonic DMC-FZ30
01
ANNE-MARIE ATKINSON Overlooked Provocation By merging documentary with fine art practices to scrutinize the often-overlooked provocation of everyday, recognisable scenarios, AnneMarie Atkinson creates stilled frames with ambiguous narratives. The images consider the manifestations of relationships; what we can truthfully interpret from a still photograph; and the various contemporary influences on the individual. Creating breathing space for contemplation on the interrelated issues, she aims to hint at a ‘universal sympathy’, the common yet potentially isolating experience of being human.
Contact http://www.annemarieatkinson.co.uk hello@annemarieatkinson.co.uk
House One_ Panasonic DMC-FZ30
03
House One_ Panasonic DMC-FZ30
House One_ Panasonic DMC-FZ30
01
ANNE-MARIE ATKINSON Overlooked Provocation By merging documentary with fine art practices to scrutinize the often-overlooked provocation of everyday, recognisable scenarios, AnneMarie Atkinson creates stilled frames with ambiguous narratives. The images consider the manifestations of relationships; what we can truthfully interpret from a still photograph; and the various contemporary influences on the individual. Creating breathing space for contemplation on the interrelated issues, she aims to hint at a ‘universal sympathy’, the common yet potentially isolating experience of being human.
Contact http://www.annemarieatkinson.co.uk hello@annemarieatkinson.co.uk
House One_ Panasonic DMC-FZ30
03
House One_ Panasonic DMC-FZ30
House One_ Panasonic DMC-FZ30
05
ROSIE COX Watching the Watcher “Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long.” Walker Evans, 1960. Developed considering theories such as scopophilia, the love of looking; Panopticism, the “all-seeing eye”; and the voyeurism of everyday life, this project observes people observing themselves through a two-way mirror whilst they unknowingly become the photographer’s subject. The viewer of the work becomes a spectator of the observation made by the photographer. The two-way mirror, placed in everyday locations, capturing people doing everyday things, provides the enjoyment of surveying others without being seen by the subjects. The snapshot aesthetic of the images enhances the feeling of observing and recording from a hidden viewpoint.
House One_ Panasonic DMC-FZ30
07
Grass_ Panasonic DMC-FZ30 Wasted Land_ Panasonic DMC-FZ30 Wasted Space_ Panasonic DMC-FZ30
07
Grass_ Panasonic DMC-FZ30 Wasted Land_ Panasonic DMC-FZ30 Wasted Space_ Panasonic DMC-FZ30
07
Grass_ Panasonic DMC-FZ30 Wasted Land_ Panasonic DMC-FZ30 Wasted Space_ Panasonic DMC-FZ30
07
Grass_ Panasonic DMC-FZ30
Wasted Land_ Panasonic DMC-FZ30 Wasted Space_ Panasonic DMC-FZ30
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Grass_ / Wasted Space_ / Wasted Land_ / Panasonic DMC-FZ30
05
ROSIE COX Need Title “Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long.” Walker Evans, 1960. Developed considering theories such as scopophilia, the love of looking; Panopticism, the “all-seeing eye”; and the voyeurism of everyday life, this project observes people observing themselves through a two-way mirror whilst they unknowingly become the photographer’s subject. The viewer of the work becomes a spectator of the observation made by the photographer. The two-way mirror, placed in everyday locations, capturing people doing everyday things, provides the enjoyment of surveying others without being seen by the subjects. The snapshot aesthetic of the images enhances the feeling of observing and recording from a hidden viewpoint. Opposite: Grass Overleaf: More Grass / Return of the Grass +44 (0) 1234 567 890 email@example.com
ROSIE COX Need Title “Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long.” Walker Evans, 1960.
05
Developed considering theories such as scopophilia, the love of looking; Panopticism, the “all-seeing eye”; and the voyeurism of everyday life, this project observes people observing themselves through a two-way mirror whilst they unknowingly become the photographer’s subject. The viewer of the work becomes a spectator of the observation made by the photographer. The two-way mirror, placed in everyday locations, capturing people doing everyday things, provides the enjoyment of surveying others without being seen by the subjects. The snapshot aesthetic of the images enhances the feeling of observing and recording from a hidden viewpoint. Opposite: Grass Overleaf: More Grass / Return of the Grass +44 (0) 1234 567 890 email@example.com
05
ROSIE COX Need Title “Stare. It is the way to educate your eye, and more. Stare, pry, listen, eavesdrop. Die knowing something. You are not here long.” Walker Evans, 1960. Developed considering theories such as scopophilia, the love of looking; Panopticism, the “all-seeing eye”; and the voyeurism of everyday life, this project observes people observing themselves through a two-way mirror whilst they unknowingly become the photographer’s subject. The viewer of the work becomes a spectator of the observation made by the photographer. The two-way mirror, placed in everyday locations, capturing people doing everyday things, provides the enjoyment of surveying others without being seen by the subjects. The snapshot aesthetic of the images enhances the feeling of observing and recording from a hidden viewpoint. Opposite: Grass Overleaf: More Grass / Return of the Grass +44 (0) 1234 567 890 email@example.com
05
ANNE-MARIE ATKINSON Need Title By merging documentary with fine art practices to scrutinize the often-overlooked provocation of everyday, recognisable scenarios, AnneMarie Atkinson creates stilled frames with ambiguous narratives. The images consider the manifestations of relationships; what we can truthfully interpret from a still photograph; and the various contemporary influences on the individual. Creating breathing space for contemplation on the interrelated issues, she aims to hint at a ‘universal sympathy’, the common yet potentially isolating experience of being human. Opposite: Grass Overleaf: More Grass / Return of the Grass
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hello@annemarieatkinson.co.uk www.annemarieatkinson.co.uk
09
ANNE-MARIE ATKINSON Need Title By merging documentary with fine art practices to scrutinize the often-overlooked provocation of everyday, recognisable scenarios, AnneMarie Atkinson creates stilled frames with ambiguous narratives. The images consider the manifestations of relationships; what we can truthfully interpret from a still photograph; and the various contemporary influences on the individual. Creating breathing space for contemplation on the interrelated issues, she aims to hint at a ‘universal sympathy’, the common yet potentially isolating experience of being human. Opposite: Grass Overleaf: More Grass / Return of the Grass -
hello@annemarieatkinson.co.uk www.annemarieatkinson.co.uk
09
MARIA GALVIN Need Title Issues relating to the environment form the focus of Maria Galvin’s practice. This project deliberates the idea of sustainability in relation to the symbiotic relationship between man and environment. Opposite: Grass Overleaf: More Grass / Return of the Grass -
hello@mariagalvin.co.uk www.mariagalvin.co.uk
09
MARIA GALVIN Need Title Issues relating to the environment form the focus of Maria Galvin’s practice. This project deliberates the idea of sustainability in relation to the symbiotic relationship between man and environment. Opposite: Grass Overleaf: More Grass / Return of the Grass -
hello@mariagalvin.co.uk www.mariagalvin.co.uk